Magic Chants for Beginners E-Book

Harry Eilenstein

• Herausgeber: Books on Demand
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2021

Seitenzahl: 95

Beschreibung

Spell chants have a very long tradition - already in the Egyptian Book of the Dead some texts are praised as "spells that can be sung well". Moreover, in many traditions magicians are not called "speakers", but "singers". It is obviously worthwhile to take a closer look at the nature of singing in contrast to the spoken word in magic. Singing and speaking are the expression of different chakras and they also have a different effect. Therefore, there are situations in which a magic chant is the appropriate thing to do, and situations in which a spoken spell is the right thing to do - or "going into silence". These reflections are complemented by about 90 examples of spell chants from various cultures.

Leseprobe

Table of Contents

What is a Chant?

Chakras

Transitions between singing and speech

Vibration

Melody of speech

Beat

Rhythm

Scale

Words

Repetition

Sound

Community

Summary

New Creations

Already existing Lyrics

Songs without a specific tradition

Use of a non-spiritual song

"Spirit language"

Search for a new song

One's Own Song

Silence

One's own song

Hymn to oneself

Presence

Four ways

The Use of Spell Songs

Application

Personal preferences

Effectiveness

Magic Songs

The Great Mystery

Wakan tanka

Ho'zhong song

Goddess

Goddesses

Goddesses

Goddesses

Earth Goddess

Earth Goddess

Earth Goddess

Moon Goddess

Moon Goddess

Corn Goddess

Durgha

Isis

Gods

Aesir

Aesir

Aesir

Sky God

Sun God

Sun

Tyr

Star Dance

Shiva

Ganesha

Osiris

Pan

Ma Yin Bo sei

Animal Songs

Snake

Bear

Eagle

Eagle

Eagle

White Buffalo Woman

Wolf

White She-Wolf

Hawk

World Tree

Heynitede

The World Tree

Elves

Elves

The four elements

The four elements

The four elements

Fire

Fire

Water

Wind

Wind

Community

Welcome

Family

Ancestors

Love

Vision quest

Vision quest

Initiation

Sun dance songs

Sun dance

Sun dance

Chakras

Root chakra

Root chakra

Hara

Hara

Solar plexus

Solar plexus

Heart chakra

Heart chakra

Throat chakra

Throat chakra

Third eye

Third eye

Crown chakra

Crown chakra

Combat spells and protection spells

Battle spell

Spell of liberation

Peace treaty

Protection spell

Protection spell

Protection spell

Frigg's travel blessing

Travel blessing

Travel spell

Sea voyage spell

Frost protection spell

Protection spell

Special spells

Wisdom spell

Prosperity spell

Search for land

Seer song

Healing spell

Healing song

Help spell

Wandering song

Bathing song

Book List

I What is a Chant?

Probably chants, i.e. spell songs are hardly known nowadays – most likely many will have noticed the scene from "Harry Potter and the Half-Blood Prince" where Severus Snape heals Draco Malfoy's injury caused by the spell "Sectrum sempra" by casting a spell that sounded "almost like a chant".

Spell chants, however, have a long tradition. For example, under some texts in the Egyptian Book of the Dead is the reference "well singable spells". Also in the Germanic tradition it is often said that someone sings a spell into his shield and not that he speaks it into his shield.

Spells are therefore apparently sometimes sung and not only spoken. Why? For this, one must first take a closer look at what actually distinguishes chanting from normal speech.

I 1. The Chakras

There are seven main chakras in the life force body, which are its "organs". The "life force circuit" in it is the Kundalini. These organs all have a specific task and dynamics:

The seven main chakras

Name

Location

Function

Symmetry

crown chakra

top of the head

spiritual contact

third eye

between the eyebrows

orientation

throat chakra

middle of the neck

social self-expression

heart chakra

chest center

identity

solar plexus

four finger widths above the navel

physical self-expression

hara

four fingerbreadths below the navel

inner support

root chakra

between genitals and anus

physical contact

These chakras are arranged symmetrically:

source: inner identity (heart chakra)

inner pair of chakras: self-expression (solar plexus, throat chakra)

middle pair of chakras: form (hara, third eye)

outer pair of chakras: contact (root chakara, crown chakra)

This source and the three pairs have certain properties:

The heart chakra is the source and origin.

This corresponds to the deep sleep consciousness. It is without consciousness content.

The inner pair of chakras (solar plexus, throat chakra) is the uninhibited self-expression, i.e. the vision of what one wants to be and live. In it are all contents of consciousness.

This corresponds to the subconscious mind.

The middle pair of chakras (hara, third eye) concretizes the vision of one's life in contact with the world.

This corresponds to the waking consciousness. In it are the contents of consciousness that are needed in the momentary situation.

The outer pair of chakras (root chakara, crown chakra) is the experience in the here and now.

This corresponds to the state of ecstasy. In it there is only one content of consciousness – this state is one-pointed.

These four areas of the life force body and the psyche can be found in all areas of life.

For example, the body is the source of action (heart chakra).

The unhindered self-expression in doing is dance (inner pair of chakras).

The shaping of the world according to one's own wishes is work (middle pair of chakras).

The one-directed experience of the world is finally enjoying eating and drinking and sex, but also the experience of fear or pain (outer pair of chakras).

=> So, in the doing, from the inside to the outside, the sequence is found: "body – dance – work – sex".

In terms of speech, the source is silence (heart chakra).

The unhindered self-expression is the singing (inner pair of chakras).

The shaping of the world happens with the help of speech (middle pair of chakras).

The one-directed acoustic expression in the here and now is an exclamation, a cry, a groan, crying, laughing, etc. (outer pair of chakras).

=> So, in speaking, from the inside to the outside, the sequence is found: "silence – singing – speaking – exclamation".

Singing thus corresponds to the inner pair of chakras, i.e. the solar plexus and the throat chakra. This direct self-expression, this "letting oneself shine", which is also found in improvised dance and improvised music-making, is the typical element of singing. In singing, what one wants is expressed, one's own vision is made to vibrate.

Singing does not include considerations of where something is possible, with whom or if at all – that belongs to the task of the hara and the third eye, which take care of the concretization of one's own will in the world. The solar plexus and the throat chakra are responsible for unrestrained unfolding of one's own vision – they are only related to one's own identity in the heart chakra.

Now, of course, this does not refer to the specific content of any song that one might sing, but only to the dynamics of singing itself – to the specificity of singing as opposed to speaking.

Singing corresponds to the solar plexus and the throat chakra. This pair of chakras is in turn connected to the subconscious mind. From this it follows that singing must also have a connection to the subconsciousness.

The subconsciousness with all its images is again a part of the collective subconsciousness with its archetypes. The term "archetype" is just another name for "deities".

On the one hand, chanting is suitable for expressing what one wants – because the solar plexus and the throat chakra refer entirely to the heart chakra, in which one's own identity (soul) rests.

On the other hand, chanting is suitable for invoking deities and connecting with them – because chanting has a direct access to the individual subconsciousness and furtheron through this also to the collective subconsciousness.

This results in a division of labor of the four linguistic possibilities in magic:

The roots are in the identity, that is, in the soul in the heart chakra. To find and experience them, silence is the appropriate form.

The awakening of motivation, the shining of the will, the calling of power, the invocation of deities requires a vibration, a clear inner alignment, a freedom from contradiction, a lack of inhibition, a complete self-affirmation. This happens in the solar plexus and in the throat chakra. The appropriate form for this is chanting.

Ordering, structuring, shaping, directing and forming the world is done through the hara and the third eye. The appropriate form for this is speech.

The grounding, the "bringing to the point", "one's own signature" at the end of the ritual (the Indian "Ho!", the Christian "Amen"), the sending into the world of the magical effect happens in the root chakra and in the crown chakra through a single sound or through a single word. The appropriate form for this is the exclamation.

Consequently, the magic chant has many functions:

to make one's inner self vibrate as a unity,

to bring oneself into a unity of alignment,

to vibrate in self-affirmation and self-love,

to fill one's consciousness with what one really is,

to express oneself,

to let one's own will shine

to bring oneself into harmony with other magicians in the ritual,

to connect one's own individual subconsciousness (images) with the collective subconsciousness (archetypes),

to summon power,

to connect with a deity, etc.

Telepathy and telekinesis also belong to the sphere of individual subconsciousness and collective subconsciousness – they are the ability of perception and action of the individual and collective subconsciousness. Since ultimately all magic can be traced back to telepathy and telekinesis, chanting is a way to activate this magical ability to perceive and this magical ability to act.

The individual subconsciousness and collective subconsciousness are also the areas of the life force – thus singing connects also to the life force.

By magical chanting, one can enter a dream-journey-like state in which one is connected to the inner imagery – not only to the imagery in one's own subconscious, but also to the imagery in others and in the collective subconsciousness in general. Both dream journey and chanting are a connection and coordination of waking consciousness and subconsciousness including the collective subconsciousness.

The chant is the "current connection" of the ritual, the construction of which is done by language. The functioning of the "ritual machine" then leads to the exclamation. The whole thing is created out of silence.

By chanting, one awakens the vision of oneself in oneself and also the deities who then come to the chanting person.

I 2. The Transitions between Singing and Speech

The transition from speech to singing has several aspects, as singing also has several characteristics.

I 2. a) The Vibration

The basic element of singing is vibration. This can best be seen by speaking the word "one" once and singing it once. Singing contains a constant power – just as self-expression is a constant radiation of one's own individuality.

A spoken word is like a handicraft work – something is brought into a fitting form. The sung word, on the other hand, is like a swinging – something receives power and is held powerfully.

I 2. b) The Melody of Speech

There is not simply "singing" and "speech", but many transitions between these two acoustic means of expression.

At the very "speech end" of this scale is toneless speech, i.e. speech without speech melody – which sounds like an ancient computer.