Treatise on Bardic Combat

Treatise on Bardic Combat:
By Ammikia Beign

Most don't understand what it means to enter combat as a minstrel. What we are truly capable of is what will be discussed in this treatise. Seeking to answer how our songs work and when to use them to aid the compatriots that protect us and the lands.

We are at our strongest in the battle itself. While we have some access to the vortex and can help those around us. Our songs will lift spirits and demoralize those that stand across from you. But when to use such and how. Each one of us has our own voice and ideas on this. To understand such one must understand sound and how it travels. This determines the best place position to be is before singing any song. The simplest example is looking at a calm puddle of water. Then drop a pebble into it. This creates ripples that radiate outwards; much like our song. Therefore, a good position to be in is between the front line and the rear guard. That way your song can reach the most of your compatriots. Yet, there are some songs that will put you front in center on the stage of the battle.

When to sing?

When entering the battle, as the engagement starts and for lengthy ones as it draws on. Your song will lift spirits and aid those all around you by lifting their morale and spirits. If there is more than one us about in the battle. Then some sort of coordination should be applied. An order and understanding of what being sung. So, that our voices don't counteract each other's effort and effects on the battle. This requires us to be mindful and notice when morale is fading before we sing.

All our songs are special and we each perform them differently to achieve the results we need to help shift the tides of battle. Will try to offer a brief overall of when to use the songs that I use the most.

What to Sing?

Our Songs: The song we all made our own. Always performed differently and with our own touches added to them; which is our way after all. Lovely song for entering battle or as it draws on. Be mindful of your own position and try to reach the most of your compatriots within range of your voice.

Defensive Songs: Haven Songs: Best used when one of your compatriots are getting into trouble and they need a helping hand. If you can see them having trouble and they are withdrawing from combat. Seek to protect them by giving them haven within your song. Make sure they know. As the song is meant to cover their retreat and if they keep swinging their sword or making with spells. The song will break and they will be seen by all.

Longstride Songs: Best used when combat is going your way and you wish to give everyone an uplifting song to end it faster. Is also good for traveling into battle or just traveling when you don't want to look at the flowers or trees cause you need to get there now! Very good on horseback too!

Valor Songs: Best used only in dire moments. Have used this twice and did not feel safe using it as I personally find myself closer to real combat than others. It is useful if you can time when you sing it versus your own withdrawn from combat. Fair warning is given it; this is a dangerous move on your part.

Ironskin Chants: Best used in heavy combat. The position is everything for your song. Make sure your voice will reach as many of your compatriots as possible before starting to chant.

Freedom Songs: Best used when those around you are lost in their minds from the shock of battle. Gives them clarity to remember who they are and gets them back into the fray.

Countersongs: Best used when there are multiple mages against you. The position is important to reach all of your compatriots but timing is everything as the effects of your voice will not last as long as you think. So, what the opposing mages and time your song to their casting to get the best results. Takes practice, a lot of practice.

Legionnaire's March: The most requested of the songs in combat and also the most taxing on us. Best used entering battle or as combat draws on. The position is central to this song too. Be where your voice reaches all your compatriots to uplift them to victory.

Offensive Songs: All offensive songs require one to get very close to combat and risk their own safety to provide the best advantages to those in combat. You can and will fall providing this kind of support.

Our Curse: Regardless of how we speak or sing it. Our innate curse is a strong aiding force that we can employ for more than busting beetles shells open or making weaker ones explode from it.

Fascinate Songs: Best employed when you get as close to the front line and the real combat as possible. Everyone needs to know you are doing this or it is for not. As the enemy is distracted by your song it is best not to distract them with someone sticking them with a sword. They will react and the charm of the song is broken.

Cacophony: Be it a poem, song, or sheer manifestation of our primal chaos. The position at which you use is best ahead of those with swords and bows for maximum reach. So, center stage and under guises of invisibility or even sanctuary. Do your thing and get the hell out of there. The reason you get to the center stage and beyond those with swords is simple. This is primal and they will hear it also. I've seen my own friends taken by the chaos of it. This is very powerful in trained hands but even more powerful if you can harness it.

In closing, all our songs are powerful and useful but its timing and finding the right situation in which to use them. This takes practice and planning on when to use them, where to use them, and how to use them. Others might find other ways to employ their songs and if so; I hope they share their methods. This treatise is comprised of research and experimental use of the songs under combat situations by the author.

About the Author: Ammikia Beign (formerly known as Nawen Beign) resides at Drakehall, M'Chek with her husband Thaylis Beign. She is a notable member of the Academy of Bardic Arts and Co-Founder of the troupe FRAwen. She is the Senior Mage to M'Chek for the Green Order of the Forest and a Sage at the ATU in Mikona. She has written books on history, poetry, manners and etiquette, and on combining dance motions into incantation motions. She has also been a follower of Dre'Ana and member of her Warrior Maidens; holding various ranks/titles within the Maidens and has fought in wars for Elysia and for T'Nanshi.