Music of the spheres - Revision history

Twiggy at 18:35, 15 January 2026

2026-01-15T18:35:29Z

Twiggy at 02:21, 15 August 2025

2025-08-15T02:21:40Z

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	* C -C' - Ionian or major mode - reality, the mortal realm		* C -C' - Ionian or major mode - reality, the mortal realm
	* D - D' - Dorian mode - the realm of Night		* D - D' - Dorian mode - the realm of Night
	* E - E' - ~~Phyrigian~~ mode - the realm of Autumn		* E - E' - Phrygian mode - the realm of Autumn
	* F - F' - Lydian mode - the realm of Summer		* F - F' - Lydian mode - the realm of Summer
	* G - G' - Mixolydian mode - the realm of Day		* G - G' - Mixolydian mode - the realm of Day

Matt at 13:43, 3 May 2025

2025-05-03T13:43:02Z

← Older revision		Revision as of 13:43, 3 May 2025
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	{{Magic Traditions Further Reading}}		{{Magic Traditions Further Reading}}
	[[Category: Magic]]		[[Category: Magic]]
			[[Category:Magic Theory]]

Dre at 21:16, 14 August 2020

2020-08-14T21:16:29Z

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	==Overview==		==Overview==
	Certain Urizen ~~Stargazers~~ (and more rarely, ~~Magi~~) understand the complex resonance between the flow of magic and musical composition, and use this to form the basis of their rituals. Some wizards perform themselves; others prefer to form a partnership with a musician or musical group, using the music as a framework for their own meditation and control of power.		Certain Urizen stargazers (and more rarely, mages) understand the complex resonance between the flow of magic and musical composition, and use this to form the basis of their rituals. Some wizards perform themselves; others prefer to form a partnership with a musician or musical group, using the music as a framework for their own meditation and control of power.

	Like runes and dramaturgy, the music of the spheres is a means of placing magic in context and understanding it. The most traditional method of ritual music, was discovered centuries ago by Silutaris, Mistress of the Chimes, and is described below. It is well understood by Urizen scholars that Silutaris' method for accessing the music of the sphere is just one approach - many musical magicians have developed their own approaches.		Like runes and dramaturgy, the music of the spheres is a means of placing magic in context and understanding it. The most traditional method of ritual music, was discovered centuries ago by Silutaris, Mistress of the Chimes, and is described below. It is well understood by Urizen scholars that Silutaris' method for accessing the music of the sphere is just one approach - many musical magicians have developed their own approaches.

Dre at 14:11, 4 June 2019

2019-06-04T14:11:22Z

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	* B - B' - Locrian mode - the realm of Spring		* B - B' - Locrian mode - the realm of Spring

	Therefore, a ritual primarily seeking to call upon the [[~~night~~ realm]] be played in the Dorian mode. The Locrian mode is considered most difficult and counter-intuitive - some Urizen scholars consider this to reflect the hostile and especially unpredictable nature of the [[~~spring~~ realm]].		Therefore, a ritual primarily seeking to call upon the [[Night Realm\|Night realm]] be played in the Dorian mode. The Locrian mode is considered most difficult and counter-intuitive - some Urizen scholars consider this to reflect the hostile and especially unpredictable nature of the [[Spring Realm\|Spring realm]].

	===The Chime===		===The Chime===
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	Above the drone, the chords of the piece are added. The first and dominant chord of the piece is the Chime, reflecting the primary magical realm of the ritual. Other chords may be used in the composition - if multiple Realms are involved, the chord corresponding to other realms may also be used, reflecting the Realm which the ritual wishes to alter and effect in some way. Some musical ritualists are far more fluid, and improvise chords as well as melody (see below) - others prefer to maintain the chime and drone throughout.		Above the drone, the chords of the piece are added. The first and dominant chord of the piece is the Chime, reflecting the primary magical realm of the ritual. Other chords may be used in the composition - if multiple Realms are involved, the chord corresponding to other realms may also be used, reflecting the Realm which the ritual wishes to alter and effect in some way. Some musical ritualists are far more fluid, and improvise chords as well as melody (see below) - others prefer to maintain the chime and drone throughout.

	As the C scale (major or ~~ionian~~ mode) reflects the material realm, the C major chord may be used in all ritual composition, and is usually called the Material Chord.		As the C scale (major or Ionian mode) reflects the material realm, the C major chord may be used in all ritual composition, and is usually called the Material Chord.

	===Melody===		===Melody===

Dre at 12:04, 13 February 2016

2016-02-13T12:04:59Z

← Older revision		Revision as of 12:04, 13 February 2016
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	==Musical ritual traditions in other nations==		==Musical ritual traditions in other nations==
	Silutaris' method has gained popularity in many other parts of the Empire, carried across borders by well-travelled musicians from every nation. Ritual music has gained particular popularity amongst the ~~Navaar~~, who favour a comparatively loose and free-flowing approach which might be compared to the Improvisationalist movement in Urizen. Some [[troubadour\|troubadours]], particularly those with magical as well as priestly skills, use music as part of rituals, though generally the sound is less meditative and there is more focus on the narrative of the music.		Silutaris' method has gained popularity in many other parts of the Empire, carried across borders by well-travelled musicians from every nation. Ritual music has gained particular popularity amongst the Navarr, who favour a comparatively loose and free-flowing approach which might be compared to the Improvisationalist movement in Urizen. Some [[troubadour\|troubadours]], particularly those with magical as well as priestly skills, use music as part of rituals, though generally the sound is less meditative and there is more focus on the narrative of the music.

	{{Magic Traditions Further Reading}}		{{Magic Traditions Further Reading}}
	[[Category: Magic]]		[[Category: Magic]]

Matt at 23:02, 15 January 2016

2016-01-15T23:02:39Z

← Older revision		Revision as of 23:02, 15 January 2016
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	Silutaris' method has gained popularity in many other parts of the Empire, carried across borders by well-travelled musicians from every nation. Ritual music has gained particular popularity amongst the Navaar, who favour a comparatively loose and free-flowing approach which might be compared to the Improvisationalist movement in Urizen. Some [[troubadour\|troubadours]], particularly those with magical as well as priestly skills, use music as part of rituals, though generally the sound is less meditative and there is more focus on the narrative of the music.		Silutaris' method has gained popularity in many other parts of the Empire, carried across borders by well-travelled musicians from every nation. Ritual music has gained particular popularity amongst the Navaar, who favour a comparatively loose and free-flowing approach which might be compared to the Improvisationalist movement in Urizen. Some [[troubadour\|troubadours]], particularly those with magical as well as priestly skills, use music as part of rituals, though generally the sound is less meditative and there is more focus on the narrative of the music.

			{{Magic Traditions Further Reading}}
	[[Category: Magic]]		[[Category: Magic]]

Matt at 19:07, 11 March 2015

2015-03-11T19:07:29Z

← Older revision		Revision as of 19:07, 11 March 2015
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	==Musical ritual traditions in other nations==		==Musical ritual traditions in other nations==
	Silutaris' method has gained popularity in many other parts of the Empire, carried across borders by well-travelled musicians from every nation. Ritual music has gained particular popularity amongst the Navaar, who favour a comparatively loose and free-flowing approach which might be compared to the Improvisationalist movement in Urizen. Some [[troubadour\|troubadours]], particularly those with magical as well as priestly skills, use music as part of rituals, though generally the sound is less meditative and there is more focus on the narrative of the music.		Silutaris' method has gained popularity in many other parts of the Empire, carried across borders by well-travelled musicians from every nation. Ritual music has gained particular popularity amongst the Navaar, who favour a comparatively loose and free-flowing approach which might be compared to the Improvisationalist movement in Urizen. Some [[troubadour\|troubadours]], particularly those with magical as well as priestly skills, use music as part of rituals, though generally the sound is less meditative and there is more focus on the narrative of the music.

			[[Category: Magic]]

Matt: /* Melody */

2013-03-23T12:13:39Z

Melody

← Older revision		Revision as of 12:13, 23 March 2013
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	===Melody===		===Melody===
	The final part of the ritual piece is the melody, played in the relevant mode. At this point the Silutarian method is split into two schools - the Compositionalists and the Improvisationalists. The former write out their pieces in advance, mandating when the chords change and the exact notes and timings of the melody; the Improvisationalists prefer to simply allow the music to flow through them and be affected by the variations in magic at the time of the ritual. Silutaris herself was a improvisationalist, though several of her pupils preferred the more formal style.		The final part of the ritual piece is the melody, played in the relevant mode. At this point the Silutarian method is split into two schools - the Compositionalists and the Improvisationalists. The former write out their pieces in advance, mandating when the chords change and the exact notes and timings of the melody; the Improvisationalists prefer to simply allow the music to flow through them and be affected by the variations in magic at the time of the ritual. Silutaris herself was a improvisationalist, though several of her pupils preferred the more formal style.

	Whether composed before the ritual or improvised during it, most ritual musicians consider the melody to encapsulate the nature and intention of the ritual. The piece normally begins with music reflecting the situation that the ritual wishes to change, with gradual progression to the state that the ritualists wish to achieve - for example, a ritual to remove a curse of weakness might begin with slow, sparse and halting melody, gradually developing through the course of the ritual into full-bodied and inspiring music.		Whether composed before the ritual or improvised during it, most ritual musicians consider the melody to encapsulate the nature and intention of the ritual. The piece normally begins with music reflecting the situation that the ritual wishes to change, with gradual progression to the state that the ritualists wish to achieve - for example, a ritual to remove a curse of weakness might begin with slow, sparse and halting melody, gradually developing through the course of the ritual into full-bodied and inspiring music.

Matt: /* Realms and Modes */

2013-03-23T12:13:31Z

Realms and Modes

← Older revision		Revision as of 12:13, 23 March 2013
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	===Realms and Modes===		===Realms and Modes===
	NOTE: By convention, and for the purposes of explanation, the modes detailed below are presented relative to the C major scale - that is, each mode has a different starting note (or tonal centre) with the scale being played purely on the white notes of a piano or the lower row of a glockenspiel. Please feel free to transpose into whichever key you prefer to play in; it is the relative intervals and the modes which are important not the absolute pitch.		NOTE: By convention, and for the purposes of explanation, the modes detailed below are presented relative to the C major scale - that is, each mode has a different starting note (or tonal centre) with the scale being played purely on the white notes of a piano or the lower row of a glockenspiel. Please feel free to transpose into whichever key you prefer to play in; it is the relative intervals and the modes which are important not the absolute pitch.

	Each of the Realms corresponds to a mode. The major scale (C to C) is considered to reflect the Mortal Realm of our own reality, and therefore the Silutarian method does not commonly use this mode for melody.		Each of the Realms corresponds to a mode. The major scale (C to C) is considered to reflect the Mortal Realm of our own reality, and therefore the Silutarian method does not commonly use this mode for melody.

← Older revision		Revision as of 18:35, 15 January 2026
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	<ic>The music is in the notes. The magic is in the gaps between the notes. Listen to the silence.</ic>		<ic>The music is in the notes. The magic is in the gaps between the notes. Listen to the silence.</ic>

	Silutaris' method uses a system of drone notes, chords and modal melodies to express the magical powers related to each of the ~~Realms~~, drawing them down into the mortal realm and both reflecting and manipulating them through music. In Silutaris' notes, ritual music is made up of three parts:		Silutaris' method uses a system of drone notes, chords and modal melodies to express the magical powers related to each of the realms, drawing them down into the mortal realm and both reflecting and manipulating them through music. In Silutaris' notes, ritual music is made up of three parts:

	* the drone, a sustained note reflecting the primary intention of the ritual		* the drone, a sustained note reflecting the primary intention of the ritual
	* the chime, a chord reflecting the primary realm of the ritual, supplemented by other chords		* the chime, a chord reflecting the primary realm of the ritual, supplemented by other chords
	* the melody - a written or improvised tune played to complement the drone and the chime, in a musical mode corresponding to the ~~Realm~~ of the ritual.		* the melody - a written or improvised tune played to complement the drone and the chime, in a musical mode corresponding to the realm of the ritual.

	One musician usually plays each of these three parts. If there are more participants, a second harmonising melody is usually added next, followed by an octave drone, though the practice varies from ritual group to ritual group.		One musician usually plays each of these three parts. If there are more participants, a second harmonising melody is usually added next, followed by an octave drone, though the practice varies from ritual group to ritual group.
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	NOTE: By convention, and for the purposes of explanation, the modes detailed below are presented relative to the C major scale - that is, each mode has a different starting note (or tonal centre) with the scale being played purely on the white notes of a piano or the lower row of a glockenspiel. Please feel free to transpose into whichever key you prefer to play in; it is the relative intervals and the modes which are important not the absolute pitch.		NOTE: By convention, and for the purposes of explanation, the modes detailed below are presented relative to the C major scale - that is, each mode has a different starting note (or tonal centre) with the scale being played purely on the white notes of a piano or the lower row of a glockenspiel. Please feel free to transpose into whichever key you prefer to play in; it is the relative intervals and the modes which are important not the absolute pitch.

	Each of the ~~Realms~~ corresponds to a mode. The major scale (C to C) is considered to reflect the ~~Mortal Realm~~ of our own reality, and therefore the Silutarian method does not commonly use this mode for melody.		Each of the realms corresponds to a mode. The major scale (C to C) is considered to reflect the mortal realm of our own reality, and therefore the Silutarian method does not commonly use this mode for melody.

	* C -C' - Ionian or major mode - reality, the mortal realm		* C -C' - Ionian or major mode - reality, the mortal realm
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	===Adding other chords===		===Adding other chords===
	Above the drone, the chords of the piece are added. The first and dominant chord of the piece is the Chime, reflecting the primary magical realm of the ritual. Other chords may be used in the composition - if multiple ~~Realms~~ are involved, the chord corresponding to other realms may also be used, reflecting the ~~Realm~~ which the ritual wishes to alter and effect in some way. Some musical ritualists are far more fluid, and improvise chords as well as melody (see below) - others prefer to maintain the chime and drone throughout.		Above the drone, the chords of the piece are added. The first and dominant chord of the piece is the Chime, reflecting the primary magical realm of the ritual. Other chords may be used in the composition - if multiple realms are involved, the chord corresponding to other realms may also be used, reflecting the realm which the ritual wishes to alter and effect in some way. Some musical ritualists are far more fluid, and improvise chords as well as melody (see below) - others prefer to maintain the chime and drone throughout.

	As the C scale (major or Ionian mode) reflects the material realm, the C major chord may be used in all ritual composition, and is usually called the Material Chord.		As the C scale (major or Ionian mode) reflects the material realm, the C major chord may be used in all ritual composition, and is usually called the Material Chord.
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	===Discord, fate and chance===		===Discord, fate and chance===

	<ic>In pure magic, as in pure music, there is no discord, only tension and resolution. In the mortal ~~Realm~~, we are not so fortunate.</ic>		<ic>In pure magic, as in pure music, there is no discord, only tension and resolution. In the mortal realm, we are not so fortunate.</ic>

	Followers of this method acknowledge that all magical workings have an element which is outside mortal control. No magical intention can be perfectly translated to the material realm; this is represented in the music by discordant notes, usually accidental notes not found in the ~~Realm~~'s modal scale. Some musicians include them deliberately at key points in their performance; others simply allow them to arise by chance. It is their transient discord and resolution, some say, that guides the flow of magic towards its intended result.		Followers of this method acknowledge that all magical workings have an element which is outside mortal control. No magical intention can be perfectly translated to the material realm; this is represented in the music by discordant notes, usually accidental notes not found in the realm's modal scale. Some musicians include them deliberately at key points in their performance; others simply allow them to arise by chance. It is their transient discord and resolution, some say, that guides the flow of magic towards its intended result.

	==Musical ritual traditions in other nations==		==Musical ritual traditions in other nations==