The Musical Bard

And now we come to the musical bard, the 'traditional' version of the class.  With every other form of art, I've looked to other games, myths, and fiction for inspiration, and this was no exception.  However, I found a whole lot of junk and very little that was salvageable.  Yes, that was a list of sound-based Pokemon moves that I just referenced.

Before I get to the list, I want to clear up a common misunderstandings about music: it is not a 'universal language'.  That myth was perpetuated by old white European musicologists and music theorists who had almost no experience with non-Western musical traditions (and, for that matter, little experience with European folk ones, either).  Music is only effective when speaking to someone raised in the culture that produced that music.  For example, Franz Schubert, the master of Lieder, was essentially the Mariah Carey or Beyonce of his day.  Take a listen to some of his songs (Dietrich Fischer-Dieskau is a particular favorite singer of mine).  That probably won't evoke the same resonance as it's contemporary counterpart.  Styles and tastes have changed since the early 19th century.

I break down here how the musical bard would function in the 17th century, but these categories (with the exception of opera) work throughout European history from the Medieval period to the Long 19th Century.  Summarizing, there are three (really four) genres of music found in the 17th century: folk or local music, court music, and liturgical (church) music.  Court music in the 17th century is then broken down into instrumental music and opera, which had just swept the entire continent, reigning supreme over every other type of music until the modern era (even Beethoven spent his entire career trying to write an opera).  Each tradition will have its own sphere of influence: folk or local music will be effective among all common folk of a similar geographic region, but it will be most effective for the specific region of origin of the bard.  An Irish fiddle tune does not have the same effect on the Chinese Imperial Court as it does at a ceilidh.  Court music, of both types, will be effective among the nobility of that region and ineffective among the common folk or nobility of other regions (imagine the Chinese guqin played for Louis XIV).  Liturgical music will have the broadest cross-class reach, as it will affect all who adhere to a particular faith: Catholic music, Lutheran music, Episcopalian music, etc.

Additionally. liturgical music also includes the setting of sacred texts to vocal polyphony - a liturgical bard would be either an organist or singer, although they would need at least one other and preferably two other singers for polyphony to have full effect.

Roll	Folk Traditions	Court Traditions (Instrumental)	Court Traditions (Operatic)	Liturgical Traditions
1	With virtuosic melodic figurations and expressive rhythms, the melody can enthrall an audience.	The piece's unusual arrangment of topics communicates a message decipherable only by the musical elite.	With virtuosic melodic figurations and expressive rhythms, the melody can enthrall an audience.	The composition violates many of the rules of the liturgical tradition, inviting unholy creatures to hear the music.
2	The steady dance meter and spirited melody invites those listening to get up and dance.	The steady dance meter and spirited melody invites those listening to get up and dance.	The melody is innately beguiling, drawing a targeted creature towards the singer.	The holy music consecrates the area in which it is played, for as long as the piece lasts.
3	The tune is somber and mournful.  Those listening are stricken with grief.	The musical themes conjure cantrips, which manifest while the work is played.	The tune is somber and mournful.  Those listening are stricken with grief.	The music is sufficiently angelic that divine spirits appear.
4	The skill required to play the tune conjures local spirits - divine, unholy, or of the wild.	The piece plays with musical conventions, amusing listeners and attracting Sidh/Fey.	The song is intimate and touching, fostering trust between the singer and audience.	All who sing the melody together find increased loyalty and camraderie.
5	The song is fast and free, inspiring revolution in those who hear it.  Those under compulsions or curses may make an extra saving throw.	The work provides an elegant atmosphere, lulling listeners into a false sense of security.  Lessened chance to notice non-obvious things.	The singer portrays extreme naivete; those acting against the singer feel guilty and shamed, decreasing their morale by 2.	The work is a requiem.  If sung over a dead creature, the creature's soul will find peace and never return to this plane.
6	The music touches on long-forgotten religious rites; all who sing or tap along are blessed with a +1 bonus on all checks for the next 24 hours.	By playing a work of anti-music, something that violates musical convention, those within hearing range are disoriented and sickened by the aesthetic shock.	The song is loud and bombastic, intimidating those who hear it and granting Sanctuary to the bard.	The music evokes a feeling of profound serenity.  Aggressive action cannot be taken while the music plays without a saving throw.
7	The tune is sufficiently catchy that the bones of the dead begin to tap along.  As long as the bard plays, bones in the area will do nothing but rattle along.	The piece is tightly rhythmic, helping coordinate movement.  Creatures fighting in formation without training take no penalty as long as the music plays.	The song is so depressing that those who listen must save or commit suicide.	The ceaseless repetition of the cantus firmus is inspiring; when performing the same action twice in a row, receive a +2 bonus to the roll.
8	The melody captivates those who listen, and they will follow the bard until they cease playing.	By employing harmonic frequencies, glass and similarly-breakable things shatter within 60'.	By employing harmonic frequencies, glass and similarly-breakable things shatter within 60'.	The abundant use of perfect consonances are repellent to unholy creatures, forcing them to save or flee.
9	The music is silly, full of whimsy and musical tomfoolery.  While the music plays, morale is improved by 2 and things that might cause offense are taken as jokes instead.	The music is silly, full of whimsy and musical tomfoolery.  While the music plays, morale is improved by 2 and things that might cause offense are taken as jokes instead.	The melody can lull those listening to deep sleep.	The work uses an older liturgical melody, reminding those who recognize it of their faith. If acting within their faith's guidelines, morale is improved by 2.  Else, morale decreased by 2.
10	The tune is sweet and gentle, attracting and enthralling animals.	The order and clarity of the piece are supernally soothing, aiding recovery.  Decrease the time required to heal severe injuries by 20%.	The tune is sweet and gentle, attracting and enthralling animals.	The music is great and terrible.  All who hear it stop.  Those who have dismissed faith must save or repent.