The TROP-marks called T'LISHA G'DOLA and T'LISHA K'TANA, both of look like magnifying glasses or lollipops. They don't sound the same, although the way many of us learned TROP, they do sound the same. More important that what they sound like, is the fact that one calls for a pause after it and the other leads to the next word without a pause. The T'LISHA G'DOLA is always placed over the first letter of the word, even if the accent is not on the first syllable. In those cases, a second magnifying glass is placed over the accented syllable, to help the Baal Korei accent the word correctly. The T'LISHA G'DOLA leans backwards, the circle part of it is to the right and the stick goes down from the circle to the left. After the word with the T'LISHA G'DOLA , there is a pause before continuing with the next word. See B'midbar 19:9,10 for two examples. If the accent is on the first syllable, then only one T'LISHA G'DOLA will be printed.

The T'LISHA K'TANA is always printed over the last letter, and when the accent is elsewhere, a second T'LISHA K'TANA is placed over the accented syllable. Here the lollipop leans forward, the circle to the left and the stick going down and to the right. And in the case of T'LISHA K'TANA, even though the melody for it seems to invite a pause, there should be no pause. Look in 19:2. v'yik-CHU ei-LE-cha (T'LISHA K'TANA on the last letter of ei-LE-cha, but a second one above the LE syllable, because that gets the accent) NO PAUSE fa-RA adu-MA t'mi-MA. "Proof" (or manifestation) that there is no pause after ei-LE-cha is that the DAGESH KAL drops out of the PEI of PARA, leaving fa-RA. That doesn't happen unless the PEI-word is in the same phrase as the preceding word. (It doesn't always happen, but does so after a CHAF-SOFIT with a KAMATZ). See 19:13. B'NEFESH HA'ADAM... that's a phrase, no pause after B'NEFESH.