Munach

Munach
מֻנַּ֣ח ֣ מָק֣וֹם
cantillation
Sof passuk ׃   paseq ׀
etnakhta/atnakh ֑   segol ֒
shalshelet ֓   zaqef qaton ֔
zaqef gadol ֕   tifcha/tarkha ֖
rivia/ravia’ ֗   zarqa ֘
pashta ֙   yetiv ֚
tevir ֛   geresh/gerish ֜
geresh muqdam ֝   gershayim/shenei gerishin ֞
karnei pharah ֟   telisha gedola/talsha ֠
pazer (gadol) ֡   atnah hafukh ֢
munakh/shofar holekh ֣   mahapakh/shofar mehupakh ֤
merkha/ma’arikh ֥   merkha kefula/terei ta’amei ֦
darga ֧   qadma ֨
telisha qetana/tarsa ֩   yerah ben yomo ֪
ole ֫   illuy ֬
dehi ֭   zinor ֮

The Munach (Hebrew: מֻנַּח‎, also spelled Munah or Munakh), translating to English as "to rest," is a common cantillation sound. In Sephardi and Oriental traditions it is often called Shofar holekh. It is marked with a right angle below the corresponding word.[1]

The munach is found in various groups, including the Katon, Etnachta, and Segol groups. One or more munachs can be followed by many different trope sounds, including Zakef katon, Etnachta, Rivia, Zarka, Segol, and Pazer. It is normally used when the number of syllables in a phrase are so long that an extra note is required to accommodate all the syllables.[2]

The munach is normally a short note. But when it is the first of two munachs followed by a Rivia, it has a longer melody. In this case it may also be called legarmeh (מֻנַּח לְגַרְמֵ֣הּ׀).

  1. ^ The Art of Cantillation, Volume 2: A Step-By-Step Guide to Chanting Haftarot ... By Marshall Portnoy, Josée Wolff, page 26
  2. ^ Outlines of Hebrew Accentuation By A. B. Davidson, page 39

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