En Sarna Pus （The Great Healing Chant） In this chant, ek? （“brother”） would be replaced by “sister,” “father,” “mother,” depending on the person to be healed.
Ot ek?m ainajanak hany, jama.
My brother’s body is a lump of earth, close to death.
Me, ot ek?m kuntajanak, pir?dak ek?m, gond és irgalom türe.
We, the clan of my brother, encircle him with our care and compassion.
O pus w?kenkek, ot oma ?arnank, és ot pus fünk, álnak ek?m ainajanak, pit?nak ek?m ainajanak el?v?.
Our healing energies, ancient words of magic and healing herbs bless my brother’s body, keep it alive.
Ot ek?m sielanak p?l?. Ot ombo?e p?l?ja juta alatt o jüti, kinta, és szelemek lamtijaknak.
But my brother’s soul is only half. His other half wanders in the netherworld.
Ot en mekem ?ama?: kulkedak otti ot ek?m ombo?e p?l?janak.
My great deed is this: I travel to find my brother’s other half.
Rekatüre, saradak, tappadak, odam, ka?a o numa waram, és 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.
Ntak o numa waram, és mozdulak; jomadak.
I mount my spirit bird and we begin to move; we are under way.
Piwt?dak ot En Puwe tyvinak, e?idak alatt o jüti, kinta, és szelemek lamtijaknak.
Following the trunk of the Great Tree, we fall into the netherworld.
Fázak, fázak nó o ?aro.
It is cold, very cold.
Juttadak ot ek?m o akarataban, o sívaban és o sielaban.
My brother and I are linked in mind, heart and soul.
Ot ek?m sielanak ka?a engem.
My brother’s soul calls to me.
Kuledak és piwt?dak ot ek?m.
I hear and follow his track.
Saγedak és tuledak ot ek?m kulyanak.
Encounter I the demon who is devouring my brother’s soul.
Nen?m ?oro, o kuly torodak.
In anger, I fight the demon.
O kuly pél engem.
He is afraid of me.
Lejkkadak o ka?ka salamaval.
I strike his throat with a lightning bolt.
Molodak ot ainaja komakamal.
I break his body with my bare hands.
Toja és molana.
He is bent over, and falls apart.
H?n ?aδa.
He runs away.
Manedak ot ek?m sielanak.
I rescue my brother’s soul.
Al?dak ot ekam sielanak o komamban.
I lift my brother’s soul in the hollow of my hand.
Al?dam ot ekam numa waramra.
I lift him onto my spirit bird.
Piwt?dak ot En Puwe tyvijanak és saγedak j?lleen ot el?v? ainak majaknak.
Following up the Great Tree, we return to the land of the living.
Ot ek?m el? j?lleen.
My brother lives again.
Ot ek?m weń?a j?lleen.
He is complete again.
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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”）。 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”）
the use of close （tight） harmonies
the use of ritardi （slowing down the piece） and crescendi （swelling in volume） for brief periods
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”）
controlled use of dissonance
“call and response” chanting （typical of many of the world’s chanting traditions）
extending the length of a musical line （by adding a couple of bars） to heighten dramatic effect
and many more
“Lullaby” and “Song to Heal the Earth” illustrate two rather different forms of Carpathian music （a quiet, intimate piece and an energetic ensemble piece）—but whatever the form, Carpathian music is full of feeling.
5. LULLABY
This song is sung by a woman while a child is still in the womb or when the threat of a miscarriage is apparent. The baby can hear the song while inside the mother, and the mother can connect with the child telepathically as well. The lullaby is meant to reassure the child, to encourage the baby to hold on, to stay—to reassure the child that he or she will be protected by love even from inside until birth. The last line literally means that the mother’s love will protect her child until the child is born （“rise”）。