TEXT: 1 
   
   
  By James Mishler with Jodi Moran-Mishler 
   
   
   
   
   
   
  
  2 
   
   
  PUBLISHER: James Mishler 
  AUTHORS: James Mishler with Jodi Moran-Mishler 
  CARTOGRAPHY: James Mishler 
  ART: Brian Brinlee 
   
   
   
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  Bard Class © 2021 James Mishler. All Rights Reserved. 
   
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  3 
   
  Bards originated as a caste of lore-master priests among certain clans and 
  tribes who worshipped the spirits and gods of nature. They worked in 
  conjunction with druids and other wisemen and wisewomen, being the 
  keepers of historical, legendary, and mythical lore of those clans and tribes.  
  As they kept their lore orally, and transmitted it through song and poem, 
  over time they learned the ways to transform spells wielded by the wise into 
  spellsongs, capturing magical power in the notes of song and music. 
  Today, many bards remain with those clans and tribes in their ancient 
  positions; others have adapted to changing times, and become 
  wandering entertainers, minstrels, poets, and troubadours, keeping alive 
  the ancient ways in strange and foreign lands. 
   
  Requirements: DEX 12, INT 12, WIS 12, CHA 15 
  Prime Requisites: INT, WIS, and CHA. 
  Hit Dice: 1d6 (1d8 Advanced Option) 
  Maximum Level: Dwarf 5, Elf 14, Gnome 5, Halfling 5, Half-Elf 14, Human 14 
  Fight As: Fighter; Save As: Druid or Magic-user, whichever column is better. 
  Armor & Weapons: Bards may wear leather, padded, or studded leather 
  and still cast their spellsongs; they may also wear scale or chain mail and 
  may carry a shield, but cannot cast spellsongs while doing so. Bards may 
  wield hand axes, long bows, short bows, clubs, light crossbows, daggers, 
  darts, javelins, maces, quarterstaffs, rapiers, scimitars, slings, spears, and 
  bastard, long, and short swords. 
  Magic Items: Bards may use items of general sort, plus those restricted to 
  druids, fighters, magic-users, and thieves (though see read languages 
  ability, below, for using magic scrolls). 
  Alignment: Bards must be Neutral Good, Neutral, or Neutral Evil. 
   
  BARD LEVEL PROGRESSION TABLE 
   
   
   
  Spellsong Level 
  EXP 
  Level 
  Hit Dice 
  (1d6) 
  1 
  2 
  3 
  4 
  5 
  6 
  0 
  1 
  1 
  1 
  0 
  0 
  0 
  0 
  0 
  3,001 
  2 
  2 
  2 
  0 
  0 
  0 
  0 
  0 
  6,001 
  3 
  3 
  2 
  1 
  0 
  0 
  0 
  0 
  12,001 
  4 
  4 
  2 
  2 
  0 
  0 
  0 
  0 
  24,001 
  5 
  5 
  2 
  2 
  1 
  0 
  0 
  0 
  48,001 
  6 
  6 
  2 
  2 
  2 
  0 
  0 
  0 
  96,001 
  7 
  7 
  2 
  2 
  2 
  1 
  0 
  0 
  192,001 
  8 
  8 
  2 
  2 
  2 
  2 
  0 
  0 
  384,001 
  9 
  9 
  2 
  2 
  2 
  2 
  1 
  0 
  576,001 
  10 
  10 
  2 
  2 
  2 
  2 
  2 
  0 
  768,001 
  11 
  11 
  2 
  2 
  2 
  2 
  2 
  1 
  960,001 
  12 
  12 
  2 
  2 
  2 
  2 
  2 
  2 
  1,152,001 
  13 
  13 
  3 
  3 
  3 
  2 
  2 
  2 
  1,344,001 
  14 
  14 
  3 
  3 
  3 
  3 
  3 
  3 
  
  4 
   
  BARDIC SKILL IMPROVEMENT: All bard skills are listed as improving by 2d4% 
  (5%) per level after 1st. This means that the bard’s player may choose to 
  increase the skill by 5% or may choose to roll 2d4 to determine the skill 
  increase. This adds some variety to skill advancement and, with luck, 
  quicker advancement! However, the odds equally favor a lower roll.. but 
  many bards love to gamble. 
   
  BARDIC INSTRUMENTS: At 1st level a bard must choose three musical 
  instruments in which she is proficient. 
  The bard may choose an additional instrument of proficiency at 3rd, 6th, 
  9th, and 12th levels.  
  The bard may choose a cappella, or a specific form of verse (limerick, 
  poetry, or rhyme, etc.) as a proficient form of music with their choices at 9th 
  and/or 12th levels. At that point she chooses one known spellsong per 
  spellsong level that she can cast, which thereafter she can cast performing 
  a cappella or through verse. She chooses one more spellsong of each 
  spellsong level known each level attained thereafter. These spellsongs may 
  be cast with song or verse OR with song and instrument as the bard 
  chooses. 
  Whenever using any of her bardic skills with an instrument in which the 
  bard is not proficient, the bard suffers a penalty of halving of her base ability 
  (rounded down) before any other modifiers, unless she has chosen a 
  cappella or verse, and uses that form with the chosen spellsongs. 
  Also, the bard cannot cast spellsongs if she does not have access to a 
  musical instrument in which she is proficient; again, unless she has chosen a 
  cappella or verse and uses that form with the chosen spellsongs. 
  Most common instruments chosen includes the cittern, fiddle, flute, 
  hand harp, lute, lyre, pan flute, pipe and tabor, rebec and bow, and 
  recorder. Note that not all of these instruments are necessarily available in 
  a campaign area; consult with your Labyrinth Lord before choosing an 
  instrument. 
  For example, Ahlissa the Nightingale, a 9th-level bard, learns to perform 
  her songs a cappella. She may choose one each 1st to 4th level spellsongs 
  that she already knows that she can thereafter cast using only her singing 
  voice (she only just this level gained a 5th-level spellsong, so cannot convert 
  it to a cappella use only); each level thereafter she can choose one more 
  spellsong she already knows to cast singing a cappella.  
   
  BONUS LANGUAGES: At 1st level a bard knows her normal range of 
  languages per her race, plus a number of bonus languages equal to her 
  Intelligence score minus 10 (this takes the place of normal bonus languages 
  due to Intelligence). 
  The bard must choose Druidic as one of her initial languages, and may 
  choose Thieves Cant or even the secret language of Illusionists as a 
  language at 2nd level or thereafter (she must have a teacher to learn a 
  
  5 
   
  secret language, others may be picked up through simple contact with 
  others who regularly speak the language). 
  A bard learns one additional language every even level after 1st level 
  (2nd, 4th, 6th, 8th, 10th, 12th, and 14th). 
   
  COUNTER-SONG: A bard can use a song, poem, or story to counter the ill-
  effects of hostile sounds, whether the sounds are songs, chants, wails, or 
  even commands and suggestions from magical spells. This ability must be 
  announced the moment the music or sound attack begins – before any 
  saving throws are rolled. 
  Only one such attempt may be made per attack.  
  Use of a counter-song does not prevent hostile spell-casters from 
  reading scrolls, using magic item command words, or casting spells; it 
  merely prevents the effects of music or sound-based magical effects. 
  Base chance is 20% plus Charisma score at 1st level; add 2d4% (5%) per 
  level after 1st. 
  Increase the chance of success by 5% every level the bard has greater 
  than the level or hit dice of the opponent creating the effect; similarly, 
  decrease the chance of success by 5% for every level or hit die the 
  opponent has on the bard. 
  If successful, the bard must continue singing as long as the opponent 
  attempts to use the music or sound-based attack. 
  A roll of 96-00 always fails; a roll of 100 indicates that the bard has 
  accidentally increased the power of the ill-effects of the hostile sounds, 
  causing all allies to suffer a -2 penalty on their saving throws. 
  For example, Apollo the Athenian, a 2nd-level bard, and his party are 
  on a ship passing a small island upon which lair a clutch of harpies. The 
  harpies fly out to attack the sailors, and even as they begin their horrible 
  song, Apollo pulls out his lyre and uses his counter-song to keep their magic 
  at bay. His Counter-Song skill is 32%; unfortunately, he rolls a 100, meaning 
  his cacophonous attempt to counter the song of the harpies actually 
  causes his allies so much grief they suffer a -2 penalty to save against the 
  harpies’ song! 
   
  INFLUENCE: This is the bard’s base chance to change the reaction of a 
  group, favorably or otherwise, to the bard and her party or toward another 
  specific group of people (a group of nobles, a rival adventuring party, a 
  gang of thieves, etc.) who are present at the same location. 
  Base chance is 40% plus Charisma score at 1st level; add 2d4% (5%) per 
  level after 1st. 
  Subtract 10% from the base chance for an uncertain audience, 25% for 
  a hostile or friendly audience, and 50% for a violently hostile or 
  enthusiastically friendly audience.  
  An attempt requires three rounds of uninterrupted song. 
  Success means the target(s) are influenced one step toward friendship 
  or one step toward hostility, depending on the results desired by the bard.  
  
  6 
   
  Failure indicates the group is unaffected by the song. A bard may 
  continue to influence the reaction of any one group until failure occurs. 
  A roll of 96-00 always fails; a roll of 100 means the opposite of the 
  desired effect occurs. 
  For example, Alan of the Dales, a 3rd-level bard, is at a tavern with his 
  party, the Dungeoneers, when their rival party, the Deep Delvers, walks in 
  and starts to talk tough about how the Dungeoneers are weak and foolish. 
  So he starts plucking his lute and adapts an old song about foolish 
  adventurers by replacing the names of the Deep Delvers for those of the 
  characters in the song. After three rounds of singing, he has a chance to 
  turn the crowd against the Deep Delvers. His base chance is 65% and the 
  crowd is uncertain about both parties, so his final chance is 55%. His first roll 
  is a 42, so he turns the crowd’s uncertainty about the Deep Delvers to 
  hostile. He decides that their grumbling and dark looks are not enough so 
  he continues, but this time rolls 100; the Labyrinth Lord decides that rather 
  than move the crowd back to uncertain about the Deep Delvers, the song 
  backfires on Alan and the Dungeoneers, and now the crowd is hostile to 
  them as well… and Alan can no longer influence them either way! 
   
  INSPIRE: The bard may sing a rousing song or emote a heroic poem for two 
  rounds, then roll to see if she succeeds at inspiring her allies.  
  Base chance is 40% plus Charisma score at 1st level; add 2d4% (5%) per 
  level after 1st. 
  Success increases morale of allied NPCs by 1 point (+10%) and grants 
  all allies (PC and NPC) a +1 bonus to hit and to saving throws. The allies must 
  have been able to hear the song or poem for it to have any effect. 
  Inspiration lasts for one rounds per 5 points of the successful roll (round 
  up), during which the bard no longer needs to continue to perform. When 
  the duration ends, or even before, the bard can attempt to inspire allies 
  again, though inspiration bonuses from the same or different bards are not 
  cumulative. 
  Failure indicates the bard cannot attempt to inspire her allies again 
  during the same battle. 
  A roll of 96-00 always fails; a roll of 100 indicates that the bard has 
  accidentally demoralized her companions, who suffer a -1 penalty to 
  Morale and a -1 penalty to hit and to saving throws for the duration; this 
  cannot be corrected by further attempts to inspire. 
  For example, Katarina Windrush, a 5th-level bard, and her party are 
  engaged in battle with a gang of orcs. Katarina pulls out her harp and 
  strums it while recounting couplets from a famous myth cycle in which the 
  heroes destroyed an invading army of gnolls. Her Inspire skill is 80% and she 
  rolls a 32, meaning her companions are inspired for seven rounds. 
   
   
   
  
  7 
   
  LORE: Bards learn a little about everything in their travels and interactions 
  with peasants, merchants, nobles, adventurers, sages, and others. Lore 
  represents the ability of the bard to know something about local history, 
  politics, society, and especially, heraldry, the underworld, and gossip; the 
  higher the roll on the dice on a successful roll, the more the bard knows 
  about that person/place/thing/event. 
  The Labyrinth Lord can provide modifiers to the base chance based on 
  the rarity of the knowledge of the person/place/thing/event (everyone 
  knows who the king’s father was, but few know the name of the king’s 
  second-cousin’s-wife’s-brother). 
  Lore is also the chance for a bard to recognize a named, unique magic 
  item and know some or all its abilities, potentially including command words 
  and curses. The bard can also use this ability to recall the general 
  capabilities of common items, once identified. 
  Base chance is the average of Intelligence, Wisdom, and Charisma at 
  1st level (round up), plus 2d4% (5%) per level after 1st. 
  A roll of 96-00 always fails; a roll of 100 indicates that the bard has 
  accidentally mis-remembered, mis-interpreted, or mis-identified the target 
  information or item, and remembers something patently false and 
  generally opposite of whatever the bard is trying to know. This is why the 
  Lore roll should always be performed secretly by the Labyrinth Lord, so the 
  bard is never quite certain about their information. 
  Storytelling: Lore also can be used to tell stories, fairy tales, fables, 
  histories, legends, and myths to a crowd, whether of street urchins or nobles. 
  For the purpose of storytelling, double the base Lore ability of the bard, then 
  roll as though making a Perform check, below, to determine crowd 
  reaction and any remuneration from the listeners. 
  For example, Hakiem, a 6th-level bard, is a well-known storyteller in the 
  marketplace, and can always attract a crowd of eager street urchins and 
  lower-class locals to listen to his tales. He gathers around the children and 
  a few passers-by, and tells them the story of the founding of the city. His 
  Lore skill is 45%, so his chance to Perform for this friendly crowd is 90%. He 
  tells a basic 10-minute story, and there are no other modifiers. He rolls a 37, 
  which means that the crowd throws him 4d6 copper coins for his troubles. 
   
  PERFORM: This is the bard’s base ability to perform, singing and playing her 
  instrument to entertain crowds. 
  Success indicates the crowd is entertained; the higher the successful 
  roll, the better. Base chance is 50% plus Charisma score at 1st level; add 
  2d4% (5%) per level after 1st. 
  First, modify the chance based on use of proficient or non-proficient 
  instrument before any other modifiers are applied. 
  There are no bonuses or penalties for entertaining a neutral or friendly 
  audience; penalties are -10% from the base chance for an uncertain 
  audience, -25% for a hostile audience, and -50% for a violently hostile 
  audience. 
  
  8 
   
  A performance requires 10 minutes at base chances; -5% from the base 
  chance for every minute under 10; +5% for a half-hour performance, +10% 
  for a full-hour performance, and +20% for a two-hour performance.  
  Additional circumstances (weather, political unrest, war, victory/loss, 
  and prosperity/penury, but especially the set of songs being sung) might 
  also adjust the final chance to entertain, depending on the Labyrinth Lord’s 
  whim. 
  If, after all modifiers have been accounted for, the bard succeeds, the 
  higher the roll, the more entertained the audience. If successful, divide the 
  final roll by 10 (round up) and roll that many six-sided dice to determine the 
  coins that the crowd gives the bard; low class is in copper, middle class is 
  in silver, and upper class is in gold.  
  Double the number of coins rolled for a friendly audience; triple it for 
  an enthusiastically friendly audience. Modify coins based on size of 
  audience and venue; base amounts are for a typical street or tavern 
  crowd. 
  Rolling 96-100 is always a failure; rolling 100 or failing by 20 or more 
  means rotten tomatoes and other pungent vegetables are thrown at the 
  bard, at the very least. 
  This ability is also used in a contest between bards. If, after all modifiers, 
  one bard’s ability is 101%+, lower both scores by a number needed to get 
  the higher score to 100%, then whichever rolls the highest and still succeeds 
  (96-100 always fails) is the winner of the contest.  
  Most contests consist of best of rounds of three, five, or seven 
  instruments, to better test the bard’s breadth of musical talent, but some 
  contests go for “instant win” of a single instrument, especially when both 
  bards are renowned for their talents with that instrument [c.f. The Devil Went 
  Down to Georgia, C. Daniels]. 
  For example, Katarina Windrush, 5th-level bard, and Alan of the Dales, 
  3rd-level bard, get into a friendly competition at the Black Rose, the local 
  tavern. Katarina’s Perform skill is 87%, and Alan’s is 72%; she rolls a 72 and he 
  rolls a 94. Katarina puts in a virtuoso performance while Alan hits all the 
  wrong notes and, as he failed by 20 or more, ends up being hauled out of 
  the Black Rose and thrown in the water trough outside.  
   
  READ LANGUAGES: Bards are trained to recognize all forms of written 
  communications, including alphabets, cyphers, glyphs, runes, and sigils, as 
  well as magical writings such as scrolls and spell books. 
  Base chance is 30% plus the total of Intelligence and Wisdom at 1st 
  level, plus 2d4% (5%) per level after 1st.  
  This is the base chance to read normal alphabets, cyphers, glyphs, 
  runes, and sigils; ancient and lost alphabets and such are at half that 
  chance, at best, if the bard has had some experience with similar or related 
  languages and writings. Certain rare and unusual scripts or difficult cyphers 
  might require a penalty of -10% to -50% or more. 
  
  9 
   
  Rolling 96-100 is always a failure; rolling 100 or failing by 20 or more 
  means that the bard has not only mis-read the script, but has also 
  potentially interpreted it with the opposite or grossly incorrect meaning that 
  could cause great difficulty to the bard (at the Labyrinth Lord’s discretion). 
  Read Magic Scrolls: The bard may use this ability to try to read magic 
  scrolls, whether the magic on the scroll is that of clerics, druids, magic-users, 
  or illusionists. The base chance is half normal (rounded down), and requires 
  one minute per spell level. The bard has only one chance to read each 
  spell on a scroll (check separately).  
  Success indicates the bard may at any time thereafter attempt to cast 
  the read spell with their full normal Read Languages skill, less 5% per level of 
  the spell. The bard has no penalty per spell level if the spell is one that she 
  can cast because she knows a related spellsong. 
  If the roll succeeds, the bard casts the spell. If the roll fails, the spell is 
  not cast, but also is not lost, as it has not been read. 
  Rolling 96-100 is always a failure; rolling 100 or failing by 20 or more 
  means the bard reads the spell well enough activate the magic, but casts 
  it wrong in some fashion. The bard must then make a saving throw versus 
  Spells; success indicates merely that nothing happens though the spell 
  vanishes from the scroll. The more by which the bard fails the save, the 
  worse that happens, up to and including targeting the wrong person, 
  magical backfire on the bard (1d6 points of damage per spell level), or 
  perhaps a curse! 
  For example, Ahlissa the Nightingale, 9th-level bard, has a base 100% 
  chance to Read Languages; she finds a magic scroll with one spell and 
  decides to try to read it. She has a 50% chance of success and rolls a 33. 
  She now knows that the scroll is a magic-user scroll of flesh to stone (6th 
  level). Later when her party is getting beaten hard by a hill giant she 
  decides to take the chance to turn the hill giant to stone and reads the 
  scroll. Her chance to successfully cast the spell is 100% - (6 x 5%) = 70% 
  chance to successfully cast the spell. She rolls a 93, not only a failure but a 
  really bad failure (by 20 or more), and so instead of turning the hill giant to 
  stone, the spell rebounds back on her… and when she then fails her saving 
  throw versus petrification, she turns herself to stone! 
  New Spellsong: At the Labyrinth Lord’s option, a bard may use a scroll 
  or spell book to try to create a new spellsong based on a properly-
  interpreted spell. This should require at least one month of work per spell 
  level, and require a Spell Learning Check based on INT or WIS depending 
  on the origin of the spell. 
   
  SAVING THROW BONUS: Bards have a +2 bonus to save against any form of 
  music-based or sound-based attacks (e.g., the songs of sirens and harpies, 
  the witticisms of other bards, etc.). 
   
   
  
  10 
   
  SPELLSONGS: Bards learn spellsongs much like magic-users learn spells, 
  though all bardic spellsongs are exclusively orally transmitted; they are not 
  recorded in a book nor ever written on a scroll. It is the ability to use 
  spellsongs that separates the common minstrels and street entertainers 
  from the bards (though often, little else does). 
  A bard begins play knowing two 1st level spellsongs, and automatically 
  learns one new spellsong of their choice every level thereafter, of a level 
  they may cast. They may also learn spellsongs from other bards. Time and 
  cost for learning a spellsong is the same as for a magic-user to learn a spell 
  of the same level. 
  The number of spellsongs listed on the Bard Level Progression Table is 
  the number of spellsongs the bard may cast per day. Bards do not 
  memorize spellsong; they may cast any spellsong they have learned, in any 
  combination they choose, based on the number of spellsong casting slots 
  of that level. 
  Bards do not gain bonus spellsongs due to high Intelligence, Wisdom, 
  or Charisma. 
  Casting a spellsong is more involved even than casting a spell.  
  • 
  A spellsong must be sung, and requires one round to sing and cast per 
  level of the spellsong. A 1st level spellsong takes one round (completing 
  the same round as per a spell); a 6th level spellsong takes six rounds. 
  Spellsongs take effect on the bard’s initiative turn during that round. If 
  the bard is interrupted at any time during the song the casting fails, but 
  the casting slot is not used. 
  • 
  The bard must not only be able to speak; she must be able to sing, so 
  if she has had any damage to her vocal cords, can only whisper, or is 
  otherwise limited in her ability to sing, or is limited in her ability to hear, 
  she cannot use spellsongs.  
  o 
  The exception to this is if she uses a wind instrument, in which case 
  her breath and the musical notes combine to form the required 
  verbal component. 
  • 
  The bard must have access to one of her proficient musical instruments 
  for musical accompaniment; no other musical instrument will do – she 
  must have an instrument in which she has proficiency. 
  o 
  However, at 6th level and above, she may cast certain, specific 
  spellsongs by singing a cappella or through verse alone if she has 
  taken that as a proficiency. 
  • 
  The targets, if any, must also be able to hear the spellsong if it is a 
  spellsong that affects minds, though they need not understand the 
  language; if the target cannot hear the spellsong, they cannot be 
  affected by the spellsong. 
  • 
  The bard may move slowly while singing a spellsong, but only 5 feet per 
  round. They must keep the target(s) in sight the entire time of the 
  casting, if the spellsong is targeted. 
   
  
  11 
   
  THIEVING ABILITIES: At 1st level the bard chooses four of the following thief 
  and/or assassin abilities, which she advances in the ability of as though she 
  were a thief of the same level: Backstab, Climb Walls, Disguise, 
  Find/Remove Traps, Hear Noise, Hide in Shadows, Move Silently, Pick Locks, 
  Pick Pockets, and Poison Use (NE only). 
  These abilities are modified as per Dexterity and race as per normal. 
   
  WITTICISM: Beginning at 3rd level, a bard can utter a witticism, jest, or jibe of 
  such potency, that it can stun, paralyze, render unconscious, or even kill 
  those who hear it. 
  Base chance is the average of Intelligence, Wisdom, and Charisma at 
  1st level (rounded up), plus 2d4% (5%) per level after 1st.  
  Utterance of a witticism requires one round, and it can only affect 
  intelligent creatures who can hear and understand the language in which 
  it was uttered. It must target at a specific, single creature. 
  Rolling 96-100 is always a failure; rolling 100 or failing by 20 or more 
  means the bard has not only failed, but also inspires hatred and anger in 
  the target, such that if they choose to attack the bard they gain a +2 bonus 
  to hit and damage until the encounter ends. 
  A successful witticism requires those who hear it to make a saving throw 
  versus Spells. When a saving throw is called for, those of low Intelligence are 
  at an advantage; apply any Intelligence modifier as a penalty to the 
  saving throw (thus, a penalty becomes a bonus, a bonus becomes a 
  penalty). If a target makes their saving throw against a witticism, they are 
  immune to any further attempts at witticism by that bard for 24 hours. 
  At 3rd level, a successful witticism stuns the target for 1d4 rounds. 
  At 6th level, a successful witticism paralyzes the target for 1d4 rounds. 
  at 10th level, a successful witticism renders the target unconscious for 
  1d4 rounds; allies of the target within 20 feet must also make a saving throw 
  or be stunned for 1d4 rounds. 
  At 14th level, a successful can kill; a failed save reduces the target to 0 
  hit points. Allies of the target within 20 feet must also make a saving throw 
  or be paralyzed for 1d4 rounds. 
  A bard may attempt to attack with a witticism a number of times per 
  day equal to the highest level spellsong they may cast (i.e., 2 to 6 times per 
  day). 
   
   
   
  
  12 
   
  Note: This list is not exhaustive; most druid and magic-user spells have been 
  transformed into spellsongs, as have other spells of cleric and illusionist sort. 
  These are the most common spellsongs; a bard must choose the “free” 
  spellsong they gain each level from this list. 
   
  LEVEL 1 
  Cuddio’s Ditty of Disguise [Doppelganger (I1)] 
  Dawn’s Enlightening Limerick [Dancing Lights (M1)] 
  Ffylod’s Friendly Refrain [Animal Companion (D1)] 
  Lithian’s Alluring Aire [Allure (M1)] 
  Llewellyn’s Lustrous Lyric [Color Spray (I1)] 
  Maglan’s Rhapsodic Ensnarement [Entangle (D1)] 
  Milyn’s Merry Melody [Speak with Animals (D1)] 
  Ode to the Lion Heart [Remove Fear (C1)] 
  Song of Glittering Glamours [Faerie Fire (D1)] 
  Song of Sweet Serenity [Sanctuary (C1)] 
  Swyn’s Subtle Serenade [Charm Person (M1)] 
  Wynken Blynken’s Lullaby [Sleep (M1)] 
   
  LEVEL 2 
  Cuddio’s Jaunty Jingle [Invisibility (M2)] 
  Dirge of Deformation [Warp Wood (D2)] 
  Dirge of Spectral Might [Phantasmal Force (M2)] 
  Dwyllo’s Deceitful Ditty [False Gold (M2)] 
  Ffylod’s Serpentine Sonnet [Snake Charm (C2)] 
  Gwiddon’s Demanding Dissonance [Hold Person (C2)] 
  Gwiddon’s Jostling Jingle [Stumble (D2)] 
  Lithian’s Lovely Limerick [Hypnotic Pattern (I2)] 
  Peal of Pusillanimous Provocation [Scare (M2)] 
  Summer’s Searing Strain [Heat Metal (D2)] 
  Syfradana’s Striking Sonnet [Blindness or Deafness (I2)] 
  Tarth’s Original Ode [Obscuring Mist (D2)] 
   
  LEVEL 3 
  Aire of Improved Alacrity [Haste (M3)] 
  Danu’s Aria of Augmentation [Plant Growth (D3)] 
  Ffylod’s Harmonious Rhapsody [Hold Animal (D3)] 
  Rhapsody of Stone [Stone Shape (D3)] 
  Rithian’s First Verse [Summon Monster I (M3)] 
  Swyn’s Compelling Canticle [Suggestion (M3)] 
  Taan’s Bright Ballad [Pyrotechnics (D3)] 
  Tarth’s Rhapsodic Zephyr [Gust of Wind (M3)] 
   
   
   
  
  13 
   
  LEVEL 4 
  Ffylod’s Heroic Couplet [Summon Sylvan Beings (D4)] 
  Gwiddon’s Disconcerting Ditty [Fumble (M4)] 
  Lithian’s Phantasmagorical Refrain [Hallucinatory Terrain (D4)] 
  Rithian’s Second Verse [Summon Monster II (M4)] 
  Swyn’s Monstrous Melody [Charm Monster (M4)] 
  Syfradana’s Perplexing Paean [Confusion (M4)] 
  Tarth’s Demanding Ditty [Temperature Control (D4)] 
  The Enchanter’s Lament [Dispel Magic (D4)] 
   
  LEVEL 5 
  Chant of Elemental Immanence [Conjure Elemental (M5)] 
  Danu’s Empathic Ode [Commune with Nature (D5)] 
  Dirge of Unyielding Doom [Insect Plague (D5)] 
  Ffylod’s Magnificent Measure [Animal Growth (D5)] 
  Gwiddon’s Superior Dissonance [Hold Monster (M5)] 
  Rithian’s Third Verse [Summon Monster III (M5)] 
  Song of Seelie Sight [True Seeing (M5)] 
  Tarth’s Windy Warble [Control Winds (D5)] 
   
  LEVEL 6 
  Danu’s Overwhelming Oratorio [Geas (M6)] 
  Ffylod’s Mighty Measure [Anti-Animal Shell (D6)] 
  Gwiddon’s Rending Rhapsody [Feeblemind (D6)] 
  Ode of Omnipotent Opposition [Anti-Magic Shell (M6)] 
  Rhyme of Revivification [Reincarnate (M6)] 
  Rithian’s Grand Couplet [Summon Monster IV (M6)] 
  Swyn’s Supreme Serenade [Mass Suggestion (I6)] 
  Tarth’s Supreme Sonnet [Control Weather (D6)] 
   
   
   
  
  14 
   
   
  MUSICAL INSTRUMENT TABLE 
   
   
   
  Availability 
   
  Instrument 
  Cost 
  Weight 
  City 
  Town 
  Village 
  Notes 
  Accordion 
  100 gp 
  10 lbs. 
  50% 
  30% 
  10% 
  Advanced 
  Bagpipes 
  60 gp 
  20 lbs. 
  50% 
  60% 
  70% 
  Wind 
  Balalaika 
  200 gp 
  12 lbs. 
  25% 
  25% 
  25% 
  Plucked string 
  Bell, Hand 
  12 gp 
  2 lbs. 
  50% 
  40% 
  30% 
  Percussion 
  Bell, Tower 
  200 gp 
  20 lbs. 
  40% 
  20% 
  10% 
  Percussion 
  Bones 
  free 
  1/2 lb. 
  n/a 
  n/a 
  n/a 
  Percussion 
  Bullroarer 
  2 gp 
  2 lbs. 
  20% 
  40% 
  60% 
  Ancient 
  Castanet 
  1 gp 
  1/2 lb. 
  80% 
  70% 
  60% 
  Percussion 
  Cavaco 
  9 gp 
  4 lbs. 
  50% 
  40% 
  30% 
  Strummed 
  string 
  Chime 
  2 gp 
  3 lbs. 
  90% 
  85% 
  80% 
  Percussion 
  Cittern 
  20 gp 
  10 lbs. 
  75% 
  65% 
  55% 
  Strummed 
  string; Common 
  Concertina 
  20 gp 
  5 lbs. 
  60% 
  50% 
  40% 
  Advanced 
  Conch Shell 
  20 gp 
  5 lbs. 
  50% 
  60% 
  70% 
  Wind 
  Cornetto 
  18 gp 
  3 lbs. 
  75% 
  70% 
  65% 
  Wind 
  Crumhorn 
  15 gp 
  8 lbs. 
  60% 
  50% 
  40% 
  Wind 
  Crwth 
  80 gp 
  10 lbs. 
  50% 
  40% 
  30% 
  Bowed string 
  Didgeridoo 
  8 gp 
  3 lbs. 
  30% 
  50% 
  70% 
  Wind 
  Drum, Bonko 
  3 gp 
  6 lbs. 
  10% 
  30% 
  50% 
  Percussion, 
  double drums 
  Drum, Goblet 
  10 gp 
  1 lb. 
  70% 
  60% 
  50% 
  Percussion 
  Drum, Kettle 
  30 gp 
  20 lbs. 
  50% 
  40% 
  30% 
  Percussion 
  Drum, Slit 
  2 gp 
  3 lbs. 
  20% 
  40% 
  60% 
  Percussion 
  Drum, Snare 
  4 gp 
  8 lbs. 
  90% 
  85% 
  80% 
  Percussion 
  Dulcimer 
  40 gp 
  12 lbs. 
  60% 
  40% 
  20% 
  Percussion 
  string 
  Fiddle 
  100 gp 
  8 lbs. 
  60% 
  50% 
  40% 
  Bowed string; 
  Common 
  Fife 
  5 gp 
  1 lb. 
  90% 
  85% 
  80% 
  Wind 
  Flute 
  15 gp 
  2 lbs. 
  85% 
  80% 
  75% 
  Wind; Common 
  Gong 
  5 gp 
  10 lbs. 
  90% 
  85% 
  80% 
  Percussion 
  Harmonica 
  30 gp 
  1 lb. 
  50% 
  30% 
  10% 
  Wind; 
  Advanced 
  Harp, Grand 
  450 gp 
  75 lbs. 
  50% 
  25% 
  10% 
  Plucked string 
  Harp, Hand 
  25 gp 
  8 lbs. 
  95% 
  90% 
  85% 
  Plucked string; 
  Common 
  Harp, Knee 
  75 gp 
  25 lbs. 
  75% 
  60% 
  45% 
  Plucked string 
  Harpsichord 
  2,000 gp 
  100 lbs. 
  20% 
  n/a 
  n/a 
  Advanced 
  Horn 
  6 gp 
  4 lbs. 
  80% 
  75% 
  70% 
  Wind 
  Hurdy Gurdy 
  30 gp 
  12 lbs. 
  60% 
  40% 
  20% 
  Bowed string 
  Lute 
  25 gp 
  4 lbs. 
  90% 
  85% 
  80% 
  Plucked string; 
  Common 
  
  15 
   
  MUSICAL INSTRUMENT TABLE 
   
   
   
  Availability 
   
  Instrument 
  Cost 
  Weight 
  City 
  Town 
  Village 
  Notes 
  Lyre 
  150 gp 
  15 lbs. 
  70% 
  60% 
  50% 
  Strummed 
  string; Common 
  Mandolin 
  28 gp 
  10 lbs. 
  90% 
  85% 
  80% 
  Plucked string 
  Maraca 
  1 gp 
  1/2 lb. 
  40% 
  50% 
  60% 
  Percussion 
  Mbanza 
  5 gp 
  3 lbs. 
  25% 
  40% 
  55% 
  Plucked string 
  Mijwiz 
  25 gp 
  3 lbs. 
  80% 
  70% 
  60% 
  Wind, double 
  flute 
  Nyckelharpa 
  50 gp 
  15 lbs. 
  25% 
  n/a 
  n/a 
  String 
  Pan Flute 
  5 gp 
  1 lb. 
  95% 
  90% 
  85% 
  Wind; Common 
  Pibgorn 
  20 gp 
  3 lbs. 
  75% 
  65% 
  55% 
  Wind; 
  Pipe and 
  Tabor 
  20 gp 
  10 lbs. 
  80% 
  70% 
  60% 
  Snare drum 
  and flute “one 
  man band”; 
  Common 
  Rebec and 
  Bow 
  30 gp 
  5 lbs. 
  90% 
  85% 
  80% 
  Bowed String; 
  Common 
  Recorder 
  6 gp 
  1 lb. 
  95% 
  90% 
  85% 
  Wind; Common 
  Sitar 
  100 gp 
  15 lbs. 
  70% 
  60% 
  50% 
  Plucked string 
  Tambourine 
  5 gp 
  4 lbs. 
  80% 
  75% 
  70% 
  Percussion 
  Triplepipe 
  25 gp 
  6 lbs. 
  30% 
  40% 
  50% 
  Wind 
  Trumpet 
  45 gp 
  6 lbs. 
  50% 
  40% 
  30% 
  Wind 
  Xylophone 
  20 gp 
  10 lbs. 
  60% 
  40% 
  20% 
  Percussion 
  Zither 
  150 gp 
  20 lbs. 
  50% 
  30% 
  10% 
  Plucked string 
  Zurna 
  10 gp 
  4 lbs. 
  80% 
  75% 
  70% 
  Wind; wood 
  horn 
   
  Bolded instrument names are the most common choices for Specialized 
  Instrument, due to near-universal appeal across cultures and social classes. 
   
  Advanced instruments are available only in technologically (or magically 
  similar) civilizations. 
   
   
  
  16 
   
  Bards maintain an independent, quasi-secret society across all city, state, 
  and national boundaries. Advancement within this society through its ranks 
  of “colleges” is based on accomplishments other than those measured 
  strictly by level progression.  
  Advancement guarantees fame, fortune, and everything that goes 
  with it, especially access to further training; positions in noble courts and 
  patrician theaters; aristocratic patronage; and a widespread base of fans, 
  admirers, and groupies.  
  Most tests are administered in public (at the Bardic Academy if the 
  locale has one), after a few basic questions and pre-tests (to guarantee 
  the propitiate will not embarrass the judges in front of the hoi-polloi). Tests 
  are often scheduled to coincide with local festivals, the better for the 
  propitiate and the judges to gain a larger (and wealthier) crowd.  
  Failing a test means one cannot try again for one year. 
  Note that not all bards advance through the ranks of the bardic 
  college; many remain independent and go their own ways. 
   
  FOCHLOC, the first rank, is gained when the bard attains 1st level as a bard. 
  The requirement is mastery of two 1st-level spellsongs and five languages, 
  plus tests in lore, performance, and decipherment of scripts. Additionally, 
  the bard must have composed at least eight poems or songs. Tests are 
  proctored by three Macfuirmid-ranked bards. Acceptance means 
  becoming a full member of bardic society, setting them aside from 
  common minstrels, but also then requires that the bard follow all bardic 
  laws; provide assistance to fellow bards at need; tithe to the Bardic College; 
  and obey the orders of higher-ranked bards. 
  • 
  Bards of the Fochloc College often seek out bards of the Dos College 
  for advice and tutelage. 
   
  MACFUIRMID, the second rank, is gained after being tested by three Dos-
  ranked bards; one must have mastered at least two 2nd-level spellsongs, six 
  languages, and shown improvement in lore, performance, and 
  decipherment of scripts. Additionally, the bard must have composed at 
  least 15 total poems or songs (and perform all of them to the judge’s 
  satisfaction); learned at least one new noble lineage to seven generations; 
  and performed with accolades before no less than three knights or greater 
  nobles. 
  • 
  Upon attaining Macfuirmid rank the bard may distribute 10 points 
  among the following skills, though no more than 5 points to any one 
  skill, as she wishes: Counter-Song, Influence, Inspire, Lore, Perform, Read 
  Languages, Thieving Abilities, and Witticism. 
  • 
  Bards of the Macfuirmid College often seek out bards of the Cano 
  College for advice and tutelage. 
   
  
  17 
   
  DOS, the third rank, is gained after being tested by three Cano-ranked 
  bards; one must have mastered at least two 3rd-level spellsongs, seven 
  languages, and shown improvement in lore, performance, and 
  decipherment of scripts. Additionally, the bard must have composed at 
  least 34 total poems or songs (and perform all of them to the judge’s 
  satisfaction); learned at least one new noble lineage to seven generations; 
  and performed with accolades before no less than three lords or greater 
  nobles. Finally, to attain Dos rank, the bard must have personally 
  participated in one heroic endeavor of which a song or poem has been 
  written (though not necessarily including her in the song or poem). 
  • 
  Upon attaining Dos rank the bard may distribute 10 points among the 
  following skills, though no more than 5 points to any one skill, as she 
  wishes: 
  Counter-Song, 
  Influence, 
  Inspire, 
  Lore, 
  Perform, 
  Read 
  Languages, Thieving Abilities, and Witticism. 
  • 
  Upon attaining Dos rank the bard may choose one common spellsong 
  of 1st level to learn for free (no need to make a learning check). 
  • 
  Bards of the Dos College often seek out bards of the Cli College for 
  advice and tutelage. 
  • 
  Bards of the Fochloc College often seek out bards of the Dos College 
  for advice and tutelage; within one month of attaining Dos rank, the 
  bard can count on attracting 1d4 bards of the Fochloc College as 
  assistants, minions, hangers-on, and potential henchmen. These 
  followers move on when they attain Macfuirmid rank. 
   
  CANO, the fourth rank, is gained after being tested by three Cli-ranked 
  bards; one must have mastered at least two 4th-level spellsongs, eight 
  languages, and shown improvement in lore, performance, and 
  decipherment of scripts. Additionally, the bard must have composed at 
  least 71 total poems or songs (and perform all of them to the judge’s 
  satisfaction); created a new spellsong of 1st-level or greater; learned at 
  least one new royal lineage to seven generations; and performed with 
  accolades before no less than three barons or greater nobles. Finally, to 
  attain Cano rank, the bard must have personally participated in one heroic 
  endeavor of which a song or poem has been written and be mentioned, 
  at least peripherally, in the song or poem. 
  • 
  Upon attaining Cano rank the bard may distribute 10 points among the 
  following skills, though no more than 5 points to any one skill, as she 
  wishes: 
  Counter-Song, 
  Influence, 
  Inspire, 
  Lore, 
  Perform, 
  Read 
  Languages, Thieving Abilities, and Witticism. 
  • 
  Upon attaining Cano rank the bard may choose one common 
  spellsong of 2nd level to learn for free (no need to make a learning 
  check). 
  • 
  Bards of the Cano College often seek out bards of the Anruth College 
  for advice and tutelage. 
  • 
  Bards of the Macfuirmid College often seek out bards of the Cano 
  College for advice and tutelage; within one month of attaining Cano 
  
  18 
   
  rank, the bard can count on attracting 1d4 bards of the Macfuirmid 
  College as assistants, minions, hangers-on, and potential henchmen. 
  These followers move on when they attain Dos rank. 
   
  CLI, the fifth rank, is gained after being tested by three Anruth-ranked 
  bards; one must have mastered at least two 5th-level spellsongs, nine 
  languages, and shown improvement in lore, performance, and 
  decipherment of scripts. Additionally, the bard must have composed at 
  least 132 total poems or songs (and perform all of them to the judge’s 
  satisfaction); created a new spellsong of 2nd-level or greater; learned at 
  least one new royal lineage to seven generations; and performed with 
  accolades before no less than three counts or greater nobles. Finally, to 
  attain Cli rank, the bard must have personally participated in one heroic 
  endeavor of which a song or poem has been written, with her as the 
  primary heroic figure. 
  • 
  Upon attaining Cli rank the bard may distribute 10 points among the 
  following skills, though no more than 5 points to any one skill, as she 
  wishes: 
  Counter-Song, 
  Influence, 
  Inspire, 
  Lore, 
  Perform, 
  Read 
  Languages, Thieving Abilities, and Witticism. 
  • 
  Upon attaining Cli rank the bard may choose one common spellsong 
  of 3rd level to learn for free (no need to make a learning check). 
  • 
  Bards of the Cli College often seek out Ollam-ranked bards for advice 
  and tutelage. 
  • 
  Bards of the Dos College often seek out bards of the Cli College for 
  advice and tutelage; within one month of attaining Cli rank, the bard 
  can count on attracting 1d4 bards of the Dos College as assistants, 
  minions, hangers-on, and potential henchmen. These followers move 
  on when they attain Cano rank. 
   
  ANRUTH, the sixth rank, is gained after being tested by six Anruth-ranked 
  and one Ollamh-ranked bards; one must have mastered at least two 6th-
  level spellsongs, 10 languages, and shown improvement in lore, 
  performance, and decipherment of scripts. Additionally, the bard must 
  have composed at least 223 total poems or songs (and perform all of them 
  to the judge’s satisfaction); created a new spellsong of 3rd-level or greater; 
  learned at least one new royal lineage to seven generations; and 
  performed with accolades before no less than three dukes or greater 
  nobles. Finally, to attain Anruth rank, the bard must have personally 
  participated in two heroic endeavors of which a song or poem has been 
  written, with her as the primary heroic figure. 
  • 
  Upon attaining Anruth rank the bard may distribute 10 points among 
  the following skills, though no more than 5 points to any one skill, as she 
  wishes: 
  Counter-Song, 
  Influence, 
  Inspire, 
  Lore, 
  Perform, 
  Read 
  Languages, Thieving Abilities, and Witticism. 
  
  19 
   
  • 
  Upon attaining Anruth rank the bard may choose one common 
  spellsong of 4th level to learn for free (no need to make a learning 
  check). 
  • 
  Bards of the Anruth College often seek out Ollam-ranked bards for 
  advice and tutelage. 
  • 
  Bards of the Cano College often seek out bards of the Anruth College 
  for advice and tutelage; within one month of attaining Dos rank, the 
  bard can count on attracting 1d4 bards of the Macfuirmid College as 
  assistants, minions, hangers-on, and potential henchmen. These 
  followers move on when they attain Cli rank. 
   
  OLLAM, the seventh rank, is gained after being tested by nine Anruth-
  ranked and three Ollamh-ranked bards; one must have mastered at least 
  six each 1st and 2nd level spellsongs and four each 3rd through 6th-level 
  spellsongs, 12 languages, and shown improvement in lore, performance, 
  and decipherment of scripts. Additionally, the bard must have composed 
  at least 350 total poems or songs (and perform all of them to the judge’s 
  satisfaction); created a new spellsong of 4th-level or greater; know all royal 
  lineages of the major kingdoms of the region to seven generations; and 
  performed with accolades before no less than three kings or greater nobles. 
  Finally, to attain Ollam rank, the bard must have personally participated in 
  three heroic endeavors of which songs or poems have been written, with 
  her as the primary heroic figure. 
  • 
  Upon attaining Ollam rank the bard may distribute 10 points among the 
  following skills, though no more than 5 points to any one skill, as she 
  wishes: 
  Counter-Song, 
  Influence, 
  Inspire, 
  Lore, 
  Perform, 
  Read 
  Languages, Thieving Abilities, and Witticism. 
  • 
  Upon attaining Ollam rank the bard may choose one common 
  spellsong of 5th level to learn for free (no need to make a learning 
  check). 
  • 
  Bards of the Cli and Anruth Colleges often seek out bards of the Ollam 
  rank for advice and tutelage; within one month of attaining Ollam rank, 
  the bard can count on attracting 1d2 bards each of the Cli and Anruth 
  Colleges as assistants, minions, hangers-on, and potential henchmen. 
  These followers move on when they attain Anruth and Ollam ranks, 
  respectively. 
  • 
  Ollam-ranked bards are the “grand-master bards” of the College of 
  Bards. They generally retire from active leadership positions and 
  appointments to concentrate on completing their magnum opus, by 
  which they will forever after be remembered. 
   
   
  
  20 
   
  A magnum opus is a great artistic work; when referenced by bards, it refers 
  to the greatest work accomplished by an Ollam-ranked bard. Though their 
  names may be long-lost, their music – and thus, to the bard, all that matters 
  – lives on through these items. These are invariably some form of magic item 
  verging on the level of a magical relic, as of a saint or demi-god. They have 
  great power, but can often be dangerous to use for those who have not 
  the proper level of talent. 
  All of these items are unique. No gold piece values are provided for 
  any of these items, each of which is considered worth a king’s ransom at 
  least, or beyond price by most. 
   
  DIARMUID’S CODEX: This small but thick book with a green leather cover is 
  filled with the limericks, jests, and epigrams of Diarmuid, one of the most 
  famous wielders of witticisms and repartee in bardic history. Any bard who 
  reads the codex (written in Druidic and requiring one week of uninterrupted 
  study) must thereafter make a saving throw versus Spells, with a +1 bonus 
  per rank in the Bardic College. Failure indicates the bard dies laughing with 
  a smile on her face. If the bard survives, the codex disappears after being 
  read, and reappears randomly elsewhere. 
  Success indicates that the bard thereafter permanently gains a +25% 
  bonus to her Witticisms skill, and can affect a number of primary targets with 
  the same witticism as she has ranks in the Bardic College.  
  The downside is that, should she roll a 100 when attempting a witticism, 
  her nearest ally who can hear and understand the witticism must make a 
  saving throw versus Spells or die after 1d4 rounds of horrific laughter. 
   
  FIRZAM’S PIPES OF MADNESS: These simple pan pipes appear old and 
  weathered, and in the hands of any but a bard are useless, except for 
  playing plain music. 
  If the owner is a bard they gain access to the following powers, which 
  require a successful Perform check; failure indicates that that specific 
  power cannot be used again that day: 
  • 
  Charm: With a successful Perform check, the bard may target an 
  individual within 30 feet with Swyn’s subtle serenade (charm person). 
  • 
  Confusion: With a successful Perform check, the bard casts Syfradana’s 
  perplexing paean (confusion); the effect continues as long as the bard 
  continues to play the pipes. However, if the bard rolls 100 on her 
  Perform check, she is affected by the confusion for 14 rounds! 
  • 
  Dance: With a successful Perform check, the bard may target an 
  individual within 30 feet; if they fail a saving throw versus Spells they 
  begin dancing, against their will, as per the irresistible dance spell. The 
  effect continues only as long as the bard continues to play the pipes. 
  The target suffers 1 hit point of damage every round they dance after 
  the first 10 rounds. However, if the bard rolls 100 on her Perform check, 
  
  21 
   
  she is affected by the dance as though she were wearing boots of 
  dancing (no saving throw)! 
  • 
  Lullaby: With a successful Perform check, the bard may either affect a 
  group as per Wynken Blynken’s lullaby (sleep) or may target a single 
  individual of up to 8 levels/HD to fall asleep; targets with 5 to 8 levels/HD 
  get a saving throw versus Spells to negate the effect. 
   
  GOLDEN SONGBIRD: The Golden Songbird is often associated with Ahlissa 
  the Nightingale, as it was she who recovered it from the depths of an 
  ancient elvish ruin. Who actually created this item is unknown, but was 
  certainly an ancient elvish bard of surpassing skill. Its current owner is 
  unknown, as Ahlissa and her companions disappeared during an 
  expedition into the Giantlands. 
  The Golden Songbird is a metal bird made of gold, the size of a typical 
  songbird; it is lifelike in every way, and its singing voice is pitch perfect. The 
  Golden Songbird has the following abilities and powers: 
  • 
  The Golden Songbird can speak and understand Elvish, Dwarvish, and 
  Gnome, though it is not terribly intelligent and can only relate its abilities 
  and its brief history since it was recovered from the ruins (it has no 
  memories from before that time). It can also unerringly translate 
  between those three languages. 
  • 
  The Golden Songbird can sing more than 1,000 songs, many of which 
  were lost prior to its recovery, and can sing any song it has heard merely 
  once with perfect pitch and tone (even if the sample was poorly 
  performed). 
  • 
  When within 30 feet of its owner, it conveys to the owner the following 
  abilities: 
  o 
  The Golden Songbird can accompany its owner, if a bard, during 
  their performances (use of Counter-Song, Influence, Inspire, and 
  Perform skills), granting the owner a 25% bonus to their base skill 
  level (before other modifiers). 
  o 
  Three times per day at the direction of the owner it can sing a song 
  that causes any monster who uses musical or sound-based attacks 
  to flee in terror (saving throw versus Spells negates effect). 
  o 
  It may cast for the owner one common spellsong of each spellsong 
  level, 1st to 6th, once per day; the spellsong is cast at 14th level; 
  o 
  Once per day upon being given the command it can grow to the 
  size of a small horse; a saddle appears upon its back, and the 
  owner and one passenger may ride it as it flies at 30 miles per hour 
  for up to four hours. 
  • 
  The Golden Songbird can be used to send messages to up to 12 
  specific individuals named by its owner. It can only repeat whatever 
  message it is given verbatim (in the voice of the owner if they so 
  choose), and then relay back up to 12 return messages in the same 
  manner. When ordered to find the recipients of the message, the 
  songbird can find them unerringly provided they are on the same plane 
  
  22 
   
  and not protected from detection (such as through amulet or spell). 
  The Golden Songbird flies at a rate of 30 miles per hour (for long-
  distance travel) in the most expeditious pattern to get the message to 
  all targets and return as quickly as possible. 
  • 
  The Golden Songbird has an AC -6 (and can be hit only by magical 
  weapons), HD 10, 10 hp, one peck attack that deals 1 point of damage 
  (1d6 in large sized form); if hit the target must make a saving throw 
  versus Paralysis or be paralyzed for 2d4 turns. The Golden Songbird 
  attacks only in self-defense or in defense of its owner. 
  • 
  Possession of the Golden Songbird instills in the owner the desire to hear 
  more and ever greater musical performances. Every week the owner 
  possesses the Golden Songbird she must make a saving throw versus 
  Spells; failure indicates that she must listen to the music of the songbird 
  and/or others of great quality for no less than one hour every day. 
  o 
  Every week that she fails the save adds one more hour that she 
  must listen to music each day, until eventually she must be listening 
  to music every hour of every day, losing sleep and gaining no rest, 
  and eventually being driven mad from lack of sleep and not 
  having enough time in the day to listen to more music… (i.e. 
  insanity sets in no later than when she fails the saving throw for the 
  25th time and finds not enough time, day or night, to listen to music). 
  • 
  Ownership of the Golden Songbird is easy to establish; whomever holds 
  it and claims it as their own is the new owner (of course, successfully 
  grabbing at it with its -6 AC is not easy). Previous owners who have 
  failed the above saving throw and must listen to music, however, never 
  willingly trade or lose ownership, and will do anything within their power 
  – including abandoning all ethics and morals – to regain ownership of 
  the Golden Songbird. 
   
  HOWARD’S HARP OF HEROES: Howard’s Harp of Heroes is an unassuming-
  looking harp; it is neither worn nor new, plain nor ostentatious; it appears to 
  be a normal, work-a-day hand harp like those used by any other bard in 
  the street. However, when played the harp and its strings shine like gold and 
  give off a silvery glow. 
  The owner of Howard’s Harp of Heroes gains the following abilities: 
  • 
  If the owner is not a bard, they may use the Harp of Heroes to perform 
  the following bard skills at the listed base level of ability: Counter-Song 
  50%, Influence 70%, Inspire 70%, and Perform 80%. 
  o 
  If the owner is already a bard, when using the Harp of Heroes, she 
  gains a 15% bonus to each of the above skills. 
  • 
  A successful Perform check allows the owner to cast ode to the lion’s 
  heart (remove fear). If the Perform check fails this ability cannot be 
  used until the next day. 
  • 
  Once every seven days Howard’s Harp of Heroes may be played to 
  summon heroes to fight for the owner of the harp. The owner makes a 
  
  23 
   
  Performance check; based on a successful roll, the following heroes 
  appear: 
  o 
  Successful roll 01-40: 2d4+2 2nd-level Fighters with chain mail, shield, 
  long sword, and short bow; 
  o 
  Successful roll 41-75: 2d4+1 3rd-level Fighters with banded mail, 
  shield, long sword, and short bow; 
  o 
  Successful roll 76-90: 2d4 4th-level Fighters with plate mail, shield, 
  long sword, lance, and warhorse; 
  o 
  Successful roll 91+: 1d4+1 5th-level Fighters with plate mail, shield, 
  magical long sword +1, lance, and warhorse; 
  o 
  Summoned heroes attack anyone the owner of the harp 
  commands them to fight until they or their opponents are dead or 
  6 turns have passed, whichever comes first. 
  o 
  If the Perform check fails, nothing happens and the owner cannot 
  use this ability again for seven days. 
  o 
  If the owner rolls 100 on their performance check, they instead 
  summon 1d4+1 5th-level villains, equipped as above, who appear 
  and immediately attack the owner of the harp. 
   
  ORPHEUS‘S LYRE: One of the greatest bards of history, Orpheus left songs 
  and stories that ring down the centuries, especially his own tragic end.  
  His lyre grants to the bard who wields it the following powers: 
  • 
  The bard gains +25% to her use of her Counter-Song skill. 
  • 
  With a successful Perform check the bard can cast Swyn’s subtle 
  serenade (charm person, requires one round), Swyn’s compelling 
  canticle (suggestion, requires three rounds), Swyn’s monstrous melody 
  (charm monster, requires four rounds), or Swyn’s supreme serenade 
  [mass suggestion, requires six rounds). Failure indicates that the bard 
  cannot try to use that particular spellsong again until the next day.  
  • 
  Once per week with a successful Perform check at half base chances 
  the bard can cast raise dead (cast as though by a 14th-level cleric). If 
  the bard rolls 100 on her check, the target can never be raised or 
  resurrected and the bard is cursed (no saving throw, as per the spell) 
  such that thereafter all her base bard skills are halved. 
  • 
  Should any being other than a bard seek to play the lyre, the lyre 
  summons 1d4+1 5th-level female berserkers, known as maenads, who 
  rip the blasphemer to death with their bare hands (attack at +2, two 
  claw attacks per round, each deals 1d4+4 damage). The maenads 
  remain until they or the blasphemer are dead or up to 6 turns. The lyre 
  can summon these maenads of its own will only once per day. 
   
  PIOBAN BAIS: The infamous “Pipes of Death” are a set of bagpipes 
  fashioned by the even more infamous Murrain MacGalla, the Lich-Bard of 
  the Highlands; the pipes were formed from the bones of the Three 
  Murdered Kings, and the bag itself from the skin of the regicide-parricide-
  mariticide-filicide, Queen Raicleach NicMaloidh, who slew the three kings 
  
  24 
   
  (her father, husband, and son) at the behest of Murrain MacGalla, the 
  Royal Bard. 
  The Pipes of Death are infused with necromantic power, the likes of 
  which are generally entirely foreign to bards. Should a Neutral Good bard 
  so much as touch the Pipes of Death, she must make a saving throw versus 
  Spells or suffer 6d6 points of damage (save for half damage); should she be 
  slain by this damage, she rises immediately thereafter as a wight and takes 
  up playing of the pipes. Similarly, a True Neutral bard must save or suffer 3d6 
  points of damage (again, save for half), and if slain, suffers the same fate. 
  Non-bards suffer the same fate as bards who have the same alignment 
  (Good or Neutral), but if slain, do not rise again as wights. Those of Evil 
  alignment may touch the pipes, but only a Neutral Evil bard may touch and 
  use the Pipes of Death. 
  The Pipes of Death have the following powers: 
  • 
  Animate Dead: With a successful Perform check at half base chances, 
  after three rounds of skirling, the bard animates dead as per the spell 
  cast by a 14th level cleric. If her Perform check is 100, the undead still 
  animate but they are consumed with the need to slay the bard, and 
  are immune to all the other powers of the Pipes of Death. 
  • 
  Cause Wounds: This power enables the bard to cause wounds, as per 
  the spell. The bard may play the pipes for one to six rounds; at the end 
  of the last round, if she has been uninterrupted, she must make a 
  Perform check at half base chance. If successful, she targets a single 
  being within 80 feet, who is attacked by an eldritch burst of green 
  energy that causes 1d8 points of damage per round of skirling. The 
  target may make a saving throw versus Death; success indicates they 
  suffer only half damage. If her Perform check is 100, the bard suffers the 
  damage, instead. 
  o 
  This power can be used to heal damage suffered by undead. 
  • 
  Control Undead: With a successful Perform check at half base chances, 
  requiring but one round, the bard may turn or control undead as a 
  cleric of 14th level. Controlled undead remain under the bard’s control 
  so long as she remains the owner of the pipes; should she lose 
  ownership of the pipes, the undead are freed, and seek her out to 
  destroy her. If, on an attempt to turn or control undead, the bard rolls 
  a 100 for Perform, the target undead thereafter attack the bard to the 
  exclusion of all others. 
  • 
  Dance of the Dead: With a successful Perform check at half base 
  chances, the bard may target all living beings within 30 feet; if they fail 
  a saving throw versus Spells they begin dancing, against their will, as 
  per the irresistible dance spell. The effect continues only as long as the 
  bard continues to play the pipes. The targets suffer 1 hit point of 
  damage every round they dance after the first 10 rounds. If a target 
  dies while dancing they continue dancing, with their skin sloughing off 
  over several hours, and then continue to dance as an animated 
  skeleton until they are destroyed. 
   
  
  25 
   
  OPEN GAMING LICENSE 
   
   
   
   
   
   
   
  DESIGNATION OF OPEN GAME CONTENT: The stat blocks of all monsters and the rule text of any abilities, 
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  OPEN GAME LICENSE Version 1.0a 
  The following text is the property of Wizards of the Coast, Inc. and is Copyright 2000 Wizards of the Coast, 
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  1.Definitions: (a)"Contributors" means the copyright and/or trademark owners who have contributed 
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  2.The License: This License applies to any Open Game Content that contains a notice indicating that 
  the Open Game Content may only be Used under and in terms of this License. You must affix such a 
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  5.Representation of Authority to Contribute: If You are contributing original material as Open Game 
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  6.Notice of License Copyright: You must update the COPYRIGHT NOTICE portion of this License to include 
  the exact text of the COPYRIGHT NOTICE of any Open Game Content You are copying, modifying or 
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  26 
   
  challenge to the ownership of that Product Identity. The owner of any Product Identity used in Open 
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  reformed only to the extent necessary to make it enforceable.  
  15.COPYRIGHT NOTICE Open Game License v 1.0a Copyright 2000, Wizards of the Coast, LLC.  
  System Reference Document Copyright 2000, Wizards of the Coast, Inc.; Authors Jonathon Tweet, Monte 
  Cook, Skip Williams, based on original material by E. Gary Gygax and Dave Arneson. 
  System Reference Document Copyright 2000-2003, Wizards of the Coast, Inc.; Authors Jonathan Tweet, 
  Monte Cook, Skip Williams, Rich Baker, Andy Collins, David Noonan, Rich Redman, Bruce R. Cordell, John 
  D. Rateliff, Thomas Reid, James Wyatt, based on original material by E. Gary Gygax and Dave Arneson. 
  Modern System Reference Document Copyright 2002-2004, Wizards of the Coast, Inc.; Authors Bill 
  Slavicsek, Jeff Grubb, Rich Redman, Charles Ryan, Eric Cagle, David Noonan, Stan!, Christopher Perkins, 
  Rodney Thompson, and JD Wiker, based on material by Jonathan Tweet, Monte Cook, Skip Williams, 
  Richard Baker, Peter Adkison, Bruce R. Cordell, John Tynes, Andy Collins, and JD Wiker. 
  Castles & Crusades: Players Handbook, Copyright 2004, Troll Lord Games; Authors Davis Chenault and 
  Mac Golden. 
  Cave Cricket from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; Authors Scott Greene 
  and Clark Peterson, based on original material by Gary Gygax. 
  Crab, Monstrous from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; Author Scott 
  Greene, based on original material by Gary Gygax. 
  Fly, Giant from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; Author Scott Greene, 
  based on original material by Gary Gygax. 
  Golem, Wood from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; Authors Scott 
  Greene and Patrick Lawinger. 
  Kamadan from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; Author Scott Greene, 
  based on original material by Nick Louth. 
  Rot Grub from the Tome of Horrors, Copyright 2002, Necromancer Games, Inc.; Authors Scott Greene 
  and Clark Peterson, based on original material by Gary Gygax,  
  Labyrinth Lord Copyright 2007-2009, Daniel Proctor; Author Daniel Proctor. 
  Darwin’s World, Copyright 2002, RPGObjects; Authors Dominic Covey and Chris Davis. 
  Mutant Future, Copyright 2008, Daniel Proctor and Ryan Denison; Authors Daniel Proctor and Ryan 
  Denison. 
  Aerial Servant from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; authors Scott 
  Greene and Clark Peterson, based on original material by Gary Gygax. 
  Axe Beak from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene, 
  based on original material by Gary Gygax. 
  Beetle, Giant Boring from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott 
  Greene, based on original material by Gary Gygax. 
  Beetle, Giant Rhinoceros from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author 
  Scott Greene, based on original material by Gary Gygax. 
  Brownie from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene, 
  based on original material by Gary Gygax. 
  Crayfish, Monstrous from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott 
  Greene, based on original material by Gary Gygax. 
  Demon: Juiblex, The Faceless Lord‰ (Demon Lord) from the Tome of Horrors, copyright 2002, 
  Necromancer Games, Inc.; author Scott Greene, based on original material by Gary Gygax. 
  Demon: Orcus (Demon Prince of Undead) from the Tome of Horrors, copyright 2002, Necromancer 
  Games, Inc.; authors Scott Greene and Clark Peterson, based on original material by Gary Gygax. 
  
  27 
   
  Devil: Amon (Duke of Hell) from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author 
  Scott Greene, based on original material by Gary Gygax. 
  Devil: Bael (Duke of Hell) from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author 
  Scott Greene, based on original material by Gary Gygax. 
  Devil: Geryon (Arch-Devil) from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author 
  Scott Greene, based on original material by Gary Gygax. 
  Ear Seeker from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; authors Scott Greene 
  and Erica Balsley, based on original material by Gary Gygax. 
  Eel, Electric from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene. 
  Eye of the Deep from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott 
  Greene, based on original material by Gary Gygax. 
  Floating Eye from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene, 
  based on original material by Gary Gygax. 
  Frog, Monstrous from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; authors Scott 
  Greene and Clark Peterson, based on original material by Gary Gygax. 
  Frog, Monstrous Killer from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; authors Scott 
  Greene and Clark Peterson, based on original material by Gary Gygax. 
  Frog, Monstrous Poisonous from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; authors 
  Scott Greene and Clark Peterson, based on original material by Gary Gygax. 
  Gas Spore from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; authors Scott Greene 
  and Clark Peterson, based on original material by Gary Gygax. 
  Gorbel from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene, based 
  on original material by Andrew Key. 
  Groaning Spirit from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; authors Scott 
  Greene and Clark Peterson, based on original material by Gary Gygax. 
  Hippocampus from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; authors Scott 
  Greene and Erica Balsey, based on original material by Gary Gygax. 
  Jackalwere from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene 
  based, on original material by Gary Gygax. 
  Leprechaun from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene 
  based on original material by Gary Gygax. 
  Lurker Above from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene, 
  based on original material by Gary Gygax. 
  Piercer from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; authors Scott Greene and 
  Clark Peterson, based on original material by Gary Gygax. 
  Slithering Tracker from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott 
  Greene, based on original material by Gary Gygax. 
  Slug, Giant from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene, 
  based on original material by Gary Gygax. 
  Strangle Weed from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott 
  Greene, based on original material by Gary Gygax. 
  Tick, Giant from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene, 
  based on original material by Gary Gygax. 
  Trapper from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene, 
  based on original material by Gary Gygax. 
  Turtle, Giant Snapping from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott 
  Green, based on original material by Gary Gygax. 
  Wind Walker from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Greene, 
  based on original material by Gary Gygax. 
  Yeti from the Tome of Horrors, copyright 2002, Necromancer Games, Inc.; author Scott Green, based on 
  original material by Gary Gygax. 
  Advanced Edition Companion, Copyright 2009-2010, Daniel Proctor; Author Daniel Proctor. 
  Advanced Labyrinth Lord, Copyright 2018, Daniel Proctor; Author Daniel Proctor. 
  Bard Class, Copyright 2021, James Mishler; Authors James Mishler and Jodi Moran-Mishler. 
  END OF LICENSE
   
   
  
  28 
   
  Current as of January 21, 2021 
   
  JMG0001 Hercynian Grimoire #1 (V. 1, N. 1) [P, S, C] 
  JMG0002 GD&C #1: Chaos Queen of Ants [P, C] 
  JMG0003 Vampires of the Olden Lands [P, S, C] 
  JMG0004 Map 100 Olden Lands Continent [P] 
  JMG0005 Ogres of the Olden Lands [P, S, C] 
  JMG0006 Midzee Maps [Mutant Future] [P] 
  JMG0007 Castle Adlerstein and Environs Map Pack [P] 
  JMG0008 Barbarian Class [P, S] 
  JMG0009 Demi-God Race [P, S] 
  JMG0010 Myrkridder – The Demonic Dead [P, S] 
  JMG0011 Ghosts – The Incorporeal Undead [P, S] 
  JMG0012 Monstrous Miscellany #01 [P] 
  JMG0013 Dragonborn [P,S] 
  JMG0014 Quick Start Character Race & Class Sheets [P, S] 
  JMG0015 ALL Character Record Sheets [P] 
  JMG0016 ALL Adventure Record Sheets [P] 
  JMG0017 Balor-Kin Racial Class [P] 
  JMG0018 Marilith-Kin Racial Class [P] 
  JMG0019 Nalfeshnee Racial Class [P] 
  JMG0020 Quick Start Race & Class Guide [G] 
  JMG0021 Barbarian, Demi-God, & Dragonborn [G] 
  JMG0022 Ghosts – The Incorporeal Undead [G] 
  JMG0023 Hercynian Grimoire #1 (Vol. 1, No. 1) [C, G] 
  JMG0024 Myrkridder, Ogres, & Vampires [C, G] 
  JMG0025 Region 01A Frelengian Heartlands Map Pack [P] 
  JMG0026 Expanded 20-Level Demi-Human Racial Classes [P] 
  JMG0027 Expanded 20-Level Core Four Classes [P] 
  JMG0028 The Book of Manos: A Grimoire of Handy Spells [P] 
  JMG0029 Frelengian Heartlands: Badgershire Map [P] 
  JMG0030 Expanded Dragons [P] 
  JMG0031 Necromancer Class [P] 
  JMG0032 Runemaster Class [P] 
  JMG0033 Bard Class [P] 
   
   
  C = Designed for Castles & Crusades and Labyrinth Lord; 
  unless noted, other products are for Labyrinth Lord. 
  G = Gary Con XII Limited-Edition Special (2020) 
  P = Available in PDF 
  S = Available in the Gary Con XII Limited-Edition Special Print Books 
   
   
   
  
SOURCE: textdata/thevault/Labyrinth Lord/Labyrinth Lord Classes/Bard Class (LL).pdf