By James Lovegrove

Gideon Coxall used to be an exceptional soldier yet undesirable at every little thing else, until eventually a roadside explosive machine leaves him with one deaf ear and a British military half-pension. So while he hears in regards to the Valhalla undertaking, it's like a dream come precise. They're recruiting former provider body of workers for great pay, no questions requested, to participate in unspecified wrestle operations.

the very last thing Gid expects is to discover himself battling along historical Viking gods. the realm is within the grip of 1 of the worst winters it has ever recognized, and Ragnarok—the fabled ultimate clash of the Sagas—is looming.

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Extra resources for The Age of Odin (Pantheon Triptych, Book 3)

Sample text

Y) 0<. ii: Phoenician system, Dorian mode, chromatic genus ~ - i- i"~ + J. q.. )- _q. ~. q-I"i. iii: Moon high, Lydian mode, enharmonic genus It is certainly an attractive idea, that the vowel-sequences encode a secret song. But if this is so, then it must be said that the Greeks nowhere else chose to notate their music in this clever and ANCIENT VOWEL-SONGS 47 convenient way; and that even if this was an exception, it is very unlikely that any modern readings agree with ancient practice. As is often the case with research into ancient occultism, the enterprise reveals far more about the researchers than about the subject.

It is possible that the Greek alphabet only adapted itself in classical times-and perhaps deliberately-to the expression of this time-honored septenary, and that by then the authentic pronunciations had been lost. Repeated experimentation, both alone and in groups, has convinced me that the place to seek for practical, rather than theoretical, correspondences is not in the alphabetical order of vowels, whether Hebrew, Greek, Latin, or English, but in their 32 VOWELS AND TONES natural, acoustic pitch.

VOWELS AND TONES 31 order in the Greek alphabet, but on the experiential and physical aspect of the vowels. 30 Attempting to incorporate the vowels in his grand scheme of correspondences based on a universal "Law of Four," Wagner places A at the bottom, as the most" subjective" and open vowel whose sound comes from deep down; at the top he puts 0, which issues from the most external part of the mouth and is thus the most "objective" vowel. Mediating between this AlphaOmega pair are E and U (the latter described as merely a muted 0).

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