Dark Wolf (60 page)

Following the trunk of the Great Tree, we fall into the netherworld.

Fázak, fázak nó o
.

It is cold, very cold.

Juttadak ot ekäm o akarataban, o sívaban és o sielaban.

My brother and I are linked in mind, heart and soul.

Ot ekäm sielanak
engem.

My brother’s soul calls to me.

Kuledak és piwtädak ot ekäm.

I hear and follow his track.

Saγedak és tuledak ot ekäm kulyanak.

Encounter I the demon who is devouring my brother’s soul.

Nenäm
, o kuly torodak.

In anger, I fight the demon.

O kuly pél engem.

He is afraid of me.

Lejkkadak o
salamaval.

I strike his throat with a lightning bolt.

Molodak ot ainaja komakamal.

I break his body with my bare hands.

Toja és molanâ.

He is bent over, and falls apart.

Hän
.

He runs away.

Manedak ot ekäm sielanak.

I rescue my brother’s soul.

ot ekam sielanak o komamban.

I lift my brother’s soul in the hollow of my hand.

ot ekam numa waramra.

I lift him onto my spirit bird.

Piwtädak ot En Puwe tyvijanak és saγedak jälleen ot elävä ainak majaknak.

Following up the Great Tree, we return to the land of the living.

Ot ekäm elä jälleen.

My brother lives again.

Ot ekäm
jälleen.

He is complete again.

To hear this chant, visit: http://www.christinefeehan.com/members/.

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”). Some of 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 women while the 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”).

Musically, the Carpathian “Lullaby” is in three-quarter time (“waltz time”), as are a significant portion of the world’s various traditional lullabies (perhaps the most famous of which is “Brahms’ Lullaby”). The arrangement for solo voice is the original context: a mother singing to her child, unaccompanied. The arrangement for chorus and violin ensemble illustrates how musical even the simplest Carpathian pieces often are, and how easily they lend themselves to contemporary instrumental or orchestral arrangements. (A wide range of contemporary composers, including
and Smetana, have taken advantage of a similar discovery, working other traditional Eastern European music into their symphonic poems.)

Odam-Sarna Kondak
(Lullaby)

Tumtesz o wäke ku pitasz
.