diff --git a/en_tn_02-EXO.tsv b/en_tn_02-EXO.tsv
index fe4b0dd1fb..9267d57ba8 100644
--- a/en_tn_02-EXO.tsv
+++ b/en_tn_02-EXO.tsv
@@ -1217,7 +1217,7 @@ EXO	14	30	e2lf	figs-metonymy	מִ⁠יַּ֣ד מִצְרָ֑יִם	1	out of the
 EXO	14	30	p5zw		עַל־שְׂפַ֥ת הַ⁠יָּֽם	1	on the seashore	Alternate translation: “on the land along the edge of the sea”
 EXO	14	31	o1oc	grammar-collectivenouns	יִשְׂרָאֵ֜ל	1	on the seashore	This is a collective singular noun. If your language would not refer to a group of people in this way, you may need to translate it as plural. Alternate translation: “the Israelites” (See: [[rc://en/ta/man/translate/grammar-collectivenouns]])
 EXO	14	31	np6s	figs-metonymy	אֶת־הַ⁠יָּ֣ד הַ⁠גְּדֹלָ֗ה	1	on the seashore	Here, **hand** refers to power. Alternate translation: “the great power” (See: [[rc://en/ta/man/translate/figs-metonymy]])
-EXO	15	intro	ni4b			0		# Exodus 15 General Notes\n\n## Structure and Formatting\n\nVerses 1b-18 and 21b of chapter 15 are poetry. They are a song of praise to Yahweh because he defeated and destroyed the Egyptian army ([Exodus 14:26-28](../14/26.md).). Translating poetry should be done by someone who is a skilled poet in the target language. Because the forms of poetry are so different in different languages, a translation that is good poetry in the target language may seem very different from the original poem. The structure may look quite different. The poet will be well served by looking at the entire poem from multiple perspectives. He will need to know the meaning of the poem, the themes and discourse structure of the poem, and the feelings that the poem is supposed to create in the reader at each point (UST, tNotes). He will need to understand how that was accomplished by the original form and structure (ULT). Then he will need to compose the translated poem using forms and structures that have the same or similar meaning, themes, discourse elements, and feelings in his own language.\n\n### Structure\n\nThis song follows a basic AB structure which is given to us in verse 1b-c and 21b-c:\n\n* A - praise to Yahweh - he is magnificent (expressed in various words)\n* B - because he defeats our enemies\n\nThe song can be divided into three major sections, each of which is patterned as: AB(a)b. Each section starts with an AB portion which is characterized by fewer verbs (or participles, how to express) (especially the A portion). The section then elaborates on each. Note that there are other possible analyses of the structure of the poem.\n\nHere is an outline of the structure according to this model:\n\n* Section 1 (see alternate breakdown below):\n    * 1b: A “Let me sing to Yahweh, for he has triumphantly triumphed;”\n    * 1c: B “the horse and the one riding it he threw into the sea.”\n    * 2-3: a\n    * 4-5: b\n* Section 2:\n    * 6a: A\n    * 6b: B\n    * 7a: a “And in the abundance of your majesty”\n    * 7a-10: b “you overthrow those who rise up against you … ”\n* Section 3:\n    * 11: A\n    * 12: B\n    * 13a: a (possibly) “In your covenant loyalty”\n    * 13a-17: b\n* 18: finale\n\nAlternate breakdown of section 1: it is possible to view 1b-c as the introduction and divide verse 2 such that:\n\n* 2a: A “Yah is my strength and my song”\n* 2b: B “and he has become my salvation”\n* 2c-3: a\n* 4-5: b\n\n### Themes:\n\nThere are several images and themes that are throughout the song as well as some that are throughout an individual section.\n\n* “High” versus “low”: Yahweh is high, while his enemies are low.\n    * The following words are all related to the idea of being high or rising up: **triumph** ([v1](../15/01.md)), **exalt** ([v2](../15/02.md)), **majestic** ([v6](../15/06.md), [v11](../15/11.md)), **majesty** ([v7](../15/07.md)), and **the mountain of** \\[Yahweh’s\\] **possession** ([v17](../15/17.md)). In the last case, Yahweh’s people are brought to a high place with him.\n    * In contrast, his enemies are low. Note in [verse 7](../15/07.md), Yahweh overthrows those who **rise up against** \\[him\\]. Ideas of being low are as follows: **sank** ([v4](../15/04.md), [v10](../15/19.md)), **deeps** ([v5](../15/05.md)), **descended into the depths** ([v5](../15/05.md)), **melted away** ([v15](../15/15.md)), and **fall on them** ([v16](../15/16.md)).\n* The strength of Yahweh in [verses 2](../15/02.md), [6](../15/06.md), and [13](../15/13.md).\n* The effectiveness of Yahweh’s hand versus the enemy’s hand. Yahweh’s hand (and arm) is effective in [verses 6](../15/06.md), [12](../15/12.md), [16](../15/16.md), and [17](../15/17.md) but the enemy’s hand is ineffective despite his boasting in [verse 9](../15/09.md).\n* There is parallel imagery near the end of each section. The enemy is compared three times by simile to a heavy, inert object. In [verses 5](../15/05.md) and [16](../15/16.md) that is a **stone**, in [verse 10](../15/10.md) that is **lead**.\n* More parallel imagery occurs at the end of sections one ([v5](../15/05.md)) and two ([v10](../15/10.md)): that of the enemy sinking in the water and being covered by it.\n* In sections two and three the water ([v8](../15/08.md)) and the other peoples ([v16](../15/16.md)) are made still by Yahweh.\n* Section two begins and ends with **majestic** ([v6](../15/06.md), [v10](../15/10.md)) and that word is picked up in the beginning of section three ([v11](../15/11.md)).\n* In section two ([v9](../15/09.md)), the enemies seek to **dispossess** (or disinherit) the Israelites; in section three ([v16](../15/16.md)), the Israelites come to live in the land of Yahweh’s **possession** (or inheritance).\n* In [verse 11](../15/11.md), three themes for the third section are introduced. These are each expanded on in that section.\n    * **Holiness** occurs again in [verses 13](../15/13.md) and [16](../15/16.md)\n    * **Fear** is vividly described in [verses 14-16](../15/14.md) (shake, terror, panic, trembling, melted away, dread)\n    * Yahweh **does miracles** to protect and build a home for his people\n* [Verses 14](../15/14.md)-16a are a chiasm, a complex parallel structure where concepts are repeated in reverse order:\n    * A: 14a: peoples (nations) *become* afraid\n    * B: 14b: *inhabitants* of Philistia are afraid\n    * C: 15a: *rulers* of Edom are afraid\n    * C’: 15b: *rulers* of Moab are afraid\n    * B’: 15c: *inhabitants* of Canaan are afraid\n    * A’: 16a: people *become* afraid\n* In section three, there is another parallel structure:\n    * [v13](../15/13.md): you led this people => [v16](../15/16.md): your people pass by\n    * v13: this people you redeemed => v16: this people you acquired (or purchased or ransomed)\n    * v13: you led them to the home => [v17](../15/17.md): you will bring them … \\[to\\] the place … you made\n    * v13: of your holiness => v17: the holy place\n\n## Special Concepts in this Chapter\n\n### The Israelite’s discontent\n\nIn [verse 24](../15/24.md) the word **murmur** is introduced for the first time. This is a very strong term for “grumble” or “complain” that is used to describe the Israelites’ attitude throughout their time in the wilderness. It occurs several times in Exodus and Numbers.\n\n### Yahweh’s laws\n\nIn verses [24-26](../15/24.md), there is an introductory revelation of the requirement that Israel keep the covenant by obeying the law of Moses. (See: [[rc://en/tw/dict/bible/kt/lawofmoses]] and [[rc://en/tw/dict/bible/kt/reveal]])
+EXO	15	intro	ni4b			0		# Exodus 15 General Notes\n\n## Structure and Formatting\n\nVerses 1b-18 and 21b of chapter 15 are poetry. They are a song of praise to Yahweh because he defeated and destroyed the Egyptian army ([Exodus 14:26-28](../14/26.md).). Translating poetry should be done by someone who is a skilled poet in the target language. Because the forms of poetry are so different in different languages, a translation that is good poetry in the target language may seem very different from the original poem. The structure may look quite different. The poet will be well served by looking at the entire poem from multiple perspectives. He will need to know the meaning of the poem, the themes and discourse structure of the poem, and the feelings that the poem is supposed to create in the reader at each point (UST, tNotes). He will need to understand how that was accomplished by the original form and structure (ULT). Then he will need to compose the translated poem using forms and structures that have the same or similar meaning, themes, discourse elements, and feelings in his own language.\n\n### Structure\n\nThis song follows a basic AB structure which is given to us in verse 1b-c and 21b-c:\n\n*   A - praise to Yahweh - he is magnificent (expressed in various words)\n*   B - because he defeats our enemies\n\nThe song can be divided into three major sections, each of which is patterned as: AB(a)b. Each section starts with an AB portion which is characterized by fewer verbal forms (especially the A portion). The section then elaborates on each. Note that there are other possible analyses of the structure of the poem.\n\nHere is an outline of the structure according to this model:\n\n*   Section 1 (see alternate breakdown below):\n*   1b: A “Let me sing to Yahweh, for he has triumphantly triumphed;”\n*   1c: B “the horse and the one riding it he threw into the sea.”\n*   2-3: a\n*   4-5: b\n*   Section 2:\n*   6a: A\n*   6b: B\n*   7a: a “And in the abundance of your majesty”\n*   7a-10: b “you overthrow those who rise up against you … ”\n*   Section 3:\n*   11: A\n*   12: B\n*   13a: a (possibly) “In your covenant loyalty”\n*   13a-17: b\n*   18: finale\n\nAlternate breakdown of section 1: it is possible to view 1b-c as the introduction and divide verse 2 such that:\n\n*   2a: A “Yah is my strength and my song”\n*   2b: B “and he has become my salvation”\n*   2c-3: a\n*   4-5: b\n\n### Themes:\n\nThere are several images and themes that are throughout the song as well as some that are throughout an individual section.\n\n*   “High” versus “low”: Yahweh is high, while his enemies are low.\n*   The following words are all related to the idea of being high or rising up: **triumph** ([v1](../15/01.md)), **exalt** ([v2](../15/02.md)), **majestic** ([v6](../15/06.md), [v11](../15/11.md)), **majesty** ([v7](../15/07.md)), and **the mountain of** \\[Yahweh’s\\] **possession** ([v17](../15/17.md)). In the last case, Yahweh’s people are brought to a high place with him.\n*   In contrast, his enemies are low. Note in [verse 7](../15/07.md), Yahweh overthrows those who **rise up against** \\[him\\]. Ideas of being low are as follows: **sank** ([v4](../15/04.md), [v10](../15/19.md)), **deeps** ([v5](../15/05.md)), **descended into the depths** ([v5](../15/05.md)), **melted away** ([v15](../15/15.md)), and **fall on them** ([v16](../15/16.md)).\n*   The strength of Yahweh in [verses 2](../15/02.md), [6](../15/06.md), and [13](../15/13.md).\n*   The effectiveness of Yahweh’s hand versus the enemy’s hand. Yahweh’s hand (and arm) is effective in [verses 6](../15/06.md), [12](../15/12.md), [16](../15/16.md), and [17](../15/17.md) but the enemy’s hand is ineffective despite his boasting in [verse 9](../15/09.md).\n*   There is parallel imagery near the end of each section. The enemy is compared three times by simile to a heavy, inert object. In [verses 5](../15/05.md) and [16](../15/16.md) that is a **stone**, in [verse 10](../15/10.md) that is **lead**.\n*   More parallel imagery occurs at the end of sections one ([v5](../15/05.md)) and two ([v10](../15/10.md)): that of the enemy sinking in the water and being covered by it.\n*   In sections two and three the water ([v8](../15/08.md)) and the other peoples ([v16](../15/16.md)) are made still by Yahweh.\n*   Section two begins and ends with **majestic** ([v6](../15/06.md), [v10](../15/10.md)) and that word is picked up in the beginning of section three ([v11](../15/11.md)).\n*   In section two ([v9](../15/09.md)), the enemies seek to **dispossess** (or disinherit) the Israelites; in section three ([v16](../15/16.md)), the Israelites come to live in the land of Yahweh’s **possession** (or inheritance).\n*   In [verse 11](../15/11.md), three themes for the third section are introduced. These are each expanded on in that section.\n*   **Holiness** occurs again in [verses 13](../15/13.md) and [16](../15/16.md)\n*   **Fear** is vividly described in [verses 14-16](../15/14.md) (shake, terror, panic, trembling, melted away, dread)\n*   Yahweh **does miracles** to protect and build a home for his people\n*   [Verses 14](../15/14.md)\\-16a are a chiasm, a complex parallel structure where concepts are repeated in reverse order:\n*   A: 14a: peoples (nations) *become* afraid\n*   B: 14b: *inhabitants* of Philistia are afraid\n*   C: 15a: *rulers* of Edom are afraid\n*   C’: 15b: *rulers* of Moab are afraid\n*   B’: 15c: *inhabitants* of Canaan are afraid\n*   A’: 16a: people *become* afraid\n*   In section three, there is another parallel structure:\n*   [v13](../15/13.md): you led this people => [v16](../15/16.md): your people pass by\n*   v13: this people you redeemed => v16: this people you acquired (or purchased or ransomed)\n*   v13: you led them to the home => [v17](../15/17.md): you will bring them … \\[to\\] the place … you made\n*   v13: of your holiness => v17: the holy place\n\n## Special Concepts in this Chapter\n\n### The Israelite’s discontent\n\nIn [verse 24](../15/24.md) the word **murmur** is introduced for the first time. This is a very strong term for “grumble” or “complain” that is used to describe the Israelites’ attitude throughout their time in the wilderness. It occurs several times in Exodus and Numbers.\n\n### Yahweh’s laws\n\nIn verses [24-26](../15/24.md), there is an introductory revelation of the requirement that Israel keep the covenant by obeying the law of Moses. (See: [[rc://en/tw/dict/bible/kt/lawofmoses]] and [[rc://en/tw/dict/bible/kt/reveal]])
 EXO	15	1	kw29	figs-explicit	גָאֹ֣ה גָּאָ֔ה	1	he has triumphed gloriously	It can be stated explicitly over whom Yahweh triumphed. Alternate translation: “he has achieved a glorious victory over the army of Egypt” (See: [[rc://en/ta/man/translate/figs-explicit]])
 EXO	15	1	bpyj		גָאֹ֣ה גָּאָ֔ה	1	he has triumphed gloriously	Alternate translation: “he is highly exalted” or “he is extremely high” or “he is exaltedly exalted”
 EXO	15	1	f6ue	figs-metaphor	ס֥וּס וְ⁠רֹכְב֖⁠וֹ רָמָ֥ה בַ⁠יָּֽם	1	the horse and its rider he has thrown into the sea	Moses sang about God causing the sea to cover and drown the horse and rider as if God had thrown them **into the sea**. If your readers would not understand what this image means in this context, you could use an equivalent metaphor from your culture. Alternatively, you could express the meaning in a non-figurative way. Alternate translation: “he has made the horse and rider drown in the sea” (See: [[rc://en/ta/man/translate/figs-metaphor]])