Ballads and Shanties: A Melodic Tour of the Realms

Ballads and Shanties: A Melodic Tour of the Realms is a book recovered from the lair of Acrimos.

## Description

Seemingly more a set of notes nearly a finalised draft than a formalised publication, Ballads and Shanties: A Melodic Tour of the Realms is presumably the final work of the Scrivener Gift of Honey before his demise at the hands of the Ancient Green Dragon Acrimos.

## Research

### Completed by Isra Ssalla

*Preface: Few can deny the intoxicating variation that across the borders of the Realms, for the influence of the gods ever present have created diversity impossible otherwise. Just as it is said the world still sings with the presence of the elements that carved the land created by the One With the Dirt, the Lady of Melody must dance with joy to see the passion of her people, whether they call city, hamlet, forest or road their home. It is of course ridiculous to gain an appreciation for such things through simple words, as fine and honeyed as they may very well be, but it is my humble hope and prayer that they will spurn this blessed reader of such astute literary taste to seek out the experiences for themselves. It should be noted that these comments, for sake of maintaining a manageable length to this tome, are not a complete treatise on all the music found in a specific Realm, but rather a sweeping generalisation of that which is most commonly associated with it.*

*The journey that brought me through the vast majority of the Realms lasted the best part of six years between 926AG and 931AG, a trailing journey by foot, caravan and ship side-by-side with companions upon that way, some for mere weeks, others for months and years. It is regretrable that a few amongst the Realms were less welcoming than others, by nature of environment, or rulership, but as the journey draws to a close perhaps I will have a chance to revisit such areas upon my return to the Duchies.*

#### The Duchies of Tynd

It cannot be denied the profound influence that the Tyndian approach to music and melody has had on the Realms, for at the heart of the Duchy of Totinland shines a jewel so bright and brilliant - the College of the Silvertongue. Founded by the Herald, few courts in Ahlus have not a bard trained within, just as I was - and those companions that share the title of Scrivener. Though the faith of the Principal Sixteen is strong throughout the lands, regardless of the flag, border and folk, it is undeniably strong within the borders of the Duchy, and so much of Tyndian songwriting is directly inspired by such matters. Just as the Sixteen are diverse, the topics and tales told prove equally so, but in my experience - and chagrin - I must caution one against any such bawdy melody in the presence of all but the merriest and inebriated of company, particularly so if the tune in question is the *"Weeping Serpent"*, however popular it may be with sailors and dockhands.

Nonetheless, at the Poet's Feast, particularly that festival held within the capital of Evonlock, the traditionalist and conservative nature of many of the residents is known to loosen, so if a fledging poet or orator worries about the nature of their works it is a worthy testing grounds - provided they mind not doing so before a baying crowd of thousands.

#### Tulis

Tulisian music generally fulfils one of two requirements, though more often than not both are present within the same melody. Particularly present in Tulisian songwriting is the use of shifting tempos, most commonly an ever-accelerating repetition of simple choruses and refrains. When combined with the other common trend, that of calls of adventure and expedition in the name of progress and innovation, Tulisian songs act as a reinforcement of Tulisian ideals, a call to action - and so are often sung in the closing moments of a gathering, or before the day's work begins.

The most famous amongst these is undoubtedly *"Behold!"*, which exists with such a pervasive presence that it is considered by many scholars and philosophers to be more of a prayer than a true song.

Behold!

*"And so now, it comes creeping near,*

*The time to throw open the door,*

*A world awaits beyond, behold!*

*All folk hunger for more!*

*And so now, the sails do fill,*

*The travel to distant shore,*

*New splendid lands to see, behold!*

*All folk hunger for more!*

*And so now, the roads do call,*

*On wagon and cart and horse,*

*To learn and earn much and more, behold!*

*All folk hunger of course!*

*We sing again, the time is near,*

*The time to throw open the door,*

*A world awaits beyond, behold!*

*All folk hunger for more!"*

#### Masnga Niai

Owing to its long-standing nature as a direct vassal to Tulis, Masnganese musical culture is largely dominated by Tulisian imports, as detailed previously. However, the resident population of other races, usually considered less civilised, seemed no less capable of melodies and tunes - however outwardly primitive they may have seemed in comparison. Bullywug and Grung colonies alike mark the rise and fall of the sun and the arrival of rainfall with a chorus of batrachian clicks and croaks delivered with a staccato-like precision, whereas Lizardfolk tribes have a particular talent for creating drums, flutes and pipes from reeds and bones.

#### Lienia

Much like the Realm of Masnga Niai that I visited before it, the influence of Tulisian culture on the music of Lienia is profound and irrefutable, but in the time The Reaches have shaped their own unique identity, particularly so those more isolated communities closest to the ill-defined eastern border with the Evergreen Lands of Stranere. Agricultural themes are ever-present and are typically sung without instrumental accompaniment, as hands are more often busy tending to crops with tools in hand. Simple in their composition, harvesting songs, those revelling in food and drink enjoyed with friends and family and those recognising the bounty of the natural world are hallmarks likewise.

One such example of this is the song *"Heart's Wood",* which exemplifies both the call and response and echoed lines common in traditional Lienish songwriting.

Heart's Wood

*"Each and every wood, it must have its heart,*

*It beats and dances, (beats and dances), beats and dances, (beats and dances).*

*And every tree and folk must play their part,*

*They spring and prance, (springs and prances), spring and prance, (springs and prances)."*

#### Gawylthlan

A musing of distinct note with regard to Gawylthlian music is its intrinsic tie to the deeply seated martial traditions of the Slate-Stone Kingdom. Considering the hymns and melodies of the Duchies of Tynd to be oft ponderous and dull, Gawylthlian bards instead prefer songs of great deeds completed by mortals, the joy of the bloodrush of battle, the exhaltation of victory, the camaraderie to be found both in sharing a meal at a roadside campfire and within a vanguard charge. Marching songs are also particularly common, but most famous still is the notorious use of music charged with the divine magic to bolster those around them into battle frenzies, moving and engaging foes with a fury and power unbridled.

This so-called "Sermon of Swords" has reached a level of legendary status so sufficient that there are no less than eight recorded battles since Aita's Second Gift that upon the rising chorus enpowering the Gawylthlan troops, morale of their foes faltered so significantly that flight and/or surrender has occurred without a single drop of blood spilled. Nonetheless, it has proven to be to their folly too, for tactful commanders are known to target the Dirge Singers first, threatening to stall the momentum of the Gawylthlian approach.

#### Atralran

The music stylings of Atralran are not so much a comment on the composition and themes of the songs sung, but rather the presentation and format in which they are provided. Ever splendid, favouring spectacle shaped by the arcane and mundane alike, minstrels are often accompanied with illusionary imagery to bolster their performance. The design and decoration of musical instruments is deeply pondered upon, as is the set dressing of stages at festivals, for no detail is wasted in creating a scene worthy of remembering. Stringed instruments, particularly so lutes, lyres and harps are commonplace, as are flutes and horns for accompaniment. Magical means are likewise often used to augment the sound and appearance of voice and instrument alike.

A history deeply steeped in tales of virtue commands the majority of traditional Atral musical storytelling, with lyrics detailing would-be Knights seeking out opportunities to partake in acts worthy of the Trial of Spirit particularly popular. Depending on the nature of the virtue sought, the would-be knight in question and the act taking place, these songs may be filled with grandeur, comedy, tragedy, romance or more further still. Folk tales of heroes conquering long odds against evil monsters and foes serve equally popular amongst serfs and nobles alike, although the lattermost's halls are also oft filled with poetry and madrigals dedicated to fallen comrades and companions. In no case is this more poignantly bittersweet than in the words of "The Elegy to the Departed". Although both the original author and subject are unknown, it remains an ever present part of the Atral mourning process.

The Elegy to the Departed

*"Though sorrow will come, and the tears might flow frequent,*

*And the empty dark cold will seem our new friend,*

*To grasp at the reverie, joys ne'er rendered,*

*In stories still living, a memory remembered."*

*"It seems so much so, hardly I knew you,*

*And yet all this time, held close to my heart,*

*But my thoughts on you are ne'er not centred,*

*In stories still living, a memory remembered."*

*"I know I will pain for the loss I have suffered,*

*And those besides me, they feel that pain too,*

*To the realm o' the lost, you're ne'er surrendered*

*In stories still living, a memory remembered."*

*"And so we must turn, tomorrow is calling,*

*To find strength anew, to laugh and to grow,*

*But my love for you, it'll ne'er be tempered,*

*In stories still living, a memory remembered."*

*"In stories still living, a memory remembered."*

*"In stories still living, a memory remembered."*

#### Ra-Galthe

For a newly formed nation, the musical tradition of Ra-Galthe is rich and storied, and while this surely in part due to the differing cultures of the Empire of Raq maintaining fierce cultural identities even under the rule of the Ivory Emperors, it speaks to the tenacity of the Galtheraq folk, something I can attest to personally, having long experienced it firsthand through my colleague and peer Dhavud. Such is the demand for Galtheraq instruments that it has become one of their primary exports as the Realm finds its footing

On chill arid nights, the warmth of fire and dance alike holds a particular significance to the Galtheraqs, and the diversity of instrumentation is a direct artifact of this. Plucked and bowed lutes, zithers, flutes & other reed instruments, as well as all manner of drums and other percussion - all are highly valued in both Ra-Galthe and beyond.

#### Astedia

Torn between the stronger identities and ideals of Gawylthlan to the west, Mol Boramm to the north and the Duchies of Tynd to the east, Astedian culture is a muddled matter, influenced from historical periods of occupancy, conquest and likewise. There is little to be said of Astedian innovation in this regard, and without intending to appear too scathing, generally speaking either.

#### Mol Boramm

Much as Tulisian music echoes the yearning for adventure and novelty and Gawylthlian songs carry martial value, Mol Borammian melodies oft evoke the culture of the Dwarven Kingdom. Shanties with deliberate rhythm to coordinate mining efforts likewise display call and response refrains to engage the industrious workforce, with lyrics detailing riches and wealth, treasures hidden behind a veil of stone ready to beunearthed. The songs serve an important purpose, signalling times for work, breaks for meals, the loading of carts and lift shafts - and then the conclusion of the shift.

Despite this, it is not for these working songs that Mol Boramm is famed musically, for instead it is claimed that any tavern song of any value originates from the alehouses and inns of the City of the Sprawling Reach. The spread of Mol Borammian drinking tunes has been speculated to be a deliberate effort by the proprietors of the breweries, for with sufficient boasting of the quality of their drinks business is further bolstered. Two such songs are included, *"Pitcher, Cask, Wagon",* intended to instill a challenge to naysayers regarding Silverkil Dry Stout by suggesting they lack masculinity, and "*Redtome's Brew*", which boasts of the quality of the ales and meads sold by the Guild of Redtome.

Pitcher, Cask, Wagon

*"Pass over a Pitcher, a Cask, a Wagon,*

*Let bravery and brawn never be in doubt,*

*On the tap flows as true men grow bold,*

*Never say no to Silverkil Stout!*

*Though beast and babe grow in thirst,*

*Sorrowful in folly with Highreign drought,*

*All true men clasp a flagon high,*

*And quench themselves with Silverkil Stout!"*

Redtome's Brew

*"Be ye a maiden, veteran or pauper,*

*Y'all naught find better for a handful o' copper,*

*So unless ye reckon any ol' ale will do,*

*Best ye spring for the Redtome's Brew!*

*A taste divine, blessed be its way,*

*So much so, the heathens start to pray,*

*So unless ye reckon any ol' ale will do,*

*Best ye spring for the Redtome's Brew!*

*Of honey and grain, mixed with soul and pride,*

*A charming offer, it cannae be denied,*

*So unless ye reckon any ol' ale will do,*

*Best ye spring for the Redtome's Brew!"*

#### Nidaynia

Clan history is deeply rooted in Nidaynia ballads, retelling the history of its founder, legendary exploits and cautionary tales through spoken verse or chants. While often lacking the bardic poise of similarly-themed melodies from Atralran, Nidaynian clans are fiercely proud of their heritage. It is common that during unions between neighbouring clans, alternating tales are told by members of each clan, symbolising the interweaving of their histories with partnerships between the populace. Fiddles, pipes and low vocal drones characterise these sagas, many of which can have hundreds of verses - particularly if they detail the centuries long life of a draconic ancestor.

Herding songs used to corral the Fangor Goats for which the Realm is secondly famed serve an important purpose, and can oft be heard echoing between the mountain peaks on clear days.

#### Ra-Larara

Similar to Nidaynia, Larraq songs are a commonplace feature of those travelling through the Ironfangs within the borders of the Realm, but serve a different purpose. While arcane means of message transportation are indisputably effective, they are beyond the scope of the majority of the populace, and so the tumultuous terrain provides great challenge for matters of effective communication. Vocal notes of low resonance carry easily through the mountains, allowing the signalling of simple concepts - calls for aid, warnings of threats approaching, imminent changes in weather.

It is often remarked that a commander must have a strong voice upon the battlefield, and few can deny that the voices of the Larraq carry the necessary resonance. In times of gathering however, songs of layered voices paired with drums, flutes and pipes take centre stage.

#### **Lylcairn**

My visit through Lylcairn was a brief one, sufficient only to travel to the borders of the Giado Territories, but nonetheless in that time I was treated to much of the pensive, oft haunting resonance common amongst the tribe folk. Fittingly, for a Realm comprised of scattered tribes focused on shamanism and animistic beliefs, Lylcairr songs feature few lyrics - for they are creations of the minds and tongues of the Principal Races - and instead is centred around concepts of ambience akin to the natural world. Drums of horse, deer and goat skin, bones used percussively, rattles, whistles, poured water and polished stones moved across each other to create humming drones forge an organic & primal cadence that drifts between the trees and mires with an evocative and wistful grace.

#### **The Giado Territories**

Folk dances are popular in the Giado Territories, although large balls and fairs are largely unheard of. Instead, communities gather to mark the passing of the seasons, pledging themselves to each other anew to stand fast against the storms of Amberlight, and the snows of Whiterose. The associated music is rich, full-bodied in choral singing and accompaniment from viols and accordians. To unfamiliar ears, Giadoese music can sound discordant, but I assure you deep harmonies strike true throughout, woven in great complexity to staggering resolves. An outlet for a traditionally stoic peoples, songs woven with emotion are also commonplace, with themes of love, grief and joy most so.

Day-to-day, songs about farming and fishing may linger upon the minds of the residents of the Giado Territories, although the themes of insular determination remain ever-present here too, as is the case in the lament *"Red Light Dawn"*.

Red Light Dawn

*"A red light dawn broadens the horizon,*

*The dark o' night still haze on the waters,*

*Many hours hath passed since from slumber I did risin',*

*As to feed my sweet wife, my precious daughters.*

*From up north I hear, a gale 'tis wanting,*

*And thoughts o' the pale, in my mind, it is haunting,*

*For bite upon bait, I now wait."*

*"And so I lift my voice, my brothers do too,*

*To cast the line, into the depths anew,*

*For bite upon bait, we now wait."*

*"The storm will come, at soil and stone 'tis smiting,*

*And home and hovel, it will tear asunder,*

*A gale cares not for whom 'tis blighting,*

*Crying out in wind, lightning and thunder;*

*How will I feed them when the fields are broken?*

*What will I place atop table sturdy and oaken?*

*For bite upon bait, I now wait."*

*"And so I lift my voice, my brothers do too,*

*To cast the line, into the depths anew,*

*For bite upon bait, we now wait."*

#### Kingbourne

Shifting like the tides, Bournish music is at much as home upon the water as it is within taverns and halls, and often accompanied by chaotic, uncoordinately dance where each step is at much at odds with the one before it, and the one after. Such is the freedom and liberty that characterises Bournish culture, and as such the shanties and songs common on land and waves are a rarely static affair. A reveller might hear a bawdy ballad one night, hearing again the night after in a manner near indistinguishable - with lyrics, instruments and even melodies changed freely and easily. This grows ever more popular when combined with the beverages likewise associated with the even-tempered Bournish way of life, with performers, patrons and passersby taking turns to sing a verse or chorus, thus inviting further variation.

Viols and flutes, accordians and concertinas, cornets and trumpets, snares and tabors - small, handheld instruments are favoured by performers for sake of fluidity, as well as limited storage space aboard a travelling vessel. Save simple revelry, music serves an important purpose for the Bournish, helping the crew of large ships to keep time during tasks such as hauling lines, reefing sails and swabbing decks, as well as simply speeding along monotonous but necessary work. Shantymen are well paid for their services, though competition is fierce.

#### Lachlen

The most famous song from Lachlen is simply known as *"The Tree Song"*, taught initially to children with the express purpose of serving as a form of education. Lumberworking in and around both Candlegrove Forest and Covengrove is a common source of employment, as is subsequent labourers associated with the trade, predominately so carpentry. The stanzas of the Tree Song describe the different properties of many of the trees found in the area, as well as proposing common uses for each in turn.

Elsewise, vielle, lutes, psaltery, flutes, shawms and drums are household instruments, with both Atral and Sunar songs proving popular choices at festivals, feasts and celebrations alike.

The Tree Song

*"Listen well, for the gifts o' the trees, to cut an' shape an' hew,*

*Know each in turn, treat them well and unto ye they'll be true."*

*"Oak, it is fine, hardy and strong, steadfast against rain and storm,*

*So shape your home from its heart, and keep your family warm.*

*Birch, it is fine, pretty and fair, polished to splendid sheen,*

*So shape your chairs from its heart, a throne fit for a queen."*

*"Yew, it is fine, supple and sprite, all worthy bowyers know,*

*So shape your bows from its heart, and use it to smite your foe.*

*Ash, it is fine, burly and dense, against toils it'll ne'er wain,*

*So shape your tools from its heart, and soothe your back o' strain."*

*"Beech, it is fine, bright and bold, split with axe clean in two,*

*So shape your fires from its heart, and bubble and boil your stew.*

*Willow, it is fine, quick to root, its bark does healing awake,*

*So shape your cures from its heart, and banish from heads that ache."*

*"Juniper, it is fine, sweet and heady, laden with precious berry,*

*So shape your drinks from its heart, and revel 'til good and merry.*

*Pine, it is fine, quick to grow, its sap do artists acquaint,*

*So shape your varnish from its heart, and ready a scene to paint."*

*"Cedar, it is fine, fresh and clean, no moth it dare attract,*

*So shape your chests from its heart, to keep your clothes intact.*

*Elm, it is fine, solid and fit, branches to support the vine,*

*So shape your orchards from its heart, and ready bottles for your wine!"*

#### Sunstone

Brass instruments, vocal harmonies, plucked and strummed strings, tambourines, claves and drums. All have a place in Sunar music tradition, but the people of Sunstone are like to make melody and percussion from anything at hand - flagons, cutlery, tools - just as readily. Performances in Sunstone are not a solitary affair, it is considered improper to start a song with no way for your audience to join in, be it through a simple clap or stomp, or by offering up their own undulating harmonies.