Delitzsch - Music he was familiar with - 2

Isaiah 42:5-10, music from 1868 in Delitzsch, Physiologie und Musik in ihrer Bedeutung für die Grammatik

Isaiah 42:5-10 traditional German mid 19th c

The above reads as G major but cadences in D major and never uses the leading tone except for the cadences. If we look at the accents, we find these: (see the chart in the prior post). I will with some work see a consistent definition of the accents in this section above. I suspect the zarqa table will be oriented around various melismatic idioms and that different accents below the text are all harmonically similar. Nonetheless a melody is more evident than I expected. Given that the effective key is D major, the notes all revolve around the subdominant g. There is some movement to recitation on both f# and A. 

כֹּֽה־אָמַ֞ר הָאֵ֣ל ׀ יְהוָ֗ה בּוֹרֵ֤א הַשָּׁמַ֙יִם֙ וְנ֣וֹטֵיהֶ֔ם רֹקַ֥ע הָאָ֖רֶץ וְצֶאֱצָאֶ֑יהָ

נֹתֵ֤ן נְשָׁמָה֙ לָעָ֣ם עָלֶ֔יהָ וְר֖וּחַ לַהֹלְכִ֥ים בָּֽהּ

The music for verse 5 is as follows: 

reciting note e (silluq default) ornament tarsin, reciting note B munah, ornament revia, reciting note C mahpakh, ornament qad, qad, reciting note B, ornament z-q, recitation on f then g# then the mid-point rest (atnach) ^A 

following the rest, reciting note C qadma, reciting note B munah, ornament zaqen-qatan, then return to the tonic via g# (tifha) f (merkha) e (silluk).

The raw material below is readable by a human singer and also by automation using deciphering key by Suzanne Haïk-Vantoura. There is no variation in the interpretation of the hand-signals below the text. 

There is no pause after Adonai because the description that follows is part of the identification of this speaker. The only cadences marked are at the subdominant marked // (atnah) and the rest on the tonic between verses (silluq).

For all 6 verses this is the sequence of notes and ornaments. 

e tar,B rev,C qad,qad,B z-q,f g# ^A C qad,B z-q,g# f e 
e c d f e g# B ^A rev,d f g# f e 
e g# B ^A C qad,z-q,f g# f e 
e f g# B ^A qad,B e z-q,g# e 
e g# ^A e qad,B z-q,f g# f e 
C e qad,B z-q,g# B ^A C qad,z-q,g# e 

Isaiah 42:5-10 - interpreted according to the deciphering key of Suzanne Haïk-Vantoura

You have to work at this - the management of all the pieces is very difficult. Here's verse 6 very much simpler. No ornaments except revia.

אֲנִ֧י יְהוָ֛ה קְרָאתִ֥יךָֽ בְצֶ֖דֶק וְאַחְזֵ֣ק בְּיָדֶ֑ךָ

וְאֶצָּרְךָ֗ וְאֶתֶּנְךָ֛ לִבְרִ֥ית עָ֖ם לְא֥וֹר גּוֹיִֽם

e c d f e g# B ^A rev, d f g# f e

(silluq) darga galgal merkha (metheg/gaia - not music - Unicode design error) tifha munah atnach //

revia galgal merkha tifha merkha silluq

And here's an image of the first 2 verses showing the (relative) consistency of the mapping of phrase and melisma to the accents. Of the various ornaments zaqen-qatan is a mordent in both mappings, tarsin and revia are ornaments, though different in each system, some of the phrasings look similar to Burns phrasings, but the lack of recognition of the underlying scale as applied by Haïk-Vantoura diminishes any possible comparisons.

Almost a zarqa table