|
The Song of the Levite |
Notational Systems |
As with our own system of music theory and harmony, there are some basic rules and conventions that are employed when transcribing the Psalm manuscripts. These conventions and methods were also in many ways like our own formal system of music notation and harmony, backed into after-the-fact and documented.
Rule One
The symbols of the te'amim represent fixed pitches
and are treated the same whether they occur above or below a
word. The / in measure 5 (which occurs below the word) and the /
in measure (occurring above the word) are both transcribed as the
note F.
Example: Psalm 105:1
Rule Two
When no symbol is indicated in the opening word of the initial
verse, it is assumed to be an A - the minor tonic [i] (pickup
note to measure 1 is an A).
Example: Psalm 105:1
Rule Three
As with our own system of music notation, when a new symbol
(note) is introduced it is applied to all subsequent syllables
until the next symbol is introduced. The / (F) in measure 18
below continues until the G# is introduced in measure 19.
Example: Psalm 23:2
Rule Four
When two symbols occur on one letter or syllable, they are
treated as a slur (measure 22)
Example: Psalm 23:2
Rule Five
When two symbols appear over one another on the same letter,
they are treated as a harmony and continue to the next symbol
change. In Psalm 150:1 (measures 3) the / and | occurring on the
pickup notes to measure 4 are treated as harmonies. As this
particular sequence of tones directly relates to the manner in
which the lyre played the chords for these tones may be an
indication that the te'amim was primarily an
instrumental notation (indicating not only the melody, but also
the manner in which the chords were to be played by the lyre)
and/or secondarily as a vocal one - indicating the melody and
possible harmonies (see also Psalm 96:3, measure 25).
Example: Psalm 150:1
Example: Psalm 96:3
Encrypting the name of Yah within the melody
This device is theoretically found in any place where the
sequence of tones A and C are found (see Psalm 136:2 measure 14).
As the A and C are also equivalent to an A minor triad
(i.e., the minor tonic i), this sequence of tones is often
found within the Psalm manuscripts.
Example: Psalm 136:2
Halelu Yah
As the melodic cymbals (i.e., crotales) of the Levites
were apparently tuned to the pitches A and C, the name of Yah was
played any place within a composition when the cymbals were
struck together. This is especially evident when used in
conjunction with an introductory or ending halelu Yah (see
Psalm 150:6, measures 15 and 16.
Example: Psalm 150:6
Encrypting the name of Yahveh within the melody
This compositional device and form of praise is found any place
where the sequence of tones A - C - B - C is written as part of
the melody (see Psalm 105:1). As would be expected, this is a
common motif echoed within many of the Psalm manuscripts.
Example: Psalm 105:1
|
The Song of the Levite |
Notational Systems |