Carpathian 20 - Dark Slayer

the shaman or mystic.
    En
    Sarna

Pus
    (The
    Great

Healing
    Chant)
    In this chant, ekä (“brother―) would be replaced by
    â€œsister,―
    â€œ
    father,―
    â€œmother,―
    depending on the person to be healed.
    Â

Ot
    ekäm

ainajanak
    hany,

jama.
    My brother’s body is a lump of earth, close to death.
    Â
    Me, ot ekäm kuntajanak, pirädak ekäm, gond és

irgalom
    türe.
    We, the clan of my brother, encircle him with our care and compassion.
    Â
    O pus wäkenkek, ot oma sarnank, és ot pus fünk, álnak
    ekäm
    ainajanak,
    pitänak
    ekäm

ainajanak
    elävä.
    Our healing energies, ancient words of magic, and healing herbs
    bless
    my
    brother’s body, keep it alive.
    Â

    Ot ekäm sielanak pälä. Ot ombóce päläja juta alatt o
    jüti,
    kinta,
    Ã©s
    szelemek

lamtijaknak.
    But my brother’s soul is only half. His other half wanders in the
    netherworld.
    Â
    Ot en mekem Å‹ ama Å‹ : kulkedak otti ot ekäm ombóce
    päläjanak.
    My great deed is this: I travel to find my brother’s other half.
    Â
    Rekatüre, saradak, tappadak, odam, ka Å‹ a o numa waram,
    Ã©s
    avaa
    owe
    o
    lewl

mahoz.
    We dance, we chant, we dream ecstatically, to call my spirit bird,
    and
    to
    open the door to the other world.
    Â
    Ntak
    o

numa
    waram,
    Ã©s
    mozdulak,

jomadak.
    I mount my spirit bird and we begin to move, we are under way.
    Â

    Piwtädak ot En Puwe tyvinak, écidak alatt o jüti, kinta,
    Ã©s
    szelemek

lamtijaknak.
    Following the trunk of the Great Tree, we fall into the netherworld.
    Â
    Fázak,
    fázak
    nó
    o

saro.
    It is cold, very cold.
    Â
    Juttadak ot ekäm o akarataban, o sÃvaban és o sielaban.
    My brother and I are linked in mind, heart and soul.
    Â

Ot
    ekäm

sielanak
    ka Å‹ a

engem.
    My brother’s soul calls to me.
    Â

Kuledak
    Ã©s
    piwtädak

ot
    ekäm.
    I hear and follow his track.
    Â
    Sa γ edak
    Ã©s
    tuledak

ot
    ekäm

kulyanak.
    Encounter I the demon who is devouring my brother’s soul.
    Â
    Nenäm
    coro;
    o
    kuly

torodak.
    In anger, I fight the demon.
    Â

    O

kuly
    pél

engem.
    He is afraid of me.
    Â
    Lejkkadak

o
    ka Å‹ ka

salamaval.
    I strike his throat with a lightning bolt.
    Â
    Molodak
    ot
    ainaja

komakamal.
    I break his body with my bare hands.
    Â

Toja
    Ã©s
    molanâ.
    He is bent over, and falls apart.
    Â
    Hän
    ca δ a.
    He runs away.
    Â
    Manedak

ot
    ekäm

sielanak.
    I rescue my brother’s soul.
    Â
    Al É™
    dak
    ot
    ekam
    sielanak
    o

komamban.
    I lift my brother’s soul in the hollow of my hand.
    Â
    Al É™ dam
    ot
    ekam
    numa

waramra.
    I lift him onto my spirit bird.
    Â

    Piwtädak ot En Puwe tyvijanak és sa γ edak jälleen ot
    elävä
    ainak

majaknak.
    Following up the Great Tree, we return to the land of the living.
    Â

Ot
    ekäm
    elä
    jälleen.
    My brother lives again.
    Â

Ot
    ekäm

wenca
    jälleen.
    He is complete again.
    Â
    To
    hear
    this
    chant,
    visit:
    http://www.christinefeehan.com/members/.

4. CARPATHIAN MUSICAL AESTHETICS
    In the sung Carpathian pieces (such as the “Lullaby― and the “Song to Heal the Earth”), you’ll hear elements that are shared by many of the musical traditions in the Uralic geographical region, some of which still exist—from Eastern European (Bulgarian, Romanian, Hungarian, Croatian, etc.) to Romany (“gypsy―). Some of these elements include: • the rapid alternation between major and minor modalities, including a sudden switch (called a “Picardy third―) from minor to major to end a piece or section (as at the end of the “Lullaby―)

    â€¢ the use of close (tight) harmonies
    â€¢ the use of ritardi (slowing down the piece) and crescendi (swelling in volume) for brief periods
    â€¢ the use of glissandi (slides) in the singing tradition • the use of trills in the singing tradition (as in the final invocation of the “Song to Heal the Earth”)—similar to Celtic, a singing tradition more familiar to many of us • the use of parallel fifths (as in the final invocation of the “Song to Heal the Earth―)
    â€¢ controlled use of dissonance
    â€¢ “call and response― chanting (typical of many of the world’s chanting traditions)
    â€¢ extending the length of a