Oral tradition Psalm 19:10 - slightly baffled

Exploring Flender. His first example of the oral tradition is on page 88. He uses psalm 19 verse 10 -- so here is the version as I presented it.

Psalms 19: (Verses 10 to 10) Syllables: 23; Longest recitation: 7; Tenor: C 30.43%;
Ornament density: 13%; Average phrase length: 7.7. 10 words (9 with maqqef).

There is no doubt that this rendition is following the accents. 

10 The fear of Yahweh is clean, standing for ever. The judgments of Yahweh are true, righteous altogether. (1-2-4-1)
י ירא֤ת יהו֨ה טהורה֮ עומ֪דת ל֫ע֥ד מֽשפטי־יהו֥ה אמ֑ת צדק֥ו יחדֽו	12 8 4		i irat ihvh Thorh yomdt lyd mwpTi-ihvh amt xdqu ikdiv

The shape of the music is:

• five words to the first cadence: e (silluq) C, (mahpakh), qadma, tsinnor, d (galgal), ole-veyored f# (yored = mercha), 
• two (three) words to the atnah: e f# ^A  (atnah); 
• then two words to the silluq: f# e.

Generic questions: how is the cadence on the supertonic approached? How do we move from supertonic to subdominant? 

There are 408 verses with 'ole'. Most of these (343) are in the psalms. These are a few observations. I don't know if these are rules. I see there are lots of people over the years who have counted, and sequenced these signs. I'm curious because the musical lines may help us understand the text and how the composer understood it. 

• If ole veyored is in the verse then it is preceded by tsinnor or revia or both. 
• The pair, tsinnor, revia occurs in advance of ole twice in the psalms both times preceded by qadma.
• The pair, revia, tsinnor occurs 23 times in advance of ole, preceded by one or more of several ornaments, pazer, zarqa, illuy, and qadma, (not to mention the accents below the text). All these ornaments are used independently of ole.
• Revia or tsinnor precedes every occurrence of ole veyored. (Is this a rule of composition or an accident?)
• We don't see tsinnor after ole, but we do see zarqa, essentially the same ornament in Psalms 2, 5, 14, 18, 49, 72, 106. And we see revia after an ole.

How do we get from ole to atnah? It is not dissimilar to getting to atnah from silluq. You can see that process above in psalm 19 verse 10 -- e f# A, almost as if the first part of the verse was a different verse. I see 42 different patterns, from a single f# directly to A, Psalms 3, 5, 29, 76, 132, to more lengthy phrases like ole, f# e pazer,C qadma,e revia,g B A. (Psalms 79 verse 1). Here we see ornaments between the cadences.

Flender's example is from real life in the oral tradition. He writes that it is "a recording of a free liturgical function, made without an interview in the synagogue זכור אברהם, (Zekhor Avraham) in Jerusalem in 1978."

His first example using psalm 19 verse 10 follows. I can read the music he displays, but I am baffled by his explanation and the full score of psalm 19 that is attached to the book as an appendix. I wonder if anyone else has ever read this book from the UVIC library. Maybe they could explain where Flender is coming from. Why would he produce a full score with unreadable Hebrew (too small) and notations in the score that for now I have no explanation. I am a poor reader - impatient, and biased in my expectations of clarity (smile -- I'm sure you have problems with my clarity too). 

Real life oral tradition example from Flender

The oral tradition here is melodic. It ignores the accents:

• First it ignores the mahpakh, ירא֤ת moves to f#  יהו֨ה without an accent, and ignores the qadma, 
• has a slur and change of reciting note on the tsinnor טהורה֮, 
• moves to a new reciting note (A) on the galgal עומ֪דת and 
• treats ole-veyored as an appoggiatura ל֫ע֥ד. 
• Then after the rest, the melody returns to the starting note on the silluq מֽשפטי (an accidental agreement).
• The melody then moves without an accent to the g and 
• then to the A on the last syllable of the Name יהו֥ה where there is a mercha, 
• then to the f# where the atnah requires a pause on the word true, אמ֑ת but the melody as written does not require a pause. 
• This verse has a very short section after the atnah, one where the singer might easily ignore the required caesura.
• The silluq on the xdqu צדק֥ו in the real life score is spurious, the use of A for mercha on the last syllable of the Name and qof (ק֥) of xdqu is consistent in the second and third cola, but inconsistent with the first.
• The melody returns to f# without an accent and to the g יחדֽו (home?) for the final syllable on the silluq. This is inconsistent with the opening of the second colon where there is a silluq on the mem (מֽ) .

This oral tradition has moved away from the accents. If the deciphering key of Haïk-Vantoura is a guide, it has moved quite some distance.