Psalm 120

Psalms 120: Syllables: 111; Longest recitation: 6; Tenor: e 27.03%;
Ornament density: 9.9%; Average phrase length: 7.9.

1 ♪~ A song of the ascents. To Yahweh when I am trouble bound, I call and he answers me. (~1-2-4-1)
א ש֗יר הֽמ֫על֥ות אל־י֭הוה בצר֣תה ל֑י ק֝ר֗אתי וֽיענֽני	5 8 8		a wir hmylot al-ihvh bxrth li qrati viynni
2 Yahweh deliver my being from false lips, from a deceitful tongue (1-4-1)
ב יֽהו֗ה הצ֣ילה נ֭פשי משפת־ש֑קר מלש֥ון רמיֽה	11 6		b ihvh hxilh npwi mwpt-wqr mlwon rmiih
3 What gives with you or what next with you deceitful tongue? (1-1)
ג מה־ית֣ן ל֭ך ומה־יס֥יף ל֗ך לש֥ון רמיֽה	15		g mh-iitn lç umh-iosif lç lwon rmiih
4 Arrows of the valiant sharpened, with coals of broom. (1-4-1)
ד חצ֣י גב֣ור שנונ֑ים ע֝֗ם גחל֥י רתמֽים	7 7		d kixi gibor wnunim ym gkli rtmim
5 Woe to me for I am guest in a charade. I dwell in tents of blackness. (1-4-1)
ה אֽויה־ל֭י כי־ג֣רתי מ֑שך ש֝כ֗נתי עֽם־אהל֥י קדֽר	8 9		h aoih-li ci-grti mwç wcnti ym-aohli qdr
6 ♪g This my being has increasingly dwelt, with one hating peace. (g-1-4-1)
ו ר֭בת שֽכנה־ל֣ה נפש֑י ע֝֗ם שונ֥א שלֽום	7 5		v rbt wcnh-lh npwi ym wona wlom
7 As for me, peace, but when I speak, they are to the battle. (1-4-1)
ז א‍ֽני־ש֭לום וכ֣י אדב֑ר ה֝֗מה למלחמֽה	8 6		z ani-wlom vci adbr hmh lmlkmh

This miniature is worth some detailed analysis. Verse 1 exhibits the tri-colon 1-2-4-1. The psalmist begins the whole series of the songs of the ascents with an ornament, the revia. Why begin the series with something other than the default starting note? The patterns I have seen throughout my analysis of prose and poetry support my thesis that the first syllable having a starting note other than the tonic signals a connection to what has gone before. Perhaps we won't surmise the connection until we finish the series of 15 psalms to 134. But perhaps after the long assessment and appreciation of God's instruction in Psalm 119, the whole approach of the fifteen steps to the temple recognizes that instruction is fully linked to worship.

The movement from 1 to 2 is short, revia, e, ole f#. From 2 to 4 is without ornament, f# g B A. The movement from A to e (4-1) includes the geresh followed by revia (revia-mugrash) and immediately moves to the tonic for the whole of the last word. I call (on the rest note) and he answers me, on the low reciting pitch, e.

The prayer of verse 2  (1-4-1) is a simple melody, e revia, B g A, A f# e. Verse 3 is 1-1, a colon moving from tonic to tonic without a mid verse cadence, e B g f# revia, f# e.  Whose tongue is being described? The revia is not used again in the psalm. Verses 2 and 3 are set apart -- framed by revia -- and as the only verses that do not use the revia-mugrash.

Note the joining of verses 5 and 6, and the ways in which the mid verse cadence in verses 4 to 7 is approached: 4 e-B-A, 5 e g B A, and 6 g e B A, and 7 e g B A. Several variations on the notes of the triad. All the turns (revia-mugrash) announcing the return to the tonic are executed on the rest note A. The psalmist is at ease in expressing this serious prayer for integrity and peace. Perhaps verse 7 gives us a reason for silence. What is the antecedent of they? The only plural in the poem is the lips.

The music in these posts is derived from the accents in the Hebrew Bible. Introductions - letters, music, text and music, and terminology, are here.