Muslims have a form of exorcism. They call it “Ruqya;” it is a ceremonial prayer. This prayer cleanses a house of unclean spirits. The idea of this practice is highly suggestive to me. It is akin to Christian exorcism, but it is less theatrical; it is more like a center of calm in a person that they find deep within their soul. This extends, gently, to their chest, stomach, legs and arms, head, and, finally, their toes and fingers. The unshakeable calm saturates their entire body, soul and spirit. And when it does, they utter the ruqya assertively, powerfully, yet entirely devoid of aggression or impurity. Demons, who thrive on soul decay, frustration, aggression and hatred, are only repelled by the pure power expressed by the idea of this ruqya.

It is humble and unassuming; and yet, when the one who expresses it is encounters others, they notice that their demons are on the run, and that proper order is restored in their life. It is cleansing, healing, and comforting.

Some Notes on Ruqya

This piece has of a number of elements which intersect. The tonal center is c#; it initially suggests a minor mode. This is the darkest key signature, in my opinion. It sounds “black” to me. Other instruments enter the experience after the slow, simple pointillist opening with the solo piano. The harmonies become much more complex. The guitar introduces an octatonic mode. Later the piano, picks this up in places. There is a complex combination of polyphony, polytonality, and polyrhythm that grows naturally from initially simple threads into twisted sinews, before it dissolves again into nothingness. The piece begins and ends on the same, simple, unassuming C# right above middle C; consequently, while the piece is a complex, passionate journey, it restores a stable sense of self; it reassures you with a beneficent constancy and dependability of essence in the face of the darkness.