Consider another thing. Why is it that our major scale is made up of 7 notes running from A to G, and once we reach the eighth note of a scale we have reached the same note, eight higher? Why is it that the first, third and fifth notes in a scale sound beautiful to our ears and form the major chords, yet a first, second and fourth are horrible? Why is it that most songs are written around the same first, fourth and fifth chords of a scale? This is the basis of folk music, blues, twelve bar, and most modern pop tunes. To me this science is truly magical, the foundation of the Bard’s Magic. By placing note, next to note, we are weaving a magic that is in tune with the Universe, and with the Gods. I’d like to take you on a journey, to the place and time when I first experienced this power.

I was sitting with my back against the trunk of an old Oak. It was early May and the bluebells carpeted the woodland’s sun-dappled floor. I took a deep breath of air, filling my lungs, a sensation that was as sensual as tasting the best Champagne. It was my lunchbreak, and I was lucky enough to work so close to this special place. My spaniel dog sniffed around, then came and lay down next to me. I was here to commune with the Spirits of Place. One of the things that had attracted me to the Druid path was that it didn’t view this Earth as a place to escape from. The idea that life was something evil was totally alien to me. The thought of reaching a state of enlightenment that meant I no longer had to return to Earth for future lives I found terribly frightening. It was days like these that I lived for.

I know that some people find silence the trigger for their connection to Spirit, and there are many times when I too find this the case. But on this occasion, I had brought my mandolin with me into the woods. I felt totally at peace, with the world, with myself, and with Spirit. I closed my eyes and began to play, not to anyone else but to the Spirit of this mighty Oak, and the nature Spirits whose space I was sharing. I played a D minor chord. Minor chords sound mystical, sometimes sad, and you’ll find that most chants have been written in a minor key. A minor key can shift our consciousness into a place where we are open to the unseen world. I just picked around this chord for a while, listening to the notes as they carried on the wind, occasionally humming along, caught up in the moment. Another magical thing that music does is to bend time. Time becomes something very different whilst in this space. I’m not sure how long I was sitting there, just playing around with sound, but after what seemed like both a couple of seconds, and yet hours, I sang a line.

Gather round people, let me spin you a tale,
Of a Mother’s anger, and a curse doomed to fail.

I didn’t stop playing the mandolin, but I did open my eyes. For a moment less than a second I saw faces looking at me from within the bluebells. Tiny shimmering lights sparkled, then were gone. Yet their impression was still there in my mind. Although I could no longer see them, I knew they were still there. I closed my eyes once more, a sweet sensation within my chest. I sang the line again….

Gather round people, let me spin you a tale,
Of a Mother’s anger, and a curse doomed to fail.
Arianrhod’s baby, whom she did disown,
And Gwydion stole him, to raise as his own.

A song was forming from the moment. The sacred sound of the mandolin was blending with the note of the Universe, and voices were whispering to me, voices that seemed to come from both outside of me, yet I was hearing them inside my mind.
“Tell my story,” She said.
“Who are you?” I asked.
“I am your muse, I am the Lady of Flowers, the May Queen, the Queen of Death, and the ghostly Owl of the night sky”.
I closed my eyes, and felt the power of the Oak behind me, heard the whisper of the breeze within the branches, and within those whispers I heard Her voice once again.

Now the boy he grew to be strong and brave,
But his Mother cursed him not to be given a name,
When he cast a stone where a Wren it did land,
She said, “The Young Lion has a Steady Hand!”

Then instantly, a chorus sang within my head. A chorus of voices that rang through the woodland, a chorus that I knew must be there.

Call the May, Call the May, Call the May, Call the May!
Gather round people and Call in the May!
Call the May, Call the May, Call the May, Call the May!
Gather round people and Call in the May!

I had only written two other Pagan songs at this time, one had come to me whilst driving, the other as I walked through the woods like an ancient Bard, playing my mandolin, once again to the Spirits who would listen to the gift I offered them. This one, once more, came as if from nowhere. I knew the story that was being told. It came from the Fourth branch of the ancient Welsh book called the Mabinogion. I had learned the entire Four Branches by heart, to be able to tell them around campfires, under the stars, as part of my Bardic training. Now another aspect of the Bard was emerging, the telling of the myth, in the form of song.

The voices were singing once more. It was a cacophony of sound. I played along to the singing, and tried to listen for words within. A word here and there, but nothing to draw from, then…

So she laid upon him a new destiny,
You shall never have any weapons unless given by me!
A great and powerful man then came into my awareness. “This will not be!” he shouted.
Then a mighty army by Gwydion’s charms,
Forced Arianrhod to give Lleu his arms.

A seething woman’s face, twisted with rage. Turned to face me, her arms outstretched.

Then in rage and torment she laid down this curse,
“He shall never marry a woman of the race of the Earth”.
Two cloaked figures entering the deep forest.
So Gwydion and Math planned to foil her hate,
And with the herbs of the forest, they twisted his fate.

Again the chorus rang out within the woodland. A thousand ethereal voices singing in total harmony.

Call the May, Call the May, Call the May, Call the May!
Gather round people and Call in the May!
Call the May, Call the May, Call the May, Call the May!
Gather round people and Call in the May!

I had to open my eyes once more. I was exhilarated, I felt completely at one with the Spirits of the Woodland. The place felt joyous, the air was electric, it felt like something was changing. I played with the chords, keeping the energy flowing, sensing the dancing figures just outside of my awareness, within their realm. In a place where the sacred sounds of our worlds combine. I closed my eyes once more….

I saw a Grove deep within the woods. It was the dawn of Beltane, and around a vast cauldron, two magicians were chanting, occasionally one would add another herb into the brew.

So they gathered from the forest, from the Grove where they meet,
Flowers of Oak, Broom and Meadowsweet.
And uttering upon them a verse of power,
A figure began to form from the flowers.

From within the cauldron, new life was forming. A woman of such beauty and radiance whose feet would bring life wherever they fell upon the Earth.

Oh rise and wake fairest Lady of Spring,
Come and be wed to the Forest King.
‘Flower Face’ is your name, sweet Blodeuwedd,
You carry life, within your breath!

And she danced within the Grove, feeling the warmth of the dawn’s rays upon her skin, a Goddess within the body of a human, her senses reeling with delight, as the voices chanted the verse of power.

Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet, come Hawthorn, come May!
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet, come Blodeuwedd, come wake!
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet, come Hawthorn, come May!
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet, come Blodeuwedd, come wake!

Then joining in a chorus of celebration.

Call the May, Call the May Call the May, Call the May!
Gather round people and Call in the May!
Call the May, Call the May Call the May, Call the May!
Gather round people and Call in the May!

The song was finished. I stopped playing the mandolin and let the final chord ring out into the woods, and fade away. I sat for a little while, eyes closed, just taking in the peace of the moment, as my awareness returned to the outside world, to the calling of the birds, and the smell of the earthy air. I open my eyes, the sun’s glare blinding me for a moment, until I re-adjusted to the brightness that surrounded me. I never wrote down a word of that song, I just knew it, and would write it down later when I got home. I kissed my hand, and placed it upon the earth just at the base of the Oak, giving thanks for the gift of Awen, the gift of Bardic inspiration. Then after a short time, I began to walk back – I had to get back to work.
The Awen isn’t like the Life Force. It isn’t with us all of the time. It comes in flashes of radiance, it is the quest of the Bard to bring more into their lives, to drink from the cauldron that creates the Fire in the Head. I’ve found that to sit and try to write a song is impossible for me. I cannot force inspiration, it simply is there or it isn’t. I have only rarely found it in my home. Most often it is found in the wilder places, on the moors, in the woodland, or upon the Hollow Hills where the Faerie dance on Midsummer’s Eve. And the key I have found is the use of sacred sound, whether that is a drum, mandolin, guitar, or the celtic harp. The Gods gave us music, and when we play in their sacred places, they listen.