The name of The Dagda’s harp was called Uaithne (which means ‘pillar’ or ‘post’). In ancient times, such a pillar was thought to support the foundations of the world itself. The Dagda’s harp could only be played by Him. It was keyed to him by its name, Daur Da Blao, which means ‘Oak of the Two Greens.’ Daur Da Blao summoned forth the seasons that are spun out on the Wheel of Time. The Dagda’s Music, called Coir Cetharchair or ‘four cornered,’ created the space within which the Cosmos Itself was created. His poetry was released by calling out to the name of his Inner Music (which was really the name of his harper, Uaithne). We can do this for ourselves by calling upon the names of our own chosen High Ones (examples are provided below). The Dagda shows us the keys to opening the doorways between worlds, but we are responsible for passing the barriers that restrain our own ‘inner voice of enchantment.’ To hear the four cornered music of The Dagda, we must carefully chant the secret godnames within our own ‘inner
quietness.’

Invoking this inner state can be accomplished by using the combined techniques of Magical chanting, ‘Words of Power,’ and the ‘Music of the Spheres.’ Such a marriage between words and music has always characterized Celtic music, both in ancient times, as well as today. Words speak to the dúile of our Brains and address our deductive, logical capabilities, while the Draíocht of music resonates within the wavelike, intuitive nature of our Inner Mind, and the adjacent World of Dreams. This use of musical chanting was not unique to the ancient Celts, it was also common to many of the ancient peoples. It was especially the provenance of those people who worked within the ways of the spirit, traveling the astral pathways of the Heavens. The ancient Chinese said that Music was the order of Heaven, while Li (‘right behavior’) represented the order of the Earth.

The Vedic chants of India combined words and music in order to harmonize the Earth with the Heavens. It was thought that the practice of correct music toning and repetitive chanting could cause the two realms to co-exist. In ancient Greece, the Pythagorean philosophers assigned a musical harmony to the motions and natures of each of the heavenly spheres. A geometric shape and number was also assigned to each of the primordial concepts of being. Each note of the Pythagorean musical scales equated to the names of deities, or elemental powers. These Pythagorean correspondences will be covered in more detail later, as I attempt to derive a musical relationship for the Ogham within the Celtic Cosmos. Before we more completely cover the ‘Music of the Spheres,’ let’s talk about another group of ancient people that incorporated music, chanting, form, and order, into their own ‘Words of Power.’ We know this group of people as the Children of Abraham. They used sound, form, tone and number to tie the self to the Cosmos. The Magical art that resulted was known as Cabala.

In many Magical systems, ‘Words of Power,’ are used to create resonances within the minds of the Magicians. This is done so that they may attain a higher state of awareness. Frequently, these names are the outer or secret names of the Gods Themselves. The use of such words also serves to open the internal ‘Power Centers’ or ‘Chakras’ of the participants (in our own practice they synchronize the Three Cauldrons and align the dúile). These godnames are constructed using the letters of their respective Magical alphabets, as well as by using the natural tones and corresponding resonances that are associated with each letter or symbol.

They are thought to generate Magical resonances between the Magician, the Cosmos, and the ritual working itself. As was previously shown, such a use of resonance and power in the chanting of names and tones is not unique to Cabala. Many other workers of Magick used chanting and music, as well as the sacred alphabets. The Druids also used such techniques of sound and form. It is my belief that the ancient Celts and Druids used
the power of music and sound from their secret Ogham alphabet to aid them in working
Draíocht. This form of Magical chanting was known by the ancient Irish as ‘Amrún.’

The first Amrún was held at Grellach Dollaid and it was called “Amrún Fer nDéa Grellaid
nDollaid,” (‘the Amrún of the Men of the Goddess’). Lugh, The Dagda, and Ogma were joined by Dian Cécht and Goibniu, as they chanted together, in secret, for ‘a year and a day.’ They called on Danu and Her Three Gods within their Magical chanting. It was in this way that they received the knowledge of the Three Gods of Danu. Gaining the Wisdom of Danu enabled them to prepare a battle plan, as well as to defeat the Fomorii at Cath Maige Tuired. An Amrún is clearly a Magical amrán (‘song’). It is conducted in secret (Run means ‘secret’ in Old Irish), and it is usually held within the Otherworld. Such chanting and singing of incantations to the gods was known to sometimes go on for days. This was a very important way to raise power among the Druids and Filidh.

Before I present any further theories and traditions of Druidic chanting, here are a few examples of such chanting that I use to harmonize and empower my own inner music:

To Raise Power:
“AAH-Noooo-DAAH-Noooo-VREEE-Jeeehh-DAAAK-Dahhhhh…”
(Anu, Danu, Brighid, Dagda)

To Receive Imbas:
“OHH-Maaahh-VREEE-Jeehh- sCAAH-Thaah-LOOoo…”
(Ogma, Brighid, Scathach, Lugh)

To Perform a Healing:
“JEE-ah-kehkt-MEEE-ah-kehkt-AWR-vith-UHK-rool
(Dian Cécht, Míach, Airmid, Octriull)

To Wage Battle:
“Mor-REE-gaan-NEEV-aann-MAHK-uuhhh-BOVH”
(Morrigan, Nemain, Macha, Badb )

To Ease a Passing:
“MAAN-aann-nann-KAAHWLL-yuch-TAAHWL-too-CROMM”
(Manannán, Cailleach, Tailtiu, Crom)

To Bless a Baptism:
“VrEEE-jeeh-BOHH-aann-BAANN-baah-BOO-aahh”
(Brighid, Bóann, Banba, Bua)

This list is not fixed and does not imply that these deity names are the only deities that are important to such workings. Each of you must choose your own pathway to the gods. I select chants based upon the imbas of the moment. Look within and chose for yourself. Please honor the gods of your people in the way that is best for you. When chanting the chosen words of power, we should also try to vibrate the godnames within our mind/spirits and ourselves. This internal vibration of the name is much more important than the external sounds that are voiced. These rhythmic interweaving of sounds and form, build our energy levels, and allow us to become more aware of the presence of our chosen deities. Sometimes,

I also chant words that symbolize the object (or focus) of the working, as well as calling out to the gods. I have found that a bodhran can be a very useful tool to use in drumming up power while chanting, and have even used pre-recorded music to set the mood for the required meditations. There are many, many ways that music can aid and center our ritual Magick. As previously noted, such uses of music to accompany chanting and ritual are age-old techniques that go across cultures and time. One could chant the words of Amergin to create a powerful Magical working or space. It is my opinion that such a chant includes the elements of ‘Becoming’ and ‘Making’ that are so often attributed to Druids in the lore. The following version comes from Seán O’Tuathail’s “Excellence of Ancient Word” and can serve as an example for us in constructing such chants.

Amergin’s Challenge

I am a wind across the sea
I am a flood across the plain
I am the roar of the tides
I am a stag of seven (pair) tines
I am a dewdrop let fall by the sun
I am the fiercest of boars
I am a hawk, my nest on a cliff
I am a height of poetry (magical skill)
I am the most beautiful among flowers
I am the salmon of wisdom
Who (but I) is both the tree and the lightning strikes it
Who is the dark secret of the dolmen not yet hewn
I am the queen of every hive
I am the fire on every hill
I am the shield over every head
I am the spear of battle
I am the ninth wave of eternal return
I am the grave of every vain hope
Who knows the path of the sun, the periods of the moon
Who gathers the divisions, enthralls the sea,
Sets in order the mountains. the rivers, the peoples