Juttadak ot ekäm o akarataban, o sívaban és o sielaban.
My brother and I are linked in mind, heart and soul.
Ot ekäm sielanak kaŋa 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 ćoro, o kuly torodak.
In anger, I fight the demon.
O kuly pél engem.
He is afraid of me.
Lejkkadak o kaŋka 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 ćaδa.
He runs away.
Manedak ot ekäm sielanak.
I rescue my brother’s soul.
Aldak ot ekam sielanak o komamban.
I lift my brother’s soul in the hollow of my hand.
Aldam 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 weńća 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”). 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 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.)
Odam-Sarna Kondak (Lullaby)
Tumtesz o wäke ku pitasz belső.
Feel the strength you hold inside.
Hiszasz sívadet. Én olenam gæidnod.
Trust your heart. I’ll be your guide.
Sas csecsemõm; kuńasz.
Hush, my baby; close your eyes.
Rauho joŋe ted.
Peace will come to you.
Tumtesz o sívdobbanás ku olen lamt3ad belső.
Feel the rhythm deep inside.
Gond-kumpadek ku kim te.
Waves of love that cover you.
Pesänak te, asti o jüti, kidüsz.
Protect, until the night you rise.
To hear this song, visit: http://www.christinefeehan.com/members/.
6. SONG TO HEAL THE EARTH
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 healer’s 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 final invocation.
Sarna Pusm O Maγet (Song to Heal the Earth)
First verse
Ai, Emä Maγe,
Oh, Mother Nature,
Me sívadbin lańaak.
We are your beloved daughters.
Me tappadak, me pusmak o maγet.
We dance to heal the earth.
Me sarnadak, me pusmak o hanyet.
We sing to heal the earth.
Sielanket jutta tedet it,
We join with you now,
Sívank és akaratank és sielank juttanak.
Our hearts and minds and spirits become one.
Second verse
Ai, Emä maγe,
Oh, Mother Nature,
Me sívadbin lańaak.
We are your beloved daughters.
Me andak arwadet emänked és me kaŋanko
We p
ay homage to our mother and call upon the
Põhi és Lõuna, Ida és Lääs.
North and South, East and West.
Pide és aldyn és myös belső.
Above and below and within as well.
Gondank o maγenak pusm hän ku olen jama.
Our love of the land heals that which is in need.
Juttanak teval it,
We join with you now,
Maγe maγeval.
Earth to earth.
O pirä elidak weńća.
The circle of life is complete.
To hear this chant, visit: http://www.christinefeehan.com/members/.
7. CARPATHIAN CHANTING TECHNIQUE
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: http://www.christinefeehan.com/carpathian_chanting/.
As with Tuva, note on the map the geographical proximity of Tibet to Kazakhstan and the Southern Urals.
The beginning part of the Tibetan chant emphasizes synchronizing all the voices around a single tone, aimed at healing a particular “chakra” of the body. This is fairly typical of the Gyuto throat-chanting tradition, but it is not a significant part of the Carpathian tradition. Nonetheless, it serves as an interesting contrast.
The part of the Gyuto chanting example that is most similar to the Carpathian style of chanting is the midsection, where the men are chanting the words together with great force. The purpose here is not to generate a “healing tone” that will affect a particular “chakra,” but rather to generate as much power as possible for initiating the “out of body” travel, and for fighting the demonic forces that the healer/traveler must face and overcome.
The songs of the Carpathian women (illustrated by their “Lullaby” and their “Song to Heal the Earth”) are part of the same ancient musical and healing tradition as the Lesser and Great Healing Chants of the warrior males. You can hear some of the same instruments in both the male warriors’ healing chants and the women’s “Song to Heal the Earth.” Also, they share the common purpose of generating and directing power. However, the women’s songs are distinctively feminine in character. One immediately noticeable difference is that, while the men speak their words in the manner of a chant, the women sing songs with melodies and harmonies, softening the overall performance. A feminine, nurturing quality is especially evident in the “Lullaby.”
APPENDIX 2
The Carpathian Language
Like all human languages, the language of the Carpathians contains the richness and nuance that can only come from a long history of use. At best we can only touch on some of the main features of the language in this brief appendix:
1.The history of the Carpathian language
2.Carpathian grammar and other characteristics of the language
3.Examples of the Carpathian language (including the Ritual Words and the Warriors’ Chant)
4.A much-abridged Carpathian dictionary
1. THE HISTORY OF THE CARPATHIAN LANGUAGE
The Carpathian language of today is essentially identical to the Carpathian language of thousands of years ago. A “dead” language like the Latin of two thousand years ago has evolved into a significantly different modern language (Italian) because of countless generations of speakers and great historical fluctuations. In contrast, many of the speakers of Carpathian from thousands of years ago are still alive. Their presence—coupled with the deliberate isolation of the Carpathians from the other major forces of change in the world—has acted (and continues to act) as a stabilizing force that has preserved the integrity of the language over the centuries. Carpathian culture has also acted as a stabilizing force. For instance, the Ritual Words, the various healing chants (see Appendix 1) and other cultural artifacts have been passed down through the centuries with great fidelity.
One small exception should be noted: the splintering of the Carpathians into separate geographic regions has led to some minor dialectization. However, the telepathic link among all Carpathians (as well as each Carpathian’s regular return to his or her homeland) has ensured that the differences among dialects are relatively superficial (e.g., small numbers of new words, minor differences in pronunciation, etc.), since the deeper, internal language of mind-forms has remained the same because of continuous use across space and time.
The Carpathian language was (and still is) the proto-language for the Uralic (or Finno-Ugric) family of languages. Today, the Uralic languages are spoken in northern, eastern and central Europe and in Siberia. More than twenty-three million people in the world speak languages that can trace their ancestry to Carpathian. Magyar or Hungarian (about fourteen million speakers), Finnish (about five million speakers) and Estonian (about one million speakers) are the three major contemporary descendents of this proto-language. The only factor that unites the more than twenty languages in the Uralic family is that their ancestry can be traced back to a common proto-language—Carpathian—that split (starting some six thousand years ago) into the various languages in the Uralic family. In the same way, European languages such as English and French belong to the better-known Indo-European family and also evolved from a common proto-language ancestor (a different one from Carpathian).
The following table provides a sense of some of the similarities in the language family.
Note: The Finnic/Carpathian “k” shows up often as Hungarian “h.” Similarly, the Finnic/Carpathian “p” often corresponds to the Hungarian “f.”
Carpathian
(proto-Uralic) Finnish
(Suomi) Hungarian
(Magyar)
elä—live elä—live él—live
elid—life elinikä—life élet—life
pesä—nest pesä—nest fészek—nest
kola—die kuole—die hal—die
pälä—half, side pieltä—tilt, tip to the side fél, fele—fellow human, friend (half; one side of two) feleség—wife
and—give anta, antaa—give ad—give
koje—husband, man koira—dog, the male (of animals) here—drone, testicle
wäke—power väki—folks, people, men; force val/-vel—with (instrumental suffix)
väkevä—powerful, strong vele—with him/her/it
wete—water vesi—water viz—water
2. CARPATHIAN GRAMMAR AND OTHER CHARACTERISTICS OF THE LANGUAGE
Idioms. As both an ancient language and a language of an earth people, Carpathian is more inclined toward use of idioms constructed from concrete, “earthy” terms rather than abstractions. For instance, our modern abstraction “to cherish” is expressed more concretely in Carpathian as “to hold in one’s heart”; the “netherworld” is, in Carpathian, “the land of night, fog and ghosts”; etc.
Word order. The order of words in a sentence is determined not by syntactic roles (like subject, verb and object) but rather by pragmatic, discourse-driven factors. Examples: “Tied vagyok.” (“Yours am I.”); “Sívamet andam.” (“My heart I give you.”)
Agglutination. The Carpathian language is agglutinative; that is, longer words are constructed from smaller components. An agglutinating language uses suffixes or prefixes whose meanings are generally unique, and which are concatenated one after another without overlap. In Carpathian, words typically consist of a stem that is followed by one or more suffixes. For example, “sívambam” derives from the stem “sív” (“heart”), followed by “am” (“my,” making it “my heart”), followed by “bam” (“in,” making it “in my heart”). As you might imagine, agglutination in Carpathian can sometimes produce very long words, or words that are very difficult to pronounce. Vowels often get inserted between suffixes to prevent too many consonants from appearing in a r
ow (which can make a word unpronounceable).
Noun cases. Like all languages, Carpathian has many noun cases; the same noun will be “spelled” differently depending on its role in a sentence. The noun cases include: nominative (when the noun is the subject of the sentence), accusative (when the noun is a direct object of the verb), dative (indirect object), genitive (or possessive), instrumental, final, suppressive, inessive, elative, terminative and delative.
We will use the possessive (or genitive) case as an example to illustrate how all noun cases in Carpathian involve adding standard suffixes to the noun stems. Thus expressing possession in Carpathian—“my lifemate,” “your lifemate,” “his lifemate,” “her lifemate,” etc.—involves adding a particular suffix (such as “-am”) to the noun stem (“päläfertiil”) to produce the possessive (“päläfertiilam”—“my lifemate”). Which suffix to use depends upon which person (“my,” “your,” “his,” etc.) and whether the noun ends in a consonant or a vowel. The table below shows the suffixes for singular nouns only (not plural), and also shows the similarity to the suffixes used in contemporary Hungarian. (Hungarian is actually a little more complex, in that it also requires “vowel rhyming”: which suffix to use also depends on the last vowel in the noun; hence the multiple choices in the cells below, where Carpathian only has a single choice.)
Carpathian
(proto-Uralic) Contemporary
Hungarian
person noun ends in vowel noun ends in consonant noun ends in vowel noun ends in consonant
1st singular
(my) -m -am -m -om, -em, -öm
2nd singular
(your) -d -ad -d -od, -ed, -öd
3rd singular
(his, her, its) -ja -a -ja/-je -a, -e
1st plural
(our) -nk -ank -nk -unk, -ünk
2nd plural
(your) -tak -atak -tok, -tek, -tök -otok, -etek, -ötök
3rd plural
(their) -jak -ak -juk, -jük -uk, -ük
Note: As mentioned earlier, vowels often get inserted between the word and its suffix so as to prevent too many consonants from appearing in a row (which would produce unpronounceable words). For example, in the table on the previous page, all nouns that end in a consonant are followed by suffixes beginning with “a.”
Dark Sentinel ('Dark' Carpathian Book 32) Page 39