Mixing Essential Oils for Magic: Aromatic Alchemy for Personal Blends (10 page)

turmeric

clove, ginger

labdanum

Sample Blend

Using the opposite group blending method, here’s a down-to-earth yet ethereal combi-

nation that I like to use for dream work. It contains cedarwood, jasmine, and ylang-ylang which are members of the woody and floral scent groups. All three oils are associated with dream work and peace. In addition, cedarwood and jasmine are associated with spirits, and ylang-ylang communicating with them.

Blending by Scent Group 61

Galadriel’s Dream

Cedarwood: 5 drops

Ylang-ylang: 4 drops

Jasmine: 1 drop

One system for classifying scents that I did not include at the beginning of this chapter was devised by G. W. Septimus Piesse and explained in his book
The Art of Perfumery
(1855). In it he equated fragrances with musical octaves, which may seem rather curious but it is popular for blending essential oils. We will explore this method in the next chapter.

C H A P T E R 5

Blending by Perfume Note

Scents and Musical Notes

As mentioned at the end of the last chapter, British analytical chemist and perfumer G.W.

Septimus Piesse (1820–1882) devised a method for classifying scents according to musical scales. As he explained in his book
The Art of Perfumery
(1855), this method was based on his belief that sound and smell form a link in the brain. Assigning fragrances to certain notes allowed the perfumer to create what he called harmonious scents. For example, a C chord would result in a blend of sandalwood, geranium, acacia, neroli, and camphor.

Piesse’s son Charles is sometimes credited with devising this system because as editor of the book he removed Septimus’ name from subsequent editions after his father’s death.17

Needless to say, Piesse’s system was complex and the concept was not widely used

until William Arthur Poucher (1891–1988) simplified it into three notes. A research chemist and chief perfumer at Yardley, Poucher began to classify scents based on their rates of volatility. His book,
Perfumes Cosmetics and Soaps
, has been in print since 1923 and is still a classic reference in the field of cosmetics. In this method, essential oils are assigned to one of the three notes based on their dominant characteristic and rate of evaporation. The notes are most often called top, middle, and base.

The top note is also called the head or peak note. It is the component that is first detected, usually the strongest, but it has the fastest evaporation rate lasting 10 minutes to 17. MacEwan,
Chemist & Druggist
, 152

63

64 Blending by Perfume Note

several hours. The top note leads the way, but then gives way for the other scents to take over. The middle note is also called the heart or modifier. The middle note is usually de-tectable 10 to 45 minutes after the perfume is applied and can last several hours to several days. The base note is also called the fixative or body note. Its purpose is to slow the rate of evaporation of the top note and to act as an anchor to hold the fragrance together.

A base note scent can last several days to over a week. Working together, the top note introduces the scent and the middle and base notes create the core of a blend. Mixing an oil from each of the three categories creates a well-rounded blend that unfolds over time.

Blending with Notes

Working with three notes is the theory, however, not all oils fit neatly into one category.

Some oils are complex in that they can function as more than one note. Angelica seed oil is an example and although it is often classified as a top note, it is more in-between top and middle. In addition to functioning as either note, an in-between oil like this works well as a bridge smoothing the separate notes in a blend. In Tables 5-1 and 5-2 I have included the categories of middle to top and middle to base. Oils listed this way can serve as either note depending on the other oils with which you want to blend them. For example, in a blend of ylang-ylang, lavender, and mandarin, ylang-ylang with its middle to base range functions as the base note.

Of course, in addition to creating nice-smelling blends we have the extra dimension of magical intentions to consider. Because of this, using the classic top, middle, and base notes should be thought of as a basic roadmap. For example, I can plan a blend with rosemary, nutmeg, and jasmine because they suit my intention for clarity and protection in dream work as well as a basic range of three notes: middle top, middle, and middle base, respectively. A blend with petitgrain, pine, and lavender, top, middle top, and middle notes, respectively, shifts the scale upward but still maintains a three-note spread. Don’t be afraid to experiment with the note ranges, have fun, explore, and you will be rewarded.

Where necessary to avoid confusion, I have maintained details to distinguish between the species of plants such as spike and true lavender because they have different notes.

Likewise for angelica seed and root oils and a few others that also have different perfume notes. In the case of eucalyptus and fir where species have the same note—middle top for blue gum and lemon eucalyptus and middle for balsam and silver fir—it should be understood that the single entry of eucalyptus or fir applies to both their respective species. To conserve space I have abbreviated some of the details especially in Table 5.1. For example, Blending by Perfume Note 65

instead of chamomile (
Roman
), cedarwood (
Virginia
), or eucalyptus (
lemon
), you will find chamomile (
R
), cedarwood (
V
), and eucalyptus (
l
), and so forth.

Table 5.1 Perfume Notes of Essential Oils

Top

Middle to Top

Middle

Middle to Base Base

anise

angelica (
seed
)

allspice

angelica
(root)

amyris

bergamot

basil

caraway

benzoin

birch

cassia

bay

cardamom

cananga

frankincense

fennel (
sweet
)

cajeput

carrot

cedarwood

labdanum

hyssop

camphor

chamomile (
R
)

chamomile (
G
)

myrrh

lavender (
spike
) catnip

cinnamon

clary sage

oakmoss

lemon

celery

clove

cypress

patchouli

lime

citronella

coriander

helichrysum

sandalwood

mandarin

eucalyptus

cumin

jasmine

spikenard

orange (
bitter
)

grapefruit

dill

lovage (
root
)

storax

peppermint

lavendin

elemi

pepper

turmeric

petitgrain

lemongrass

fennel (
bitter
)

rose (
Maroc
)

valerian

rose (
Damask
)

litsea

fir

ylang-ylang

vetiver

sage (
common
)

lovage (
leaf/

galangal

stalk
)

spearmint

myrtle

galbanum

spruce

pine

geranium

yarrow

rosemary

ginger

tagetes

hops

tea tree

juniper

thyme

lavender (
true
)

lemon balm

marjoram

mugwort

neroli

niaouli

nutmeg

66 Blending by Perfume Note

Table 5.1 Perfume Notes of Essential Oils (continued)

Top

Middle to Top

Middle

Middle to Base Base

orange (
sweet
)

oregano

palmarosa

parsley

sage (
Spanish
)

savory

star anise

When you begin mixing with this method it is best to keep it simple by using only

three oils in a blend. In this way you will learn how each oil functions as its intended note and you will be better positioned to combine multiple oils of the same note in more complex blends. Unlike the botanical family and scent group blending methods where oils have similar constituents and will generally blend well together, this method has more chance of error. Because of this, the trial test with cotton swabs or blotter strips before actually mixing the oils can be helpful to catch a less than desirable blend. However, if you’re on the fence and not sure if a blend would work, go ahead and try it because it may really blossom when it matures. The situation to avoid mixing oils is when your reaction to the swab test is “wow, this is not going to work.”

The simple rule of thumb for blending by perfume note is 3-2-1: three drops of the top note, two of the middle note, and one drop of the base note. Even though the top note may be strong, it is more fleeting and can work in a higher amount. However, when a top note is particularly strong, proceed as you would with the other methods by adding one drop of each oil at a time. Once you have one drop of all three notes, add one drop of your middle note and then one of your top note. If all seems well, add one more of your top note.

Sometimes you may find that a reverse formula is more to your liking especially if

you want to emphasize the lower note. Follow your nose and proceed slowly when add-

ing drops as you work out your blend. When you are happy with the results, follow the same procedure as detailed in Chapter 2 for assessing and allowing the blend to mature.

Some individual oils become deeper and richer over time, which will further enhance the development of the blend. These oils include frankincense, jasmine, patchouli, rose, and sandalwood.

Blending by Perfume Note 67

As with all methods, this is a starting point. After creating a couple of blends with three oils, you may want to experiment by doubling the number of oils for each note. Oils that seem to take over a blend can be tempered with others such as pepper, lemon, or geranium to create more of a balance. You will also find that an emphasis on base notes can create a more spicy or earthy blend. While lavender and sandalwood are a wonderful and traditional combination, you can jazz up this mix by adding a lemon top note. In addition, lavender and sandalwood can be used to enhance and bring out the beauty of other oils, while rosemary and marjoram can help smooth a blend.

Of course, the oils you use for a blend will also depend on how they fit with your purpose. As with blending by botanical family, you may find that you need to include supportive intentions and powers when oils for all three notes do not share the same associations.

Table 5.2 provides information on which oils work particularly well together according to perfume note. Each row is dedicated to one oil, which is noted in bold underline type-face under its perfume note category. The oils are listed alphabetically down through the table. As in other chapters, this table provides a sampling of combinations to help you get started and contains some abbreviations.

Table 5.2 Oils that Combine Well According to Perfume Note

Top

Middle to Top

Middle

Middle to Base

Base

lavender (
spike
),

bay

Allspice

pepper,

labdanum,

orange (
bitter
)

clove (
bud
),

ylang-ylang

patchouli

neroli

bergamot,

citronella,

lavender

cedarwood

Amyris

spruce

lavandin

(
true
), ginger,

oakmoss

palmarosa

lavender (
spike
),

cajeput,

coriander,

Angelica (root)

patchouli

lemon

lemongrass

lavender (
true
)

clary sage

bergamot

Angelica (seed
)

geranium

cedarwood,

oakmoss,

lemongrass,

mugwort

clary sage

patchouli,

pine

vetiver

Anise

eucalyptus (
bg
),

cardamom,

angelica (
root
),

oakmoss

mandarin

grapefruit

carrot,

rose (
Maroc
)

coriander

68 Blending by Perfume Note

Table 5.2 Oils that Combine Well According to Perfume Note (continued)

Top

Middle to Top

Middle

Middle to Base

Base

bergamot,

Basil

geranium,

clary sage

oakmoss

hyssop, lime

citronella

opopanax

lemon

Bay

lavender (
true
),

cypress,

frankincense,

pine, rosemary

orange (
sweet
)

lovage (
root
)

labdanum

cassia, lemon,

grapefruit

fir (
balsam
),

Benzoin

birch, myrrh

rose (
Damask
)

neroli

jasmine

Bergamot

basil,

dill, juniper,

chamomile (
G
),

patchouli

petitgrain, rose

grapefruit,

neroli,

pepper

(
D
)

lavandin,

opopanax

tagetes

pine, rosemary

clove, juniper

benzoin,

Birch

jasmine,

ylang-ylang

bergamot,

Cajeput

lavender (
true
),

cedarwood,