TL;DR:
- Plz make my life easy and provide me with all the relevant information if I'm moderating you.
- Feel free to prod me if I seem to have forgotten about your thread.
- Link any relevant wiki articles to your post (see number 1)
Current Plans:
- Vocational Skills (Seafaring Draft 2) (Roguery Draft 4)
My Player Characters:
- Straylor Leonard (Back from the Moon and retaking the Crownlands with friends)
- Xeres Lyonythas (Searching for Storm Giants)
- Oliver la Penne (Getting his Wagon License)
- Kruol Gaadish (So anyway, I started Killin')
- Rhyton Un'daaro (Being a tourist in Arium)
- Loreron ex Patria Aria (Watching the World Burn and fighting back)
My Favorite Storyteller for Adventures
CrimsonCommunity Award: Storyteller of the Year (Overall Favorite Storyteller) 2024
CrimsonPlayer Who is the Most Obsessed with Aelyria
CrimsonFavorite Comedic Scene
Barthelme being turned into a cat, followed by being turned back into himself but wearing a little girl's dressFavorite Inventive Solution to a Problem
Sheng deciding to punch a catfishMost Punny Thread Title (Puns, Quotes, Reference Jokes, or Memes)
TIE: I Had Amnesia Once...Maybe Twice.. and Knights of the Trade Republic
Aelyria Awards 2021
The Moderator of the Year1st: Crimson
2nd: Maddyn
3rd: Charybdis
The Moderator + Plotline I extremely enjoyed (reading/participating)
1st: Crimson - Portshire Raid
2nd: Charybdis - Werewolves
3rd: Roscarnis de Lylles - Tzatziki
The Moderator who is my favorite go-to for threads
1st: Crimson
2nd: (TIED) Indefinite - Maddyn
3rd: Grim
Favorite "on the edge of my seat" moment
1st: The Portshire Raid
2nd: Faust in Aslangrad
3rd: The Solace Raid
Most Aelyria Obsessed
1st: Crimson
2nd: Indefinite
3rd: Maddyn
Honorable Mentions 2021
Are We Sure That's Not A Rounding Error? (Off By One - Every Vote Counts!)Valanthia vs. Melloluna (PC of the Year)
Vireylda vs. Sliucha (Most Driven PC)
Rosarnis vs. Rosie vs. Clairé (PC whose stories most interest you)
Vireylda + Valanthia vs. Faust (PC most likely to have your back) [almost a three-way tie!]
Maddyn vs. Crimson (creative mod)
Charybdis vs. Crimson (story mod)
Maddyn vs. Hamster (Most Helpful)
I can be your angle or yuor devil'
Straylor, for getting 2nd in both "most likely to save us all" and "most likely to have caused whatever we'll need saving from"
A Treatise on Song
As written by the Traveling Bard ~
"I'm a druid, a healer, a sorcerer, a mystic, and an elementalist -- what am I? ... I am a spellsinger."
Introduction:
Many claim that spellsingers or bards do not require Clara nor the traditional mechanics of spellcasting. How wrong many have been! Each bard is taught how to meditate, reach Clarity, focus, and channel just like the next mage. Yet while Elementalists, Mystics, Sorcerers, and Healers are bound by the limitations of their sphere, Bards have access to the Essence that binds all things together: Song.
Why, then, do we call this beautiful element 'Song'? The term Song Essence is so frustratingly vague. In truth, Song is able to manipulate much more than simply sound but every essence that fills the Material Plane. The complexity and simplicity of Song Essence and its compatibility with virtually every Essence is the reason why Song is such a dynamic and flexible sphere. Through this Essence, a ballad may rejuvenate those who listen while a serenade may lull foes to sleep; a rhythmic beat may bring haste to an army while a dissonant piece may pierce through flesh and steel alike!
Arcanomechanics:
Alteration deals with shape and form. This is generally used by Bards when enhancing the area-of-effect of their spellsongs. At lower levels greater range means lessening the overall effectiveness of the spells effects however, so Initiates are traditionally taught to target only a few persons with their spellsongs. Alteration is also used with certain spellsongs that conjured body parts. The targets physiology is transformed using alteration.
Abjuration directly affects movement in all sense of the word. This can make a spell more dynamic or more permeating. For instance, Spellsongs that enhances movement or healing may use abjuration to speed up reflexes and regeneration respectively. Abjured spells may also include missile-type damage such as bolts of energy launched against a foe. And abjuration can also extend the overall duration of a song, though it would directly drain the caster's Vis.
Conjuration allows for creation. The best example of conjuration is when bards bring forth other melodies and harmonies from the Plane of Song to enhance their spellsong. By adding additional music, they can enhance the raw power of the spellsong’s sound or enhance its effects. Conjuration can also summon creatures from the Plane of Song. Many scholars believe that the Plane is as dynamic and ever-changing as its Essence. And from its depths, Bards can occasionally touch the minds of sentient creatures ranging from adventurous astral creatures to greater immortals still unknown.
Divination is emotion and control. This is the purpose of the song that the Bard instills within the spell, whether it is to build courage in the hearts of men, or to incite fear among the ranks of enemy soldiers. And while divination is not required to create all spellsongs, it is a necessary component when the Bard wishes to augment emotions or charm certain persons or animals. Divination is also used to directly link the Bard's whim to his spellsong for easier manipulation during or after casting.
Evocation allows spellsongs to release raw, physical force. This is best used in spells that attack, cause damage, or in conjunction with alteration to create magical barriers to hinder or impede foes. Evocation may also enhance the power of spellsongs by increasing the dynamics of the song thus extending its range and even its effectiveness.
Instruments of the Trade:
As long as Telath sings, there will be instruments to accompany her. It is the same with Song. While the voice alone can produce the total effect of any spellsong, instruments have often been used to enhance spellsongs. This is only a natural progression. For what better instrument is there to keep rhythm and instill a sense of haste and valor than the drum or horn? Is there a sweeter serenade than that which is sung by strings? Or a more playful tune than those played by the flute?
This is not to say that every bard must learn how to play instruments! Why, that would take lifetimes upon lifetimes to do! Where is, then, your faith in Arcana? This is where countless scholars have agreed to disagree before disagreeing even more strongly. And I am here to discount all their moaning and groaning. First, with Arcana there is no impossibility. Every mage in the Empire (maybe even more so our Ikos friends) will agree with that. Now, consider this: bards embrace magic as much as magic embrace their songs.
This equals to unparalleled possibilities even with a single musical instrument. Our essence comes from the Plane of Music after all! Who is to say that there are no sweet sounding voices, marching drums, powerful horns, playful flutes, or serenading strings there? With Arcana, these effects are possible for the Spellsinger. This is how a Journeyman can produce a concerto with his only his voice, harp, lute, or drums! This is how a single Spellsinger can conjure a chorus of voices to accompany her and her spellsong!
But, yes there is a but, bards must keenly pursue the study of music to further their understand of the art. Song is not called Song because its practitioners are tone deaf and lack any talent in poetry. It’s rather the opposite! Initiates, Apprentices, and even Adepts are encouraged to invest countless candlemarks in practice and study.
At the very least, an Initiate must know the primary elements of music. Apprentices are tutored in writing stronger lyrics while they are exposed to a greater variety of song types. Adepts are especially learned in composing both lyrics and melodies. This is particularly useful in publishing their works to the magical and mundane society. Without a formal transcript of their masterpiece, journeymen are generally not even considered for mastership. This is why adepts generally travel far and wide to add to their repertoire of songs, poems, and talents in music. It is not uncommon for bards to learn various instrument types along with voice training for their own benefit. For the most part, novice level training is more than enough for Bards focusing on either their voice or a particular instrument. Some spellsingers even pursue multiple instruments, though it is not required.
Inherent Advantages and Disadvantages:
For as long as Song existed, many have wondered about the how and the why about its mysterious mechanics and its even more suspicious and seemingly unprecedented powers. I have been called a demigod, an entertainer, and a demon all in the same brightening. And despite the obvious discomfort, I have learned to understand why confusion often leads to a distinct distrust. Let me put your minds at rest then when I say that I am neither a god of light or of darkness. But an entertainer? Perhaps on occasion.
The power of our magic affects the world profoundly and in as many dimensions as the mage is capable of affecting. An Initiate may be able to affect a small crowd of people, charming them with a serenade or invigorating them with a marching beat. As I have stated earlier, Song Essence affects other Essences. This fluidity and flexibility allows the Bard to create a seemingly limitless number of spells. A spellsinger can, for instance, manipulate the air via alteration, heating it, until a flame is sparked to light a campfire. Or, at greater levels and proficiency, a Bard can even manipulate the very substance surrounding individuals and transport them instantaneously to avoid capture or to confuse foes. But for all its glory and myriad of applications, some spellsongs, whe interrupted or unfinished, will have its effects could be significantly be diminished or reduced to nothingness. Keep in mind that most songs take minutes to fully sing and some have complicated verses that requires memorizing. Not to mention the style of the song, its unique melody, rhythm and other aspects. True to the old adage: “A bard is only as good as his song”.
Yet while most mainstream spheres are scientific in their formulation and approach, Song encourages even aspiring Bards to develop their unique methods to create different rhythms, melodies, and casting styles. Whereas other magi follow predetermined steps to finally shape and release their spells, Bards must follow those standard 'rules' of spellcasting and keep in mind their song and how to best perform it and weave both magic and music together. This is perhaps the most challenging aspect of Song. But it is also Song's most unique attribute. This way, no two songs are ever the same, though their effects may be similar or almost the same. (Even if the Bard is performing a 'standard' from a list of famous Spellsongs) This gives Bards a moment's advantage over their adversaries. They always have a new trick up their sleeves. The possibilities are almost endless.
And I say almost because Song does have its share of limitations just like any other sphere.
First, spellsongs must travel through a vibrating medium such as air (or water for aquatic races). This means that if the Bard is unable to produce any sort of sound or rhythm, they cannot cast their spells. This is perhaps the greatest hindrance to Spellsinging. Unlike their counterparts, which usually shape and cast their spells in complete, stoic silence, Bards must perform their spells. This is why most bards usually elect to pursue training in some form of arms to ward off hasty attackers.
Second, bards are still accountable to the limitations of Arcana. Many aspiring bards suppose that pursuing song is little more than a glorified hobby. This is not the case. If one was to reach the peak of their profession as Spellsinger, they will not be able to achieve greater status in other skills higher than that of an elite fighter or master craftsman. This also means that Spellsingers can hedgemage at the normal ratio as other mages, peaking at the Journeyman level if the bard choose to practice a second sphere (any more than that, and the maximum level is still Initiate). It should also be noted that Bards cannot seem to practice Ikos at the same time. Some scholars believe that the Ikos 'subconscious' opposes the showmanship spirit necessary for Spellsinging. So for this reason, there can never be a Song and Ikos hedgemage.
Lastly, Bards may continuously drain themselves of Vis while maintaining a spellsong. This is both useful and extremely dangerous as untrained bards may overexert themselves while the overzealous may bring more harm than good. This possible due to the intimate connection they share between the Material and the Astral via their spellsongs. In this manner, a bard may extend the duration or increase the effects of their spellsongs. But it is also possible for the bard to loose a significant amount of Vis even if the spell is interrupted or dispelled.
The Initiate Bard
At this level bards are taught the primary elements of Arcana as well as music theory. To understand how music is composed and how it, in turn, affects the listener is vital. Thus, the following elements are emphasized and used to teach the beginner level spells.
Spellsinging – by using any musical device (including voice) a bard may cast his spell in the form of a song. This melody acts as the force that carries the spells effects. The spellsong’s effects and duration is directly related to the melody, pitch, rhythm, harmony, consonance or dissonance.
Dispel – the initiate is taught how to disrupt foreign spells at the most basic level: either by casting their own spell against it or by using sheer will power to unravel the opposing spell’s weave.
Melody – a series of notes sounding in succession. This is the backbone of a spellsong. Without a melody, a spellsong cannot fully manifest even with Arcana.
Rhythm – the arrangement of sound in time. This is the speed of the melody or song. This is another determining factor of the spellsong’s effects. Slow moving ballads may produce a calming effect while a marching beat may instill haste in the hearts of men.
Consonance – harmonies that sound well together. Pleasant. Promotes more peaceful effects or support-type effects such as sleep or calm.
Dissonance – harmonies that do not sound well together. Unpleasant. Promotes damaging spells specifically and enhances spellsongs aimed to cause confusion or conflict within the enemy group.
Initiate Spell Songs
Anthem of Aelyria
The Imperial March of the Aelyrian Empire, also the Royal March of the Kingdom of Aelyria, was written originally by High Queen Melody de Lylles. It is the stirring national anthem of the Aelyrian Nation which, so long as the March is played, invokes the spirit of glory causing a few notable changes in the companions about the musician: combat maneuvers will be quickened with a minor haste effect, party members will find themselves to have increased physical strength, and those allied with the Bard will gain the benefits of being slightly resistant to fear effects and mundane intimidation due to increased battle morale.
Chant of Conquest
Emperor Constantine's Chant of Conquest is actually a spirited march that heightens the spirit. So long as it is played, the bard's companions will find themselves having increased military reflexes, greater dexterity and endurance, and most significantly, greater accuracy with their chosen weapon due to an enhanced aggression toward physical combat.
Cinthera's Accelerando
Syncopated rhythms are the trademark of this eternal classic written by a Medonian princess. While played, Cinthera's Accelerando enables the bard's party to travel at an increased pace and accelerated velocity. The effects of the Song linger after the tune has ceased with a duration dependent on the skill of the Bard.
Healer's Hymn
A soothing praise of the gods of light, the Healer's Hymn is a graceful tune that causes a light healing aura to descend upon the party and regenerate the life force by closing wounds and stimulating the body to engage in accelerated mending so long as the melody is played.
Lullaby for Leland
Named after one of the Aelyria's earliest Viceroys, the Lullaby for Leland is a tranquil song that is played to provide comfort, security and an aura of safety to those seeking rest. Monstrous creatures and most beasts will not attack a camp sanctified by the lullaby, and those that sleep to its graceful song will awaken refreshed.
Scales of Dissonance
An ear-piercing scream of alternating, opposing chords that rivet up and down the scales creates one of the most cacophonous, but simplest, pieces of music known. Similar to the stoning of a heretic, the Scales of Dissonance will produce a wave of light pummeling damage for the duration that it is played in an area of effect designated by the performer of this dreadful piece.
Wimbly's Woeful Whispers
Originally created to relay orders across a noisy battlefield, this soft, sullen piece allows a Bard to teleport the sound of their voice to a known target of their choice, enabling them a type of one-way communication. Though the original distance spans across the length of a battlefield, further experience will allow an even larger gap between the caster and the respondent.
The Apprentice Bard
At this level, the apprentice Bard is taught the usages of combining two shaping techniques and how this new relationship in shaping translates to music. Now an apprentice can reshape his spellsongs by manipulating the rhythm, harmony, dynamics, and texture. This can translate into a series of modified spells that will teach the apprentice the importance of composition with it comes to spellsong. Apprentices are also taught how to activate and forge Circles of Arcana. These are taught how to make use of these useful techniques both traditionally and non-traditionally
Reshape Spellsong – by using previously imparted spells as templates, the bard may mix and match musical elements and shaping techniques to created modified spellsongs. Bards may now also make use of texture to enhance their spellsongs either by simplification or polyphony. This can be done by either adapting the use of secondary instrument (or voice) or learning how to use Arcana to harmonize with one’s voice (or instrument).
Circle of Arcana – traditionally, any mage may produce a Circle by forming a line on the ground and creating a field of pure essence using alteration and abjuration. In addition, bards may simply cast a spellsong that creates a temporary barrier or shield which, like the traditional Circle, will either prevent entry or exit. By Spellsinging a Circle of Arcana, the bard can control the duration of the spell more readily.
Activate –an apprentice bard is capable of unlocking a dormant spell imbued or enchanted within an object by simply ‘releasing’ the spell using their mind’s hands. Likewise a bard can also use Spellsinging to unlock hidden spells, which can be done at a greater range than by traditional activation.
Dynamics – the loudness or softness of sound; purpose of variation. This technique serves to further modify the range and effect of a spellsong. Loudness typically suggests power while softness instills great sense of tranquility.
Texture – monophonic, homophonic, polyphonic. By diversifying the texture of the music, apprentices learn how to basic combinations of different effects into a single spellsong.
Harmony – the relationship between different pitches. This helps apprentices understand the power of combining different sounds to enhance a desired effect or add new ones. Typically used when applying different textures to a spellsong.
Apprentice Spell Songs
Aquatic Aria
Rumored to have originated from the ancient kingdom of the Merfolk, the Aquatic Aria is a time honored tune that has been played to commemorate fishing villages and aquatic expeditions, though its true power has only recently been revealed. After the tune has been successfully completed, the Aria enables those that have experienced the performance to be able to breathe water as if it were air for a time. Those under the effects of the Aria will begin to experience slight difficulty breathing as the duration comes to an end, often giving them time to remove themselves from the body of water before drowning.
Bryn's Brillante
Like the Hammer of an angry deity, a powerful blast of musical energy rips through the air ignoring most armor and slams into the target that the bard designates in this majestic call. When it strikes, Bryn's Brillante delivers a shock that stuns all of the senses for a brief time and delivers moderate concussive damage.
Charisma's Canto
Named after the enticing Queen Charisma, the bard who plays the Charisma's Canto can direct his piece of music at a target and temporarily mislead that target to believe that the bard and his companions are truly aligned with the creature upon which this is cast. The effect occurs as soon as the melody fills the air, and usually lasts for a lengthy duration. Charisma was known to sing this canto just as she entered into diplomatic negotiations to lull other ambassadors into a sense of false security.
Dolcissi Discorsa
Though it initially sounds benign, through an alternation of contrapositive pitches, the Dolcissi Discorsa effectively disrupts the musical effects of another song being played. When played consistently over time, it can begin to deliver a potent headache accompanied by a series of stuns at each cadence.
Gellyn's Gaudeamur
Originally a chant guarded by the Priory of Kriskinstat, Gellyn's Gaudeamur is a powerful rhythm that protects the group of adventurers allied with the bard, effectively increasing their defensive capabilities by greatly reducing the encumbrance of their armaments and equipment, as well as granting an inherent immunity to magical spells so long as the piece is played. Named after Prior Gellyn Ankheris, Fifth Prior of the Defenders of the Faith.
Lytreia's Locomotion
The sudden and thunderous beat of Lytreia's Locomotion will teleport the Bard and their companions a short range in any random direction, leaving them in their previous formation. A handy escape tactic, this song has an instantaneous duration once its brief rhythm is played.
Melody of Concord
The soothing sensation of peace and tranquility fills an area whereupon this gentle tune is played. In addition, so long as the Melody of Concord graces an area, the deceptions of invisibility will be detected as shall the presence of any persistent magic.
Scherzo Sostenato
This graceful musical piece has often been played by bards who undergo lengthy journeys wherein food and water may be limited. Those that hear the Scherzo Sostenato find their hunger and thirst held at bay for a long duration after the song has been completed, allowing travelers to eat and drink smaller portions, thus increasing the life of their rations.
Sonnet in Solo
Reciting a poetic phrase to a sweet melody, the bard who plays this song shall enchant his companion’s weaponry with a glowing vortex of energy that invokes a concussive blast of sonic power when a strike is landed upon a hard surface. Although upon bare flesh the effects of the song are diminished, when presented with an opponent wearing or possessing naturally thick armor, the Sonnet in Solo works wonders for rupturing the flesh beneath. The aura lasts as long as the song is played.
The Journeyman Bard
An adept Spellsinger is one who possesses natural talents and the motivation to create unique songs that blends magic and music with renewed passion and vigor. Only those journeymen who are able to submit a Masterpiece and be approved may hope to become a Maestro in the making. At this level adepts are free to create songs using three mana shaping techniques while using any of the musical elements they have mastered. They are now also taught how to imbue and unbind using both traditional and non-traditional means.
Compose Spellsong - by expounding on the principles of Reshape Spellsong, the Adept can now compose unique Songs using three mana shaping techniques. This is a great opportunity and challenge to all aspiring Maestros as there are countless combinations, not all of them useful. It is thus greatly stressed that journeymen master their repotoire of spells before trying to craft their masterpiece.
Imbue – the journeyman is taught how to instill dormant ‘charges’ of spells within objects to be activated at a later time. This entails serious study of the object in question, understanding both its physical and magical make-up. Alternatively, a journeyman can compose a spellsong that can have the same effect and perhaps make the process a little less tedius.
Unbind – when unlocking a potential mage's mind, Bards are taught to use Spellsinging that pierces both heart and mind while releasing the new mage from the mental block that prevented them from perceiving and manipulating Arcana. The same process is used when unbinding enchanted wood. There have been even tales of bards learning a particular enchanted tree's favorite song, which greatly reduces the time required to procure the much sought after enchanted rod.
Amplification – the journeyman now has greater control over his voice or instrument and may use Arcana to further harmonize his spellsongs to create grander, greater, longer-lasting spellsongs. An example of this would be a Journeyman singing with three voices (tenor, soprano, bass) or a pair of Bards teaming up and harmonizing their spellsongs to create a more powerful spell with lasting, farther reaching effects.
Adept Spell Songs
Cadenza of Clarity
Bringing focus and sharpness of the mind, the Cadenza of Clarity is perhaps one of Aelyria's most beloved melodies. When played by a capable bard, the Cadenza will bring enhanced mental powers to all of the Bard's companions, allowing them to achieve Clara as well as Shape spells more rapidly, as if they were one level of proficiency higher than their actual level.
Chords of Cacophony
Composed by the bard Antiochus under the reign of High Queen Anna the Strict, the Chords of Cacophony are abrasive alterations of notes that generate a wave of appalling music, instilling fear in the targeted creatures listening to it. Those affected may find themselves shaken, causing their attacks to be significantly less accurate, as well as being unable to steady their nerves or concentrate enough to cast their spells. Targeted creatures with weaker willpower may even freeze in fright or attempt to flee.
Heart of Ice
A solemn piece, Heart of Ice recounts the story of the love of a knight spurned by his object of affection; the song speaks of how only after the knight dies in battle does the princess who had refused him earlier realize she truly did love him, and takes her own life in misery. While played, the Heart of Ice delivers overwhelming grief and melancholy to the area of effected targets, slowing their movement and dealing moderate damage as a coldness seems to eat them from the inside out.
Lyliantha's Legato
This gentle lullaby portrays the tale of a young painter girl and how she made her paintings come alive, creating whole fantasy worlds. This song will induce a deep, healing sleep for those that hear it. If undisturbed for eight candlemarks, the targets will awaken refreshed and shall find moderate amounts of damage healed, with broken bones mended, large lacerations closed, and internal damage remedied.
Malroth's Convolution
The epic song of a violent madman, Malroth's Convolution is a powerful piece that delivers a sonic blast of pure energy in a concentric, reverberating ring around the bard, moderately damaging all those in its immediate path with an otherworldly punishing pressure while played. The rings recharge as soon as they dissipate, and continue for the duration of the piece.
Serenade of Sirens
Enchanting those that hear it, the Serenade of the Sirens lulls a large area of opponents into relaxation and specifically targets an individual that the bard designates to charm it. Those charmed by the Serenade of the Sirens will find themselves helpless but to obey the bard for the duration of the song.
Vikrius in Presto
A war chant, Vikrius in Presto originates from the lands to the far West of the Aelyrian Empire. A favorite of archers and other ranged specialists, those graced by its beneficial aura will find themselves ‘assisted’ by arcanic guiding winds. While played this powerful piece increases the speed at which the party can reload their weaponry, raises agility, elevates the rate of running, and causes all pieces of fired ammunition to be ‘guided’ toward their target, greatly heightening their accuracy.
Wangleo's Mercantessa
This musical piece has become notorious in the marketplaces and bazaars throughout the Empire, as it was written by a famous trader who wanted to improve his bartering skills. After listening to the piece in its entirety, Wangleo's Mercantessa instills a single target with an empowered sense of confidence, improving the charisma of the player which in turn enables heightened success in business dealings, professional negotiations and people skills.
The Maestro
In every generation of Bards only a hand full ever reach the rank of Maestro. These innovators are left in charge to impart their knowledge and instruct the generations after them. With the uncanny ability to improvise they are capable of rendering spellsongs with extraordinary speed, eloquence, and flexibility. Maestros of Song are also capable of enchanting inanimate objects like their less colorful counterparts as well as promote and bind using both traditional and non-traditional methods.
Promote – a single Maestro may remove a second mental ‘block’ from an already Unbound initiate or a group of Maestros may perform a Promotion together to Promote an apprentice to a journeyman, an adept to become a fellow Maestro, or even a Maestro to tower above them as a Grand Maestro. This is done by either spellsong or the traditional manner which requires only willpower on behalf of the mage.
Impart – the Maestro may now magically impart the Arcanomechanics of spells he wishes his student(s) to understand theoretically. This may be done by the traditional means or via spellsong.
Bind – aside from acting as gatekeeper to the secrets and knowledge of Song, the Maestro now has the authority to cast a strong mental block against any magi of the journeyman rank or lower. This mental block can be done traditionally or using spellsong and can only be undone by the Maestro who placed it, a group of two or more Maestros, or someone of equivalent magical prowess.
Enchant – by denaturing an object, the Maestro can effectively merge spellsongs into items. This task requires great skill and patience, often requiring cycles if not months of constant study and spellsinging.In the end, however, objects enchanted with spellsongs literally sing and create music when activated making truly unique magical items. Again a Maestro may elect to pry the object using his mind's hands only, perhaps to save his voice for a concert or performance. But by this level Maestros are so fluid in their spellsinging that few choose to ever live life without song.
Improvisation - this technique allows the Maestro to use any type of sound to achieve the effects of a single, hastily shaped spell. It could be an applause, a rhythmic stomping of his feet, or perhaps the gentle snapping of his fingers -- whatever the sound he can produce easily and with little effort. Many bards tell of clever maestros escaping perilous situations, even while gagged or bound hand and foot, using this technique.
Spellsong Form – a technique that lengthens a piece by adding sections, or movements, that goes from a stable melody, rises toward a conflict, heightens into tension, before resolving back to stability. The effect is increased emotional range and greater effectiveness and duration. When applying this form, Maestros are said to be able to produce sound equivalent to a full concerto and chorus by himself.
Maestro Spell Songs
Cinthera's Song of Sojourn
An advanced musical piece for travelers, the bard, his companions, and any mounts or wagons utilized will find themselves levitating several feet up off of the ground and heading towards their destination at a pace roughly four times that of a typical Human's walking speed without any expended effort of their own when the melody is played. Though the effects of the Song will linger for a time, the Bard will find they must rekindle the performance now and again over particularly long travels.
Elemental Encore
The Elemental Encore is a powerful song that creates a strong aura permeating the bard and his companions, providing an inherent defense against the four elements of fire, air, water and earth, as well as immunity to poison and disease so long as the tune is performed. It has a side effect of flushing poison from the body, as well as alleviating the symptoms of disease.
Occlusion of Force
The Master Bard can generate a powerful burst of focused energy that will rip through the armor and magical defenses of an area of opponents like blades propelled by hurricane force winds. This song deals considerable slashing damage to the enemy and will stun those that it affects for a short duration.
Multiplication in Mesto
Woe to those effected by the sullen sounds of the Mesto, as it can cause complete and total havoc upon whom it effects. By performing the appropriately resonating tones of the Mesto the Bard can cause double, triple, or even further multiples of vision amongst those in an area they designate for as long as the Mesto is played. Beyond having extreme difficulty targeting the 'true' identities of the multiples seen, the Mesto has been known to induce extreme dizziness, nausea, and vomiting.
Shield Sonata
While performed the Shield Sonata erects a powerful barrier that surrounds the bard and his party while they are engaged in combat. Though permeable, the shield will absorb a fraction of any damage – physical or magical. Those effected will also find their weapons and ammunition surrounded by a high frequency vibrating aura. Any damage inflicted by this enchanted weaponry will be heightened as the aura saws through obstacles in it’s path.
Shimmera's Chorus
Named after the leader of a tribal of elfish huntresses, Shimmera's Chorus produces a field that leeches the physical and emotional strength, or Vis, of those caught within. Mundane targets will feel suddenly exhausted to the point of unconsciousness while mages will find themselves unable to cast spells effectively as their Vis are literally stolen and added to the caster's own reserves.
The Grand Maestro
There are few who rise up above all others and become one with Song. These men and women are renowned for their effortless ability to use spellsongs to move entire mountains, empty oceans, and change the course of mythic battles. Their songs are legendary, acclaimed by Emperors and Ancients alike. These are the Grand Maestros of Song. Through evolution they are able to touch the heart of the Plane of Music thus evoking a near infinite array of emotions and effects through Spellsinging. And while formal training in several instruments is not required, it is not uncommon for Grand Maestros to be excellent musicians and performers by trade as well.
Evolution – by tethering their heart and mind to the Plane of Music, Grand Maestros are said to be able to speak in spellsong. Everything they do becomes a musical display. This allows for some truly awe-inspiring songs that can touch even the hearts of the gods or extraplanar beings.
Sprechstimme – roughly translated to ‘speech-voice’, the Grand Maestro is capable of producing spellsongs with normal speech. This allows him to cast spellsongs quickly and effortlessly when needed. Due to the hasty nature of this technique, however, few Grand Maestros ever publish their Spechstimme which are often considered raw and unpolished.
Symphony – the Grand Maestro is able to compose and perform truly awesome pieces that can last candlemarks on end and produce a myriad of effects that can cover entire cities with music. While the spellsong is in effect it is said that countless instruments and voices, moving in masterful excellence, can be heard at once to evoke, conjure, divine, alter, and abjure the full extent of the Grand Maestro's near-divine control of Song.
Grand Maestro Spell Songs
Concerto Carmelyana
When a Grand Master performs the Concerto Carmelyana, any plant life that is within hearing range will grow more vibrantly and energetically, reaching an adult size very rapidly. In addition, any and all animals about the performer will become instantly entranced by the song and follow the bards telepathic instructions without question so long as the Concerto is played. Dependent upon a creature’s mental ability to resist the effects of the entrancement, the Concerto Carmelyana has the potential to affect sentient creatures.
Diana Andante
At the head of an army, the Grand Master can perform this piece that will bring increased vigor and strength to the entire military force as they prepare for combat. Additionally, the melee damage dealt by the forces following the Andante will be significantly higher as they find their weapon arms guided by the power of the musical enhancement. The spellsong also adds magical damage to even mundane weapons, allowing the army to attack even magically created or Arcanically shielded foes. Upon completion of the Andante the force will find the effects last for a lengthy time, usually several candlemarks.
Fanfare
When performed, this glorious fanfare composed by Grand Maestro Talia Songbrooke will instill awe and silence to all that hear it, forcing them to refrain from all violence and be possessed with the essence of only the deepest respect, honor, and humility.
Grand Vibrato
The most powerful piece of directly offensive music in the Bards repertoire. When played, the effects carry across an area designated by the Bard. The Bard may target a type of material such as metal, stone, wood, or glass. A single item of this material type upon each individual within an area is adversely effected as the vibrato finds it's perfect resonance, causing items which are magical or built of special material types to shake vigorously for the duration of the Vibrato. Items built of typical versions of the materials will violently explode in a shower of metal shrapnel, stone slivers, glass shards, or wooden splinters, potentially severely damaging anything in close proximity. When played against a single target, the Bard may concentrate on nearly every single material upon the target's body, causing effects similar to those previous described.
Requiem
Requiring an Essence Reagent, when Requiem is played, it calls forth the spirits of the Umblat, the underworld's river of the dead, and reverses death itself. Requiem has been known to be most effective only on those that have just passed moments ago.
Symphonica Aeternum
For a brief duration, the Symphonica Aeternum can be performed to grant temporary invulnerability to the bard and his companions. The effect lasts for only as long as the Song was played prior to its activation, with a maximum duration of several minutes.
As written by the Traveling Bard ~
"I'm a druid, a healer, a sorcerer, a mystic, and an elementalist -- what am I? ... I am a spellsinger."
-- Kermite proverb.
Introduction:
Many claim that spellsingers or bards do not require Clara nor the traditional mechanics of spellcasting. How wrong many have been! Each bard is taught how to meditate, reach Clarity, focus, and channel just like the next mage. Yet while Elementalists, Mystics, Sorcerers, and Healers are bound by the limitations of their sphere, Bards have access to the Essence that binds all things together: Song.
Why, then, do we call this beautiful element 'Song'? The term Song Essence is so frustratingly vague. In truth, Song is able to manipulate much more than simply sound but every essence that fills the Material Plane. The complexity and simplicity of Song Essence and its compatibility with virtually every Essence is the reason why Song is such a dynamic and flexible sphere. Through this Essence, a ballad may rejuvenate those who listen while a serenade may lull foes to sleep; a rhythmic beat may bring haste to an army while a dissonant piece may pierce through flesh and steel alike!
Arcanomechanics:
Alteration deals with shape and form. This is generally used by Bards when enhancing the area-of-effect of their spellsongs. At lower levels greater range means lessening the overall effectiveness of the spells effects however, so Initiates are traditionally taught to target only a few persons with their spellsongs. Alteration is also used with certain spellsongs that conjured body parts. The targets physiology is transformed using alteration.
Abjuration directly affects movement in all sense of the word. This can make a spell more dynamic or more permeating. For instance, Spellsongs that enhances movement or healing may use abjuration to speed up reflexes and regeneration respectively. Abjured spells may also include missile-type damage such as bolts of energy launched against a foe. And abjuration can also extend the overall duration of a song, though it would directly drain the caster's Vis.
Conjuration allows for creation. The best example of conjuration is when bards bring forth other melodies and harmonies from the Plane of Song to enhance their spellsong. By adding additional music, they can enhance the raw power of the spellsong’s sound or enhance its effects. Conjuration can also summon creatures from the Plane of Song. Many scholars believe that the Plane is as dynamic and ever-changing as its Essence. And from its depths, Bards can occasionally touch the minds of sentient creatures ranging from adventurous astral creatures to greater immortals still unknown.
Divination is emotion and control. This is the purpose of the song that the Bard instills within the spell, whether it is to build courage in the hearts of men, or to incite fear among the ranks of enemy soldiers. And while divination is not required to create all spellsongs, it is a necessary component when the Bard wishes to augment emotions or charm certain persons or animals. Divination is also used to directly link the Bard's whim to his spellsong for easier manipulation during or after casting.
Evocation allows spellsongs to release raw, physical force. This is best used in spells that attack, cause damage, or in conjunction with alteration to create magical barriers to hinder or impede foes. Evocation may also enhance the power of spellsongs by increasing the dynamics of the song thus extending its range and even its effectiveness.
Instruments of the Trade:
As long as Telath sings, there will be instruments to accompany her. It is the same with Song. While the voice alone can produce the total effect of any spellsong, instruments have often been used to enhance spellsongs. This is only a natural progression. For what better instrument is there to keep rhythm and instill a sense of haste and valor than the drum or horn? Is there a sweeter serenade than that which is sung by strings? Or a more playful tune than those played by the flute?
This is not to say that every bard must learn how to play instruments! Why, that would take lifetimes upon lifetimes to do! Where is, then, your faith in Arcana? This is where countless scholars have agreed to disagree before disagreeing even more strongly. And I am here to discount all their moaning and groaning. First, with Arcana there is no impossibility. Every mage in the Empire (maybe even more so our Ikos friends) will agree with that. Now, consider this: bards embrace magic as much as magic embrace their songs.
This equals to unparalleled possibilities even with a single musical instrument. Our essence comes from the Plane of Music after all! Who is to say that there are no sweet sounding voices, marching drums, powerful horns, playful flutes, or serenading strings there? With Arcana, these effects are possible for the Spellsinger. This is how a Journeyman can produce a concerto with his only his voice, harp, lute, or drums! This is how a single Spellsinger can conjure a chorus of voices to accompany her and her spellsong!
But, yes there is a but, bards must keenly pursue the study of music to further their understand of the art. Song is not called Song because its practitioners are tone deaf and lack any talent in poetry. It’s rather the opposite! Initiates, Apprentices, and even Adepts are encouraged to invest countless candlemarks in practice and study.
At the very least, an Initiate must know the primary elements of music. Apprentices are tutored in writing stronger lyrics while they are exposed to a greater variety of song types. Adepts are especially learned in composing both lyrics and melodies. This is particularly useful in publishing their works to the magical and mundane society. Without a formal transcript of their masterpiece, journeymen are generally not even considered for mastership. This is why adepts generally travel far and wide to add to their repertoire of songs, poems, and talents in music. It is not uncommon for bards to learn various instrument types along with voice training for their own benefit. For the most part, novice level training is more than enough for Bards focusing on either their voice or a particular instrument. Some spellsingers even pursue multiple instruments, though it is not required.
Inherent Advantages and Disadvantages:
For as long as Song existed, many have wondered about the how and the why about its mysterious mechanics and its even more suspicious and seemingly unprecedented powers. I have been called a demigod, an entertainer, and a demon all in the same brightening. And despite the obvious discomfort, I have learned to understand why confusion often leads to a distinct distrust. Let me put your minds at rest then when I say that I am neither a god of light or of darkness. But an entertainer? Perhaps on occasion.
The power of our magic affects the world profoundly and in as many dimensions as the mage is capable of affecting. An Initiate may be able to affect a small crowd of people, charming them with a serenade or invigorating them with a marching beat. As I have stated earlier, Song Essence affects other Essences. This fluidity and flexibility allows the Bard to create a seemingly limitless number of spells. A spellsinger can, for instance, manipulate the air via alteration, heating it, until a flame is sparked to light a campfire. Or, at greater levels and proficiency, a Bard can even manipulate the very substance surrounding individuals and transport them instantaneously to avoid capture or to confuse foes. But for all its glory and myriad of applications, some spellsongs, whe interrupted or unfinished, will have its effects could be significantly be diminished or reduced to nothingness. Keep in mind that most songs take minutes to fully sing and some have complicated verses that requires memorizing. Not to mention the style of the song, its unique melody, rhythm and other aspects. True to the old adage: “A bard is only as good as his song”.
Yet while most mainstream spheres are scientific in their formulation and approach, Song encourages even aspiring Bards to develop their unique methods to create different rhythms, melodies, and casting styles. Whereas other magi follow predetermined steps to finally shape and release their spells, Bards must follow those standard 'rules' of spellcasting and keep in mind their song and how to best perform it and weave both magic and music together. This is perhaps the most challenging aspect of Song. But it is also Song's most unique attribute. This way, no two songs are ever the same, though their effects may be similar or almost the same. (Even if the Bard is performing a 'standard' from a list of famous Spellsongs) This gives Bards a moment's advantage over their adversaries. They always have a new trick up their sleeves. The possibilities are almost endless.
And I say almost because Song does have its share of limitations just like any other sphere.
First, spellsongs must travel through a vibrating medium such as air (or water for aquatic races). This means that if the Bard is unable to produce any sort of sound or rhythm, they cannot cast their spells. This is perhaps the greatest hindrance to Spellsinging. Unlike their counterparts, which usually shape and cast their spells in complete, stoic silence, Bards must perform their spells. This is why most bards usually elect to pursue training in some form of arms to ward off hasty attackers.
Second, bards are still accountable to the limitations of Arcana. Many aspiring bards suppose that pursuing song is little more than a glorified hobby. This is not the case. If one was to reach the peak of their profession as Spellsinger, they will not be able to achieve greater status in other skills higher than that of an elite fighter or master craftsman. This also means that Spellsingers can hedgemage at the normal ratio as other mages, peaking at the Journeyman level if the bard choose to practice a second sphere (any more than that, and the maximum level is still Initiate). It should also be noted that Bards cannot seem to practice Ikos at the same time. Some scholars believe that the Ikos 'subconscious' opposes the showmanship spirit necessary for Spellsinging. So for this reason, there can never be a Song and Ikos hedgemage.
Lastly, Bards may continuously drain themselves of Vis while maintaining a spellsong. This is both useful and extremely dangerous as untrained bards may overexert themselves while the overzealous may bring more harm than good. This possible due to the intimate connection they share between the Material and the Astral via their spellsongs. In this manner, a bard may extend the duration or increase the effects of their spellsongs. But it is also possible for the bard to loose a significant amount of Vis even if the spell is interrupted or dispelled.
The Initiate Bard
At this level bards are taught the primary elements of Arcana as well as music theory. To understand how music is composed and how it, in turn, affects the listener is vital. Thus, the following elements are emphasized and used to teach the beginner level spells.
Spellsinging – by using any musical device (including voice) a bard may cast his spell in the form of a song. This melody acts as the force that carries the spells effects. The spellsong’s effects and duration is directly related to the melody, pitch, rhythm, harmony, consonance or dissonance.
Dispel – the initiate is taught how to disrupt foreign spells at the most basic level: either by casting their own spell against it or by using sheer will power to unravel the opposing spell’s weave.
Melody – a series of notes sounding in succession. This is the backbone of a spellsong. Without a melody, a spellsong cannot fully manifest even with Arcana.
Rhythm – the arrangement of sound in time. This is the speed of the melody or song. This is another determining factor of the spellsong’s effects. Slow moving ballads may produce a calming effect while a marching beat may instill haste in the hearts of men.
Consonance – harmonies that sound well together. Pleasant. Promotes more peaceful effects or support-type effects such as sleep or calm.
Dissonance – harmonies that do not sound well together. Unpleasant. Promotes damaging spells specifically and enhances spellsongs aimed to cause confusion or conflict within the enemy group.
Initiate Spell Songs
Anthem of Aelyria
The Imperial March of the Aelyrian Empire, also the Royal March of the Kingdom of Aelyria, was written originally by High Queen Melody de Lylles. It is the stirring national anthem of the Aelyrian Nation which, so long as the March is played, invokes the spirit of glory causing a few notable changes in the companions about the musician: combat maneuvers will be quickened with a minor haste effect, party members will find themselves to have increased physical strength, and those allied with the Bard will gain the benefits of being slightly resistant to fear effects and mundane intimidation due to increased battle morale.
Chant of Conquest
Emperor Constantine's Chant of Conquest is actually a spirited march that heightens the spirit. So long as it is played, the bard's companions will find themselves having increased military reflexes, greater dexterity and endurance, and most significantly, greater accuracy with their chosen weapon due to an enhanced aggression toward physical combat.
Cinthera's Accelerando
Syncopated rhythms are the trademark of this eternal classic written by a Medonian princess. While played, Cinthera's Accelerando enables the bard's party to travel at an increased pace and accelerated velocity. The effects of the Song linger after the tune has ceased with a duration dependent on the skill of the Bard.
Healer's Hymn
A soothing praise of the gods of light, the Healer's Hymn is a graceful tune that causes a light healing aura to descend upon the party and regenerate the life force by closing wounds and stimulating the body to engage in accelerated mending so long as the melody is played.
Lullaby for Leland
Named after one of the Aelyria's earliest Viceroys, the Lullaby for Leland is a tranquil song that is played to provide comfort, security and an aura of safety to those seeking rest. Monstrous creatures and most beasts will not attack a camp sanctified by the lullaby, and those that sleep to its graceful song will awaken refreshed.
Scales of Dissonance
An ear-piercing scream of alternating, opposing chords that rivet up and down the scales creates one of the most cacophonous, but simplest, pieces of music known. Similar to the stoning of a heretic, the Scales of Dissonance will produce a wave of light pummeling damage for the duration that it is played in an area of effect designated by the performer of this dreadful piece.
Wimbly's Woeful Whispers
Originally created to relay orders across a noisy battlefield, this soft, sullen piece allows a Bard to teleport the sound of their voice to a known target of their choice, enabling them a type of one-way communication. Though the original distance spans across the length of a battlefield, further experience will allow an even larger gap between the caster and the respondent.
The Apprentice Bard
At this level, the apprentice Bard is taught the usages of combining two shaping techniques and how this new relationship in shaping translates to music. Now an apprentice can reshape his spellsongs by manipulating the rhythm, harmony, dynamics, and texture. This can translate into a series of modified spells that will teach the apprentice the importance of composition with it comes to spellsong. Apprentices are also taught how to activate and forge Circles of Arcana. These are taught how to make use of these useful techniques both traditionally and non-traditionally
Reshape Spellsong – by using previously imparted spells as templates, the bard may mix and match musical elements and shaping techniques to created modified spellsongs. Bards may now also make use of texture to enhance their spellsongs either by simplification or polyphony. This can be done by either adapting the use of secondary instrument (or voice) or learning how to use Arcana to harmonize with one’s voice (or instrument).
Circle of Arcana – traditionally, any mage may produce a Circle by forming a line on the ground and creating a field of pure essence using alteration and abjuration. In addition, bards may simply cast a spellsong that creates a temporary barrier or shield which, like the traditional Circle, will either prevent entry or exit. By Spellsinging a Circle of Arcana, the bard can control the duration of the spell more readily.
Activate –an apprentice bard is capable of unlocking a dormant spell imbued or enchanted within an object by simply ‘releasing’ the spell using their mind’s hands. Likewise a bard can also use Spellsinging to unlock hidden spells, which can be done at a greater range than by traditional activation.
Dynamics – the loudness or softness of sound; purpose of variation. This technique serves to further modify the range and effect of a spellsong. Loudness typically suggests power while softness instills great sense of tranquility.
Texture – monophonic, homophonic, polyphonic. By diversifying the texture of the music, apprentices learn how to basic combinations of different effects into a single spellsong.
Harmony – the relationship between different pitches. This helps apprentices understand the power of combining different sounds to enhance a desired effect or add new ones. Typically used when applying different textures to a spellsong.
Apprentice Spell Songs
Aquatic Aria
Rumored to have originated from the ancient kingdom of the Merfolk, the Aquatic Aria is a time honored tune that has been played to commemorate fishing villages and aquatic expeditions, though its true power has only recently been revealed. After the tune has been successfully completed, the Aria enables those that have experienced the performance to be able to breathe water as if it were air for a time. Those under the effects of the Aria will begin to experience slight difficulty breathing as the duration comes to an end, often giving them time to remove themselves from the body of water before drowning.
Bryn's Brillante
Like the Hammer of an angry deity, a powerful blast of musical energy rips through the air ignoring most armor and slams into the target that the bard designates in this majestic call. When it strikes, Bryn's Brillante delivers a shock that stuns all of the senses for a brief time and delivers moderate concussive damage.
Charisma's Canto
Named after the enticing Queen Charisma, the bard who plays the Charisma's Canto can direct his piece of music at a target and temporarily mislead that target to believe that the bard and his companions are truly aligned with the creature upon which this is cast. The effect occurs as soon as the melody fills the air, and usually lasts for a lengthy duration. Charisma was known to sing this canto just as she entered into diplomatic negotiations to lull other ambassadors into a sense of false security.
Dolcissi Discorsa
Though it initially sounds benign, through an alternation of contrapositive pitches, the Dolcissi Discorsa effectively disrupts the musical effects of another song being played. When played consistently over time, it can begin to deliver a potent headache accompanied by a series of stuns at each cadence.
Gellyn's Gaudeamur
Originally a chant guarded by the Priory of Kriskinstat, Gellyn's Gaudeamur is a powerful rhythm that protects the group of adventurers allied with the bard, effectively increasing their defensive capabilities by greatly reducing the encumbrance of their armaments and equipment, as well as granting an inherent immunity to magical spells so long as the piece is played. Named after Prior Gellyn Ankheris, Fifth Prior of the Defenders of the Faith.
Lytreia's Locomotion
The sudden and thunderous beat of Lytreia's Locomotion will teleport the Bard and their companions a short range in any random direction, leaving them in their previous formation. A handy escape tactic, this song has an instantaneous duration once its brief rhythm is played.
Melody of Concord
The soothing sensation of peace and tranquility fills an area whereupon this gentle tune is played. In addition, so long as the Melody of Concord graces an area, the deceptions of invisibility will be detected as shall the presence of any persistent magic.
Scherzo Sostenato
This graceful musical piece has often been played by bards who undergo lengthy journeys wherein food and water may be limited. Those that hear the Scherzo Sostenato find their hunger and thirst held at bay for a long duration after the song has been completed, allowing travelers to eat and drink smaller portions, thus increasing the life of their rations.
Sonnet in Solo
Reciting a poetic phrase to a sweet melody, the bard who plays this song shall enchant his companion’s weaponry with a glowing vortex of energy that invokes a concussive blast of sonic power when a strike is landed upon a hard surface. Although upon bare flesh the effects of the song are diminished, when presented with an opponent wearing or possessing naturally thick armor, the Sonnet in Solo works wonders for rupturing the flesh beneath. The aura lasts as long as the song is played.
The Journeyman Bard
An adept Spellsinger is one who possesses natural talents and the motivation to create unique songs that blends magic and music with renewed passion and vigor. Only those journeymen who are able to submit a Masterpiece and be approved may hope to become a Maestro in the making. At this level adepts are free to create songs using three mana shaping techniques while using any of the musical elements they have mastered. They are now also taught how to imbue and unbind using both traditional and non-traditional means.
Compose Spellsong - by expounding on the principles of Reshape Spellsong, the Adept can now compose unique Songs using three mana shaping techniques. This is a great opportunity and challenge to all aspiring Maestros as there are countless combinations, not all of them useful. It is thus greatly stressed that journeymen master their repotoire of spells before trying to craft their masterpiece.
Imbue – the journeyman is taught how to instill dormant ‘charges’ of spells within objects to be activated at a later time. This entails serious study of the object in question, understanding both its physical and magical make-up. Alternatively, a journeyman can compose a spellsong that can have the same effect and perhaps make the process a little less tedius.
Unbind – when unlocking a potential mage's mind, Bards are taught to use Spellsinging that pierces both heart and mind while releasing the new mage from the mental block that prevented them from perceiving and manipulating Arcana. The same process is used when unbinding enchanted wood. There have been even tales of bards learning a particular enchanted tree's favorite song, which greatly reduces the time required to procure the much sought after enchanted rod.
Amplification – the journeyman now has greater control over his voice or instrument and may use Arcana to further harmonize his spellsongs to create grander, greater, longer-lasting spellsongs. An example of this would be a Journeyman singing with three voices (tenor, soprano, bass) or a pair of Bards teaming up and harmonizing their spellsongs to create a more powerful spell with lasting, farther reaching effects.
Adept Spell Songs
Cadenza of Clarity
Bringing focus and sharpness of the mind, the Cadenza of Clarity is perhaps one of Aelyria's most beloved melodies. When played by a capable bard, the Cadenza will bring enhanced mental powers to all of the Bard's companions, allowing them to achieve Clara as well as Shape spells more rapidly, as if they were one level of proficiency higher than their actual level.
Chords of Cacophony
Composed by the bard Antiochus under the reign of High Queen Anna the Strict, the Chords of Cacophony are abrasive alterations of notes that generate a wave of appalling music, instilling fear in the targeted creatures listening to it. Those affected may find themselves shaken, causing their attacks to be significantly less accurate, as well as being unable to steady their nerves or concentrate enough to cast their spells. Targeted creatures with weaker willpower may even freeze in fright or attempt to flee.
Heart of Ice
A solemn piece, Heart of Ice recounts the story of the love of a knight spurned by his object of affection; the song speaks of how only after the knight dies in battle does the princess who had refused him earlier realize she truly did love him, and takes her own life in misery. While played, the Heart of Ice delivers overwhelming grief and melancholy to the area of effected targets, slowing their movement and dealing moderate damage as a coldness seems to eat them from the inside out.
Lyliantha's Legato
This gentle lullaby portrays the tale of a young painter girl and how she made her paintings come alive, creating whole fantasy worlds. This song will induce a deep, healing sleep for those that hear it. If undisturbed for eight candlemarks, the targets will awaken refreshed and shall find moderate amounts of damage healed, with broken bones mended, large lacerations closed, and internal damage remedied.
Malroth's Convolution
The epic song of a violent madman, Malroth's Convolution is a powerful piece that delivers a sonic blast of pure energy in a concentric, reverberating ring around the bard, moderately damaging all those in its immediate path with an otherworldly punishing pressure while played. The rings recharge as soon as they dissipate, and continue for the duration of the piece.
Serenade of Sirens
Enchanting those that hear it, the Serenade of the Sirens lulls a large area of opponents into relaxation and specifically targets an individual that the bard designates to charm it. Those charmed by the Serenade of the Sirens will find themselves helpless but to obey the bard for the duration of the song.
Vikrius in Presto
A war chant, Vikrius in Presto originates from the lands to the far West of the Aelyrian Empire. A favorite of archers and other ranged specialists, those graced by its beneficial aura will find themselves ‘assisted’ by arcanic guiding winds. While played this powerful piece increases the speed at which the party can reload their weaponry, raises agility, elevates the rate of running, and causes all pieces of fired ammunition to be ‘guided’ toward their target, greatly heightening their accuracy.
Wangleo's Mercantessa
This musical piece has become notorious in the marketplaces and bazaars throughout the Empire, as it was written by a famous trader who wanted to improve his bartering skills. After listening to the piece in its entirety, Wangleo's Mercantessa instills a single target with an empowered sense of confidence, improving the charisma of the player which in turn enables heightened success in business dealings, professional negotiations and people skills.
The Maestro
In every generation of Bards only a hand full ever reach the rank of Maestro. These innovators are left in charge to impart their knowledge and instruct the generations after them. With the uncanny ability to improvise they are capable of rendering spellsongs with extraordinary speed, eloquence, and flexibility. Maestros of Song are also capable of enchanting inanimate objects like their less colorful counterparts as well as promote and bind using both traditional and non-traditional methods.
Promote – a single Maestro may remove a second mental ‘block’ from an already Unbound initiate or a group of Maestros may perform a Promotion together to Promote an apprentice to a journeyman, an adept to become a fellow Maestro, or even a Maestro to tower above them as a Grand Maestro. This is done by either spellsong or the traditional manner which requires only willpower on behalf of the mage.
Impart – the Maestro may now magically impart the Arcanomechanics of spells he wishes his student(s) to understand theoretically. This may be done by the traditional means or via spellsong.
Bind – aside from acting as gatekeeper to the secrets and knowledge of Song, the Maestro now has the authority to cast a strong mental block against any magi of the journeyman rank or lower. This mental block can be done traditionally or using spellsong and can only be undone by the Maestro who placed it, a group of two or more Maestros, or someone of equivalent magical prowess.
Enchant – by denaturing an object, the Maestro can effectively merge spellsongs into items. This task requires great skill and patience, often requiring cycles if not months of constant study and spellsinging.In the end, however, objects enchanted with spellsongs literally sing and create music when activated making truly unique magical items. Again a Maestro may elect to pry the object using his mind's hands only, perhaps to save his voice for a concert or performance. But by this level Maestros are so fluid in their spellsinging that few choose to ever live life without song.
Improvisation - this technique allows the Maestro to use any type of sound to achieve the effects of a single, hastily shaped spell. It could be an applause, a rhythmic stomping of his feet, or perhaps the gentle snapping of his fingers -- whatever the sound he can produce easily and with little effort. Many bards tell of clever maestros escaping perilous situations, even while gagged or bound hand and foot, using this technique.
Spellsong Form – a technique that lengthens a piece by adding sections, or movements, that goes from a stable melody, rises toward a conflict, heightens into tension, before resolving back to stability. The effect is increased emotional range and greater effectiveness and duration. When applying this form, Maestros are said to be able to produce sound equivalent to a full concerto and chorus by himself.
Maestro Spell Songs
Cinthera's Song of Sojourn
An advanced musical piece for travelers, the bard, his companions, and any mounts or wagons utilized will find themselves levitating several feet up off of the ground and heading towards their destination at a pace roughly four times that of a typical Human's walking speed without any expended effort of their own when the melody is played. Though the effects of the Song will linger for a time, the Bard will find they must rekindle the performance now and again over particularly long travels.
Elemental Encore
The Elemental Encore is a powerful song that creates a strong aura permeating the bard and his companions, providing an inherent defense against the four elements of fire, air, water and earth, as well as immunity to poison and disease so long as the tune is performed. It has a side effect of flushing poison from the body, as well as alleviating the symptoms of disease.
Occlusion of Force
The Master Bard can generate a powerful burst of focused energy that will rip through the armor and magical defenses of an area of opponents like blades propelled by hurricane force winds. This song deals considerable slashing damage to the enemy and will stun those that it affects for a short duration.
Multiplication in Mesto
Woe to those effected by the sullen sounds of the Mesto, as it can cause complete and total havoc upon whom it effects. By performing the appropriately resonating tones of the Mesto the Bard can cause double, triple, or even further multiples of vision amongst those in an area they designate for as long as the Mesto is played. Beyond having extreme difficulty targeting the 'true' identities of the multiples seen, the Mesto has been known to induce extreme dizziness, nausea, and vomiting.
Shield Sonata
While performed the Shield Sonata erects a powerful barrier that surrounds the bard and his party while they are engaged in combat. Though permeable, the shield will absorb a fraction of any damage – physical or magical. Those effected will also find their weapons and ammunition surrounded by a high frequency vibrating aura. Any damage inflicted by this enchanted weaponry will be heightened as the aura saws through obstacles in it’s path.
Shimmera's Chorus
Named after the leader of a tribal of elfish huntresses, Shimmera's Chorus produces a field that leeches the physical and emotional strength, or Vis, of those caught within. Mundane targets will feel suddenly exhausted to the point of unconsciousness while mages will find themselves unable to cast spells effectively as their Vis are literally stolen and added to the caster's own reserves.
The Grand Maestro
There are few who rise up above all others and become one with Song. These men and women are renowned for their effortless ability to use spellsongs to move entire mountains, empty oceans, and change the course of mythic battles. Their songs are legendary, acclaimed by Emperors and Ancients alike. These are the Grand Maestros of Song. Through evolution they are able to touch the heart of the Plane of Music thus evoking a near infinite array of emotions and effects through Spellsinging. And while formal training in several instruments is not required, it is not uncommon for Grand Maestros to be excellent musicians and performers by trade as well.
Evolution – by tethering their heart and mind to the Plane of Music, Grand Maestros are said to be able to speak in spellsong. Everything they do becomes a musical display. This allows for some truly awe-inspiring songs that can touch even the hearts of the gods or extraplanar beings.
Sprechstimme – roughly translated to ‘speech-voice’, the Grand Maestro is capable of producing spellsongs with normal speech. This allows him to cast spellsongs quickly and effortlessly when needed. Due to the hasty nature of this technique, however, few Grand Maestros ever publish their Spechstimme which are often considered raw and unpolished.
Symphony – the Grand Maestro is able to compose and perform truly awesome pieces that can last candlemarks on end and produce a myriad of effects that can cover entire cities with music. While the spellsong is in effect it is said that countless instruments and voices, moving in masterful excellence, can be heard at once to evoke, conjure, divine, alter, and abjure the full extent of the Grand Maestro's near-divine control of Song.
Grand Maestro Spell Songs
Concerto Carmelyana
When a Grand Master performs the Concerto Carmelyana, any plant life that is within hearing range will grow more vibrantly and energetically, reaching an adult size very rapidly. In addition, any and all animals about the performer will become instantly entranced by the song and follow the bards telepathic instructions without question so long as the Concerto is played. Dependent upon a creature’s mental ability to resist the effects of the entrancement, the Concerto Carmelyana has the potential to affect sentient creatures.
Diana Andante
At the head of an army, the Grand Master can perform this piece that will bring increased vigor and strength to the entire military force as they prepare for combat. Additionally, the melee damage dealt by the forces following the Andante will be significantly higher as they find their weapon arms guided by the power of the musical enhancement. The spellsong also adds magical damage to even mundane weapons, allowing the army to attack even magically created or Arcanically shielded foes. Upon completion of the Andante the force will find the effects last for a lengthy time, usually several candlemarks.
Fanfare
When performed, this glorious fanfare composed by Grand Maestro Talia Songbrooke will instill awe and silence to all that hear it, forcing them to refrain from all violence and be possessed with the essence of only the deepest respect, honor, and humility.
Grand Vibrato
The most powerful piece of directly offensive music in the Bards repertoire. When played, the effects carry across an area designated by the Bard. The Bard may target a type of material such as metal, stone, wood, or glass. A single item of this material type upon each individual within an area is adversely effected as the vibrato finds it's perfect resonance, causing items which are magical or built of special material types to shake vigorously for the duration of the Vibrato. Items built of typical versions of the materials will violently explode in a shower of metal shrapnel, stone slivers, glass shards, or wooden splinters, potentially severely damaging anything in close proximity. When played against a single target, the Bard may concentrate on nearly every single material upon the target's body, causing effects similar to those previous described.
Requiem
Requiring an Essence Reagent, when Requiem is played, it calls forth the spirits of the Umblat, the underworld's river of the dead, and reverses death itself. Requiem has been known to be most effective only on those that have just passed moments ago.
Symphonica Aeternum
For a brief duration, the Symphonica Aeternum can be performed to grant temporary invulnerability to the bard and his companions. The effect lasts for only as long as the Song was played prior to its activation, with a maximum duration of several minutes.
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