Bards

Cartography

Although they can be encountered all across the realm, Darin, and at the Rim, very few in fact originate from the Rim or Darin. It’s just as if those climates and cultures don’t sparkle for those who care to traverse the lands, learn about the passing of world times and the history of the races, and pass it on in glorifying splendour or mocking innuendo. But rare examples of rimsters or darinists of Rimzir, Izir, or Mawmen origin surely exist.

Bards from the Sunlands are almost as scarse, almost as if the hardness of life limits the urge to storytell and entertain. Not that they don’t dream as much as tropicals, temperates, and shadowlanders. I know several that dream and express as hot and burning as their origin lands. But both frostlands and sunlands do have a plenitude of visiting bards, bringing news and learning theirs. As most bards travel by foot, and we have figured out that they often travel far in very short time, we are certain they use astravel. We are also certin that they use Whisperwind Cant for sharing astravel gate locations internally. The notes or melodies played indicated the destination, the safety of the route, or even warned of potential dangers ahead. We actually also think that senior bards can communicate with each other using specific tunes at astravel sites, where the pitch and rhythm can activate the site somewhat so the sounds signal both the gate’s location and its security across the astral.

Skjald Sigurd

 

Some of them have mounts or utilise a wheelbarrow, cart, or wagon. But most of them travel afoot, or know astravel. It’s said that they share astravel gate/site locations and colour patterns internally and that senior bards thus know about each and every one discovered.

When a bard enters a settlement, regardless of location and size, they are treated accordingly due to recognising their signature. It’s what keeps them coming, people say, and why one never knows if a bard already resides, or enters, when a remote farmstead, random tavern, or nobles court is visited. And it’s always a treat if so, because then food, drinks, and desserts flow generously.

Skjald Yell’a’Beard

 

Organisation

Through their history, as old as the grunting of living beings, they have been divided into three schools. One of the different tempi is generally defined as the action of a voice or instrument per second. The other is how to present the sounds being delivered. The third is about voice-of-tune pitch. It’s also worth noting that a bard from the Rim might use lower, more resonant tones to convey their messages, while one from the temperate lands uses higher, brighter notes. This regional variation is decoded by other bards as they know or can figure out the other’s origins or training background through subtle clues.

Skjald El Mary

 

The Path of Song and Shadow

Becoming a bard is more than just mastering an instrument or crafting poetic verses—it is a calling that demands unwavering dedication, a keen intellect, and the willingness to delve into both skills and magic. The journey to join the bardic guild is a rigorous process steeped in tradition, secrecy, and layered trials. The initiation is often as much a test of character as it is of skill.

The calling and the trials

Aspiring bards, known as “Chords,” are often scouted by established members of the schools, though some seek out the path on their own. Before any formal education begins, the Chord must first undergo a series of trials designed to assess their natural talents, resilience, and alignment with the school’s core principles. These Trials vary depending on the school, but they generally fall into three main categories:

• The Trial of Harmony: This test examines the Chord’s natural ability to synchronise their spirit with music and words. It is not simply about playing notes or reciting verses; the aspirant must demonstrate a deep, instinctive connection to the magic and emotion that music can evoke. It is said that a true bard does not merely play music—they become it.
• The Trial of Memory: One of the key duties of a bard is to preserve history, knowledge, and tradition through oral transmission. In this test, aspirants are presented with a complex tale, poem, or melody and must replicate it perfectly, capturing not just the content but the nuance. This trial separates those with mere technical skill from those with a gift for storytelling and artistry.
• The Trial of the Veil: Bards walk a fine line between truth and fiction, light and dark, law and subversion. This trial assesses the Chord’s ability to navigate morally ambiguous situations, maintain discretion, and understand when to use deception or subtlety for the greater good. It’s often a test of judgement, where the aspirant might be given a choice between loyalty and pragmatism, between personal gain and the needs of the guild.

Passing these trials earns the aspirant the title of “Neophyte” and grants them provisional membership within the bards. However, they are still far from being considered a full bard.

The Binding Oath and the Gathering of Voices

Once a Neophyte has proven their worth, they are invited to take part in a ceremony known as the Gathering of Voices, held under the auspices of senior bards. During this ritual, the Neophyte swears a binding oath known as the Chordal Pact, where they vow to uphold the bard’s tenets, respect the knowledge and secrets entrusted to them, and contribute to the ever-growing canon of bardic lore. This oath is sealed with a sigil or mark—often in the form of a brooch or pendant—signifying their allegiance to the guild.

The Gathering of Voices also involves a symbolic exchange of songs, where each participating bard shares a piece of lore, history, or music that they alone carry. The Neophyte must demonstrate they have something unique to offer in return, symbolizing that each bard brings a new voice to the chorus of knowledge.

Mentorship and the Hidden Paths

Following the Gathering of Voices, the Neophyte is assigned a mentor—a fully-fledged bard responsible for guiding their development. This period, known as the “Honing,” is where the Neophyte begins specialized training, often focusing on a specific school of bardic tradition. During this time, the mentor teaches the Neophyte the more advanced elements of bardic craft, including the hidden uses of Whisperwind Cant, secret histories, and the nuances of performing under different conditions, whether in a royal court or a back-alley tavern.

Not all Neophytes follow the same path. Some are chosen for “The Hidden Paths,” a more clandestine branch of bardic tradition. These initiates are trained not just as entertainers or lorekeepers but as spies, diplomats, or even saboteurs, using their skills to influence events from behind the scenes. Their initiation involves even more secretive rites and additional trials, with whispered rumors suggesting that some Hidden Path initiates never truly return from their training.

The Final Ascension: Earning the Bard’s Mantle

The final stage of initiation comes in the form of a personal quest or challenge known as the “Solo Journey.” The Neophyte must undertake a mission with no direct aid from their mentor, often involving the retrieval of lost lore, the composition of an original masterwork, or the resolution of a complex political dispute using their bardic skills alone. Upon returning successfully, the Neophyte is formally elevated to the rank of bard and welcomed as an equal by their peers.

With this elevation comes the right to wear the bards’s top sigil, bear the title of “Voice,” and participate fully in the secret councils where bards share the hidden histories and plan their subtle interventions in the world’s affairs. Their songs now carry not just tales and melodies but also the weight of authority, wisdom, and responsibility.

Skjald El Mary

 

School of Performance

It’s important to note that bards can often combine these different styles within a single performance. For example, a Detaco performer might use Legato for certain sections of a song, while a Legato performer might incorporate elements of Stacco to create variety. Besides being a school training performance, it also teaches about the hidden bardic language of Whisperwind Cant.

Detaco: The art of anticipation is taught so the performer can master very distinct pauses between tunes or sounds created, almost as if silence in-between is a living part of the performance. Basically utilising silence as a significant element of their performances. This can be extended pauses between phrases, deliberate silences within musical passages, or even moments of complete stillness. The goal is to create a sense of anticipation, reflection, or dramatic emphasis.

Stacco: The power of sudden shifts emphasises on the performers ability to make distinct transitions between actions, with a notable variance in volume or octave and with little or no silence in between. Bards are taught to use these abrupt transitions to convey urgent or clandestine information. The ability to execute stacco performances with precision and speed is essential for effective communication.

Legato: The neverending flow is trained so performers can let every action flow into the next, leaving no silence or no abrupt change in sound volume or octave. Making the performance an endless, continued stream. This might involve smooth transitions between notes, connected melodies, or sustained movements. Legato are often used to convey emotions such as longing, passion, or tranquilly.

Tenuto: The art of prolonged expression Students in the Tenuto school learn to use elongated notes and sustained tones to convey hidden meanings. By holding actions for an artificially long time, tunes as long as 90 seconds, or for some instruments, lasting throughout the entire performance. Bards can encode messages within traditional phrases or melodies, even adding humming and whistling sounds alongside any other action. The focus is on precision and control, as even the slightest variation in timing or pitch can alter the intended message.

Worth noting about the various styles of the performance school are these slight variations:

• Syncopation: This style involves playing off the beat, creating a sense of rhythm and surprise. It can be used to emphasise certain words or phrases or to create a more energetic and dynamic performance.
• Articulation: Articulation refers to the way a performer attacks and releases notes. Different articulation techniques can create varying effects, such as staccato (short, detached notes) or legato (connected notes).
• Dynamics: Dynamics refer to the volume of a performance. A performer can use dynamics to create emphasis, convey emotion, or build suspense.

Beyond Music: The Physicality of Performance The school also places great importance on the physical aspects of performance. Students are taught to use posture, gestures, and facial expressions to enhance their communication. Specific techniques are employed to convey emotions, emphasise hidden messages, and create a captivating stage presence.

Instrument Mastery and Improvisation The choice of instrument can significantly influence a bard’s ability to convey hidden messages. Students are trained in various instruments, including the lute, harp, and flute. Mastery of these instruments allows for subtle variations in tone and rhythm that can be used to encode information. Additionally, improvisation skills are essential for adapting to changing circumstances and conveying messages on the fly.

Skjald Ulrich

 

School of Tempi

The School of Tempi is renowned for training bards in the mastery of tempo, and aside from practicing and training different tempi, apprentices are also taught the hidden bardic language of Whisperwind Cant. As the tempo of the performance affects the complexity of the message. Slower tempos like Dubo might deliver simple, drawn-out signals, while faster tempos like Jaco allow for more intricate, layered information that only a highly skilled bard can decode. The School of Tempi provides rigorous training in Whisperwind Cant, ensuring that graduates are equipped with the skills to become proficient masters of this hidden art.

Dubo: The slow and steady pace Dubo performances, characterised by a rhythm of one action or less per second, are often used to convey simple, drawn-out signals. The slower tempo allows for deliberate and controlled movements, making it easier to encode messages without raising suspicion.

Hiop: The moderate middle ground Hiop performances, aiming for one and a half actions per second, offer a balance between speed and clarity. This tempo is suitable for conveying more complex messages while still maintaining a certain level of subtlety.

Mezo: Theenergetic rhythm Mezo performances, with two actions per second, are characterised by a more energetic and dynamic pace. This tempo can be used to convey urgent or exciting information, but it also requires greater skill in encoding and decoding messages.

Jaco: The rapid fire of iInformation Jaco performances, the fastest of the four tempi, allow for intricate and layered information to be conveyed. Only highly skilled bards can effectively decode messages at this tempo, as it requires exceptional precision and coordination.

Beyond tempo: The physicality of performance In addition to tempo, the School of Tempi also emphasises the physical aspects of performance. Students are taught to use movement, gestures, and facial expressions to enhance their communication. These elements can be used to reinforce or modify the message conveyed through tempo, adding an extra layer of complexity.

The art of subtlety The School of Tempi understands the importance of subtlety in conveying hidden messages. Bards are trained to perform in a way that appears natural and unremarkable, even when encoding complex information. The ability to blend hidden messages seamlessly into a performance is a hallmark of a skilled bard.

Skjald Valgrif

 

School of Tessitur

The School of Tessitur is renowned for training performers to optimise their vocal abilities, teaching them to use their voice where it is most comfortable, spend the least energy rehearsing, and perform. As voice types most often change over time, performers generally shift both their school and their repertoire throughout their lives. Generally, females are in the higher end, topping as sopranos, and males are in the lower end, down among the rumblers. Some are, though, of such talent and skill that they span several careers. Teaching students to harness the power of their voice to convey hidden messages, the school emphasises the importance of understanding one’s individual voice type and utilising it to its fullest potential.

Voice types and their roles The School of Tessitur recognises several distinct voice types, each with its own unique qualities and strengths:

• Soprano: Known for their high vocal range, sopranos often convey bright, joyful, or celebratory messages.
• Mezzo-soprano: Possessing a medium-high range, mezzo-sopranos can express a wide range of emotions, from passion and strength to tenderness and vulnerability.
• Contralto: With a deep, rich voice, contraltos are often used to convey sombre, warning, or mysterious messages.
• Countertenor: A male voice type with a high range, countertenors can create a unique and ethereal sound, often used for dramatic or otherworldly effects.
• Tenor: Known for their lyrical and expressive voices, tenors can convey a variety of emotions, from heroic to romantic.
• Baritone: With a medium-low range, baritones are often used for dramatic or character roles, conveying strength, wisdom, or villainy.
• Bass: The lowest voice type, basses are known for their deep, resonant sound, often used for powerful or authoritative figures.
• Rumbler: A particularly deep and resonant voice type, rumblers can create a haunting or intimidating atmosphere.

Harnessing the power of voice The School of Tessitur teaches performers to understand their individual voice type and utilise it to its fullest potential. This involves:

• Vocal technique: Mastering proper breathing techniques, vocal placement, and resonance to ensure optimal vocal health and projection.
• Range and flexibility: expanding one’s vocal range and developing flexibility to accommodate different musical styles and genres.
• Emotional expression: Learning to convey emotions through vocal nuances, such as tone, dynamics, and articulation.
• Hidden messages: Understanding how voice type can be used to encode and decode hidden messages.

The art of subtlety The School of Tessitur emphasises the importance of subtlety in conveying hidden messages. Performers are trained to use their voice in a way that appears natural and unremarkable, even when encoding complex information. The ability to blend hidden messages seamlessly into a performance is a hallmark of a skilled bard. The tessitur of a bard is trained to stress them the least, so a performance reflects not just their voice type but also the style in which they communicate secrets. For example, a contralto might favour sombre, rich tones for conveying warnings, while a soprano might weave brighter notes into celebratory or playful codes.

Soprano (Octava Soprano)

Mezzo-soprano (Octava Mezzoso)

Contralto (Octava Otralto)

Countertenor (Octava Countra)

Tenor (Octava Tenorao)

Baritone (Octava Bariota)

Bass (Octava Bassora)

Rumbler (Octava Vibralt)

Skjald Sejrik

 

School of Whisperwind Cant

Whisperwind Cant is an elusive and secretive language mastered fluently only by bards, hidden within their songs, stories, gestures, and performances. It is a multi-layered code, both ancient and evolving, designed to convey hidden messages, transmit delicate information, and allow subtle communication even in plain sight. For the untrained observer, the performance might seem like artful improvisation, but beneath its surface lies a sophisticated system of encoded signals and meanings.

At its core, Whisperwind Cant is a blend of music, poetry, and motion, shaped by bardic traditions and refined over centuries. It relies heavily on poetic devices, cryptic metaphorical references, tonal shifts, and subtle physical cues. Mastering the Cant requires not just technical skill but an intuitive grasp of nuance, culture, and tradition. Each school of bardic training instills its own unique dialect, making it even harder for outsiders to decipher.

Key elements of Whisperwind Cant:

The Cant uses specific note sequences, pitch variations, and rhythmic patterns to convey messages. For example:

• Changes in pitch and vibrato can subtly alter the meaning of a melody. A light-hearted tune might contain hidden undertones of warning if played with a distinct tonal shift.
• Chord progressions and harmonic patterns serve as musical codes. A discordant chord progression might hint at danger or betrayal, while a series of harmonic resolutions could signify trust or safety.

Drawing on bardic poetic traditions, Whisperwind Cant employs kennings, metaphorical phrases, and layered allegories. A simple line like “the river flows under iron skies” could imply “danger in hostile territory” when interpreted by someone versed in the Cant.

The Cant is as much about rhythm as melody. Different bardic schools use tempo to convey complexity:

• Slower tempos, such as those used in the Dubo style, might express broad, straightforward messages.
• Faster, intricate tempos like Jaco allow bards to encode layered, subtle information within rapid sequences that only skilled listeners can decode.

In group settings, bards might harmonise their performances, with each layer contributing to the overall message. What seems like choral variation or intricate counterpoint could actually be several different threads of communication, each carrying distinct meaning for those attuned to it.

The visual and physical aspects of the Cant

The Cant isn’t limited to sound; it extends to the visual and physical realms. Whether through subtle hand gestures, stylised writing, or rhythmic movements, bards convey information without ever breaking the flow of their performance.

• Bards might use discreet hand movements, flicks of the wrist, or taps of the foot to communicate. These movements are often disguised within the natural flow of a performance, yet can relay detailed information to another bard nearby. For example, a simple tap followed by a hand flick could signal danger, while a sweeping hand gesture might confirm an all-clear.
• In written form, Whisperwind Cant often takes on the appearance of elaborate scripts or illuminated letters. Hidden messages can be embedded in the flourishes of a manuscript, where only another bard trained in that particular style can detect the concealed meaning.
• Some bardic performances include rhythmic tapping, stomping, or even coordinated dance moves. What appears as lively footwork could carry encoded instructions or warnings, with each beat adding layers to the message.

The hidden complexity of Whisperwind Cant

Whisperwind Cant’s complexity scales with the skill and training of the bard. There are varying levels of communication within the Cant, from simple signals to deeply encrypted messages known only to the highest ranks.

• Simple: Basic signals such as “danger nearby” or “follow me” are universally understood by all bards and can be embedded within any performance.
• Intermediate: More nuanced messages—like “prepare for betrayal” or “an ally approaches in disguise”—require a deeper understanding of bardic traditions and a familiarity with specific cultural references.
• Advanced: This level of communication involves multi-layered narratives hidden in songs, where subtle shifts in harmony or allusions within verses might reveal intricate secrets. Messages like “the king is deceived, but the court remains loyal” could be woven into an epic ballad that only a skilled bard could decode.
• Master: Reserved for the most senior bards, these messages are encrypted within performances using regional dialects, personal variations, and obscure references known only within tight-knit circles. For instance, a seemingly simple melody could carry a coded history of past alliances or betrayals if played in a specific manner at an astravel site.

School variations and dialects

Each bardic school teaches its own dialect of Whisperwind Cant, adding layers of flavour and stylistic nuances. A bard trained in the Rim might use lower, resonant tones to convey their messages, while those from temperate lands might favour higher, airy notes. This distinction makes it difficult even for other bards to fully grasp every variation of the Cant.

Moreover, specific schools emphasise different aspects of the Cant. The Tenuto School might teach bards to elongate notes and embed meanings within sustained tones, while the Stacco School focusses on rapid transitions and coded shifts in volume.

Whisperwind Cant in practice

On any given day, bards use Whisperwind Cant to subtly influence their environment or pass messages without drawing attention.

• In a royal court, a bard performing a celebratory ballad might hide a warning about impending betrayal within a seemingly innocent refrain.
• At a tavern, a cheerful melody might carry undertones of sorrow or danger, signalling to another bard to be on guard.
• During travel, bards might use specific tunes at astravel sites to signal a destination or communicate with other bards across the astral plane.

In essence, Whisperwind Cant is more than just a hidden language—it’s an evolving tradition that blends art, culture, and secrecy into a versatile tool for communication. For those who know its layers, every performance becomes an intricate dance of sound, sight, and meaning, capable of conveying everything from the mundane to the monumental.

Skjald Ulrich

 

School of performing lore…

Some say a school is more…

Dancing and weaving…

Skjald Kazumix

 

Special

They often master several instruments, languages, weapons, and other arts and are experts at setting a mood.

Skjald Vinotis