Substituting notes for accent names

What happens if we take a paragraph expressed by sequences of accent names and substitute note names where the accent is below the text?

Here is a section from Burns page 56 on the double merkha, an accent that Haïk-Vantoura considers a duplicate of the merkha.

There is one more group of sequences that we place in the first level, because it only appears immediately preceding one of the above sequences and, thus, belongs together with them. It is the group ending in the disjunctive t'vir. T'vir can be preceded by conjunctives, as shown in the following chart:

• t'vir darga 
• t'vir mer'cha 
• t'vir munakh 
• darga t'vir 
• munakh mer'cha t'vir 
• qadhma darga t'vir 
• qadhma mer'cha t'vir 
• darga mer'cha-ch'fula

The last of these sequences, in which t'vir does not occur, exemplifies another principle of the theory of t`amim: A single accent may replace a specific pair of accents, or even, a whole sequence. The replacement is always much rarer than the original series. In this case, the replacement is unusually rare, as mer'cha-ch'fula, which replaces both t'vir as the accent following darga and a mer'cha in the subsequent sequence, appears only 14 times within the entire twenty-one books. The accent mer'cha-ch'fula, has two further unique qualities that seem to have gone unnoticed by theoreticians up to now: Firstly, it combines the functions of two accents from two separate sequences. As we see in the above chart, it replaces t'vir as the only accent that ever follows darga in the first level. However, it also replaces mer'cha, which is always missing in the sequence leading to ethnakhta or sof-pasuq that follows it. The fact that mer'cha-ch'fula (literally, “double mer'cha”) could replace a simple mer'cha is also implied by its name. As a conjunctive accent, it effectively combines the sequence that would otherwise end in t'vir with the following one ending in sof-pasuq or ethnakhta to form one sequence together. The second unique characteristic of mer'cha-ch'fula is that, of its 14 occurrences in the twenty-one books, 8 are marked on the words lo or la. There may be acoustical reasons for this characteristic of mer'cha-ch'fula, as this accent (at least, in its present-day interpretation) is very florid, and therefore, it is natural to sing it on syllables typically used for singing exercises, such as lo or la. While no more than one of each sequence leading to ethnakhta or sof-pasuq may appear within the course of a verse, a sequence containing t'vir may occur twice, once before the ethnakhta sequence and one before the sof-pasuq sequence. There are rare cases (for example, Genesis 8:17) in which two sequences leading to t'vir appear in succession. The t'vir sequences do not form a part of the general pyramidal scheme of t`amim depicted above. When they occur, they, in effect, stretch the paradigmatic structure somewhat, just as the deletion of first parts of pairs creates shorter verses that the paradigm and, thus, contracts it somewhat.

I confess I find the content of this paragraph very hard to read and make sense of. (I have said this about paragraphs like the above for the past 5 years at least.) He is in the middle of describing the hierarchy of accents, and for me, this is a dead end, a deep hole from which no exit is possible no matter how hard one digs. The only solution is to put down a ladder and pull up the theoreticians. And leave the ladder in place. I have just found the ladder: translate the accent names into notes for accents below the text.

Here it is with the substitutions (my highlighting)

There is one more group of sequences that we place in the first level, because it only appears immediately preceding one of the above sequences and, thus, belongs together with them. It is the group ending in the disjunctive d. D can be preceded by conjunctives, as shown in the following chart:

• d
• c d
• f d
• B c d
• B f d
• qad c d
• qad f d
• c f (dm)

The last of these sequences, in which d does not occur, exemplifies another principle of the theory of t`amim: A single accent may replace a specific pair of accents, or even, a whole sequence. The replacement is always much rarer than the original series. In this case, the replacement is unusually rare, as f (dm), which replaces both d as the accent following c and a f in the subsequent sequence, appears only 14 times within the entire twenty-one books. The accent f (dm), has two further unique qualities that seem to have gone unnoticed by theoreticians up to now: Firstly, it combines the functions of two accents from two separate sequences. As we see in the above chart, it replaces d as the only accent that ever follows c in the first level. However, it also replaces f, which is always missing in the sequence leading to ethnakhta or sof-pasuq that follows it. The fact that f (dm) (literally, “double f”) could replace a simple f is also implied by its name. As a conjunctive accent, it effectively combines the sequence that would otherwise end in d with the following one ending in e or A to form one sequence together. The second unique characteristic of f (dm) is that, of its 14 occurrences in the twenty-one books, 8 are marked on the words lo or la. There may be acoustical reasons for this characteristic of f (dm), as this accent (at least, in its present-day interpretation) is very florid, and therefore, it is natural to sing it on syllables typically used for singing exercises, such as lo or la. While no more than one of each sequence leading to A or e may appear within the course of a verse, a sequence containing d may occur twice, once before the A sequence and one before the e sequence. There are rare cases (for example, Genesis 8:17) in which two sequences leading to d appear in succession. The d sequences do not form a part of the general pyramidal scheme of t`amim depicted above. When they occur, they, in effect, stretch the paradigmatic structure somewhat, just as the deletion of first parts of pairs creates shorter verses that the paradigm and, thus, contracts it somewhat.

1. I note first that d is not a disjunctive. It is never used as a cadence. What am I missing? Yes it may signify a prepositive or postpositive comma.
2. Also Haïk-Vantoura has ignored the dm. This requires investigating. Is she doing this because of the 'o' or 'a' vowels as he suggests? (Too much melismatic singing is not clarification of the text.)
3. Accents do not replace accents, but notes may be chosen equally by a composer as that one sees fit for the words.
4. Gen 8:17 does not fit his sentence as far as I can see.

   

   Genesis 8:17, I can put this music in front of you with clarity. Where are the 'two sequences leading to a d'?

5. However, even with the few substitutions I have made, the resulting text is far easier to read for a musician.

I say D is not a disjunctive. Does it act as a disjunctive - separating phrases - in the above. Here is a translation:
e All the living that are with you,
e from all flesh of
c fowl and of beast, (post positive I guess, and yes a comma - disjunction - is implied the first time)
d and among every creeper that creeps (there is a repeated d but it makes no difference to the music)
f upon the earth, bring
g out with you,
a (e doubtful?) and let them
b teem in the earth and be
f fruitful and
g multiply over the
e earth.
The underlay is approximate of course, since English accentuation will not correspond to the Hebrew. And notes are accented in a musical line. The bar lines show this.

The dm is ignored by Haïk-Vantoura.

The 14 instances are all unique. Here the c goes to f (dm is interpreted as == merkha). Should it be?
It only occurs once on the way to the mid-point. 13 times it is on the way back from A to e. Five times the vowel is not a or o as Burns states. I don't think it is possible to determine the music from current practice. (With the exception of the tonus peregrinus test that Mitchell has pointed out.)

e rev,C qad,e qad,B z-q,f e g# A	qad,z-q,c dm g# e	1	Genesis 27:25 and he brought to him wine, and he imbibed
e rev,e qad,B z-q,f g# A	c dm g# e	1	Exodus 5:15 Why do you deal thus to your servants? [the vowel is e]
e B e t-g,pas,ger,B rev,C qad,z-q,f g# A	ger,C qad,B z-q,c dm g# e	1	Leviticus 10:1 with strange fire that he had not commanded them.
e B t-g,pas,ger,C qad,B z-q,f g# B A	c dm g# f e	1	Numbers 14:3 Is it not better for us to return toward Egypt?
e B z-q,f g# A	c dm g# e	1	Numbers 32:42 and he called it Woof in his name. :)
e f g# A	e C qad,B z-q,c dm g# e	1	1 Kings 10:3 there was no thing obscured from the king, that he did not make clear for her.
e c dm f g# B A	B B rev,qad,z-q,pas,e c d f g# f e	1	1 Kings 20:29 And they encamped, these opposite these, seven days. [the vowel is ei]
e B t-g,pas,ger,B B rev,B B B paz,t-q,pas,ger,rev,C qad,qad,B z-q,g# A	B rev,c dm g# f e	1	Ezekiel 14:4 I, Yahweh, I will answer it coming in the abundance of its figurine.
B C qad,qad,B z-q,f g# A	c dm g# e	1	Habakkuk 1:3 And there is contention and sentence borne. [the vowel is i]
e pas,ger,rev,pas,C qad,z-q,C qad,z-q,g# e A	c dm g# f e	1	Zechariah 3:2 Is not this incendiary delivered from fire? [the vowel is e]
e B rev,pas,C e qad,B tar,rev,C qad,qad,C B z-q,g# B A	c dm g# e	1	Ezra 7:25 And who does not know him, you inform.
e qad,B z-q,f g# A	c dm g# e	1	Nehemiah 3:38 for it was heartfelt for the people to act. [the vowel is e]
e f g# A	e C qad,z-q,c dm g# e	1	2 Chronicles 9:2 || 1 Kings 10:3 above. and no word was obscured from Solomon that he did not make clear for her.
e g# B A	c e dm g# e	1	2 Chronicles 20:30 and his God gave him rest on every side.