This Draíocht can take many forms: from enchanting an audience, to calling the winds. The Greek Bard Orpheus was able to walk between the worlds in this manner (in much the same way as the Druids). Some of the tree tones that I’ve listed were derived from meditation and resonance, while some were based upon the colors associated with the Ogham. My suggestion is to find each tree yourself and to meditate under it. Play a pipe, a whistle or a harp (even a guitar will do in a pinch!) until you find the correct tone for that tree. Most tones will reflect from the tree; only the ‘soul tone’ of the tree will be absorbed. You will possibly feel a tingle of energy that is released by the spirit of the Tree in response to your music.

This interaction between the musician and Nature is somewhat akin to the common belief in Ireland (even today) that the Sídhe (also famed for their enchanted music) may have taught a particularly gifted musician, harper or piper. Celts believe in harmony and rightness in all things and particularly in Nature. It should be no surprise that their music could be found within their Ogham symbols, the trees of the forest, or even the ‘Harmony of the Spheres.’ There are many similarities between these three systems: tree toning; Ogham based musical scales; and the ‘Harmony of the Spheres.’ There are also several other modern works that point to the spiritual presence of the trees, and their interaction with the dúile of both the macrocosm of space and the microcosm of the individual.

As we’ve already discussed, Ogham itself was keyed to the memories of Druids, serving as a music of the mind and as a key to the linking of many concepts. Such a linking of concepts will be essential for each of us if we hope to use the Ogham within our own divinations. We shall need to relearn the ancient songs of the trees. It was within the rhythm of such songs that the Druids first greeted the Sun and the Day. It was among the trees of the Grove that the Druids learned the Truth of the World, and it is within the Ogham, the Knowledge of the Trees, that we will chant our own true wisdom.

Sometimes, the many different parts of a Magical working were carved in Ogham upon wooden fedha (to serve as a memory trigger, as well as to increase or focus Magical power). Such fedha may have been selected from a particular place or even from a particular tree to further enhances the power of the spellwork. Names and intentions were probably also carved upon these fedha. They may have eventually been used as: votive offerings to the gods of the rivers, lakes, and sacred wells, or they could have been set into the ground to mark out a sacred space.

In the case of Eochaidh’s search for Étain, his Druid Dalan cut four wands of yew and wrote Ogham upon them. It was revealed to Dalan, through his own poetical chanting and the use of Ogham fedha, that Midir had spirited Étain away to the brúgh of Bri Leith. Such a use of four wands planted in the ground to define a sacred space, is a very similar technique to how I suggest we create our own sacred space. We can use the symbols of the Four Hallows of the Tuatha Dé Danann as markers of sacred space, when we attempt our own Ogham Divinations. By surrounding ourselves with the gifts of the Wizards and the power of the Gods, we can establish a home for the song of the spirit.