Typical ends of verses (and envelopes)

You will recognize some old friends in this list: the shophar psalms, and the verse which only has an end phrase, 

First note(s)	Patterns	Verses	Sample verse	Music Pattern
e	1	8	Psalms 36:1	e ill,e ill,e
f e	285	2009	Psalms 1:2	C f# f# rev,ole,f# e f# rev,f# e
g e	11	12	Psalms 4:7	e f# tsi,e d ole,f# e g qad,ill,e
B e	375	1792	Psalms 4:5	e rev,e ole,f# B g e rev,B e
A e	120	607	Psalms 36:1	e ill,e ill,e
C e	22	37	Psalms 3:3	e tsi,d ole,f# C e shl,ill,e ill,e
First note(s)	Patterns	Verses	Sample verse	Music Pattern
d f e	3	4	Psalms 5:7	e tsi,d ole,f# f# rev,zar,f# e
e	1	8	Psalms 36:1	e ill,e ill,e
e f e	103	438	Psalms 1:2	C f# f# rev,ole,f# e f# rev,f# e
e g e	3	3	Psalms 4:7	e f# tsi,e d ole,f# e g qad,ill,e
e A e	14	28	Psalms 2:2	f# qad,rev,f# e ^A ger,e
e B e	38	66	Psalms 4:5	e rev,e ole,f# B g e rev,B e
e C e	3	4	Psalms 34:8	e C shl,zar,C e rev,e
f e	1	4	Psalms 40:1	ger-rev,f# e
f g e	1	1	Psalms 125:3	C d paz,C rev,tsi,d e ole,f# paz,g qad,ill,e
f A e	27	113	Psalms 4:6	e f# ^A ger-rev,e
f B e	75	279	Psalms 1:1	f# e rev,C f# tsi,d ole,f# B g f# ^A f# ger-rev,B e
f C e	7	7	Psalms 3:3	e tsi,d ole,f# C e shl,ill,e ill,e
g f e	28	101	Psalms 7:10	e ill,qad,tsi,d ole,f# B g rev,rev,f# e
g A e	16	96	Psalms 2:8	e C rev,B g ^A ger-rev,e
g B e	189	1055	Psalms 1:6	e B g B ^A g B e
A f e	144	1454	Psalms 1:5	e C B g ^A ger-rev,f# e
A g e	1	1	Psalms 119:42	e B B ^A g ger,e
A B e	72	391	Psalms 2:10	g B ^A ger-rev,B e
A C e	11	25	Psalms 3:1	e f# ^A ger-rev,C ill,e
B f e	2	2	Psalms 40:1	ger-rev,f# e
B g e	6	7	Psalms 106:37	e B g e rev,e
B A e	62	369	Psalms 2:1	g B ^A ger-rev,e
C e	1	1	Psalms 135:21	zar,C qad,rev,zar,C e rev,e
C f e	4	6	Psalms 18:51	e tsi,d ole,f# C qad,rev,f# rev,e
C A e	1	1	Proverbs 1:9	C C shl,ill,^A ger-rev,e
C B e	1	1	Proverbs 7:7	e C rev,zar,C rev,B e

Now I am wondering how many verses use the accents in circular structures, enclosing the verse in an envelope. Only verses beginning on the tonic will be possibilities for this exercise. 

There seems to be a few as shown in the following table. First 2 notes at a time, then three, then 4. But note that some verses are only 3 notes long. Note also that I remove repeated sequential accents below the text to ascertain the melodic shape.

First Notes	End Notes	Verses	Sample verse
C e	C e	2	Job 21:28	C e rev,f# ^A ger-rev,C ill,e
f e	f e	22	1 Kings 1:19	t-g,f e tsi,seg,pas,B z-q,pas,z-q,g# B ^A f g# f e
B e	B e	5	Deuteronomy 5:8	B e f f B B pas,pas,z-q,paz,C B B pas,pas,z-q,paz,f t-q,g# qad,^A azl,f g# B f B e rev,
g e	g e	1	Hosea 8:12	qad,z-q,g# e ^A g# e
e B g	g B e	214	Job 10:17	e B g B ^A g B e
e f e	e f e	70	Job 12:1	e f# rev,e
e B e	e B e	1	Psalms 94:9	e B e g B ^A e f# e ger-rev,B e
e C e	e C e	3	Psalms 116:19	e C shl,zar,C e rev,e
e f d	d f e	1	Psalms 124:7	e rev,f# tsi,d ole,f# f# rev,f# e
e f g	g f e	1037	1 Chronicles 11:17	e f g# ^A g# f e
e g B	B g e	62	1 Chronicles 21:4	e g# B ^A pas,B z-q,g# e
e g e	e g e	87	1 Chronicles 11:27	e pas,z-q,g# e
e B g B	B g B e	1	Job 14:4	e B g rev,B e
e B g e	e g B e	2	Psalms 41:12	e B g e B ^A C e g B e
e f d f	f d f e	1	Psalms 124:7	e rev,f# tsi,d ole,f# f# rev,f# e
e f g e	e g f e	7	1 Samuel 25:24	e pas,z-q,z-g,f g# e ^A e C e pas,z-q,z-g,g# f e
e g B e	e B g e	2	Nahum 2:8	e g# B e ^A rev,e pas,B z-q,g# e
e f e f	f e f e	9	Psalms 121:6	e f# e rev,f# e
e f e g	g e f e	2	Joshua 5:10	e f e g# ^A B paz,t-q,qad,f d g# e f e
e f g f	f g f e	199	1 Chronicles 12:27	e f g# f e
e C e C	C e C e	1	Psalms 116:19	e C C rev,e zar,C e rev,e
e f g B	B g f e	77	1 Chronicles 2:24	e f g# B ^A C pas,z-q,B z-q,g# f e

If we combined these results with the post on melodic shapes we begin to have some abstract grasp of basic shapes. Can they be associated with any hermeneutical intent on the part of the composer?

I suspect you can see that this is music and only subject to such phrase by phrase analysis because it is in a fixed canon. It is music dedicated to a particular text. It is not punctuation. Some identification of sense with pitch is possible but one can hardly be definitive about it. I summarized my thoughts 4 years ago in the series I called 'the ladder'. I would change the supertonic to a sense of pending.

The tonic (e) for the sense of home, the subdominant (A) for the sense of rest, the supertonic (f) for a briefer rest sense of pending, (in the 3 books only) and always prior to the subdominant if both are in the verse, the dominant (B) for proclamation [and stories], the sub-mediant (C) for emotional appeal, the lower notes as preparation for the phrase, sometimes leaping a seventh or an octave for joy.