When choosing music, personal taste and choice of the style and kind of music desired is usually considered first by the practitioner. After all, the practitioner tells themselves, "If it is pleasing to me, it must be pleasing to the goddess and gods...", (or whatever is the object of invocation).

Although this is good, encouraged and admired it is believed that it will serve only to 'ornament and decorate' the ritual. It WILL please the entities and set the particular mood, but it is often thought that the goddess and gods will more than likely be simply amused. Much like a mother regarding her childs' crayoned artwork as a 'cute' addition on a self made birthday card.

The goal for deeper communion with the entities, (musically speaking) should also include a format of organized sound/music that will scientifically, spiritually, as well as harmonically balance the moment of interaction. This becomes manifest through the magick of the relationship of the minute vibrational energies at play with the objects of invocation, through the sound/aural medium. Consider the term "Abstract Sound," as defined by the Sufis:

SAUTE SURMAD

"Saute Surmad" is the tone that fills the universe. The primal sound. The frequencies of this tone are too fine to be seen with the eyes, or heard with the ear.

This is the tone Muhammad perceived when he was enlightened in the cave at GareHira. Moses heard the same sound on Mount Sinai. The same sound was perceived and heard by Jesus in the wilderness. Shiva heard the same 'Anahati Nada' in her Samahdi, in the caves of the Himalaya.

"The knowers of the mystery of sound know the mystery of the whole universe." -Hazrat Inayat Kahn

All goddess and gods then, are aware of the 'mystery of sound.' When we can concieve sounds based on the information available to us at a human level, we strike a better chance of focusing more clearly our intents and supplications.

In part one, we mentioned that all music is vibration. Whether a single vocalized melody, a classical symphony, drum music of Africa, a grateful dead concert or anything in the whole musical gamut, they are all composed of certain set elements in the actual organization, structure, and science of sound and vibrations. This 'pre-set' order of elements are infinite, and are 'archetypes' in this sense. After all, there is really nothing in existence that we can call 'new music.'

Somehow, somewhere, all sounds and similiar organizations of sounds have occurred before, in all time.

ELEMENTS OF MUSIC

The three basic elements of all music are RHYTHM, MELODY and HARMONY. The addition of a fourth element of music, TIMBRE (pronounced tam-burr) has been included by many theorists and scholars in the last two centuries. Timbre is 'tone-colour.' For example, the timbre of an electric guitar is a noticably unique and different sound than say, a french horn.

The spiritualist/music healer Dee Finney takes these elements a step further in her use of "Sacred Sounds", to wit:

"RHYTHM is the element from which comes all motion in the universe; MELODY is from which comes interaction between the divine in the physical and our own interactions with other life forms; HARMONY is from which comes the true spiritual power manifesting in the universe and in humans as our interaction with all elements of life are harmonized."

Therefore, it is recommended when during invocation it is best to include all these elements singularly or together. The best way to do this is to create your own music, vocally or instrumentally tailored for your own use. One need not be a schooled musician or composer to do so, as when you experiment with sound(s), you will begin to notice that certain sounds simply "feel good," or seem right. Duke Ellington: "If it sounds good, it IS good."

You can create a recording, for example, or perform your music live as part of your invocation. It need not be elaborate. But for most non-schooled people in music, beginning with the most natural of all musical expression, the human voice, or,' vox humanus,' becomes easiest.

VOCALISED SOUNDS

As was mentioned earlier, the first vibration spoken/sung by the Creator (Saute Surmad) started the process in motion and thus through the millenia mankind has taken these elements of sound and re-created different versions of the same sounds, over and over since he was able. (Note: interestingly, one is again reminded of "As above, so below."

The following are some historical examples of vocalised sounds used through the millenia by different cultures/belief systems in this regard:

The Chinese healers used 'singing stones'- thin flat pieces of jade which would emit various musical tones when struck. One of these tones was designated the "Kung," or, "Great tone of nature." It corresponds with our F or F# in the present day Western diatonic tonal system.

The Sufis consider the syllable "HU" to be the ultimate creative sound.

The Tibetans considered the tones of 'F#' (F 'sharp'), 'A' and 'G' to be the three powerful and sacred tones of the world.

"OM", "AUM"' and "AMEN" were believed by many to represent all the sounds the human voice was capable of expressing and manifesting in the physical world.

The Essenes, a third sect of jews living in the world at the time of the Master Christ Jesus were dynamic healers. Their name comes from the word,"asaya" which means to heal or to 'doctor.' They were schooled in the mystic and healing arts of sound.

Hindus will chant a specific MANTRA which becomes an invocation. It is not neccessary that there be a specific meaning to the mantra. More often than not there is little or no meaning used because mantras with meaning become distorted with the passage of time. If there is a specified beat, intensity and rhythm, the soul, spirit, or entity that is invoked will enter instantly. But how is one to decide what pitches or key centers to choose and utilize?

Although there exists much scholarly research and work in establishing the scientific criteria behind the varying essence of mood and aesthetic qualities which align themselves with different tonal centers,(both across the world and throughout history,) a widely recognized guide by Albert Lavignac, (written 1905), illustrates a compendium of emotions, or 'colours' assigned to each key center in western chromaticism: (paired in parallel modes)

C Major: Simple, naive, common

C minor: Gloomy, dramatic, violent

G Major: Rural, pagan, merry

G minor: Melancholy, shy

D Major: Joyful, brilliant, alert

D minor: Serious, concentrated

A Major: Frank, Noble Sonorous

A minor: Simple, naive, sad and rustic

E Major: Radiant, warm, joyous

E minor: Sad, agitated

B Major: Energetic

B minor: Savage and sombre

F Major: Pastoral, pagan, rustic

F# minor: Rough, light and aerial

Bb (B flat) Major: Elegant, noble

Bb minor: Funereal, mysterious

Eb (E flat) Major: Vigorous, Chivalrous

Eb minor: Profoundly sad

Ab (A flat) Major:

Gentle,caressing,pompous

G# (Ab) minor: Very sombre, necrotic

Db (D flat) Major: Charming, suave, placid

C# (Db) minor: Brutal, sinister

Gb (G flat) Major: Gentle and Calm

Gb (F#) minor: Rough, light and aerial

(Although we are dealing only with western modes, (Ionian, or 'Major', and Aeolian, or, 'minor', there is much research available on musical pitch systems throughout the world- See Part three of this paper for reference and sites recommended.)

It is also interesting to note that many composers align the wavelengths in the colour spectrum with keys, or tonal centers. The composer Amy Beach assigned some of the following colours with more of the most commonly used keys:

C Major: White

G Major: Red

Db Major: Violet

Ab Major: Blue

A Major: Green

Eb Major: Pink

E Major: Yellow

F# minor: Black

G# minor: Black

There is much speculation on the relationship of colours and sounds, and proves to be an interesting topic for further study outside the scope of this paper. Some practitioners I know will charge their candles with music based on this system according to candle colour. It is recommended that the practitioner experiment and find what is best suited and comfortable, yet effective for themselves.

DAILY INVOCATIONS:

Use the note, or key, of 'G'. This pitch (tone) represents the sideric day of the earth. This simply means the duration of the true revolution of the earth around it's own axis. The sideric day is actually about four minutes shorter than the standard 24 hour day. The effect when using this tone is one of a dynamic, vitalizing nature. 'G' is represented in frequencies of vibrations numerically at 194.18 Hz (hertz). This tone is known as the "Day Tone." If you are tuned to the day tone you are also tuned to the weather as a whole being, as well as to the micro biological area of protiens, at the smallest level. Protiens are an important ingrediant to each and every living cell in existence. Being tuned to 'G' brings you into harmony with nature and yourself. This would include the goddess and gods, and other spiritual ephemera.

ANNUAL (yearly) INVOCATIONS:

When following and celebrating all of the annual celebrations and holidays on the wiccan/pagan calendar, such as IMBOLC, for example, use the tone 'C#'. (C sharp-one half step up-the closest black ascending note to middle C on a keyboard.) Numerically represented as 136.10 Hz, this tone is known as the frequency of the earth-year. The earth year is the rotation of the earth around the sun. Whereas the sideric day-tone influences the body, the frequency of the earth year influences the soul. It's results are relaxing, soothing, and balancing. It is interesting to note (no pun intended) that in India this tone is the keynote of most sitar, tambura and carnatic music and is called 'sadja', which means "Father of Others." The sacred syllable "OM" is usually tuned to this tone.

[A word about "OM": It is a significant sound of two syllables, chanted, intoned, or spoken, that is a signature sound of the universe. It helps unify the human psyche.

It reminds us of the presence of God. 'O' and 'M' fuse together to create a geometric pattern of frequencies that increase the degree of order throughout the triadic elements of human beings. If chanting "OM" when invoking, repeat it three times upon commencing to create a harmonic ripple that is conducive to the awareness enhancing experience.]

SINGLE ANNUAL INVOCATIONS:

Upon entering the equinoxes as representative a a singular annual event, once a year, the precession of the earths axis occurs in a gyroscopic motion- for example, the passing of the vernal equinox. The tone 'F', at 172.06 Hz is the desired tone. This tone produces cheerfulness and clarity of spirit. 'F' is the tone of the spirit. In ancient China it was the 'fundamental' tone of all life and the human spirit as one. From the ancient Chinese text, Li Gi:

"Thus one must examine the sounds to understand the tones, one must understand the tones to understand the music, and one must understand the music to understand the laws (of the universe.) In this way, the path to order is made perfect...He who understands music will thus penetrate the secrets of the customs. He who has experienced both customs and music possesses life. Life is experience."

LUNAR INVOCATION:

"The frequency of the synodic moon." Synod means 'coming together.' The synodic month is the middle period from one new moon to the next. When a new moon appears, the sun is in conjunction with it. The tone then, is 'G#' (G sharp-1 half step up, a black key, from "G.") 'G#' is at 210. 42 Hz. It is during this period that the tone 'G#' stimulates sexual energy, supports erotic communication, and for women, it aids in regulation of menstruation. The passover of the Jewish people, the holy festival of Guru Purnima of India are celebrated at new moon.

Originally Easter was celebrated at new moon by Christians until the council of Nicaea decreed in the year 325 that this feast of resurrection should always be celebrated with the waning moon.

INVOCATION TO RA:

In ancient Egypt, Ra was the "sun-god." Ra provided strength and energy. The sun, of course, in modern day thinking is understood to be the energetic center of our own solar system. It is the center of gravity, as the earth and other planets revolve circle around it. The frequency of the sun is 'B' ('B' natural, not 'B' flat.)

'B' is a half step backward from 'C'. there is no black key here. It is right next to 'C'. It's frequencies vibrate at 126.22 Hz. In mathematics, 0 is known as the point of the limit of expansion and contraction, which also is known in astrology as gravitational weight. This tone advances the feeling of centering the magic and transcendental being. In Zen, this point of perfect equillibrium is known as HARA.

VIBRATION/RESONATION

Vibrations of sound when resonated, occur in the realm of a specific dimension. However, other versions of vibrations, as in wavelengths, can occupy the same space as sound(s). In the article, "PHI- SOUND AND HEALING" Dee Finney writes: (Paraphrased)

"...In the same space, there is multidimensional existence. For example, in a room where we sit, there is also air. If someone burns some incense, the room becomes filled with fragrance. If a song is sung, sound waves fill the room. But the smoke of the incense will not clash with the sound in the room. Nor will there be a clash with light wavelengths. All contain elements of vibration, yet all work together in different dimensions."

For paramount effectiveness in creating the most harmonious and balanced ritual using music, chant or other sounds, they should be tailored to fit the ritual as a whole and specifically to become as close to aurally feasible with the goddess, god, or other being, ethereal or physical being invoked. Again, Dee Finney:

"The reverberations of sound are one which re-echoes many times. These reverberations impinge upon the ear and the body giving the impression of being within a sea of sound. ...through strong repeated invocations and chants, you fill the room or temple with the force or energy being invoked. This helps to create an acceptable space for actual physical manifestation of raising of the consciousness of the individual to a sense of unity with the divine..."

Resonance is the vibration set up by contact with an object sympathetic to the frequency. A tuning fork sounds far stronger if it is touching a table by transferring the energy of that sound through the air. Therefore, your space in which you perform ritual should be organized as physically balanced as possible, whether outside or inside. A sort of "Feng Shui" approach in preparing ritual space is of great aid.

INSTRUMENTAL SOUNDS

Whether you are an accomplished musician, someone who played once in school band or orchestra, someone who dabbles at home or any other performance idiom remember that the same effects generated through your manufacture of spiritual sound through a resonance tool, (a musical instrument, be it brass, woodwind, string, percussion-[membranophone, or other struck instruments] or otherwise,) is of equal importance as vocalised sounds.

This is because that in this writers opinion, the source of the vibration is important from an aesthetic and 'personal taste' point of view. However, the vibrations which occur as a result OF that tone production process carry the most significance in reaching the desired object of invocation, regardles of whence they came.

Therefore, I will not delve into much time and space concerning instrumental vs vocalised sounds, which is better, more conducive, etc. Much thought and theory on performance practice and idioms can be found in many sites, some of which will be listed in the final appendix of this paper. It is beyond the scope of this writing to veer of into this direction.

Behoove it to mention however, that a future article I am working on will focus on the spiritual aspect of drumming and rhythm, as separate from vocal/instrumental sounds.

In summary, there is a myriad of information available concerning the aspect of the importance of music in ours and other ritual, and always should be taken seriously as part of excellence in pagan/wiccan practices, regardless of the level of which it is to be used.

Music enhances, but also has it's own invocative magickal power. One must become skilled in the use, production and presentation of such music in practice, and it is hoped that some of the ideas briefly presented here will aid those who wish to take the role of music a little farther.