The Writing and Use of Chants, 
Invocations and Music in Ritual
By Gabby Cleary
This workshop examines the writing and use of words of power, sacred speeches and music in Wiccan ritual practice. It is divided into three sections. The first will focus on different types of chants: those for prayer; offering; power raising and magic.
The middle section of the workshop will deal with longer formats of ritual spoken words: those of offerings and dedications; invocations and charges. In other words, the preparation, the call and the response.
Finally we will examine how music can be used in ritual: as part of the body of the ritual itself; or as an accompaniment to it. In essence we are focusing upon the use and creation of liturgical pieces that are complimentary to, and enhance, our ritual practices. 
For some practitioners, the notion that a Wiccan ritual may contain a liturgy is a weird concept. However, if we think about it, all those words carefully copied into our Book of Shadows, don’t they provide the framework for ritual practice? They are the building blocks of memorised or inspired ritual. Part of being creative within our craft is the writing of new liturgies within the frameworks of the old. Not every standard or traditional Wiccan piece will fit with our particular goals or specific celebratory interpretations. In these cases we need to be able to write our own words or adapt traditional pieces to suit our purposes.
Chants, invocations, charges and music all serve similar purposes within a ritual. They can be used to raise and channel power, to provide cues, to tell a story and to specify an aspect or a spell. Whilst each piece may contain these purposes to different degrees, there are specific uses for each. They do have their own specific rhythms, durations and writing styles.
What groups these various types of pieces together is the use of vocalisation. Chants tend to be the simplest and shortest of the vocalised ritual liturgy and so these are the pieces that we will examine first.
Chants
Most practitioners will be familiar with chanting as a magickal tool as it is one of the techniques used for raising energy, one of traditional eight ways of making magic. We copy chants into our Books of Shadows, we see them published in books, as part of spells or rituals. 
We hear them at gatherings and see them used in movies and television shows. But what chants work when, and why?
How do you work out their most appropriate use from a technical perspective? Now, I know that for many, intuition is the basis for what chants or inspired utterances are used in a ritual setting, but when we hit that great wall of ritual or writer’s block, having some idea of the technical background of chants can be very helpful in creating the best possible result. Not all chants, even those beloved of ritual organisers, work for every purpose. A chant for mourning the descent of a God may not be appropriate for a handfasting, or then again... 
Before we can examine different styles and forms of chants we first need to look at some examples of situations where chants are used, such as in ritual, spells and prayer. 
Ritual Chants
Ritual chants can explain and empower the central theme and purpose of a ritual, they can inspire group understanding or allow access to a mystery. These chants can also be employed as a storytelling device or to induce an altered state of awareness in the participants. Chants can also be used to preface a ritual, to set the scene and the mood by inspiring a transitional phase between the mundane and ritual worlds. So what makes a ritual chant? 
Chanting within ritual usually serves one of the above purposes as well as raising energy. Classic examples of ritual chants would be those used to empower a Sabbat or festival ritual. These chants raise energy at the same time as they describe what the ritual is celebrating and provide insight into the mystery of the event. Two traditional Wiccan chants illustrate this effect perfectly. For Lammas or Mabon there is a chant describing the harvests and the descent into the dark time of year; 
“Spring, Summer, Autumn, Winter, 
all things pass, all things fade, all things die”.1
For Imbolc we use a chant that encompasses the return of light to the world;
“Thus we banish Winter, thus we welcome Spring, we say farewell to what is dead and greet each living thing”2
Another example of an explanatory ritual chant is one written by Rhiannon from Clan na Duir for Samhain. I feel that it really contains the essence of the ritual;
“By stone of stone and bone of bone, 
seeds and blood and souls are sown”
Each of these chants are simple and to the point. They are pretty easy to pick up during the ritual, rather than having to be learned off by heart prior to the event.  I would call these short form explanatory chants.
Simple and repetitive chants can work also work well for transitions into ritual and ritual space. This is a chant that was taught to me at a gathering in 1995, I don’t know who the author is but we have chanted this many times as we walk through the bush to our ritual site. Every second line is repeated as a link to the next line, here I will just give the actual phrases used;
“We are the flow, we are the ebb,
We are the weavers, we are the web.
We are the spiders, we are the thread,
We are the witches, back from the dead.”3
It can be chanted as speech or as a repetitive song.
Chants that contain a walking rhythm are also ideal for use in the transition between mundane and sacred space. 
“Witches we are by deed, 
witches we are by nature.
Goddess grant to us,
these things we endeavour”4
Spell Chants
Chanting in spell-work serves to raise and focus energy as well as defining the goal of the spell itself. It can be very useful when working as a group as it can provide the context of the spell and the visualisation that goes with it. To me, it makes sense that if we have a goal for the spell, that we incorporate that goal into the chant itself. The best results are achieved by writing the chant to fit the particular goal, but there are some standard spell chants that work very well for more general outcomes. Two standard spell chants that I use regularly are for healing and as an empowerment for cord magick. 
“This is the spell that we intone, 
flesh to flesh and bone to bone, 
sinew to sinew and vein to vein, 
each one to its own again” 5
This chant has a great rhythm to it and encourages stamping and movement to add to the raising of power, especially within a group situation. 
The other spell chant is used when spinning a cord for a magical purpose as well as when raising energy into the cord via a wheel dance. We often use this chant when a couple is spinning their handfasting cord.
“Made to measure, wrought to bind,
blessed be this cord entwined”6
Prayer Chants
Prayer chants are used to raise energy to carry the prayer to deity as well as being tools of simple praise and worship. They are wonderful to work with either alone or with a group as their repetition invokes a trance-like state. Prayer chants are usually simple in structure as they are designed to allow the intent or worshipful state to shine through. There is nothing like being part of a circle of people all chanting in praise of a divine aspect and feeling the energy and harmony released. 
A prayer chant that we use in Dark Moon rituals is:
“As above and so below, 
let the power of spirit flow.”7
This chant is again easy to say. It creates a connection and a trance in preparation for the power raising. It is a prayer that acts as a statement of purpose.
However, a prayer chant will often consist of the names of Gods or Goddesses of a certain aspect such as the refrain from Charlie Murphy’s song “The Burning Times”, which is used by many Pagans to access the divine within ritual.
Refrain from the “Burning Times”;
“Isis, Astarte, Diana, 
Hecate, Demeter, Kali, 
Inanna”.8
This chant is used to invoke the feminine principal and there is also a male version that is used in counterpoint but is not part of Murphy’s original song. 
The male version is;
“Dionysus, Cernunnos, 
Ahura-Mazda, Manatu, Loki, 
Ra, Brahma”
A female oriented counterpoint that may be used with the “Isis Astarte” chant is;
“I am a strong woman, 
I am a story woman, I am a healer, 
my soul will never die”.
And the Male counterpoint is:
“I am a hunter, 
I am a warrior, I am a song man,
my soul will never die”.
Australian band Sirocco9 have used a longer version of this male chant in their song ‘Hunter’. This may be where the chant originated, as the Isis Astarte chant came from ‘The Burning Times’.
In another example of using Deity names for prayer chants, many years ago, Hawthorne and myself were working on a ritual for a Wemoon gathering centring on spinning, weaving and spider Goddesses. This is the prayer chant that we wrote as a centrepiece for the ritual. When spoken in a kind of tonal chant it rolls off the tongue and becomes a wall of sound. Those who have heard it will know what I mean;
“Arachne, Moraea, Ariadne, Athena, 
Illythia, Aradia, Arianrhod”.10
Another often used prayer chant is in praise of the elements and both the mother and father deity aspects. I have no idea who wrote the “Mother” and the “Elements” verses but, the “Father” verse was written by Ollie from Eldergrove in 1995;
“Mother I feel you under my feet, Mother I feel your heart beating. Heya heya heya heya heya heya ho, heya heya heya heya hey ho
Father I feel you up in the sky, Father I feel your power burning. Heya heya heya heya heya heya ho, heya heya heya heya hey ho
Earth my body, Water my blood, Air my breath and Fire my spirit. Heya heya heya heya heya heya ho, heya heya heya heya hey ho”
Musical Theory
We have looked at examples of chants used in ritual, spells and prayer and if you look closely at these examples you will see that they employ certain rhythms and formats that work well for each of these situations. Chants fall into categories of; spoken short, spoken long, intoning (such as names or chords and notes) and short musical chants. All of these styles rely heavily on musical principles of beat, rhythm, tempo, and pitch even if they are spoken and not sung. 
In chanting, the beat is what creates the emphasis on certain words. You will find that you will stamp, dance or move in a certain way whilst chanting. The beat for the Healing Rune has the emphasis on every last beat of the pair such as: one, TWO, one, TWO, one TWO. 
“This is the SPELL, that we in-TONE, 
flesh to FLESH and bone to BONE…” 
It gives a really solid feel to the chant. The spinning chant flows with the accent on nearly every first syllable; “aRACHne, MORaea, A-riande, A-thena, ilLYTHia, aRADia, A-rianRHOD which serves to drive the chant and the power forward or upwards. 
The rhythm of the chant will help to evoke certain emotions or power especially when it flows over and around the main beat. This is especially prevalent when the Goddess and God chants are used in counterpoint (against) with each other. With the four chants working at once, especially when harmonies are used, the effect is uplifting and spectacular.
The tempo or speed is very important in chanting. If the chant is not intended to release energy, the speed of the chant may stay the same as in the Samhain chant (By stone of stone...) above. However if energy release is intended you will find that the chant will get faster and faster with each repetition until it just becomes a blur of words, a final shout, and then a release (e.g, the Imbolc chant). It is very important to be aware of this build up of energy and release it when it has reached its peak. Participants will often feel the need to speed up but if someone is controlling the focus of the energy, then the leader will need to set the pace and have the others follow, otherwise you will have people speeding up at different times and that produces an entirely different effect. As speeding up a chant allows energy to be released, slowing down a chant can have the effect of grounding the energy which can also be very effective (e.g, the Lammas chant), especially if used at the end of a ritual or working.
Pitch is often used in conjunction with tempo where, as the chant becomes faster, it also moves higher up the scale, ending in a high pitched shout. Conversely if the chant is slowing down, the pitch of the chant becomes lower and lower and dynamics softer and softer until the sound naturally fades away. 
For the main ritual I have incorporated several different chants for different parts of the ritual.
One is used multiple times and is a chant that I wrote for our own Ostara rituals. We have used it with success in both private and public rituals.
“The Moon goes round the Earth, 
the Earth goes round the Sun. 
When day and night are equal, 
the greening has begun”11.
This is a simple chant, easy to learn and descriptive of what is happening during the sabbat. Chants should be simple, you want them to be easy to say and to roll off the tongue.
Chants can also be used in sets. We have seen the paired sets of Goddess / God chants with their respective counterpoints. Another example would be using 4 complimentary elemental chants.
In the AWC spring ritual, each elemental group will chant something to mark the cleansing and consecration of the circle space. The chant needs to cover this purpose – a statement of intent. Each chant also needs to contain within it, the aspects and features associated with a particular element. They also need to be complimentary, i.e. follow the same format and style of rhythm and rhyme and also to be easy to learn, easy to say and repeat
(The chants used in the main AWC Spring Ritual were written by participants of this workshop)
Sacred Words
We have looked at chants, now lets move on to sacred words of dedication, invocation and charges. We’ll look at dedications and offering prayers first.
Dedication Poetry
A dedication is used as a preparation for invocation, a sanctifying of the vessel which in this case is the Priest or Priestess. This may be as simple as the five fold kiss used in traditional Wiccan liturgies, or be a lengthy piece of ritual poetry. No matter what style the dedication piece, it should serve to aid the invokee to attune to certain energies prior to the invocation itself.
Vivianne Crowley makes this point about preparation for invocations: 
 “The Gods manifest in the psyche through what Carl Jung called the dominant archetypes. These include the images of the Great Mother Goddess, the Horned God, the Child of Promise. These are immensely powerful and the danger is if we contact them unprepared, they can overwhelm our inner world”12
Recently I have been thinking a lot about preparation for invocations. I have been presenting quite a few public rituals where I do not have the luxury of working with a close-knit group, I also don’t have the time within the ritual to give over to preparation periods. So to go somewhat to solving this dilemma, I wrote a short dedication to the Moon. It may be used when presenting an offering or before a Drawing Down of the Moon.
From the depths of the sacred well I see your face
Bright against the star filled sky
I hear your song in my heart 
and dance with you across darkened fields
Bathed am I in your shining pool
Veiled am I in your silver hair
Robed am I in your cool embrace
You are the ebb and flow within me
My spirit is yours to command
Always full. Never waning. 
Drawn am I by the call of the tides
For I am your child
And I wear your crescent upon my brow.13
This piece is part of a triad, consisting of the offering and preparation of the Priestess, the Drawing Down The Moon, and the Charge of the Moon Goddess. At the last line the High Priestess is crowned ready to receive the invocation. This piece has also been used as an offering for a group, with the “I’s” changed to “We’s”, “child” to “children” etc..
Here is a beautiful offering to Anubis from the book Devoted To You. This piece is by Geoffrey Miller.
Let this give substance to my request
May Anubis be in it
Let this purify my motives
May Anubis be in them
Let this make of me a vessel of the Gods
May Anubis be in me
Let this open my heart
May Anubis find me justified
Let this open my eyes
May Anubis grant me insight
Let this open my mouth
May Anubis give me breath and words
Let this open the way
May Anubis bless this work14
Both of these forms can work well as offering pieces, either as a long dedication poem (the former) or said line by line as each offering is made, (the latter). So whilst not widely used, dedication or offering poetry can be useful when preparing a subject for invocation if other preparation techniques are not available or appropriate. The piece should be complimentary to the language used in the invocation and charge that follows. It should utilise the same aspects that are being called and evoke a natural flow between the three pieces. 
From the preparation of offerings and prayers, let us move onto invocations. 
Invocations
Again quoting from Vivian Crowley: 
“ invocation involves the invoker drawing the Divine force into the body of the priest of priestess. At the beginning of the process, it is desirable for the invoker to link his or her etheric energies with the priest or priestess. The invoker can use these etheric links to inject the etheric body of the priest or priestess with a particular God or Goddess image or force.”15
She then talks about the spiralling of energies through the chakras and the creation of a visualised image. The God or Goddess is then asked to descend into the body of the priest or priestess. 
She goes on to say...
“If the invocation is a long one, then most of the energy spiralling and visualisation process can be carried out during the invocation. If the invocation is short, it is important to allow a silent period beforehand to prepare the priest or priestess...In saying invocations, we are performing a making, and it is important that the words are charged. They must be spoken as energized words of power that are directed towards the priest or priestess using the energy of the throat chakra. The words should be accompanied by the appropriate visualisation on the part of the invoker”.16
So how much easier it is then to visualise the energies we are invoking if the words of the invocation itself carry those descriptions within it?
If you look at most invocations , you will find that they are very descriptive and tell a story. They awaken the unconscious to the aspects that are to be called upon. Their patterns build in complexity and power.
If you have a BOS17 it is probably full of invocations. But just because you have some already written for you, that doesn’t mean that you can’t craft your own. There are also many books on Wicca and Witchcraft that contain invocations to specific deities or generic ones. Read them, become familiar with the patterns and you will soon see that by using the basic forms, you can come up with something that works for you and your group.
Maureen Reddington-Wilde, writing in Devoted To You talks about the use of epithets, names that are used to describe the deity being invoked. In an invocation she quotes just some of the epithets of Aphrodite. 
“Aphrodite (ap’ raw deeeee taihr), Sea-born, Cypriot, Heavenly One, Common One, Golden One, Dark One, Warlike, Prostitute, Protector of Marriages, Nurse, Grave Digger, Fair-Sailing One, Laughter-loving. By all these names and many more, and by whatever name you wish to be called...we honour you.”18
You may find within mythology, the epithets of the deities that you wish to call. Reddington-Wilde is discussing the epithets of Aphrodite. Some are very traditional, some are ones that are found during meditation and communion. She goes on to say:
 “ the very traditional, formulaic names (of Greek invocations) let all present know exactly who is being invoked, which particular aspect of the Deity is the focus of this rite. They also connect us with Her worshippers of other times and places, giving us the sense of solidarity and continuity over the span of the centuries”.19
I find the latter to be true even with new invocations. When they are used continuously they build up their own power and connection. It is amazing to me when others use my invocations, they place a different emphasis on certain words and syllables that give them a whole new meaning, but at the same time, tap into the energies that have previously been invoked. With traditional invocations such as the Drawing Down The Moon, I can feel the energies start to build within me, as soon as I hear it being said, even if I am not the invokee. 
So this is another aspect to writing invocations of your own. You are attempting to tap into what has gone before as well as bring your own experiences and viewpoints to the piece. 
When you are preparing to write an invocation, work out who or what it is that you wish to invoke. Use epithets to define the aspect of the deity that you would like to work with. You may not achieve the manifestation of that aspect, but at least you have stated your purpose. Also look at deeds that the deity is said to have done, aspects of mythology. You can also bring in those figures that are associated with the Deity, such as Aradia -Daughter of Diana, Isis - lover of Osiris etc. Bring your invocation into context.
Invocations themselves utilise rhythm and sometimes rhyme (although this is not as important as it is in chants). The invocation states a purpose but the words should speak to the soul of both the invoker and the invokee as well as to those present during the ritual. When spoken with power, the invocation should pulse and flow with the energies used.
A well known invocation (which I feel achieves this admirably) is “By The Flame That Burneth Bright”
It does not have a strict rhythm as such. Rather the rhythm is contained within the whole and builds to a climax and release. There is a big difference in how the piece is read aloud compared to how it is performed with feeling for the rhythm that is hidden within. An extract appears below.
By the flame that burneth bright O’ Horned One!
We call thy name into the night, O’ Ancient One!
Thee we invoke, by the moon-led sea, 
by the standing stone and the twisted tree.
Thee we invoke, where gather thine own, 
by nameless shrine forgotten and lone.
Come where the round of the dance is Trod.
Horn and Hoof of the Goatfoot God!
By moon-lit meadows and dusky hill, 
when haunted wood is hushed and still.
Come to the charm of the chanted prayer,
As the moon bewitches the midnight air. 
Evoke thy powers, that potent bide,
In shining stream and the secret tide, 
in fiery flame and starlight pale, 
in shadowy hosts that ride the gale, 
and by the fern-brakes fairy-haunted 
of forest wild and woods enchanted.
Come! O’ Come!
To the heart-beat’s drum! 20
An invocation requires performance and feeling, it requires emotion. The words are the starting point and provide the framework for the call. When the piece is performed we can hear the alliteration within it. This is where the same starting letter of a word is used in sequence. It gives the piece an internal pattern and rhythm.
Alliteration can be your friend when writing invocations, although too many and you can tie your tongue in knots, and not the magical sort either!
Have a look at the piece above and find where the alliteration occurs. Examine how it is used to manipulate and drive the rhythm. Always say the invocation out loud to find the rhythm. Not necessarily with power, but with an understanding of how the invocation ‘tastes’. 
The length, style and rhythm of the invocation also depends upon where it is placed within the ritual. Are other things happening at the same time, is the ritual personal, a group ritual either private or public? This will need to be taken into consideration.
Are we invoking one deity or a pair? If we are invoking a pair, do the invocations need to be similar in form and length, similar in tone and complimentary?
This is important to work out when writing or selecting an invocation to use within our rituals.
I found myself with a dilemma when trying to find a pair of invocations to use at a public full moon ritual. I needed fairly generic aspects as I wasn’t intending to call upon specific deities, rather I was calling upon the powers of Moon and Sun. It also felt really strange to use an invocation to the Sun God when the ritual was going to be dark and the focus was on a female aspected Full Moon. So I wrote my own. 
They begin with poetic forms in a Irish poetic tradition21 and then move into the actual call. (The Irish poetic form that I am using is where the last words of a previous line, make up the first words of the next). They are also invocations into the sacred space rather than into an individual Priest or Priestess.
Full Moon Invocation to the Goddess
Beloved is the mistress of the velvet night
The velvet night is bejewelled with stars
The stars are the pearls of the ocean deep
The ocean deep is thy hidden realm
Thy hidden realm is full of the bounties of mystery and spirit
Spirit is called by the tides
The tides are the silvered rays of thy glorious face
Turning darkness into light
By the rising of the silvered moon 
We call to thee Lady of the rivers and streams 
We call to thee from endless oceans and sacred pools
Lady of the tides, of the cycles of life 
Mother, Queen and lover of the Lord of the Sun
We call to thee
Silvered one, flowing one 
We Invoke thee!22
Full Moon Invocation to the God
Beloved is the hunter who rules the wood
The wood is a land without end
Without end is the bounty of tree and stag
Majestic is thy realm
Thy realm entwines the secret glade as the vine 
reaches to the skies
The skies are warmed by thy radiant face 
Thy power undimmed by the velvet cloak of night
By the last light of the sun
We call to thee O Horned One of forest and glade
We call to thee from crowned hills and sacred vales 
Lord of the Hunt, Protector of Game 
Warrior, King and lover of the Queen of Night
We call to thee 
Shining one, Radiant one
We invoke thee!23
I overcame my Sun God dilemma by including lines such as :
Thy power undimmed by the velvet cloak of night...By the last light of the sun...
For me this invocation pair works well and solved some theological problems that I was wrestling with. 
As an exercise, examine some of the invocations that you find in books or your own B.O.S. Have a look at them and think about the rhythm, the rhyme, the aspects mentioned, and any associations of the Deity. Say them softly to yourself, without power, and find the form of the piece. Try to understand what the writer is bringing through. Also see how some of the forms are similar? The patterns within them seem to build from an alerting of deity, a description, a call and a request for descent into a person or to be present within a circle.
Invocations Within Ritual Practice
I have discussed different forms of invocations, and how they are technically used. However I wanted to discuss the use of invocations in conjunction with other exercises within ritual. We can pair up an invocation with a power raising or trance inducing exercise to aid both the invoker and the invokee. It can be part of the preparation for the invocation or used at the same time.
We often use intoning to build up power, that power is drawn on by the invoker and is used to aid them in drawing the deity into the invokee. Sometimes we use a chant that focuses on the aspects to be called, or the need, this then peaks and the invocation begins. Sometimes we use dance to achieve a similar outcome.
I have witnessed very powerful invocations with three women chanting the invocation whilst dancing around the invokee. They wore ankle bells and danced in the rhythm of the invocation24. If you wish to do this, you will need to understand the rhythm of the invocation very well and have practised the whole piece beforehand. It is worth it though.
Now thinking about how you might pair different ritual exercises with an invocation, read back over the invocations that you found in books and in a B.O.S and see if any particular one speaks to you of a ritual format. 
If you found one that inspires you, remember that feeling, and then later use it to write your own invocation and ritual that is meaningful to you.
Remember that invocations are meant to be spoken (or sung), not read off a piece of paper by dim, flickering candlelight. We must be able to learn them to use them. If we find it difficult to learn a really long invocation, then we may like to write and learn a short one instead. Just remember that we are aiming to start building up the energies and visualisation before we begin.
Charges
We can use many of the same techniques examined for invocations, for writing and using Charges. However, an invocation is a call and a Charge is statement of purpose and presence of Deity. Depending upon the ritual situation we may prefer inspired utterance to follow the invocation. However, sometimes Deity does not wish to speak, or sometimes they will speak after the charge has been said. A well learned and recited charge gives time for a bond to form between the Deity and priest or priestess they are speaking through. It is the Charge and what follows, that is the end result of the offerings and invocations used within the ritual. This is the goal.
When the Priest or Priestess is being ridden by the Gods, we find that the delivery of the Charge, whilst automatic, will become much more heart felt. Voices and rhythm will change from that used in rehearsals. The bond will be completed during the Charge and afterwards the deity may choose to add to the speech. If They do not, at least all who are present during the Charge are now focusing on a similar aspect and are usually much more receptive to receiving any messages that the Deity has for them. 
From my own experience, the way that I say the two fold Charge of The Goddess25 in practice, and the way that it is said through me in ritual are quite different. My inflection changes, the volume, pitch and quality of my voice are different too. The words generally come out in the same order that I have learned them, but I am not thinking about them. The words are automatic, and it is hopefully the intent that comes through. If I do try to the think about the words, think about what comes next, it means that I have not relinquished control and it all falls apart. This has happened too.
I have to put just as much effort into learning and performing a Charge that I have written as I do for one that was handed down to me, or that I found in a book. 
If I am writing new invocations, I usually write a new Charge to go with it. One almost always leads to another. I do have some of the original notes and crossings out from Charge writing, but I usually can’t see how I got from one point to another. If I am following a particularly familiar pattern, then usually the Charge is written upon the paper fully formed. I may change one or two words so that the piece scans better, but that’s it. I think the thing about writing a Charge is that we need to tap into deity and write down what they want us to say. I get feelings, images and intuition about a piece, rather than words. My job seems to be to interpret those feelings and intuitions into words. I am almost writing what I am seeing. For me, this is the key to working with deity. I do the work in preparation for them speaking through me.
Valiente set the form and pattern for modern Wiccan charges with The Charge of Goddess. There is a particular rhythm to the words and stanzas that echoes down the decades to make a truly beautiful piece. This form has been adapted over the years by many witches and we have The Charge of The God and the The Charge of the Old God to go with them.
Lark, High Priestess of the Oak, Ash and Thorn tradition in America, has adapted Valiente’s Charge to craft a beautiful Charge of Sekhmet, a Goddess that she works with personally. She has given me permission to use it here.
Charge of Sekhmet.
Listen to the words of Sekhmet; She who of old was also called Beloved of Ra, Lady of Transformations, Opener of Ways, Shining One, and four thousand other names. 
When you have need, come unto my temples and walk amongst the sacred columns. There shall I teach you the Mysteries and the ways of all magic. There shall I give unto you that which is hidden from those who do not seek in truth. I am the Way and I am the Key to the secret door. My paths are perilous and those who tread them do so in dread and joy. For I am the Creator and the Destroyer. I am the Weigher of Souls and I know all that lies in your heart. I will ask of you sacrifice, I shall demand of you truth, I shall strip you of all weakness and pretence. And I shall give unto you immortality. 
Hear ye the words of Sekhmet; before whose wrath even the Gods tremble, whose light is the blazing sun, and whose arrows lay waste the foes of Pharaoh. 
I who am the black earth, the Sun in its glory, and the miracle of the waters; I who bring passion and desire in the heart of man; I do call unto you. Arise and come to me. For I am the floods that bring life from the desert, and I am She who bears your soul to Ma’at at life’s ending. I gave birth to the oldest Gods, and I was there when mankind was formed from the mud of the Nile. Let my worship be in the heart that trembles before me, for I am the Overcomer of All Enemies and my ways are open only to the pure in heart and the strong of spirit. Know that I am with you always, from your coming in until your going forth. And lo, I shall be beside you in the Boat of Millions of Years as your soul reaches the undying lands and joins me forever.26 
Here she shows what a directed touch can add to an already wonderful form.
But not all charges follow the pattern of the The Charge of The Goddess.
Here is a Charge written by Chris Crowley in 1985. This version is from Earth Traditions by Vivian Crowley.
I am as old as time;
for I sprang forth from the first breath taken;
yet have I aged not;
for I am born anew with each gust of wind
and every gentle breeze.
The leaves dancing on the trees,
and still water silently mirthful with sudden ripples,
show that I pass by.
Fleet of foot with winged heels am I,
the messenger,
with words you all must hear,
cascading from my silver tongue.
I am quicksilver,
I bring healing with my magic touch
I am the wind, 
the very breath of life, 
I am He.27
I have written many charges over the years, some short, some long. They have generally been written for a specific purpose. The Charge of the Moon was originally written to partner a Drawing Down the Moon and blessing of the Goddess for the 8th Anniversary of the PAN Full Moon rituals.
Charge of the Moon
I am She who rides the night skies.
I am She who sings in the tides.
I am She who bathes the hills
in silver, shining bright.
Hold up a mirror to see my face.
Gaze upon still waters
Chant my names,
and I will heed your call
I am the Maiden of the Stolen Glance,
I am the Mother of the Sacred Dance,
I am the Crone who knows the secrets you hide in the dark.
I am the giver of blessings to those who look beyond 
my bright face.
For I am the Moon, and I am always with thee.28
Even though it is an original piece, it holds some forms of more traditional charges. “I am the giver of blessings to those who look beyond my bright face. For I am the Moon, and I am always with thee.” is a conscious echo of similar lines from The Charge of The Goddess. Here is another short charge, this one was written for Hulda.
Hulda’s Charge
I am Hulda, Lady of the wild hunt.
I am the Maiden in the ashes, the tree planted in the fertile soil.
I am the Crone who brings the depths of Winter.
I am there at your birth and carry you at your death.
I know the secrets of the necklace that shines with starlight
I am the oldest one.
Fertile Mother.
Ancient Hag.
Hulda of the Northern Snows am I,
and green things grow from me29
Adrianne from our circle has also crafted a new charge, not from deity but from spirit. It still holds traditional forms but speaks directly from and to, the Spirit.
Charge of Spirit
Listen to the words of the combiner of truths:
It is I who knew of your birth long before time.
It is I who infused you with elements divine.
I am the dispenser of the colours of life,
and in me they each appear
I am the caster of stars in the sky,
and in me they all reside
I am the keeper of the ocean of wisdom,
swim in me and find balance.
I am the keeper of the paths to the kings,
walk with me to find peace
I am the diviner of symbols and dreams,
and in me they find meaning
I am the mother to nature’s all,
without her I do not exist
I am the container, the preserver of life,
and in me you will find freedom.
I am the egg, the harmonious balance.
It is I that is reflected in your dreams.
Seek me in your temples,
and find me in your hearts.
Raised to the heavens,
found in the ground.
It is spirit who will release you on your death.30 
Charges can be very personal pieces to write. Again, as they are to be said aloud, they do need to flow. We should always make sure that we keep a first person point of view, and if we are writing Charges as a paired piece to an invocation, we should aim to keep the imagery fairly similar.
Music
Music can speak to not just the spirit, but to the heart and soul. It is the combination of all that we have looked at so far. A brilliant example of sacred poetry set to music is Lisa Gerrard’s interpretation of The Song of Amergin31, an important piece of Irish magical poetry. It is a spell, an invocation and a charge all rolled into one. It is a great piece to listen to for inspiration and a spiritual experience, especially for those Wiccans who are working with Celtic themed rituals.
Music can be utilised for many purposes within ritual. It can tell a story about what has led up to the ritual, what the ritual is for and why it is being performed at this time. It can be used to highlight a particular aspect of the ritual. It can be used to raise power or to induce trance. It can aid in meditation, either to send the listener off to other realms or to act as an anchor to this one.
Music is often used to join sections of a ritual together, and of course music in ritual can be performed in praise of deity and of the moment. The music can be the ritual itself.
It is important that music be performed to enhance a ritual, not to make it long, drawn-out, and boring. The music should be appropriate to the occasion. A dirge at Beltane may not be appropriate, but a jig would be wonderful when dancing the Maypole.
Ritual music does not necessarily have to have words. It can be used to enhance the moment. We have had harpers playing participants into the ritual space, or lone pipers accompanied by a fire dancer. It sets the mood. A wordless song can be sung as a fire or cauldron is danced. Loreena McKennitt’s, Huron Beltane Fire Dance32 is perfect for this.
Listening to music can also be very inspiring when you are searching for a theme or action for your ritual. Luckily, several years ago I came across a CD by a group called Elysium titled Auvergne Chants. It is an album of French pastoral chants about shepherds looking for love. The music is beautiful and we have played the whole album behind rituals, especially Mabon. Particularly inspiring for what images it can conjure is the instrumental track Bouree33. 
We have had wandering rituals where a scene in a forest is played out against a song performed by participants. Often the song will have meaning in what will happen later in the ritual. 
We sang a dirge version of John Barleycorn as we laid the corn dolly on the fire at Lughnasadh. Each person had taken part in the death of the king, and so we sang his lament. This is not the traditional John Barleycorn song, but a short almost chant-like piece. It is usually performed with a happy-jolly feel, but we changed it to a dirge as that is what felt appropriate for our ritual.
John Barleycorn is cut down dead
It is his time to die
The sun that warmed our summer days
No longer is so high
We praise Him and our Goddess fair, 
We thank them for the corn
We gather in the harvest now
And leave the fields forlorn.34 
We have danced and sung around a participant as they are made ready for a particular part of a ritual, say as a Harvest King35 or May King. 
Deep in the forest see the bonfires ablaze
The chanting rises for the harvest maid
Deep in the forest hear the beat of the drum
The chanting rises for the chosen one
Let us dance for your pleasure
Let our music fill your ears
Let us cleanse and refresh you
Hear our praises and our cheers.
We have used music to express joy at the conclusion of a sabbat ritual, a song that ties the ritual to the celebration. Sometimes these songs are performed as a solo, other times as a group, or as both with the group joining in the chorus. The example below is a song for Imbolc.
Come dance with me36 
I’ll run across the mountains, love
I’ll run across the plain
I’ll roam the valleys of my heart
Searching for your flame
And I will run from shore to shore
I’ll run from tide to tide
I’ll roam the valleys of my heart
Searching for my bride.
Chorus
Come dance with me, come whirl and spin
Come dance on Imbolc Night
Come dance around the Wheel, love
Come welcome in the Light.
So take my hand O Shining One
O take my hand to dance
The round of changing seasons, and
The legend of romance.
The candle burns the light returns
For darkness we’ll not mourn
The candle burns for you my love
And we’ll dance until the dawn
Chorus
I’ll run through ancient forests, love
I’ll run through sacred groves
I’ll roam the valleys of my heart
I’ll dance the standing stones
And I will run from shore to shore
I’ll run from tide to tide
I’ll roam the valleys of my heart
Searching for my bride
Chorus
For our Samhain ritual this year, I wrote a kind of trance song that acted as a call and response. An excerpt of the ritual appears below.
HPS: It is Samhain...the nights are longer and colder than before. The Crone walks amongst us and her song echoes beyond the veil.
All to form a circle with the four quarters standing on the outside with their Jack O’ Lanterns lit. 
The Crone steps into the centre of the circle and begins to sing. Participants echo her every line as they move slowly around the circle. Each time she sings “I am the Guarded Flame...” one quarter blows out their Jack O’ Lantern. Order is Air, Earth, Water, Fire. This continues until all lanterns are out and the temple is in darkness.37 
Samhain Rain (Crone Song)

I am the land that lies,
beneath the autumn skies.
I am the twisted tree,
beyond the endless sea.

I am the guarded flame,
I am the Samhain rain.

I am the moon capped wave,
that marks the deep sea cave.
I am the weathered bone,
beneath the mound of stone.

I am the guarded flame, 
I am the Samhain rain. 

Will you wait for me?
Beneath the blackthorn tree?

I am the broken shield, 
upon the fallow field.
I am the outcast seer,
who brings the winter near.

I am the guarded flame,
I am the Samhain rain.

I am the child entranced,
by the circle danced.
I am the secret lore,
behind the ancient door.

I am the guarded flame,
I am the Samhain rain.38 
The Lord of Death and Resurrection was then invoked and he brought his own light with him as well as the beloved dead. So this song acted as a preparation for the invocation, provided atmosphere and participation.
In a purely ritualistic structure, music also gives the group something to do, to participate in, as opposed to just watching and listening. However, there are times when just sitting back and letting the music flow over you is appropriate as well and can elicit a delighted response on par with total participation.
A classic example of an appropriate time to just sit back and listen would be when dealing with music that tells a story. Storytelling is very important within an oral and experiential tradition. It is a skill we often lose when we journey in cyberspace or in the realm of the printed word. Experiencing a song of a story well told can contain the magic to transport the listener to other worlds, times and places and awaken the divine within.
We can experience and express our mythologies, our legends and beliefs through story, poetry and song. We can use these as entertaining tools which transport us from the mundane into realms of our own divine ecstasy.
Music in ritual does not have to be solemn. It can be funny too. A great example of a humourous storytelling song is a piece by Adelaide band Circe’s Tryx. It’s called Circe’s Garden39 and it recalls the Greek myth of Odysseus’ encounter with Circe.
You can write storytelling songs for your own rituals. For Mabon this year Jo wrote a story that focused upon a battle between the Light and the Dark. The story ended with the Crone walking across the battlefield, mourning, yet knowing that she couldn’t change what the seasons always bring. From the story the ritual moved into a storytelling song that explained the prophecy contained within the story.
Mabon Prophecy
I saw a maiden riding by,
With a sickle moon upon her thigh.
She turned to say “Come follow me,
If you would seek a prophecy”.
So followed I the maiden bold,
To see what was to be foretold.
We travelled under pale moonlight,
Across the field of poppies bright.
Chorus
To know me, to dare me,
To brave the field of corn,
You must cross the western sea,
When your time has come to mourn.
To know me, to dare me,
To will what is to come,
You must cross the western sea,
At the setting of the sun.
We came to a darkened salmon weir,
The maiden and the budding seer.
As a nut of gold fell to my eye,
I saw a vision passing by,
of steel and sword, of day and night,
of battles old and a bloody fight.
My eyes did weep, my heart did break,
As I watched in sorrow, my lover’s fate.
Chorus
To die a seer is my reward.
Fate is marked by the bloodied sword.
As the fearsome fields of golden hue,
Call once more for their yearly due,
And so I journey to the west,
As I send my love to the Night Queen’s breast.
I cannot change what fate decides,
For my love is borne on the Autumn tides.40
In the bardic system and from the stories of the Dagda’s Harp41, we are told that there are three strains of music, the laughing strain42, the weeping strain43 and the sleeping strain44. All have their place and purpose and the ideas these three strains bring forth can be utilised when choosing or creating a storytelling song for use in ritual.
A laughing strain brings joy and happiness to the listener. This is good when celebrating an occasion of happiness or to change the mood from sadness and bring energy levels back up.
The weeping strain makes the audience think about grief and embrace it. It is good for rituals of remembrance and very appropriate for sabbats such as Lughnasadh, Mabon and Samhain which deal with sacrifice and realms of the underworld. Yet there can be joy in sacrifice and ‘reunion with those who have gone before’. This quality can be brought forth either in a separate piece or by a cathartic joy that can come from weeping and dealing with sadness.
The sleeping strain can be used to ground people out, to dampen over-exuberance or anger, to bring peace. This strain is useful to end a ritual that requires the participants to go and sleep and dream. It is also useful for periods of quiet reflection and ideal for inducing trance. It can take listeners deep into the story via meditation-like rhythms and cadence.
Don’t be afraid to write your own music, or if you are using recorded music, look outside the usual Pagan or new age music scene. Yes Irish music can be brilliant for rituals, but if you want something unexpected, soundtracks can be brilliant for manipulating emotions.
I am quite passionate about music in ritual as I was lucky enough to produce a Pagan radio show for a number of years. Each sabbat we would perform the words to a ritual, live in the studio. I would spend the days before the show ploughing through lots of CD’s trying to find the perfect track that would work with the ritual. I was looking for complimentary or counterpoint mood, timing that I could work with, both in the reading of the words and then length of the music. We could build in pauses in the ritual to let the music swell, or have louder voices when the music was quieter to emphasise a point. I can’t tell you how much this process has helped me in understanding how to use and create music for ritual purposes.
I hope you are inspired to use vocalisation in your worship and rituals, and to bring creativity into your spiritual practice. 
Footnotes
1	Traditional Lammas Chant, author unknown
2	Traditional Imbolc Chant, author unknown
3	Popular Gathering Chant, author unknown
4	Witches We Are, Dunster, Joanne
5	Saxon Healing Rune, published in Phillips, Matthew and Julia, The Witches of Oz, p57, Capall Bann, Berkshire, UK, 1994
6	Traditional Cord Spinning Chant, author unknown
7	Circle of The Hearth Dark Moon Ritual, 2006, Cleary, Gabby
8	The Burning Times, Charlie Murphy
9	Hunter, Andrew De Teliga and Michael Atherton, Sirocco. CD Paths On The Wind 1982. This version is from Essential Elements
10	Spider Woman Spinning Chant, Gabby Cleary and Hawthorne
11	Applegrove Ostara Ritual 2005 and PAN Spring Moon Ritual 2005, Cleary, Gabby
12	Wicca: The Old Religion In The New Millennium – Revised And Updated, p182, Thorsons, London, 1996, Crowley, Vivianne
13	Dedication To The Moon, Pagan Awareness Network Full Moon Training Notes, 2006, Cleary, Gabby
14	Miller, Geoffrey; Devoted To You: Honoring Deity In Wiccan Practice: Ed. Judy Harrow, Chapter: Samhain – Anubis, pp 65-66, Citadel Press, New York, 2003
15	Crowley, Vivianne; Wicca: The Old Religion In The New Millenium – Revised And Updated, p 183
16	ibid
17	Book of Shadows
18	Reddington-Wilde, Maureen; Devoted To You: Honoring Deity In Wiccan Practice: Ed. Judy Harrow, Chapter: Beltaine - Aphrodite, p 159, Citadel Press, New York, 2003
19	Ibid, p 163
20	By The Flame That Burneth Bright (Invocation To The Goat-Foot God),  Published in various books including The Witches of Oz by Matthew And Julia Phillips as well as Lady Sheba’s Book of Shadows by Lady Sheba 
21	Based upon the poetic form of Nede mac Adne relating his mystical experiences in “The Colloquy of The Two Sages”. See Mathews, Caitlin And John, Encyclopaedia of Celtic Wisdom, Chapter 7: Druids And Vision Poets, 
p 235, Element Books, Dorset, 1994
22	Cleary, Gabby; Full Moon invocation To The Goddess; 2004. Published in Pagan Awareness Network Full Moon Training Notes, 2006
23	Cleary, Gabby; Full Moon invocation To The God; 2004. Published in Pagan Awareness Network Full Moon Training Notes, 2006
24	Mabon Sabbat Ritual, Hawthorne, 1995. The invocation used was By The Flame That Burneth Bright.
25	There are many Charges used in Wiccan Ritual. The Charge of the Goddess referred to here is The Charge of The Goddess and The Charge of The Star Goddess written and adapted by Doreen Valiente for Gerald Gardner’s Book of Shadows. It has been adopted (and adapted) by the Wiccan community at large.
26	The Charge of Sekhmet by Lark, Tangled Moon Coven, USA. Published on Branwen’s Cauldron internet forum, www.branwenscauldron.org. 
27	Crowley, Vivianne; A Woman’s Guide To The Earth Traditions, Chapter 9: Goddess And God p 120, Thorsons, London, 2001. Charge by Chris Crowley 1985
28	Cleary, Gabby; Charge of The Moon Goddess; 2005. Published in Pagan Awareness Network Full Moon Training Notes, 2006
29	Cleary, Gabby; Huldas Charge; 2004. Imbolc Ritual of The Four Fold Paths. Applegrove Online. www.applegroveonline.com
30	Bird; Charge of The Spirit; 2005. Applegrove Online. www.applegroveonline.com
31	The Song of Amergin, Lisa Gerrard And Patrick Cassidy, CD Immortal Memory. Track 1, 4AD
32	Huron Beltane Fire Dance, Loreena McKennitt, CD The Visit, Quinlin Road
33	Bouree: Elysium, CD Auvergne Chants, 2001, Decca
34	John Barleycorn, Pagan Traditional, author unknown. Arr. G Cleary And R. Saxon, 2000
35	Harvest Maid Round, Gabby Cleary for Eldergrove Mabon Ritual 1995 by Hawthorne.
36	Come Dance With Me, Gabby Cleary 1997 for North Shore Pagans Imbolc Ritual by Gabby Cleary.
37	Cleary, Gabby; Applegrove Samhain Ritual by Mark Hepworth 2006
38	Samhain Rain; by Gabby Cleary and Joanne Dunster for Applegrove Samhain Ritual 2006 by Mark Hepworth
39	Circe’s Garden, by Nicola Barnes, Circe’s Tryx, CD Epiphany 1999
40	Mabon Prophecy, by Gabby Cleary and Joanne Dunster for Applegrove Mabon Ritual 2006 by J. Dunster and R. Malcolm
41	Blamires, Steve; Glamoury – Magic of The Celtic Green World; Chapter 8: Otherworld Gods and Goddess – The Dagda p 151, Llewellyn Publications, 1995. 2000 Edition. 
42	Geantraighe, ibid
43	Goltraighe, ibid
44	Suantraighe, ibid