Documente Academic
Documente Profesional
Documente Cultură
Feadog
Harp
Bodhran
Craebh CiuilPipes
Voice
-
_____________________________________________________________________________
Tree Tones
Poets and Bards carried "craebh ciuil", branches with bells and amulets attached
to them. A beginner's branch would be bronze, journeymen carried a silver branc
h and the Master Bards (Ollamh) carried a golden branch. The music of the bells
would announce the Bard's presence and an impending performance or ritual. In hi
s book, "Ogam, The Poets' Secret", Sean O'Boyle made a very convincing case for
the first use of Ogham to be as a musical tabulature. He showed how each Ogham h
ad its own corresponding note on the Irish small harp. In a more modern work, "T
rees for Healing", Pamela Louise Chase and Jonathan Pawlik independently identif
ied tree "soul tones" which are said to uniquely resonate with the spirit of eac
h tree. There are a lot of similarities between the two systems of tree toning.
There are also many other works that point to the spiritual presence of the tree
s and their interaction with the duile of both Space and the individual. As we'v
e already discussed, Ogham was keyed to the memories of Druids, as a music of th
e mind and a linking of many concepts. Such linking is essential for us to be ab
le to use the Ogham within our own art of divination. We shall need to learn the
ancient songs of the trees. It was within the rhythm of such songs that the Dru
ids first greeted the Sun and the Day. It was among the trees of the
Grove that the Druids learned the Truth of the World and it is within the Ogham,
the Knowledge of the Trees, that we will begin to learn about Ogham Divination.
The Harp Strings of the Forest
My own belief is that the Bards usually accompanied themselves with the harp as
they recited their repertorie. Just as Oghams were used as keys to memory with v
erses being linked by assonance and alliteration, I believe that each Ogham had
a unique tone or note associated with it on the harp. The tone or string was str
uck as the Ogham sound was spoken or sung two notes per line. The beginning and
ending notes serving to connect each line to the next line in a continuing strea
m. In the world of my my imagination I can hear the tones and words of the Bards
echoing as they float upon a wave of melody acroos the room. The sound reminds
me of chanting monks or the plainsong of worship (similar to modern Anglican or
Roman Catholic Plainsong). Sean O'Boyle, a late Irish scholar, made an attempt t
o interpret "Aradach Fionn" (Fionn's Ladder) as harp tabulature using Oghams. He
suggested that the Irish practice harp that has only 20 strings has a 1 to 1 co
rrespondence to the first 20 Oghams. As far as I know,no records survived to rea
ch us verifying his theory. It seems to make sense to me but I only speculate. T
he modern work "Trees for Healing" by Chase and Pawlik, reinforces this belief f
or me. This book is all about trees, their lore and their spirits. It describes
techniques for meditation to determine the harmonic resonaces for a variety of t
rees. I believe that the ancient Druids also detected certain harmonic tones for
each tree and used then in their Tree Ogham Alphabet. If we use the tones that
have been rediscovered by Chase and Pawlik and combine them with the ancient cha
nts, incantations and songs of Taliesin and Amergin, we may also be able to work
powerful Magicks. This Magick can take any form from enchanting an audience to
calling the winds. The Greek Bard Orpheus was able to walk between the worlds in
this manner and so can we. I list the trees and the derived modern tonal corres
pondences below:
Harp - Ogham Correspondences
_____________________________________________________________________________
Ogham
Old Irish
English
Musical Note
_______________________________________________
B
Beith
Birch
F
L
Luis
Rowan
C
F
Fearn
Alder
E
S
Saille
Willow
F
N
Nuin
Ash
G
_______________________________________________
H
Huathe
Hawthorn
B
D
Duir
Oak
F
T
Tinne
Holly
G
C
Coll
Hazel
D
Q
Quert
Apple
D#
________________________________________________
M
Muin
Vine
G
G
Gort
Ivy
G
Ng
Ngetal
Reed
F
St
Straif
Blackthorn
B
R
Ruis
Elder
A
____________________________________________
A
Ailim
Silver Fir
A
O
Ohn
Furze
E
U
Ur
Heather
B
E
Eadha
White Poplar E
I
Ioho
Yew
F
____________________________________________
Ch,Ea
Oi,Th
Ui
Ph
Xi
Koad
Oir
Uilleand
Phagos
Mor
Grove
Spindle
Honeysuckle
Beech
The Sea
F
C
D
A
G
_____________________________________________________________________________
Some of these tones were derived by meditation and resonance, some are based
upon the colors associated with the Ogham. My suggestion is to find such a tree
yourself and to meditate under it. play a pipe, a whistle or a harp (even a guit
ar will do in a pinch!) until you find "?" the correct tone for the tree. Other
tones will reflect from the tree. The "soul tone" of the tree will be absorbed a
nd you will possibly feel a tingle of energy that is released by the Spirit of t
he Tree. This experience is somewhat akin to the common belief in Ireland (even
today) that a particularily gifted musician, harper or piper has been taught by
the Sidhe (famed for their enchanted music). Celts believe in harmony and rightn
ess in all things and particularly in Nature. I noticed that many different Ogha
m had the same note... are these the same notes or are they in differing octaves
? The table I presented is not cast in stone! The first approach has each Ogham
on a different tone. For Fionn's ladder for instance. The second approach used m
editation techniques to determine the "soul tones" of the trees. Some trees evid
ently have a similar feel to them. I think that the table needs some work myself
. Perhaps one of the more musically gifted members could undertake such a study!
Need to have the transmogrification of what tree is which out west for me to do
it...but with that I'd love to do the tree/tone thing! Does this explain the pr
evalence of willow/oak in celtic magicks? It does to some extent. I have entire
books on nothing but healing properties of trees. I'm sure Druids knew much more
.
The Padstow May Song
Now to continue...Some of this Magick comes down to us today in the form of folk
songs still sung in the outer reaches of Ireland and the British Isles. Such a
song is the "Padstow May Song" from Padstow, Cornwall (in part):
"Unite and unite and let us unite
For summer is acome unto day
And whither we are going we will all unite
In the merry morning of May."
"I warn you young men everyone
To go into the greenwood and fetch your May home."
"Arise up Mr. _______ and joy you betide
And bright is your bride that lies by your side."
"Arise up Mrs. _______ and gold be your ring
And give to us a cup of ale the merrier we shall sing."
"Arise up Miss ______ all in your gown of green
You are as fine a lady as wait upon the Queen."
"Now fare you well, and we bid you all good cheer
We call once more unto your house before another year."
This song is sung on Beltaine and is said to charge the atmosphere of the
festival. It symbolizes the marriage of the youth with the land. (Unite and
unite and let us unite) It also addresses 3 individuals: A man, a woman and a
Maiden in a green gown (who represents Nature). This song is sung around the May
Pole or May bonfires in the evening (and prior to anyone escaping to the outer
folds of darkness for an evening of bliss).
Green Grow the Rushes
Another ancient folk song that has hidden meanings of Magick is the song "Green
Grow the Rushes":
"One of them is all alone and
ever more shall be so.
Two of them are lily-white boys
all clothed all in green Oh!
Three of them are strangers o'er the
wide world they are rangers.
Four it is the Dilly Hour when
blooms the Gilly Flower.
Five it is the Dilly Bird that's
seldom seen but heard.
Six is the Ferryman in the boat that
o'er the river floats, Oh!
Seven are the Seven Stars in the Sky,
the Shining Stars be Seven, Oh!
Eight it is the Morning's break when
all the World's awake, Oh!
Nine it is the pale Moonshine,
the shining Moon is nine, Oh!
Ten Forgives all kinds of Sin,