Кристин Фихан: Dark Song

• 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 pace) 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.

This song is sung by a woman while a 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 Dvor˘ák and Smetana, have taken advantage of a similar discovery, working other traditional Eastern European music into their symphonic poems.)

To hear this song, visit christinefeehan.com/members/.

This is the earth-healing song that is used by the Carpathian women to heal soil filled with various toxins. The women take a position on four sides and call to the universe to draw on the healing energy with love and respect. The soil of the earth is their resting place, the place where they rejuvenate, and they must make it safe not only for themselves but for their unborn children, as well as their men and living children. This is a beautiful ritual performed by the women together, raising their voices in harmony and calling on the earth’s minerals and healing properties to come forth and help them save their children. They literally dance and sing to heal the earth in a ceremony as old as their species. The dance and notes of the song are adjusted according to the toxins felt through the healers’ bare feet. The feet are placed in a certain pattern and the hands gracefully weave a healing spell while the dance is performed. They must be especially careful when the soil is prepared for babies. This is a ceremony of love and healing.

Musically, the ritual is divided into several sections:

• First verse: A “call-and-response” section, where the chant leader sings the “call” solo, and then some or all of the women sing the “response” in the close harmony style typical of the Carpathian musical tradition. The repeated response— Ai, Emä Maγe —is an invocation of the source of power for the healing ritual: “Oh, Mother Nature.”

• First chorus: This section is filled with clapping, dancing, ancient horns and other means used to invoke and heighten the energies upon which the ritual is drawing.

• Second verse

• Second chorus

• Closing invocation:In this closing part, two song leaders, in close harmony, take all the energy gathered by the earlier portions of the song/ritual and focus it entirely on the healing purpose.

What you will be listening to are brief tastes of what would typically be a significantly longer ritual, in which the verse and chorus parts are developed and repeated many times, to be closed by a single rendition of the closing invocation.

First verse

Second verse

To hear this chant, visit christinefeehan.com/members/.

As with their healing techniques, the actual “chanting technique” of the Carpathians has much in common with the other shamanistic traditions of the Central Asian steppes. The primary mode of chanting was throat chanting using overtones. Modern examples of this manner of singing can still be found in the Mongolian, Tuvan and Tibetan traditions. You can find an audio example of the Gyuto Tibetan Buddhist monks engaged in throat chanting at christinefeehan.com/carpathian_chanting/.

As with Tuva, note on the map the geographical proximity of Tibet to Kazakhstan and the Southern Urals.