# Runic Galdr: Sound Keys, Forms, and Theory

Based on the Velya forum thread "Рунический гальдор" (t9097), compiled by Арина Род, drawing on the scholarship of Энмеркар and the sound key system of Е. Радуга.

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## The Nature of Galdr

Galdr (also spelled Galdor, Galdr, Гальдор) is the second great branch of the Northern Path alongside Seiðr. It is the runic magical technique through which the practitioner changes the inner or outer world according to their own will. In galdr, runes are always used in some way — at least on one level of this multileveled concept.

Odin is the great master of this form of magic, and its practice requires wisdom and inspiration.

### Etymology and Mythological Foundation

The name "galdr" derives from the word for the cry of a raven — "the songs of ravens." In mythology, Odin's two ravens, Huginn and Muninn, are central to understanding galdr's nature. These are the two "voices" to which Odin "listens" and from which he draws out ever deeper secrets. The two ravens, perching on Odin's shoulders, whisper into his ear all that they know.

- **Huginn** embodies the power of intellectual thought
- **Muninn** embodies the power of reflective thinking, or "memory" — but this memory encompasses far more than past events: it embodies all transpersonal knowledge

As Odin says in the Poetic Edda (Grímnismál 20):

> Huginn ok Muninn  
> fljúga hverjan dag  
> öndverð um jötunheima;  
> Hugin ek hugum,  
> en Hugin sjáum,  
> þeim kvæðk ørlög fyrða.  

(Translation by A. Korsun:)  
"Huginn and Muninn fly over the world every day without tiring; I fear for Huginn, more for Muninn — will the ravens return!"

### The Psychology of Galdr

Galdr is the art of listening, and then understanding the runic words of the ravens, after which those words are brought to life. The "ravens" are mythic coded names for various parts of the soul or psyche (see *hugr* and *minni*). At the center is the "Self," governed by *wod* (from Old Norse *óðr* — divine inspiration/madness). The Self oscillates between reason and memory, governed by divine inspiration that gives rise to true wisdom. This wisdom determines the path of galdr.

**The goal of galdr** is to bring the results of magical work into objective reality in an accessible form — to embody them in the "real world."

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## Galdr as Word-Magic

### The Primacy of Utterance

The word "Galdr" in Old Norse originally meant "to cry out" or "cry," i.e., "incantation" or "magical song." Later it came to mean magic in general. However, in its original sense, **galdr is specifically verbal magic** — only magical songs and incantations spoken aloud can be called galdr. It is the very act of utterance — the embodiment of thought and intention — that endows the thought with realizational power.

### Technical Form

Galdr incantations are typically described with words meaning "to sing" — i.e., to recite in a chanting manner. Technically, galdr was likely a loud and rather harsh singing of specially composed incantations, usually reinforced by carving them in runes. The spoken incantation and the carving are mutually complementary — together they ensure more complete penetration of the spell (expressing the eril's will) into the fabric of worldly reality, and thus its realization.

### The Practitioner: Galdrkraft / Eril

The galdr incantation carries magic in itself and is performed by the chief creator of magic — the **Galdrkraft** (also called **Eril**, *эрриль*). Galdr incantations are maximally active, expansive, and warlike. The galdr magician must also be strong and self-confident, even to the point of bravado — otherwise the magic will not succeed.

**Key principles of the galdr practitioner:**
- One does not grovel before spirits or deceive them; communication with them is **imperative** in character
- When using galdr for healing, the eril **confronts** the spirits afflicting the patient, declares authority over them, invokes magical weapons, spears, and knives
- The ailment itself is **commanded** to depart and the patient to be healed
- Clarity of consciousness is essential — as the incantation proceeds, the magician becomes "intoxicated" by Power, yet must maintain control over themselves and the situation

### The First Galdr

It is said that the first galdr incantation Odin whispered into the ear of his dead son Baldr as he lay on the funeral bier. The echo of that word, whispered "into Baldr's ear," resounds through all ages in the incantations and songs of magic.

Galdr proved extremely resilient — even in the late Middle Ages, runic inscriptions were still being made in churches, and Icelandic bishops were famous for runic sorcery.

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## The Three Forms of Galdr

Galdr incantations are known in three forms: **Drapa**, **Nid**, and **Manseg**.

### Drapa (Драпа) — The Song of Praise

A praise-song, recited aloud and/or carved in runes. The name likely means "song broken into pieces" (from the verb "to break"). In composition, a drapa resembles a versified catalog of names or information. Each of the *visur* (stanzas) composing a drapa is typically a closed whole — not only metrically but also semantically. There is no narrative in a drapa. There is also no direct speech, dialogue, or monologue. The only thing that establishes the sequence of stanzas is the chronological order of the events described, which is always maintained. However, these events (battles, wars, etc.) are usually not individualized but presented through general details. This is probably why many drapa fragments survive, but almost no complete drapas.

**Structure of a Drapa:**
1. Begins with a request for the audience to hear the composed verses
2. Enumeration of the martial deeds of the one being praised
3. Praise of their bravery and generosity
4. Conclusion may contain the skald's request for reward for the composition

### Nid (Нид) — The Song of Defamation

A defamatory song, aimed at causing harm to its object. Almost no examples of such defamatory verses have survived. Nid is characterized by an unusual darkness of content, even by the standards of skaldic poetry. Nid is typically constructed according to the laws of **name, association, and likeness**. It appears that the capacity for harmful effect was ensured not by the content of the nid, but by its **form** — the fact that it was "bound speech," verse. This is the same principle by which drapa was effective: its power lay in its form, not its content.

**The Nid-pole (Нидстанг):**  
Significantly, "nid" referred not only to defamatory verses but also to a **pole with a horse's skull mounted on it**, erected with the same purpose as the verses. In this case it is even more evident that nid was conceived as something capable of exerting magical influence on its target. This is the *níðstöng* (scorn-pole).

**Historical Examples:**
- **Egill Skallagrímsson** carved a nid on a pole with a horse's skull to drive King Eiríkr Bloodaxe from Norway
- **Þorleifr Rauðfeldarson**: The Norwegian jarl Hákon seized Þorleifr's goods, burned his ship, and hanged his companions. Disguised as a beggar, Þorleifr gained entry to the jarl's hall and received permission to recite his verses. At first the jarl thought Þorleifr was praising him and his son Eiríkr. But suddenly a terrible itching seized the jarl, and he realized Þorleifr's verses were a "hidden nid." The hall grew dark, all the weapons began to move, many were killed, and the jarl fell unconscious. His beard and hair on one side of his part rotted away, and he lay ill for a long time afterward.

### Manseg (Мансег) — The Binding Love-Spell

A coercive "love" spell, a kind of "binding." Like Drapa and Nid, Manseg has its own strict rules of rhyme and frequent use of **kennings** — "renamings." Composing a manseg, the skald sought to win a person who under no circumstances would "give" their heart in life.

The "love-binding" capacity was attributed to the poetic form itself, as seen from the prohibition recorded in the **Grágás** (Grey Goose Law) against composing verses about a woman under penalty of a fine, since such verses were believed to act as a love spell — i.e., as a magical agent.

According to the Prose Edda, this form of binding is associated with Freyja: "She is fond of love songs. And it is good to invoke her aid in love."

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## Sound Keys of the Runes — Phonetic Galdr

Each rune consists of three elements: **form** (the sign itself), **sound** (its phonetic value), and **hidden law** (its secret meaning). All aspects are inseparably linked — the inscribed image and the sonic vibration together activate the rune's magic. The rune itself is a law that allows magic to be activated. These principles are still used by magi today, singing or repeating runes during galdr practice.

**Important: These are not the names of the runes but specific vibrational sound keys used in galdr practice.**

| Rune | Sound Key | Pronunciation Instructions | Notes |
|------|-----------|--------------------------|-------|
| Fehu | **FAY** (Фэй) | Accent on "A", makes the body vibrate | |
| Uruz | **USS** (Юсс) | Hissing on the "S" | |
| Thurisaz | **TAUSS** (Таусс) | Emphasize "A" or "S" in different phases of performing the rune | |
| Ansuz | **ONNSS** (Оннсс) | Accent on "O" | |
| Raido | **RITE** (Райт) | Accent on "A"; cry with all your might on the exhale. On the inhale — same but slowly (into the belly) | Dual breathing technique |
| Kenaz | **COW** (Кау) | Accent on "A" | |
| Gebo | **GAYB** (Гэйб) | Accent on "AY" | |
| Wunjo | **VAIN** (Вэйн) | Accent on "AY" | |
| Hagalaz | **HAGAL** (Хагал) | Stress on the second "A" | ⚠️ Also summons a demonic entity — use with caution |
| Nauthiz | **NOIT** (Нойт) | Stress on "O" | |
| Isa | **ACE** (Эйс) | Accent on "A" | |
| Jera | **YER** or **JAYR** (Йер/Жейр) | Accent on the first sound | |
| Eihwaz | **EEVEE** (Иви) | Accent on the first "I" for positive outcomes; accent on the second "I" for negative outcomes | Polarity switch |
| Perthro | **RAY** or **REH** (Рэй/Рэ) | Accent on "A" | |
| Algiz | **HOLG** (Хольг) | Accent on "O" | |
| Sowilo | **SOW** (Соу) | Accent on "O" | |
| Tiwaz | **TAY** (Тэй) | Accent on "AY" | |
| Berkano | **BAY** (Бэй) | — | |
| Ehwaz | **AYVEE** (Эйви) | Accent on the "Y" | |
| Mannaz | **MANN** (Манн) | Emphasize the final "N" | |
| Laguz | **LAGGS** (Лаггс) | Emphasize the second "G" | |
| Ingwaz | **NYUGG** (Ньюгг) | Accent on "YU" | |
| Othala | **OOTH** (Ооут) | Stress on the second "O" | |
| Dagaz | **DAGGAS** (Даггас) | Stress on the first "A"; when accelerating, emphasize the "S" | Acceleration variant |

### Critical Notes on the Sound Keys

1. **Hagalaz Warning**: The galdr of Hagalaz is also an invocation of a demonic entity. Exercise extreme caution. This is consistent with Hagalaz's nature as a rune of primal, uncontrollable disruption — its sound key does not merely vibrate the rune's energy but calls forth a specific being.

2. **Eihwaz Polarity**: Eihwaz uniquely has two modes — accent the first syllable for positive/beneficial work, accent the second for negative/destructive work. This reflects Eihwaz's position as the rune that bridges worlds (Yggdrasil) — it can be traversed in either direction.

3. **Raido Breath Technique**: Raido employs a dual breathing technique: the full-power exhalation cry and the slow inhalation drawing energy into the belly (hara/dantian). This mirrors Raido's nature as controlled, directed movement.

4. **Dagaz Acceleration**: Dagaz has an acceleration mode where the emphasis shifts to the "S" sound. This reflects Dagaz's nature as breakthrough and rapid transformation — the sound key itself accelerates.

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## Mnemonic Poem for Galdr Sound Keys

A poem by Е. Радуга (E. Raduga) for memorizing the sound keys and core meanings of all 24 Elder Futhark runes. Each line contains the galdr sound key in capital letters alongside its corresponding rune meaning:

> Нежные перья первых цветов — **ФЭЙ**,  
> Набухшие почки берез,  
> Это земля просыпается — **ЮСС**  
> И все устремляется ввысь!  
> Острым клинком — **ТАУСС**  
> Луч прорезает снег,  
> Птиц слышишь свист? — **ОННСС**  
> Вестники воли небес!  
> Жизни стремительный бег — **РАЙТ**  
> Радуги яркий след.  
> Зарево новой зари — **КАУ**  
> Мир в ожиданье побед!  
> Друг руку дай — **ГЕЙБ**  
> Мы не случайно здесь!  
> Благословение рун — **ВЕЙН**  
> Воля Богов проявись!  
> Небо темнеет, гром — **ХАГАЛ**  
> Вот и свершился гнев Хель!  
> Стойким будь воин — **НОЙТ**  
> Терпение твой удел!  
> Самое трудное ждать — **ЭЙС**  
> Зимнее время тоски,  
> Когда год пройдет — **ЙЕР**  
> Вновь возродятся ростки.  
> Что наверху — то внизу — **ИВИ**  
> Корни — величие кроны.  
> Тьма порождает свет — **РЭЙ**  
> Ткут нити судеб норны.  
> Хранители нас берегут — **ХОЛЬГ**  
> Мы не одни во Вселенной!  
> Солнце явись — **СОУ**  
> Здравия, силы, всем нам!  
> Видеть вдали цель — **ТЭЙ**  
> Мужество к ней идти!  
> Мудрость принятия — **БЭЙ**  
> Материнская доля земли.  
> Друг вместе мы — **ЭЙ**  
> Скорость, единство, союз!  
> Разум с Душою — **МАНН**  
> Вновь воедино слились.  
> Жизни река — **ЛАГГС**  
> К новым несет берегам.  
> Старое платье прочь — **НЬЮГГ**  
> Новое Боги соткут нам.  
> Стали мы крепче былого — **ООУТ**  
> Мы не одни, с нами Один!  
> Крылья нам дал путь — **ДАГГАС**  
> Друг мой, теперь ты свободен!  

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## Practical Integration: Galdr in Rune Work

### Combining Galdr with Rune Carving

The oral utterance and the carving of runes are mutually complementary. Together they ensure more complete penetration of the spell into the fabric of reality. For maximum effectiveness:

1. **Carve the rune** on an appropriate material while chanting its sound key
2. **Vocalize the galdr** with the specific pronunciation and emphasis indicated
3. **Maintain the breathing pattern** described (especially for Raido's dual technique)
4. **Allow the Power to flow through you** — become "intoxicated" by it while maintaining control

### The Imperative Principle

Galdr magic is fundamentally **imperative** — it does not request or petition but **commands**. When using galdr for healing, the practitioner:
- Confronts the spirits causing the affliction
- Declares authority over them
- Invokes magical weapons (spears, knives)
- Commands the ailment to depart
- Commands the patient to be healed

This imperative approach extends to all forms of galdr — drapa commands praise into reality, nid commands harm, manseg commands love. The form (verse + runes) is what makes the command effective, not the semantic content alone.

### For Divination Enhancement

The sound keys can also be used to deepen rune readings:
- After drawing a rune, softly chant its sound key to attune more deeply to its energy
- This can reveal nuances that visual/mental contemplation alone might miss
- The physical vibration in the body creates a somatic connection to the rune's power

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## Sources

- Арина Род / Velya forum — Compilation of runic galdr materials (thread t9097)
- Энмеркар — "ГАЛЬДР — СЛОВО, НАДЕЛЕННОЕ СИЛОЙ" (Galdr — A Word Invested with Power)
- Е. Радуга — Mnemonic poem for rune galdr sound keys and meanings
- Poetic Edda, Grímnismál 20 — Odin's words about Huginn and Muninn
- Grágás (Grey Goose Law) — Prohibition on composing verses about women
- Egils saga Skallagrímssonar — Egill's níðstöng against King Eiríkr
- Þorleifs þáttr jarlsskálds — Þorleifr's hidden nid against Jarl Hákon