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Spellsong or Bardery
The Art of Spellsong is musical Magic, through instrument and/or voice. It
is the particular specialty of Birds, Satyrs, Grigs and other Little
People, though some Spellsongs are known by entertainers of all Races. Most
of this Art is involved in entertainment, and the Songs are those of
Illusion and Charm. Spellsinging is not as structured an Art as Lorecraft,
and Impromptu Songs are possible, though rare. Spellsingers cannot create
Enchantments, not even the Magical Instruments so beloved of its Artists.
How does it look?
Despite the name, voice is not used (or required, at least). A brief (5
seconds or so) Song is played on a stringed or woodwind instrument. The
effects are much less dramatic than those of Lorecraft. A simple segment (5
seconds) is called an Aire. A strings of Aires is a Tune. There is an
arcane symbolic language used to encode the Melodies and Keys of Spellsong,
called the Glyphs Harmonic, but this is not necessary to be a spellsinger.
When Bards play to entertain an audience, there is an effect similar to
Ritual Magic wherein the observers donate most of the energy.
What can it do?
Spellsong is not useful in Battle, at least not in the down and dirty. It
is best with non obvious or subtle effects, less so at gross physical
alterations. Spellsong is also very unpredictable - the same Song may have
different effects in different environments. Spellsons is subject to the
same Limitations on Creation and Transformation as Lorecraft.
How does it work?
Songs are created by combining Keys and Melodies. There are relatively few
Keys, which are treated as skills and represent the verbs in spell
descriptions (examples: Key of Shaping, Key of Moving). There are MANY
Melodies, which are advantages. "Major" Melodies include the Melody of
People, the Melody of Light and the Melody of Plants. There are lesser
Melodies that consist of parts of the great, such as the Melodies of
Celenes, Individual Celene Clans, Faeries, Little People, Elves, Each Elf
Tribe (3 pts), etc.
A spellsong Aire is consists of playing a Melody in a selected Key, the
exception being the Key of Shaping, which must require two Melodies and
twice the time, though it is still counted as a single Aire. The effect is
largely determined by situation and effort.
How much energy can be committed to a spellsong is dependent on the degree
of Mastery achieved in that Key.
The Keys:
Communication, Healing, Finding, Knowing, Weakening, Strengthening, Moving,
Protecting, Warning, Creating, Controlling and Shaping (Transforming).
The Major Melodies:
Air (8), Fire (8), Water (8), Earth (8), Beasts (8), Monsters (13), People
(10), the Body (10), Food (5), Light (5), Darkness (5), Mentalism (10),
Sound (5), Death (10), Plants (8), Illusions (8) and Magic (8)
Spellsong in Combat: Quickies
A basic Melody takes 4 seconds, and is thus of little use in combat. There
are several ways to speed things up, however - by rushing and by being very
quick. Grigs have natural Spellsong ability, without having to use
instruments (though most do), and furthermore can, if they wish, sing in
the Ultrasonic. An Ultrasonic Melody knocks off one second, but will be
ineffective if a)the target must hear the Song for it to work, and b)the
target cannot hear in the Ultrasonic. Beings whose Move is 9+ may also
deduct a second, as may those affected by Haste (-1) or Great Haste (-2).
Otherwise, the penalty for a rushed Melody is (number of seconds skipped
squared). Thus for a regular Bard, a 2 second Spellsong is at -4, a 1
second Song is at -9. Beings who have the ability to Spellsing without an
Instrument, but use an Instrument as an accompaniment (this does not have
to be a complex Instrument, as would normally be required), or have an
especially complex Instrument designed to take advantage of an extra bit of
Full Coordination (that is, it takes more than two hands to play) may also
deduct a second. Thus a Grig, using a Tettiphone and warbling in the
Ultrasonic can do a 1 second Song at a mere -1 (4 seconds, -1 for
Ultrasonic, -1 for using an Instrument, 2 second base, -1 second squared =
-1 penalty).
Aires versus Tunes
Tunes are much more complex, involving a string of Aires to create a much
more specific effect. Only one skill roll is made for a Tune - the skill of
the least mastered Key minus the total number of Aires (more than one) in
the Tune. A Bard might make a Tune like Communication (12) in Beasts and
Control (15) Mentalism and Warning (13) of Monsters to get a guard
dragonette to faithful watch and guard him from monsters. GM says it will
cost total 3 points (he can spend one per Key) and his roll must be 12
(lowest) - 2 (2 additional spells) for 10. He makes it, and the dragonette
guards him throughout the night.
Cantrips
Cantrips are another way of narrowing down the effect of an Aire. In
addition to a Melody in a Key, the Bard creates ON THE SPOT a two line
poem. This requires another roll on the Spontaneous Poetry skill. A failed
Poetry roll means the poem doesn't rhyme. The PC must think of the poem,
but thanks to a successful roll, he get a minute to think about it. Even if
the poem flops, the original Aire happens, but with results modified by the
bad poem, often in a humorous way. An Example: A Bard wants to make a
light, but he wants it to be blue. He plays Melody of Light in the Key of
Creation. He makes that roll them makes his poetry roll. The PC thinks and
says: The stars are lights too few, gimme a glow, and make it blue!". One
who specializes in Cantrips is called a Cantrix, and are a favorite as
court entertainers (especially since their failures are amusing). If the
Cantrix uses an instrument that is played by mouth, he speaks the poem
afterwards (but casting time is doubled).
The Works of the Masters
Long ago the Bardic College (which is a very loose organization usually
based in Commons) set about recording all the great Songs and Ballads of
the various Peoples and Nations. There are at least twenty such recognized
books, each with many variations and quiet a few more unofficial books, not
to mention the oral literature that has not yet been recorded. Some
examples: Songs of the Seasons (Naelathe), Call of the Forest Wilds
(Fauns), Grig Sonatas as Recorded by Re'shion (Grig in Old Elven), and
Collected Songs of the Thrushes (in Thrush and Elathe). Throughout these
books, the Melodies of spellsongs are used, but not usually the Keys. The
books, however, provide lyrics to go with the Aires and Tunes. They are
often sang, hummed or just thought out silently as an aid to concentration.
Recording a selection of oral literature previously unknown is a great
accomplishment for a bard, who may thereafter take the title Bard-Sage.
What about the Instruments?
Having skill with an instrument is a prerequisite for learning any Key. It
can be a string or woodwind or a combination, but percussion instruments
lack the range (unless very large and complex). Exotic instruments are
known, and birds can sing Spellsongs, but these are exceptions. A
Spellsingers skills are instrument specific - a Melody can be hummed or
tapped out on anything, but Keys require much more.
The Instrument must be made by a Master Craftsman. Instruments are VERY
valuable and are often made of weirwood with High Metal inlay or strings.
Most favored are the Lyre/Lute and the Panpipes, though Flutes and Guitars
with or without bows are common. Spellsong instruments are much more
complex than regular instruments, reflecting the need for extended range.
They often seen to have an inordinate number of holes and strings.
Natural Spellsingers
Only Birds, Grigs and Werefins in Animus form can Spellsing without
Instruments. Some of the AmphibianLittlePeople can Spellsing a sing Melody
and Key, rather like Birds, but this is always involved with calling to
their Mates.
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