I’ve been thinking about ‘voces magicae’ lately, and was led to a couple of thoughts & memories, some of which may be of use to folks.
Back in the early ‘90s, my self and number of magically inclined men and women had a ‘working group’ that was very… open minded. Several of those who played I am still in contact with, and all seem to be having very interesting lives! We didn’t use many written rituals, and used at times used an approach that I thought of (still do!) as ‘applied magical howling’. We also had magical relations with a giant black squid that lived beneath the city, but that is another story.
How the applied howling worked was (again, these are somewhat hazy memories at this point) we would all gather in my room, join hands (I think?) and breath and relax a bit. Then we would start vocalizing the vowel sounds. This was done as worked best for each person. Some higher, some lower. I always like to get that Tibetan Monk thing going on, personally, as my voice is quite deep to start with.
We did not ‘sing’ together, we vocalized freely: long, short, pretty, rough - and let the sounds swirl & mesh & clash & ring with and against each other. There were moments where if your eyes were open (or not, if I am honest!), you could see the same expression on everyones face at the moments of both the sweet meetings & violent clashings of sound. Somewhere in these waves of sound (which were often incredibly potent & visceral) those involved wold sort of ‘drop’ their intentions into the mix. You could clearly feel big movements of power rise & fall, and I at least received great value from the work.
Rune-singing can be very much like this, but more explicitly focused, as are the aforementioned Tibetan monk kind of manta-chants.
There’s not much to all this mechanically. You just vibrate/sing the vowel sounds, alone and in combination. You can ‘control’ it (as in having a script of sorts) or let it flow, what Jan Fries’ calls ‘chaos song’ in Visual Magick. I like to go low and try to get a throat singing effect, but that suits my voice.
Another thing that works very well (I do not recall the source) is to use this when consecrating/activating sigils. As you build your sigil, take your statement, and instead of just removing the vowels, pull them out in order, like this:
I AM RIDICULOUSLY HANDSOME, WEALTHY, AND BRILLIANT
I A IIUOU AOE EA A IIA
And when you have completed the graphicization of the consonants (I actually do this while I construct the sigil), you can sing or howl your sigil awake using your vowel song/words of power.
Enjoy! I would love to see comments from any who use these methods!
Also, here is a really fine read from an academic bent on these things, full of examples from the PGM: Patricia Cox Miller’s “In Praise of Nonsense”. Beautiful piece of work!
This post is dedicated to all of the members of the Black Squid Cult, wherever they may be!
AIA AE, April 17 2016