Enlarged with AI from a smaller original
Treble clef and music notes design
Black and grey · Flash
The drawing shows a large treble clef with spiral swirls curling around its lower and upper sections. Scattered around it are quavers, semiquavers, a sharp sign, a flat sign, a natural sign and small leaf sprigs. The linework is solid black with tapered strokes and no shading, on a plain white background.
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A story inspired by this tattoo · fiction
The bell-ringer's daughter in Carrowmere had a voice like a cracked jug, and everyone in the valley knew it, which was why the old lute-maker Tobias Vane was so surprised when she walked into his workshop one wet morning and asked him to teach her to sing in the key of the sky. He laughed until his spectacles fogged. Then he took down a sheet of vellum and drew for her the great curling sign that the scholars of the eastern hills call the clef of the heavens, a tall black S with a spiral at its top and another at its foot, and he told her that every song in the world was only this sign, unwound.
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She practised through the autumn. She sang to the cows, to the millstone, to the drowned bell in the mere. Some nights she heard the notes fly off her tongue like little black swallows and settle on the hedgerows, and in the morning there were sprigs of green leaves caught in the thorns where they had perched. The flat sign came to her first, sulking and low, then the sharp, which pricked her like a nettle. The natural sign she never managed to catch, though she found it once curled in the bottom of the well, looking very pleased with itself.
When the frost came, the mere froze, and the bell at the bottom of it began to hum on its own. Maud walked out across the ice at dusk, sang the whole tall sign from its lowest spiral to its highest, and the bell rose up through the cracking ice like a moon. The valley woke. Tobias, still squinting over his vellum, said it was the first honest song he had heard in forty years, and went back to his glue pot without another word.
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