Bhaene's page

Party steps out of a barn, and is faced with a war party of orcs.

Mage: *Mumbles arcane words* A ball of fire leaps from his palm, the orcs go up in flame and smoke.

Bard: "Wow that was nice, can you teach me that sometime?"

Mage: "What?"

Bard: "That spell you just cast."

Mage: "I did not cast a spell, at least I do not remember doing such a thing."

Bard: "Yeah, you just blew all those orcs into ashes."

Mage: "I did that, oh my, I need anger management classes."

Bard: "Soooo.... can you teach me that spell?"

Mage: "What spell."

Bard: *Sigh*

Not as hard to get some serious stats back in first and second edition, especially not if the gamemaster was using Unearthed Arcana method. However this is one of the better of over one hundred characters I played in the 80's and 90's. Some characters died on their first adventure, and got shredded, other mediocre characters got thrown away over the years. I only have about two dozen of my old characters still archived in a notebook.

I often name the items my characters use. The name will reflect a number of things:

1)Items origin, who crafted it, how it was crafted.
2)Items history, who used it, and how it was used.
3)Is there a curse associated with the item? This can influence the name.

examples:(From my own homebrew)

Caladfae: This silvery steel rapier was forged by the elven smiths of the first age. Lost for many years, was discovered in ruins found beneath an ancient Thassilonian monument. The rapier has since been seen in Magnimar, and Riddleport in the hands of a duelist that goes by the name of Bhrianna.

+3 mithril alloy rapier, keen, +2 to initiative.
Bonus Feats gained after gaining the required levels:
Level 3: Weapon Finesse
Level 5: Combat Expertise
Level 7: Improved Feint
Level 9: Mobility
Level 11: Critical Focus: Rapier
Level 13: Improved Initiative
Level 15: Greater Feint

Harmony: This finely crafted suit of studded leather armor was once worn by a famous Lorekeeper named Lorellya. Though some of her libraries, and writings are still with us today, she disappeared nearly five hundred years ago. The suit was discovered about twenty years ago, and has now found its way to the Emporium in Magnimar. Scholars have debated over the bias relief musical symbols covering the chest, and arms of this armored suit.

+2 studded leather armor
+10' to base movement
+5 to acrobatics
Protection from Evil
Harmonic Resonance +2 to bardic performance, and bard spell dcs. (Only usable by those possessing at least one level of bard.)
Soundburst 3x/day (Only useable by bards.)
Song Door 1x/day 100' short teleport, destination must be in line of sight.(Only useable by bards.)

Yes apparently I was still adding double specialization bonuses from first edition without having the proper equivalent feats to support those bonuses. Nice catch..

Thus:

Weapon Attacks:
Longsword +15/+15 1d8 + 10 damage (longsword of the champion +4 longsword highly decorative worth 3,000 gp)
Longsword +14/+14 1d8 + 6 damage (Mighty Mithral Longsword +3)

So today I pulled out some old first and second edition characters, and was replaying their adventures in my head. Then just for fun I converted one to Pathfinder. The one I converted I retired at fifth level because he was too overpowered even then. My conversion below is the only way he would be close to as effective as he was in first edition. I am sure you will all agree with me, he is overpowered.

Joshua
Human
Fighter (Mobile Fighter) Level 5
total experience 23,856 / applied experience 19,880
Languages: Common, Elven, Celestial, Giant, Draconic. (20% experience sacrificed for extra attack with each hand.)

Introduction:
Joshua is an optimist with a pleasant demeanor, often overconfident of his chances of success. He has an imposing presence, and the luck of the gods. He was born out of wedlock, the son of a nobleman and a prostitute. His mother kept him secret for many years until Joshua decided to enter a local tournament open to all fighters. His resemblance to the local nobleman could not be mistaken.

When asked his name, he replied “Joshua”.

The Lord repeated, “What is your name young man, this time include sir name, or titles.”

Joshua replied, “Well my mother calls me boy, but thinking that might not be proper here.”

The crowd burst in laughter, and the Lord ceded his interrogation. However he did ask his advisor to investigate the lad. “If he has any blood claim to the throne, he must die.”

Ability Scores:
Strength 22 +6 Melee Attack Bonus +6 Melee Damage Bonus
Dexterity 20 +5 Missile Attack Bonus +5 Defense Bonus
Constitution 20 +5 HP Adjustment
Intelligence 17 +3 Languages
Wisdom 19 +4 Will Saves
Charisma 18 +4 Charisma Base Skill Bonus

Saves: Fort +12 Reflex +9 Willpower +8 (+1 to saves vs entanglement, paralyzation, and slow.)
Armor Class: 30 = 10 Base + 10 Armor Bonus + 3 Ench Bonus + 2 Dex Bonus + 1 Dodge Bonus + 3 Deflection Bonus + 1 Shield Bonus
Combat Maneuver + 12, Combat Maneuver Defense 30

Base Attack Bonus + 5 Hit Points 80 Initiative +5 Passive Perception 15

Weapon Attacks:
Longsword 19/19/14 1d8 + 16 damage (longsword of the champion +4 longsword highly decorative worth 3,000 gp)
Longsword +18/18 1d8 + 15 damage (Mighty Mithral Longsword +3)

Ambidextrous (Background Trait) Offsets two weapon fighting penalties by -1 each.
Luck Child (Background Trait) The goddess of luck has smiled upon you, you may re-roll one failed saving throw, or attack roll once per day. (Gamemaster granted for Joshua’s full background story.)

Feats:
1)Toughness
1)Dodge
1)Blind Fight
2)Two Weapon Fighting
3)Oversized Two Weapon Fighting
5)Two Weapon Defense

Class Features: Agility 1, Armor Training 1(Heavy Armors), Leaping Attack 1

Skills:Climb (str)* 6, Craft:Smithing (int) 8, Handle Animal (cha) 8, Intimidate (cha) 8, Knowledge:Dungeoneering (int) 8, Knowledge:Egineering (int) 8,Linguistics (int) 4, Perception (wis) 5, Profession:Farmer (wis) 8, Ride (dex)* 5, Stealth (dex)* 3, Survival (wis) 10, Swim (str)* 6

Special Equipment:
Longsword of the Champion of Haven +4 longsword adorned with decorative pommel, and gems, won at Joshua’s first tournament.
Mighty Sword +3 Mithral Longsword, Hilt Gems: Diamond – Lightning Bolt (6d6) 3x per day,
Ruby- Fireball (6d6) 3x per day,
Saphire- Heal 1 x per day,
Ivory Hilt Twist for Globe of Invulnerability 1x perday
(Sword has a 45 Ego, currently favors Joshua finds him amusing.)

Dark Bringer Plate Mail +3, Arrow Turning, Invisible in Darkness (Natural or Magical),
Absorbs One Killing Blow per day, Waterbreathing.

Balanced Throwing Daggers +2(6),
Silver Honor Medallion of Haven (Cannot tell a lie, or be lied to without the lie being detected,
Serves as a know location beacon for those tracking Joshua),
Black Dragon’s Tooth, Blue Dragon’s Tooth, Blue Dragon Scales (15),
Silver Font (10 vials of holy water), Nuetralize Poison potion (1), Wand of Detect Magic (30 charges),
Ring of Boccob, Girdle of Giant Strength(+2), Wings of Flying(Maneuverability Class B 60’),
Ring of Protection +3 to Armor Class and Saves

10,000 in jewels, and jewelry (Jeweled Platinum Necklace(Radiates Magic – Unidentified), Gold Ring w Signet,
Flawless Emerald, Flawless Diamond, Emeralds (6), Rubies (3), Amethyst (5).)
60 pp 500 gp 216 sp 20 cp

List of Solo Kills:

First Level: Giant Rat, Skeletons (6), Orc Raiders (8), Troglodytes (2), Third Level Warriors Defeated at Tourney (3),
Fifth Level Warrior defeated for Win, Doppleganger (Sent as an Assassin).

Second Level: Giant Centipedes (3), Magic User 3rd Level, Fighters 1rst Level (10), Fighters 3rd Level (2),
Lizard Men (3), Gnolls (2), Aquired a Pirate Ship and sold it for 10,000 gp.

Third Level: Big Dog (Special Donald Bowman Yeth Hound),
Magic User ? Level (He cast more than one fireball – Aquired Ring of Boccob from him), Yeti

Fourth Level: Young Cave Manta (3), Adult Cave Manta, Cave Dogs (2), Dire Gnoll Rangers (2), Young Black Dragon

Fifth Level: Hill Giants (10), Drow Assassins (4), Drow Clerics (3), Bandit Highwaymen (6), Dire Bear,
Garzo, Storm Giant (2), Ogres (10), Orc Warriors (3), Bugbear (3), Blue Dragon

If you have favorite characters, stories, etc… Please feel free to post them in response. I would love to read about them.

@ Ruggs

Not entirely true. Orderly people can also value freedom, but no one's freedom is above the law. Law in an orderly society is paramount, and if upholding the law means that liberty is lost, well so be it.

This does not mean that slavery is more or less abundant in either society. Slavery and freedom can be found in both orderly, and chaotic societies.

The big problem is that Chaotic is not chaotic. Every alignment discussion I've ever been a part of includes people that claim chaotic characters can be focused, be disciplined, follow a code, adhere to guidelines or rules, avoid flights of fancy or random acts...

... in other words, be all the things Lawful people are without any of the restrictions of being lawful.

So, what's the point of having the opposing alignments?

Others have also stated that a society cannot exist without rules. Such rules are usually fashioned around people's sense of right, and wrong. Even chaotic people have rules. However chaos does prefer liberty to law. Chaotic people (as others have posted) see these rules as guidelines. Thus chaos can have codes of honor, laws, traditions, etc...

The difference in an orderly society is the rules are set in stone, and cannot be altered without due course of action through litigation, they must be upheld or society falls to chaos. Where in a chaotic society the spirit of the rule, the law should be considered. Why was the rule or tradition kept? What did it preserve? Does that rule apply to the current situation? Then they will make a ruling depending upon what best upholds the spirit of the law. Such creativity, and spontaneous divergence from the law as it is written in an orderly society is viewed as absurd.

I suppose what I am trying to say is that freedom is more important and valued over order by those who follow chaos. Yet even chaotic people can see the value of laws, rules, honor. They just do not place as high a priority upon them.

The closer to good a chaotic person is, the more value they can see in laws, but still push them lower on their priority. Because they value the freedom, and rights of all living things.

A chaotic evil person only values their own freedom, and live only for their own pleasure. Who cares about what anyone else thinks.

Hmmm strange unconventional characters with a twist of flavor...ones that I have adventured alongside:

How about a Dwarven Priest of Moradin who was cursed by a demi lich, and slowing converting into an undead abomination. He exhumed a thirty foot radius stinking cloud effect. Then on top of that at times tried to be stealthy with all that stench going on.

A drow barbarian who got brain scrambled by a mindflayer, and thought he was a jester, a mad jester. He would be telling jokes while he gleefully cackled away to incite his rage, then start hacking, and slashing.

A pixie fighter that confronted enemies by buzzing around their head getting them to slap their own ears.

Some of my own oddities:

A fighter who would ask the enemies to drop their weapons and surrender because they were obviously outnumbered. Half the time they laughed, and almost always attacked, then by using movement, and terrain, I had the enemies all beating each other up without a need of drawing a weapon. I defeated ten hill giants solo using this method of evasiveness.

A sorcerer whose mind became so fragmented by the horrors of a haunted house, she thought she was a bard. She even had gained a magical lute in the house. Her levels and experience values were also frozen. Due to the nature of her dementia her sorcerer levels could not advance, and the bard college would have nothing to do with her. The other party members were suppose to determine what had gone wrong with her, and get her cured. However they never bothered. They found her amusing with a swashbuckler bravado, and her bardic personae. She was also restricted to only being able to use her sorcerer spells that also were found on the bard list.

@ LazarX Well I did post a conversion, earlier in this thread after I got some feedback. Fighter (Mobile Fighter Archtype) 5/Rogue 2/Bard 10. Further feedback on that was to drop dual wield for two handed fighting, to go ranger/rogue, or make an evangelist cleric of gozreh.

(I am thinking dual wield is not thought of very highly in Pathfinder.)

Maybe I will just go with what I converted unless someone has a very good reason why I shouldn't?

I never played 1E, but if you could, instead, list the things you would like to be able to do, then some of us who are not familiar with the edition, could help you.

Otherwise, you may end up with a thread of former 1E players reminiscing, and not really getting your concept converted.

OK here goes:

I like to dual wield, not really worried about the optimized damage ratio. I enjoy imagining the visual aspect of it. I also like using offhand for dedicated parry. My group with this bard allows half of strength modifier + enhancement value to add to armor class against a single attack from a specified opponent, or enhancement value to add to armor class for the round you declared parry with offhand.

I like the old druid spells, but I also like the Pathfinder spell list for bards as well. I can go either way on that.

I like most of the song types that come with basic bard class from Core Rule Book. I like aspects of most of the bard archtypes, but almost everyone of the archtypes replaces something I also wanted to keep. I guess archtypes are give, and take.

I would like her to be a mobility fighter of at least decent value, not a frontliner though, support melee. I like the fluff of "dancing around through the combat."

A back-up healer, and buffer. Being able to cure disease, neutralize poison, and throw a moderate amount of heals.

I do not necessarily need the ability to charm, suggesting an npc takes a certain course of action, and letting him think it was his idea is cool. Thus bluffing, or persuading an individual is valid.

I would like to fascinate, mesmerize an audience. That was always a nice way to control hostilities, and maybe even bring a peaceful resolution in a few cases where negotiation was still possible.

Adaptive modes of transportation.Quickened running speed,

Almost every bard I have played has either had some weather control type spells, like cloudburst, call lightning, control winds, etc... or had sonic AoE crowd controlling spells.

Our gamemaster likes to separate us at times, and run us solo through a short jaunt before we are able to rejoin one another again, thus being able to handle myself solo against an encounter of a cr rating two levels above her own is almost necessary.

@ Micheal Gentry, my sincerest apologies, I did not intend to offend you. I just did not want my old dogs telling fibs either. =)

We did that a lot back in the old times. First, and second edition had some compatibilities. Many gamemasters used what they liked of both editions back then in homebrew especially. The gamemasters I played with never ran a monster straight out of the monster manual, and many allowed race class combos that could not exist strictly by the rules. We all followed "The rules are a guideline." They were never etched in stone for us. Having fun with our imaginations, and telling the story was what we found exciting.

No, I have the player's handbook. Bard was normally only open to humans because it was a dual classing nightmare to earn the right to play one. I made an argument supported by fantasy literature that demi-humans can be bards too. He put the restriction that I would have to dual class into the bard as was outlined. He felt that was only fair to the players who had made human bards. Multiclass combo leading to bard would more accurately be Fighter/Thief until you reached a point that the multiclass combo was between 7/7 and 8/9, then restarting at 0 experience under druidic training this time as a Bard.

Yikes I must have been half asleep last night total experience value on the Pathfinder version is 1,337,487.

Thanks guys for your replies, taking in some of the above advice. Using experience total to determine level on medium advancement path, I put together the following:

Celehir
Sylvan (Wood) Elf Female

Fighter Level 5/Rogue 2/Bard 10 total experience 1,015,338

Background/Character Traits:
Racial: Warrior of Old +2 trait bonus on initiative
Combat: Fencer +1 trait bonus to attacks of opportunity with finesse/fencing weapons.

Elven Traits: +2 Dexterity, +2 Intelligence, -2 Constitution:30'Base Movement:Low Light Vision: Dreamspeaker (Dream 1/day):Favored Class-Bard +1 vs disarm, and sunder attempts:Fleet-Footed(Run, +2 Initiative):Elven Magic +2 Spell Penetration, +2 Spellcraft for Identifying Magic Items:Keen Senses +2 Perception.

Strength <13> 15 (22) +6 Bonus
Dexterity <15> 17 +3 Bonus
Constitution <12> 16 +3 Bonus
Intelligence <13> 16 +3 Bonus
Wisdom <13> 15 +2 Bonus
Charisma <15> 20 +5 Bonus

Saves: Fortitude: 14 (+2) Reflex: 14 (+2) Willpower: 10 (+2)
Armor Class: 28 = 10 base + 6 Armor + 3 Enchantment + 3 Dexterity + 2 Deflection + 3 Dodge + 1 Shield Bonus(20% Miss Chance)
BaB 15 Hit Points 128 (5d10 + 12d8 + 34) Initiative +7

Weapons:
Longsword(primary) +20/+15/+10 1d8 + 9 damage
Longsword(secondary)+20/+15 1d8 + 5 damage
Composite Longbow +21 1d10 + 5 damage range 300' (Deadly Aim -4 attack, +8 damage)
Thrown daggers +20 1d4 + 8 damage range 30'

Feats - Class Abilities
1)Weapon Focus: Longsword
1)Dodge - Agility 1
2)Weapon Focus: Longbow
3)Toughness - Armor Training 1
4)Dazzling Display: Longsword
5)Deadly Aim - Leaping Attack 1
6)Sneak Attack +1d6, Trapfinding
7)Defensive Weapon Training:Longsword, Evasion, Rogue Talent: Fast Stealth
8)Bardic Knowledge, Bardic Performance, Cantrips, Countersong, distraction, Fascinate, Inspire Courage +1
9)Lingering Song, Versatile Performance:Dance(Acrobatics - Fly), Well Versed
10)Inspire Competence +2
11)Two Weapon Fighting
12)Inspire Courage +2, Lore master 1/day
13)Spellsong, Suggestion, Versatile Performance:Sing(Bluff - Sense Motive)
14)Inspire Competence +3
15)Two Weapon Defense, Dirge of Doom
16)Inspire Greatness
17)Improved Two Weapon Fighting, Jack of all Trades, Versatile Performance:Wind(Diplomacy - Handle Animal)

Skills:
Acrobatics(dex)* 10,Climb(str)* 10, Craft:Armor(int) 10, Craft:Weapon(int) 10, Disable Device(Dex)* 10, Escape Artist(dex)* 8, Handle Animal(cha) 10, Intimidate(cha) 10, Knowledge:Arcana(int) 13, Knowledge:Dungeoneering(int) 12, Knowledge:Engineering(int) 12, Knowledge:History(int) 14, Knowledge:Local-Varisia(int) 12, Knowledge:Nature(int) 12, Knowledge:Nobility(int) 12, Linguistics(int) 9, Perception(wis) 12, Perform:Dance(cha) 20, Perform:Oratory(cha) 20, Perform:Sing(cha) 20, Perform:String(cha) 20, Perform:Wind(cha) 20, Profession:Soldier(wis) 10, Ride(dex)* 7, Sleight of Hand(dex)* 8, Stealth(dex)* 10, Survival(wis) 7, Swim(str)* 10, Use Magic Device(cha) 15.

Languages: Sylvan, Common, Elven, Gnome, Halfling, Giant, Draconic, Celestial

Songbook 27 rounds of Bardic Performance per day
Cantrips) Dancing Lights, Detect Magic, Ghost Sound, Light, Read Magic
Level One 7/day) Comprehend Languages, Cure Light Wounds, Ear-Piercing Scream, Expeditious Retreat, Identify
Second Level 5/day) Allegro, Cure Moderate Wounds, Mirror Image, Sound Burst
Third Level 4/day) Cure Serious Wounds, Good Hope, Haste, Major Image, Thundering Drums
Fourth Level 2/day) Dance of a Hundred Cuts, Cure Critical Wounds, Dimension Door, Freedom of Movement

Masterpieces:
Dance of 23 steps(-3 Attack, +3 Dodge Bonus, DC 15 + Spell's level to cast) Free Action, 1 round of Bardic Performance.)
Triple Time (+10 to base movement for 1 hour, 1 rnd of Bardic Performance, One Minute Action.)

Special Equipment:

Canaith Mandolin +25% to Charm-Suggestion, Cure Serious Wounds 1x/day, Dispel Magic 1x/day, Protection from Lightning 10' Radius 1x/day
Cli Lyre +30% toi Charm-Suggestion, Control Winds 1x/day, Transmute Rock to Mud 1x/day, Create Wall of Fire 1x/day

Elven Chain Hauberk +3, Ring of Protection +2 (Both to AC and Saves), Bracers of Arrow Deflection, Cloak of Displacement, Scarab of Protection 12 charges (Magic Resistance 15%)

Ruinwynn +3 Mithril Singing Longsword Sound Burster(On a natural 19 or 20 releases a sonic sound burst on target doing 2d6 sonic damage), Double Attack(on natural 20 only has a 30% chance to strike again,, roll normally for next attack.)
Aeowynder +4 Elven Longsword, Protection from Evil 10' Radius when drawn. Radiant sheds "daylight" in 30' Radius for one hour per day upon command, the time does not have to be continous.)
Mighty Composite Silver Longbow +2, add strength damage to ranged attacks. Range 300'
Daggers of Returning +3 (2)

Other Equipment:
Heward's Handy Haversack, Bag of Holding(Type II), Embroidered Court Dress (+10% Social Reaction), Mask of Disguise (see Hat of Disguise page 100 Unearthed Arcana), Boots of Speed, Girdle of Fire Giant Strength.

Bedroll, Silver Bell, Mirror, Scroll Case, 50 Sheets of Vellium Paper, Quill, Ink Vial (2), Hammer, Silk Rope 100', Whetstone, Waterskin (2), Rations (Elven Bread 1 Month), Grappling Hook, Adventurer's Tool (Shovel, Pickaxe, Prybar in one)
Beltpouch, Caltrips (25), Marbles (100), Blinding Powder (5), Oil Flask (2), Greek Fire (2), Bailing Wire (100'), Trap Switch Mechanism (2), Quarter Staff, Hunting Knife, Wood Axe, Hemp Rope 50'.

2,500 in gemstones, 1,275 gp necklace, Ivory Statuette of Aphrodite(1,000gp value), Ivory Statuette of Adonis(1,000gp value),
12 mithril pieces, 65 platinum pieces, 4,500 gold pieces, 76 silver pieces, 32 copper pieces, 100 strange tokens of unknown origin made of bronze.

Oops forgot the spell list sheet. Bards back then used the druid spell list up to level 5. I kind of liked being a divine spellcaster, with no worries about armor.

Bard Songbook (What I called it.)

Level 1: Songs per day 5
Detect Magic, Entangle, Faerie Fire, Pass without Trace, Precipitation, Purify Water

Level 2: Songs per day 5
Barkskin, Charm Person or Animal, Cure Light Wounds, Feign Death, Flame Blade, Goodberry, Obscurement, Trip

Level 3: Songs per day 4
Call Lightning, Cloudburst, Cure Disease, Neutralize Poison, Protection from Fire, Snare, Waterbreathing

Level 4: Songs per day 3
Control Temperature 10' Radius, Cure Serious Wounds, Dispel Magic, Hallucinatory Forest, Protection from Lightning

Level 5: Songs per day 3
Commune with Nature, Control Winds, Moonbeam, Pass Plant, Wall of Fire

I think I would take vital strike instead of furious focus. Then again I am still new to pathfinder, so may not be the best advice.

This is the character as they were in first edition. I did get concession to play as a wood elf, but still had to go through all the dual classing madness.

Celehir Anorlein,

Sylvan (Wood) Elf Female

Fighter Level 8/Thief-Acrobat 9/Bard 15
total experience 165,724/156,428/1,015,338/applied experience 132,579/125,142/812,270
20% experience sacrificed for extra attack with each hand

"Greetings, and salutations, I am Celehir Anorlein, though some in their ignorance call me Bhaene Sidhe, you may call me Kelly. I find that is easier for your tongue. I am a singer, and dancer, and a sword for hire. I can be your guide in these parts, so tell me; What is your desire?"

Strength <17> 19 (22) +4 th +10 damage 7,500 weight allowance 80% chance to Bend Bars
Dexterity <17> 19 +3 Reaction Adjustment, +3 Missile Adjustment, -4 Defense Adjustment
Constitution <16> 20 +6 HP Adjustment, 99% System Shock Survival, !00% Resurrection Survival, Regeneration 1 HP per 6 rounds
Intelligence <14> 17 +6 Languages, 75% Know Spell, Minimum Spells 8, Maximum Spells 14
Wisdom <15> 19 +4 Magical Attack Adjustment, Immune to first level illusions
Charisma <16> 18 15 Henchmen Managable, Loyalty Base +40%, Social Reaction +35%
Comliness <14> 22 Stunning Beauty +44% Allurement

Saves: PPD 5 (+2) PP 8 (+2) RSW 9 (+2)
BW 9 (+2) Sp 10 (+2)
Armor Class -8 (-4 Rear) THACO 12 Hit Points 160

Weapon Proficiencies:
Longsword +10 th, 1d8 +16 damage, Attacks per round 3
Longsword +10 th, 1d8 +16 damage, Attacks per round 2
Composite Longbow +6 th, 1d8 +10 damage, Attacks per round 3 range 300'
Thrown daggers +6 th, 1d4 +5 damage, Attacks per round 4 range 30'

Ambidextrous
Two Weapon Fighting
Oversized Two Weapon Fighting
Longsword (Double Specialization)
Longbow (Specialized)
Daggers, Thrown (Specialized)

Non Weapon Proficiencies:
Blind Fighting, Direction Sense, Gambler's Luck, Riding, Dungeon survival, Wilderness survival, Running, Dance, Acrobatics, Etiquette, Healing, Singing

Class Skills and Abilities:
Backstab x4 Damage, Pickpockets 70% = 55% +15%, Open Locks 57% = 37% +20%, Remove Traps 50% = 40% + 10%, Move Silently 90% = 75% + 15%, Hide in Shadows 81% = 66% + 15%, Hear Noise 35%, Climb Walls 98%, Read Language 45%
Tightrope Walk 100%, Pole Vault 10' 6", High Jumping 6' 3", Standing Broad Jump 8' 0", Running Broad Jump 12' 6", Tumbling Attack +2 TH, Tumbling Evasion 30%, Safe Fall 100% at 10', 30% at 20'
Charm/Suggestion 73% = 63% +10%, Identify Magical Items, Lore, and History of the Item 75% = 60% +15%

Languages: Sylvan, Common, Elven, Gnome, Halfling, Goblin, Hobgoblin, Orcish, Gnoll, Hill Giant, Storm Giant, Titan, Draconic, Auld Common, Faerie, Angelic, Harmonic, Elysium, Paradise, Gladsheim, Arcadia

Special Equipment:

Canaith Mandolin +25% to Charm-Suggestion, Cure Serious Wounds 1x/day, Dispel Magic 1x/day, Protection from Lightning 10' Radius 1x/day
Cli Lyre +30% toi Charm-Suggestion, Control Winds 1x/day, Transmute Rock to Mud 1x/day, Create Wall of Fire 1x/day

Elven Chain Hauberk +3, Ring of Protection +2 (Both to AC and Saves), Bracers of Arrow Deflection, Cloak of Displacement, Scarab of Protection 12 charges (Magic Resistance 15%)

Ruinwynn +3 Mithril Singing Longsword Sound Burster(On a natural 19 or 20 releases a sonic sound burst on target doing 2d6 sonic damage), Double Attack(on natural 20 only has a 30% chance to strike again,, roll normally for next attack.)
Aeowynder +4 Elven Longsword, Protection from Evil 10' Radius when drawn. Radiant sheds "daylight" in 30' Radius for one hour per day upon command, the time does not have to be continous.)
Mighty Composite Silver Longbow +2, add strength damage to ranged attacks. Range 300'
Daggers of Returning +3 (2)

Other Equipment:
Heward's Handy Haversack, Bag of Holding(Type II), Embroidered Court Dress (+10% Social Reaction), Mask of Disguise (see Hat of Disguise page 100 Unearthed Arcana), Boots of Speed, Girdle of Fire Giant Strength.

Bedroll, Silver Bell, Mirror, Scroll Case, 50 Sheets of Vellium Paper, Quill, Ink Vial (2), Hammer, Silk Rope 100', Whetstone, Waterskin (2), Rations (Elven Bread 1 Month), Grappling Hook, Adventurer's Tool (Shovel, Pickaxe, Prybar in one)
Beltpouch, Caltrips (25), Marbles (100), Blinding Powder (5), Oil Flask (2), Greek Fire (2), Bailing Wire (100'), Trap Switch Mechanism (2), Quarter Staff, Hunting Knife, Wood Axe, Hemp Rope 50'.

2,500 in gemstones, 1,275 gp necklace, Ivory Statuette of Aphrodite(1,000gp value), Ivory Statuette of Adonis(1,000gp value),
12 mithril pieces, 65 platinum pieces, 4,500 gold pieces, 76 silver pieces, 32 copper pieces, 100 strange tokens of unknown origin made of bronze.

The stats in < > are the original witnessed rolls using Unearthed Arcana method.

I have a first edition bard that was loads of fun to play.

Fighter 8 (Ambidextrous - Two Weapon - plate wearing intimidator)
Thief 6/Thief Acrobat 3 (Total Thief levels 9) More an acrobat, performer than an actual burglar, or cutpurse)
Bard 15 Dervish dancer in combat, and a storyteller, musician-singer out of combat. Adept with healing.

Can such a character be converted to Pathfinder and still feel the same?

I would like to play a traditional celtic bard, druidic trained in flora, fauna, and fey lore. Knowledgeable in geography, local, and noble lore from travels.
Cleverly able to combine various types of performances together into an entertaining act, or a means to befuddle those who would harm me(possibly both at the same time). I could easily see such a bard dancing, singing, and playing a drum, or lute at the same time. Each calling forth a different magical effect. I could see also singing medleys, each song in the medley being an additional performance or song(spell) effect.
I would also like said bard to be able to "Tween" like bards do in Charles de Lint's stories.
The bard should also be able to combine dance, and swordplay: elegant and graceful, simply fascinating to watch.

Your warrior has a strength of 18 and a constitution of 8? What does that even mean? How did you get so strong while being so out of shape?

This is where the term "Glass Jaw Joe" comes in referring to boxers who could pack a punch, and maybe even dart around nimbly. However only for the first three rounds, and if they took a solid hit from their opponent they were down. Constitution also reflects endurance, and staying power, not just strength, or power of blows.

Just saying it can happen.

I do think you can reduce dump stats with this method, and by all means give it a try. Only one way to be sure something works or doesn't, give it the "fry test", plug it in and see if it buzzes or sparks.

Personally I have done this before, and was not happy with the result. It felt like it lacked depth. I have also seen games run on two stats: Body and Mind. Sounds like you have given it thought, I say give it a whirl with some friends see how it works for you.

34. Mask of Allurement This decorative mask grants the wearer a + 2 cosmetic bonus to charisma, and a +5 circumstantial bonus to bluff, and diplomacy checks made against members of the opposite sex. (This is language and race compatibility dependant.)

Other than eliminating dump stats, what are your reasons?

All the statistics are important, each one has a role. Sure some stats play less of a role for some classes than they do for others. I am also amazed how many people will reduce two abilities to seven just to get that one more bonus on another stat. Then again I dislike a negative stat modifier period, and refuse to lower any stat below ten. I prefer a minimum stat of twelve, but that leaves me little to work with for my primary stat, and secondary stats. Thus I often end up with a character that has mediocre stats, and I have to get creative to become effective, especially in a party of min/maxers who optimize their builds, and the gamemaster does not capitalize, or is unaware of their weaknesses. Then again it is often where the min/maxers are weak when I get my chance to shine. I often plug up all the parties weak spots.

I ask you this too, are your players having fun? If so great, whatever you guys are doing is working.

Luck is typically represented in the game by dice rolls. They are the randomized quotient of luck. Now if you want luck to always favor your players, by giving them more than just a random roll, there are different methods you can use to do this.

1.) Add a luck statistic
2.) Allow Action, or Hero Points to allow a re-roll, or allow additional dice to be rolled and added to the result. (Which I think is already an in-game mechanic).
3.) Roll a separate roll at the same time, and allow the player to chose his, or your result before declaring the outcome.
4.) Assign luck points for good ideas, good roleplaying etc, that can later be used to alter results.

There are other methods that could be implemented as well. However if you are set on reducing to four stats, go ahead. Like others have posted though this will greatly effect other changes in your game as well.

Thank you for your replies. I knew not every gamemaster would allow it. It does bend, even break rules, for the sake of fun, and story. I did this once, in one campaign as a desperate attempt to slow an overwhelming enemy. I was glad my gamemaster was open to my inventive ideas.

@Pizza Lord : The meditative trance was part of my concentration for major image. Thus why the ranger was needed, I was unaware of my immediate surroundings while maintaining the illusion, and spell weave combination.

Clairvoyance did not actually move it remain "fixed" in the dragons eyes. The dragon illusion technically moved. I know that is a stretch.

I come from the old days, been playing since 1979 in pen n paper games when you could cast spells through a sensor. Yes, Gamemasters did use this as a way for bad guys to attack you, drain, or use up your resources etc...Although I do believe the spell list that could be used in this way was limited, and up to gamemaster discretion even then.

@pennywit I like those two rules. My number one rule of gaming: A game is meant to be fun.

I knew my gamemaster was final arbiter, and he could have said no. I am glad he didn't we had a great session that night. That also inspired the ranger, and the fighter to set up traps along the field leading to "Hobbitun", traps which allowed us to kill two giants, and a dozen more orcs before having to flee as we covered the retreat of the halflings from "Hobbitun".

We were gathered in council unto the king. Now known to us was an army marching upon the capitol city. This army numbered well over a thousand orcs, hundreds of ogres, dozens of giants, and even a few dragons were counted among their ranks. Yet this king wanted to send us, a party of four to evacuate a nearby allied halfling village. His scouts had informed him nearly fifty orcs, a dozen giants, and four wyverns had broke off from the main army, and were headed to lets say "Hobbitun". We agreed to do all we could for "Hobbitun".
Thus a fighter, ranger, cleric, and bard set off toward "Hobbitun".
Our ranger informed us after doing advanced scouting of his own, we and the detachment of Halfling slayers would arrive on the same day with only one hour to convince, pack, and get the halflings out of town. That was unacceptable. No way we could convince them, and get them packed for travel that fast. Hoping that the halflings were already aware of the situation at hand, we split into two teams. The fighter, and cleric proceeded on toward "Hobbitun". The ranger, and I (bard) headed to intercept, and delay the orc detachment. The ranger and I came upon their camp and set upon this plan: I went into a meditative trance, the ranger guarding me as I set to weave my spells. I created a major image of a gold dragon, I wove claurvoyance into the dragon's eyes. Mage hand into the dragon's mouth. Mage hand was equipped with a scroll of fireball. Now looking through the dragon's eyes, I flew up into the air, and dove upon the camp. I used clairvoyance to recite, and cast the fireball scroll originating it from the dragon's mouth, the radius able to catch two of four wyverns, and ten orcs on the ground. The hope was that the fireball being actual fire damage would help the believability of my gold dragon. I had quiet a bit of fun with this, and the results were a dozen dead orcs, two dead wyverns, other injuries did not count. The orc raid leader was equipped with a gem of seeing, and once he was aroused and out, the gig was up. The ranger and I departed quickly, and quietly. We did note the two surviving wyverns flew off toward the main massive armies direction, presumably to report.

The reason I tell this story, is to ask, to you gamemasters, would you have allowed me to combine my spells in that manner to create my gold dragon assault?

1. This can vary for me, if it fits with concept, and background story that is awesome.

2. Generally pretty good friends up to willing to sacrifice ourselves for one another. I even had a few characters get married to another character in the party.

3. I ran a game like this once where none of the characters knew each other before the first session. They had all convened at a remote location, some ancient ruins. They were all following clues about some vast treasure...once all the players arrived they were ambushed by the very organization that set them all up. Needless to say, a common enemy helped unite, but not make friends out of the party. The treasure had already been looted by the organization, and the campaign was on. Each week brought about quips, and short remarks back and forth in playful jest toward one another most of the time. All the players were friends before, and after the game ended. They said it was one of my best.

I like this, I agree with vramin, skills should start at A +2, and work up to E +10.

Good is freedom.
Good is hard.
Good is not cheap.
Good has its cost.
Good is an ever present choice.
Good is hard.

I agree with you.

Good is hard.

My number one first choice is bard. I simply love playing bards. Every bard I play tends to take on a life of their own as they adapt to the party, and campaign where they live. One bard started a theatre in an existing country's capital, and became well known, and liked. Another became a gypsy and traveled around the world. Another became an advisor to a queen, and another a caravan master. On and on ...

My second choice is a fighter. I love getting in close to my foes, and mixing things up in battle. I like being in the thick of the action.

My third choice is usually a sorcerer. I play sorcerors when I want to relax, and play more casual. I follow the party lead, use spells as necessary, sometimes even when not necessary. I also play very quiet shy sorcerors.

Seven planets, two moons. Then have a rogue planet pass through when the celestial alignments are correct such as a blood moon eclipse or something.

I got this idea while looking over the various bard archtypes, and thinking that several of them had good ideas. However I wanted to make a bard that uses performances, and is not dependant upon spells. I also wanted to make performance dependant upon perform skills. I cannot take credit for any of this. You will recognize these as you read them. The folks at Paizo deserve all the credit. All I did was combine them together under bard, and remove cantrips, and spells from the bard's arsenal.

Bard

Untold wonders and secrets exist for those skillful enough to discover them. Through cleverness, talent, and magic, these cunning few unravel the wiles of the world, becoming adept in the arts of persuasion, manipulation, and inspiration. Typically masters of one or many forms of artistry, bards possess an uncanny ability to know more than they should and use what they learn to keep themselves and their allies ever one step ahead of danger. Bards are quick-witted and captivating, and their skills might lead them down many paths, be they gamblers or jacks-of-all-trades, scholars or performers, leaders or scoundrels, or even all of the above. For bards, every day brings its own opportunities, adventures, and challenges, and only by bucking the odds, knowing the most, and being the best might they claim the treasures of each.
Role: Bards capably confuse and confound their foes while inspiring their allies to ever-greater daring. While accomplished with both weapons and magic, the true strength of bards lies outside melee, where they can support their companions and undermine their foes without fear of interruptions to their performances.

Alignment: Any.
Hit Die: d8.

Class Skills
The bard's class skills are Acrobatics (Dex), Appraise (Int), Bluff (Cha), Climb (Str), Craft (Int), Diplomacy (Cha), Disguise (Cha), Escape Artist (Dex), Intimidate (Cha), Knowledge (all) (Int), Linguistics (Int), Perception (Wis), Perform (Cha), Profession (Wis), Sense Motive (Wis), Sleight of Hand (Dex), Spellcraft (Int), Stealth (Dex), and Use Magic Device (Cha).

Skill Ranks per Level: 6 + Int modifier.

BaB ¾
Fort Saves Slow
Ref Saves Fast
Will Saves Fast

All of the following are class features of the bard.

Weapon and Armor Proficiency: A bard is proficient with all simple weapons, plus the longsword, rapier, sap, scimitar, short sword, shortbow, and whip. Bards are also proficient with light armor and shields (except tower shields). A bard can cast bard spells while wearing light armor and use a shield without incurring the normal arcane spell failure chance. Like any other arcane spellcaster, a bard wearing medium or heavy armor incurs a chance of arcane spell failure if the spell in question has a somatic component. A multiclass bard still incurs the normal arcane spell failure chance for arcane spells received from other classes.

Bardic Knowledge (Ex): A bard adds half his class level (minimum 1) on all Knowledge skill checks and may make all Knowledge skill checks untrained.

Enhance Healing (Su): A number of times per day equal to his Charisma modifier, a bard can cause any healing effect from a spell completion or spell trigger item to function at a caster level equal to his class level.

Fleet (Su): While performing a bard gains a +10 enhancement bonus to his land speed. This bonus increases by 5 feet for every four bard levels gained after 1st level, to a maximum of +30 feet at 19th level.

Bardic Performance: A bard is trained to use the Perform skill to create magical effects on those around him, including himself if desired. He can use this ability for a number of rounds per day equal to 4 x his Charisma modifier. At each level after 1st a bard can use bardic performance for 3 additional rounds per day. Each performance, the bard can produce any one of the types of bardic performance that he has mastered, as indicated by his level.

Starting a bardic performance is a standard action, but it can be maintained each round as a free action. A bard of third level, or higher may chose to add an additional bardic performance as a swift action. Adding an additional performance into an existing performance consumes another round of bardic performance for that day. A bardic performance cannot be disrupted, but it ends immediately if the bard is killed, paralyzed, stunned, knocked unconscious, or otherwise prevented from taking a free action to maintain it each round. Bardic performances are maintained through a perform check. The basic check for a single performance is 10, each additional performance added also adds +10 to the bards perform difficulty. Thus two performances would be a 20 dc to maintain, and three performances would be a 30 dc to maintain, and so forth.

At 7th level, a bard can start a bardic performance as a move action instead of a standard action. At 13th level, a bard can start a bardic performance as a swift action.

Each bardic performance has audible components, visual components, or both.

If a bardic performance has audible components, the targets must be able to hear the bard for the performance to have any effect, and many such performances are language dependent (as noted in the description). A deaf bard has a 20% chance to fail when attempting to use a bardic performance with an audible component. If he fails this check, the attempt still counts against his daily limit. Deaf creatures are immune to bardic performances with audible components.

If a bardic performance has a visual component, the targets must have line of sight to the bard for the performance to have any effect. A blind bard has a 50% chance to fail when attempting to use a bardic performance with a visual component. If he fails this check, the attempt still counts against his daily limit. Blind creatures are immune to bardic performances with visual components.

A bard begins first level with three performances, and learns a new performance appropriate to his level with each level he gains. Thus a second level bard would know four performances, and a third level bard would know five, and so forth. Higher level performances become available as the bard gains experience, and levels.

A Bard’s Luck (Ex): Fortune favors the bard. As a swift action, a bard can call on fortune's favor, giving him a +1 luck bonus on attack rolls, saving throws, skill checks, and weapon damage rolls. He can use this ability for a number of rounds per day equal to 4 + his Charisma modifier. Maintaining this bonus is a free action, but it ends immediately if the bard is killed, paralyzed, stunned, knocked unconscious, or otherwise prevented from taking a free action to maintain it each round. A Bard's Luck is treated as bardic performance for the purposes of feats, abilities, effects, and the like that affect bardic performance. This bonus increases to +2 at 5th level, +3 at 11th level, and +4 at 17th level.

Countersong (Su): At 1st level, a bard learns to counter magic effects that depend on sound (but not spells that have verbal components). Each round of the countersong he makes a Perform (keyboard, percussion, wind, string, or sing) skill check. Any creature within 30 feet of the bard (including the bard himself) that is affected by a sonic or language-dependent magical attack may use the bard's Perform check result in place of its saving throw if, after the saving throw is rolled, the Perform check result proves to be higher. If a creature within range of the countersong is already under the effect of a noninstantaneous sonic or language-dependent magical attack, it gains another saving throw against the effect each round it hears the countersong, but it must use the bard's Perform skill check result for the save. Countersong does not work on effects that don't allow saves. Countersong relies on audible components.

Naturalist (Ex): A 1st level bard who has identified a creature with a Knowledge check appropriate to its type can use performance to share strategies for defeating it with allies in combat. The archivist and any allies within 30 feet gain a +1 insight bonus to AC and on attack rolls and saving throws against exceptional, supernatural, and spell-like abilities used by creatures of that specific kind of monster (e.g., frost giants, not all giants or all humanoids). This bonus increases by +1 at 5th level and every six levels thereafter. This language-dependent ability requires visual and audible components.

Rallying Cry (Su): At 1st level, a bard can use performance to rally dispirited allies. Each round he makes an Intimidate check. Any ally (including the bard) within 30 feet may use this check in place of his own saving throw against fear and despair effects. Those already under a fear or despair effect can attempt a new save each round using the bard's Intimidate check. Rallying cry does not work on effects that don't allow saves. This is a mind-affecting ability that uses audible components.

Distraction (Su): At 1st level, a bard can use his performance to counter magic effects that depend on sight. Each round of the distraction, he makes a Perform (act, comedy, dance, or oratory) skill check. Any creature within 30 feet of the bard (including the bard himself) that is affected by an illusion (pattern) or illusion (figment) magical attack may use the bard's Perform check result in place of its saving throw if, after the saving throw is rolled, the Perform skill check proves to be higher. If a creature within range of the distraction is already under the effect of a noninstantaneous illusion (pattern) or illusion (figment) magical attack, it gains another saving throw against the effect each round it sees the distraction, but it must use the bard's Perform skill check result for the save. Distraction does not work on effects that don't allow saves. Distraction relies on visual components.

Fascinate (Su): At 1st level, a bard can use his performance to cause one or more creatures to become fascinated with him. Each creature to be fascinated must be within 90 feet, able to see and hear the bard, and capable of paying attention to him. The bard must also be able to see the creatures affected. The distraction of a nearby combat or other dangers prevents this ability from working. For every three levels the bard has attained beyond 1st, he can target one additional creature with this ability.

Each creature within range receives a Will save (DC 10 + 1/2 the bard's level + the bard's Cha modifier) to negate the effect. If a creature's saving throw succeeds, the bard cannot attempt to fascinate that creature again for 24 hours. If its saving throw fails, the creature sits quietly and observes the performance for as long as the bard continues to maintain it. While fascinated, a target takes a –4 penalty on all skill checks made as reactions, such as Perception checks. Any potential threat to the target allows the target to make a new saving throw against the effect. Any obvious threat, such as someone drawing a weapon, casting a spell, or aiming a weapon at the target, automatically breaks the effect.

Fascinate is an enchantment (compulsion), mind-affecting ability. Fascinate relies on audible and visual components in order to function.

Inspire Courage (Su): A 1st-level bard can use his performance to inspire courage in his allies (including himself), bolstering them against fear and improving their combat abilities. To be affected, an ally must be able to perceive the bard's performance. An affected ally receives a +1 morale bonus on saving throws against charm and fear effects and a +1 competence bonus on attack and weapon damage rolls. At 5th level, and every six bard levels thereafter, this bonus increases by +1, to a maximum of +4 at 17th level. Inspire courage is a mind-affecting ability. Inspire courage can use audible or visual components. The bard must choose which component to use when starting his performance.

Healing Chant (Su): A bard of 3rd level or higher may learn a soothing chant, that clears the mind, and increases both the bard's healing rate, and those allies within 30' of the bard. During each round that the bard maintains the healing chant he and his allies heal 1 + 1 per 3 bard levels in hit points, to a maximum of 6 points per round at level 15.

Inspire Competence (Su): A bard of 3rd level or higher can use his performance to help an ally succeed at a task. That ally must be within 30 feet and be able to hear the bard. The ally gets a +2 competence bonus on skill checks with a particular skill as long as she continues to hear the bard's performance. This bonus increases by +1 for every four levels the bard has attained beyond 3rd (+3 at 7th, +4 at 11th, +5 at 15th, and +6 at 19th). Certain uses of this ability are infeasible, such as Stealth, and may be disallowed at the GM's discretion. A bard can't inspire competence in himself. Inspire competence relies on audible components.

Invigorating Shanty (Su): A bard of 3rd level or higher may learn to counter sickness and exhaustion during long travels. Each round of an invigorating shanty, he makes a Perform skill check. Allies within 30 feet (including the bard) may use his Perform check in place of a saving throw against becoming exhausted, fatigued, nauseated, or sickened; if already under such an effect, a new save is allowed each round of the bard, using the bard's Perform check for the save. A bard has no effect on instantaneous effects or effects that do not allow saves. This ability requires audible components.

Still Water (Su): At 3rd level, a bard can use performance to calm rough waters within 30 feet, reducing the DC for Profession (sailor) and Swim checks, as well as for Acrobatics and Climb checks aboard ship, by an amount equal to the bard's level (to a minimum of DC 10) for as long he continues to perform. He can extend this duration to 1 hour by playing for 10 consecutive rounds. This ability requires audible components.

Bladethirst (Su): A bard of 6th level or higher may use performance to grant one weapon, one natural weapon, one end of a double weapon, or 50 items of ammunition of the same type within 30 feet a +1 enhancement bonus. This enhancement bonus increases by +1 for every three levels after 6th (maximum +5 at 18th level). These bonuses stack with existing bonuses and may be used to increase the item's enhancement bonus up to +5 or to add any of the following weapon properties: defending, distance, ghost touch, keen, mighty cleaving, returning, shock, shocking burst, seeking, speed, or wounding. If the weapon is not magical, at least a +1 enhancement bonus must be added before adding special abilities.

Lamentable Belaborment (Ex): At 6th level, a bard can bewilder a creature already fascinated by his performance. Using this ability does not disrupt the fascinate effect, but it does require a standard action to activate (in addition to the free action to continue the fascinate effect). The target must make a Will save (DC 10 + 1/2 the bard's level + the bard's Cha modifier). Success renders the target immune to this power for 24 hours, but failure leaves the target either dazed or confused (archivist's choice) for as long as the performance continues. If the target takes damage, this effect ends immediately. This mind-affecting ability relies on audible components.

Slumber Song (Sp): At 6th level, a bard can use his performance to cause a creature he has already fascinated to fall asleep (as deep slumber, but with no HD limit). Otherwise, this ability functions like suggestion.

Suggestion (Sp): A bard of 6th level or higher can use his performance to make a suggestion (as per the spell) to a creature he has already fascinated (see above). Using this ability does not disrupt the fascinate effect, but it does require a standard action to activate (in addition to the free action to continue the fascinate effect). A bard can use this ability more than once against an individual creature during an individual performance. Making a suggestion does not count against a bard's daily use of bardic performance. A Will saving throw (DC 10 + 1/2 the bard's level + the bard's Cha modifier) negates the effect. This ability affects only a single creature. Suggestion is an enchantment (compulsion), mind affecting, language-dependent ability and relies on audible components.

Rain of Blows (Su): At 6th level, a bard can use his perform dance to speed up his attacks. When making a full attack action, he may make one extra attack with any weapon he is holding, as though under the effects of a haste spell. He also gains a +1 bonus on attack rolls and a +1 dodge bonus to AC and on Reflex saves. At 9th level, and every three bard levels thereafter, these bonuses increase by +1, to a maximum of +5 at 18th level. These bonuses do not stack with the haste spell.

Whistle the Wind (Su): A bard of 6th level or higher can use performance to create a gust of wind. This wind lasts for as long as he continues his performance. He can extend this duration to 1 minute by playing for 5 consecutive rounds.

Dirge of Doom (Su): A bard of 8th level or higher can use his performance to foster a sense of growing dread in his enemies, causing them to become shaken. To be affected, an enemy must be within 30 feet and able to see and hear the bard's performance. The effect persists for as long as the enemy is within 30 feet and the bard continues his performance. This performance cannot cause a creature to become frightened or panicked, even if the targets are already shaken from another effect. Dirge of doom is a mind-affecting fear effect, and it relies on audible and visual components.

Inspire Greatness (Su): A bard of 9th level or higher can use his performance to inspire greatness in himself or a single willing ally within 30 feet, granting extra fighting capability. For every three levels the bard attains beyond 9th, he can target an additional ally while using this performance (up to a maximum of four targets at 18th level). To inspire greatness, all of the targets must be able to see and hear the bard. A creature inspired with greatness gains 2 bonus Hit Dice (d10s), the commensurate number of temporary hit points (apply the target's Constitution modifier, if any, to these bonus Hit Dice), a +2 competence bonus on attack rolls, and a +1 competence bonus on Fortitude saves. The bonus Hit Dice count as regular Hit Dice for determining the effect of spells that are Hit Dice dependent. Inspire greatness is a mind-affecting ability and it relies on audible and visual components.

Soothing Performance (Su): A bard of 12th level or higher can use his performance to create an effect equivalent to a mass cure serious wounds, using the bard's level as the caster level. In addition, this performance removes the fatigued, sickened, and shaken conditions from all those affected. Using this ability requires 4 rounds of continuous performance, and the targets must be able to see and hear the bard throughout the performance. Soothing performance affects all targets that remain within 30 feet throughout the performance. Soothing performance relies on audible and visual components.

Frightening Tune (Sp): A bard of 14th level or higher can use his performance to cause fear in his enemies. To be affected, an enemy must be able to hear the bard perform and be within 30 feet. Each enemy within range receives a Will save (DC 10 + 1/2 the bard's level + the bard's Cha modifier) to negate the effect. If the save succeeds, the creature is immune to this ability for 24 hours. If the save fails, the target becomes frightened and flees for as long as the target can hear the bard's performance. Frightening tune relies on audible components.

Healing Performance (Su): A bard of 14th level or higher can use his performance to create an effect equivalent to heal on a living target (or harm on an undead target), using the bard's level as the caster level. Using this ability requires 5 rounds of continuous performance, and the target must be able to see and hear the bard throughout the performance. The healing performance relies on audible and visual components.

Leaf on the Wind (Su): At 14th level, a bard can use his perform dance to evade attacks with unearthly grace and to shake off the effects of his wounds. Unlike other performances, leaf on the wind requires a standard action each round to start or maintain the performance. Each round it is maintained, including the first, the dervish dancer gains a +6 dodge bonus to Armor Class and on Reflex saves. If wounded, he heals 1 hit point of damage per bard level.

Inspire Heroics (Su): A bard of 15th level or higher can inspire tremendous heroism in himself or a single ally within 30 feet. For every three bard levels the character attains beyond 15th, he can inspire heroics in an additional creature. To inspire heroics, all of the targets must be able to see and hear the bard. Inspired creatures gain a +4 morale bonus on saving throws and a +4 dodge bonus to AC. This effect lasts for as long as the targets are able to witness the performance. Inspire heroics is a mind-affecting ability that relies on audible and visual components.

Call the Storm (Su): At 18th level, a bard can use performance to duplicate control water, control weather, control winds, or storm of vengeance, using his bard level as the caster level. Using this ability requires 1 round of continuous performance per level of the spell (as if he were a druid). These effects continue for as long as the bard continues performing (the effects on control weather happen immediately), but not longer than the spell's normal duration. This performance replaces mass suggestion.

Mass Bladethirst (Su): A bard of 18th level or higher can use his performance to enhance the weapons of as many allies as desired within 30 feet. The bonus provided by this power is +4 if conferred on two allies, +3 for three allies, +2 for four allies, and +1 for five or more allies. The power granted to each weapon must be identical. This ability replaces mass suggestion.

Mass Slumber Song (Sp): At 18th level, a bard can use slumber song to affect any number of fascinated creatures within 30 feet. Otherwise, this ability functions like mass suggestion.

Mass Suggestion (Sp): This ability functions just like suggestion, but allows a bard of 18th level or higher to make a suggestion simultaneously to any number of creatures that he has already fascinated. Mass suggestion is an enchantment (compulsion), mind-affecting, language-dependent ability that relies on audible components.

Pedantic Ballad (Su): At 18th level, an bard can affect as many creatures with lamentable belaborment as he currently has fascinated. In addition, he may choose to cause targets to fall asleep rather than be dazed or confused.

Deadly Performance (Su): A bard of 20th level or higher can use his performance to cause one enemy to die from joy or sorrow. To be affected, the target must be able to see and hear the bard perform for 1 full round and be within 30 feet. The target receives a Will save (DC 10 + 1/2 the bard's level + the bard's Cha modifier) to negate the effect. If a creature's saving throw succeeds, the target is staggered for 1d4 rounds, and the bard cannot use deadly performance on that creature again for 24 hours. If a creature's saving throw fails, it dies. Deadly performance is a mind-affecting death effect that relies on audible and visual components.

Funereal Ballad (Su): A bard of 20th level or higher can use his performance to create an effect equivalent to resurrection on a dead creature, using the bard's level as the caster level. Using this ability requires 20 rounds of continuous performance, and the target must be within 10 feet of the bard for the entire performance. Funereal ballad relies on audible and visual components.

Versatile Performance (Ex): At 2nd level, a bard can choose one type of Perform skill. He can use his bonus in that skill in place of his bonus in associated skills. When substituting in this way, the bard uses his total Perform skill bonus, including class skill bonus, in place of its associated skill's bonus, whether or not he has ranks in that skill or if it is a class skill. At 6th level, and every 4 levels thereafter, the bard can select an additional type of Perform to substitute.

The types of Perform and their associated skills are: Act (Bluff, Disguise), Comedy (Bluff, Intimidate), Dance (Acrobatics, Fly), Keyboard Instruments (Diplomacy, Intimidate), Oratory (Diplomacy, Sense Motive), Percussion (Handle Animal, Intimidate), Sing (Bluff, Sense Motive), String (Bluff, Diplomacy), and Wind (Diplomacy, Handle Animal).

Well-Versed (Ex): At 2nd level, the bard becomes resistant to the bardic performance of others, and to sonic effects in general. The bard gains a +4 bonus on saving throws made against bardic performance, sonic, and language-dependent effects.

Lore Master (Ex): At 5th level, the bard becomes a master of lore and can take 10 on any Knowledge skill check that he has ranks in. A bard can choose not to take 10 and can instead roll normally. In addition, once per day, the bard can take 20 on any Knowledge skill check as a standard action. He can use this ability one additional time per day for every six levels he possesses beyond 5th, to a maximum of three times per day at 17th level.

Probable Path (Ex): At 8th level, a bard can calculate the action likely to bring success with the least risk. Once per day, he can take 10 on any d20 roll. He may use this ability one additional time per day for every three levels after 10th. This ability replaces jack of all trades.

Jack-of-All-Trades (Ex): At 10th level, the bard can use any skill, even if the skill normally requires him to be trained. At 16th level, the bard considers all skills to be class skills. At 19th level, the bard can take 10 on any skill check, even if it is not normally allowed.

Dance of Fury (Su): At 12th level, a bard can attack more than once as he moves while performing a battle dance. He can combine a full-attack action with a single move, taking the attacks at any point during his movement, but must move at least 5 feet between each attack. This movement provokes attacks of opportunity as normal. This ability replaces soothing performance.

Battle Fury (Su): At 15th level, the bard can unleash a whirlwind of blows while performing a perform dance. As a full-round action, he can take a single move action and unleash a single attack at his highest bonus against each target within his reach during any point of his move, up to a maximum number of attacks equal to the dervish dancer's character level. This movement provokes attacks of opportunity as normal, and replaces deadly performance.

Bullette ... Landsharks that strike from beneath the players own feet almost certainly a surprise round attack for the hungry monsters, or snag one player falls into a sink hole discovering a labrynth of bullette tunnels.

Interesting build, Bhaene. If you don't mind me asking, where does the scholar class come from? Anyone else have anything to add?

I get scholar from a few different references over my years of gaming. My use of scholar here refers to npc class equivalent of wizard. I just borrowed the alternate word as it appears in the NPC gallery section of Gamemastery Guide page 296. Their example scholar looks like a wujen, and is listed as a commoner 2/wizard 1 cr 4 xp 1,200. I made mine more focused on knowledge skills, and less about the magic, or spells.

Noblewoman CR 1
XP 325
Noblewoman scholar 3
LE Medium humanoid Half-Elf(Drow)
Init +1; Senses low light vision 60 ft.; Perception +3

DEFENSE

AC 15, touch 13, flat-footed 12 (armor +2)
hp 14 (3d8-3)
Fort +4, Ref +5, Will +3

OFFENSE

Speed 30 ft.
Melee scimitar +5 (1d8+3/18–20)
Ranged longbow +3 (1d6+2)

TACTICS

She likes to have studied an opponent before facing them in combat. When this is not possible she may take a round or two to study her opponent for weaknesses, while using bluff to buy time.

She is found of belittling her opponent, and robbing them of confidence.
Once combat starts she will fight defensively at first attempting to tire her opponent, letting them expend themselves on her defenses. Before going full out exploiting the weaknesses she learned about or sensed in the opening rounds.

STATISTICS

Str 13, Dex 15, Con 8, Int 13, Wis 10, Cha 12
Base Atk +1; CMB +4; CMD 14
Feats Weapon Focus (scimitar)
Skills Knowledge:Nobility +4
Languages Common, Elven
SQ spot weakness

SPECIAL ABILITIES

Spot Weakness(Su)

A Noblewoman can make a successful knowledge skill to research her opponent, if the opponent is known to her, before confronting them, or can spend an opening round goading her opponent, and studying them for any weaknesses. If either of these methods are successful noblewoman gains a +2 to attack and damage rolls against that specific opponent.

She met Aerodus at a Noble's party, and agreed to a friendly mock duel. Having studied him for her own purposes, she knew his weakness. She felt confident she could show him up. He however proved more resourceful than she had imagined, and bested her in the duel. She had been fond of him as a prospect before the duel. Now she imagines a union with him could help her rise up through society to the top. This she desires greatly.

I have used the following cursed items in games before:

Bag of Devouring - It was identified incorrectly as a bag of holding. The party kept putting treasure into it for four sessions before they finally attempted to remove a piece of said treasure, and discovered the truth.

Ring of Contrariness - Identified as a ring of flying. Two sessions later the player tries to use the "flight" ability and is hurled through the air in the opposite direction. Needless to say that player was not happy at first, but the other players laughed.

Armor of the Golden Samurai - (I was a player in this game.) Our main fighter ended up with this beautiful suit of armor. Then our first combat the armor turns to butter robbing him of all armor bonus to armor class. After the combat he tries to remove the armor, and cannot due to it is cursed, soul linked to him for having worn it into combat. We went through an entire adventure just tracking down the origins of the armor, and getting it "fixed". Once we did so, he had the best armor in our party hands down.

Backbiter - a cursed longsword I got stuck with using. It identified as a longsword + 1, singing. Thus the party granted it to the bard, me. I tried using it in combat, and it struck me on successful hits, and my enemy on fumbles. Also if I tried to draw any other weapon I had, I found I had the singing sword instead. It made terrible amounts of noise making stealth impossible. I ended up having to stay way behind the party in the rear, and not using a weapon at all for levels four until level fifteen when the party finally decided it would be better to have a bard that could actually participate in combat more than just performing, or casting a few spells. My gaming group at that time was one that disvalued bards. They wanted me to drop the bard, and play something else. When I stubbornly refused, and proved worth time, and time again; they finally agreed to help me in my quest to liberate my sword as we all had agreed to help the main fighter, the paladin, the wizard, and the cleric in the past. The fighter had the above armor. The paladin had a cowardly shield that evaded attacks letting the paladin get hit. The wizard had a cursed ring that would randomly fire off one of the wizard's spells for no reason. Once even hitting the entire party with a randomly cast fireball. The cleric had a cursed holy symbol that empowered undead rather than turn them.

I could go on and on, but I have rambled enough already.

When creating intelligent items, I treat them similar to creating an npc. I ask questions about the items history.

Who created the item, and for what purpose?

Was the item created with malice, or honour?

Who has possessed or used the item in the past?

How was it used, treated?

What is the items preferences in people, places, etc..?

An intelligent item needs a background story for why is it cursed? How is it cursed? Is the curse benign or malign to its current owner? Can the curse be removed? Can the curse be reversed? What would that entail? Does the item want its curse removed?

* Now for a fair ego ... starting out as a low level campaign; ego of 8 to 16 depending on how much of a chance you want to give the player.

What kind of threads have you been reading?

Seriously, post links to them i would really like to see them.

To answer your questions, now bards aren't 5th wheels, most monks and most rogues are but most bards aren't, and no they usually aren't overpowered either.

I think this is my bad...I went back to those posts. I had to find them by doing a search, oops they were all originally posted between 2006 and 2011. I am so sorry all, so Lamontius I guess I did warp back in time. Lesson learned, check dates first. Once again sorry, I got a little excited.

Bhaene wrote:

Ross Dyers; you actually touched on one of my current grumps with the bard class as it sits. A bard's signature should be his songs (plural) not one song. That is the worst thing Paizo did to the class.

I am so glad to see so much positive feedback on bards. Perhaps I was just reading old threads, or the wrong ones. I saw mention of bard as a fifth wheel in five consecutive strings I was reading today.

Thanks you all made me feel better. Huzzah!!!

and .. Oh yes, I wonder what sort of headache I will cause once I get to say even tenth level, and the real madness begins to happen...He thinks I pull shenanigans now?

Actually, a lot of bard songs are pretty good.

Inspire Competence is rather useful when you REALLY need to make that acrobatics check. It also does amazing wonders when combines with Inspire Courage on a Loremaster Fighter (with any of the multitude of spells that let you play 2 songs at once).

Suggestion, when used carefully, can actually work amazing wonders in out of combat scenerios.

Inspire greatness is nasty if you only have 1 fighter

Soothing Performance is a VERY powerful ability when you gain the ability to maintain 2 performances at once.

A lot of the masterpieces are actually VERY effective and remember, most of the bard archetypes trade their songs for other songs...

My view is that a bard should be able to do two songs from level one, three songs maintained by level five, four songs maintained by level 10, five songs by level 16, and six songs at 21+. The songs available are sweet. I love them, but there should be more. This would make bards a very attractive class indeed.

Ross Dyers; you actually touched on one of my current grumps with the bard class as it sits. A bard's signature should be his songs (plural) not one song. That is the worst thing Paizo did to the class.

I am so glad to see so much positive feedback on bards. Perhaps I was just reading old threads, or the wrong ones. I saw mention of bard as a fifth wheel in five consecutive strings I was reading today.

Thanks you all made me feel better. Huzzah!!!

and .. Oh yes, I wonder what sort of headache I will cause once I get to say even tenth level, and the real madness begins to happen...He thinks I pull shenanigans now?

I see this a lot on the forums in reference to bards. Bards are fifth wheel, fluff, no good unless you actually already have a party intact. That to me being a bard playing fanatic, seems like an insult. However with the rules the way they are currently in Paizo, I almost have to agree. I have a few grumbles with the bard as they currently sit, but not going to harp on that.
Then I have a gamemaster who claims bards are broken, too powerful, and need to be nerfed. He hates it when I use fascinate to effect crowd control. He also hates it if I charm his precious npcs and turn them against one another. He says I cause him no end of headaches with the shenanigans I pull playing a bard. Me? I am just having fun.
I come from the viewpoint that a bard is my favorite class by far. Bards are shepherds of life. They are larger than life, and very fun. Bards greatest strengths though come from creativity, and adaptation. A bard needs to be a tactician, flexible, and spontaneous. You mix those qualities together, and watch the magic happen.

My vote, 1, only seen that done as a scenario, or series, never an entire world campaign before. I have seen 2 through 10 done before.

My third revision is only steps ahead of my original first draft. I most likely will no longer revise or update this alternate as it was rejected by my gamemaster since it is not official Paizo. He actually told me bards are too powerful as they stand currently. Thus I will work with what I have and hope I do well. Please feel free to copy or use any or all of what is here. I have trashed it from my data base. Many of these songs were converted from bard spells, so you could do the same. Likewise these songs could be converted over to spells. Have fun and enjoy exploring the realms of your imaginations.

Bard - Songster

Role: Bards inspire their comrades to greatness through songs, while confusing, and befuddling their enemies. They are good at martial prowess, and masters of song. Many who have been on the opposing side against a bard, has claimed, "It was almost as if they know what we were going to do, before we do."

Aligment: Any
Hit Die: d8
Class Skills: as per core rule book
Bardic Knowledge: (Ex): As per core rulebook
Versatile Performance: As per core rulebook
Well Versed: As per core rulebook
Lore Master: As per core rule book
Jack of all Trades: As per core rulebook
BaB, and Saves: As per core rule book
Weapons and Armor: As per core rule book

Bardic Performance: Equal to 3(Level) + charisma modifer in number of rounds per day, and a required component cost for each round of medley. (Inspire Courage, Inspire Competence, Dirge of Doom, Fascinate, Suggestion, etc... are now considered songs, and count as one of the total number of songs in a medley. Set their song level as level appropriate to the level they are acquired; for example inspire courage is a zero level song, while inspire competence is a first level song, suggestion a second level song, and inspire greatness a third level song etc...)

Cantrips: Bard Spells: Are replaced by bard songs. Bard spells may be converted to songs with gamemaster approval. Zero level songs are unlimited in use per day, but only as single songs. Medleys, even zero level medleys require expenditure of Bardic Performance.

Songs:

A bard draws forth arcane energy through their songs. A bard can perform any song they know without prior preperation. All songs have a verbal component, or require an instrument. The music must be heard in order for the magic to take effect. In order to learn a song a bard must have a Charisma score of 10 + the song's level. The bard begins play with four zero level songs, and two first level songs. Through their travels they will learn no more than two songs per level from other bards, or even write their own songs. As you can see they only gain songs at a limited rate per level as drawing the arcane energy through song takes practice, and most bards never master all songs. A bard may also weave songs into a medley, but this also takes practice and concentration. Bards singing a medley must allocate their minor action each round to maintain the medley in addition to making a perform check against a dc determined by the number of songs in the medley.
Two songs 10 + the highest song level in the medley
Three songs 18 + the highest song level in the medley
Four songs 32 + the highest song level in the medley
Five songs 48 + the highest song level in the medley
Six songs 72 + the highest song level in the medley
Bards aquire higher more powerful songs at a slow rate, for example a bard of fifth level may learn second level songs, a bard of eighth level may learn third level songs, a bard of eleventh level learn fourth level songs, a bard of fourteenth level may learn fifth level songs, and finally a bard of seventeenth level may learn sixth level songs. A bard advancing beyond twentieth level may begin writing and composing his own epic songs which should be worked out in quest, and gameplay between him, and his gamemaster. Maximum number of songs known per level is equal to six plus charisma modifier.

Bard Medleys are taxing complex musical compositions as such are limited to a number of rounds per day, equal to the number of bardic performances the bard has obtained. The bard is also limited to the number of songs he can know, and the number of songs he can put into an medley at any given time. A failure to pay minor action cost, or to make the perform check dc ends the bard's medley and its magical effects. The bard may only add one song to a medley each round. He must choose how many songs he is going to perform in his medley, and what order they will be introduced into the song. A perform check failure during any round causes the bard to begin again. Starting the medley on the first round is a standard action, adding a new song to the medley in the following rounds is a swift action. Some songs function better together in a medley than do others. Knowing how to combine songs into medleys usually comes with practice, and experience. Medleys were designed to be used in battle, and thus do not provoke attacks of oppurtunity.

(All songs can be read as Song of _____, Psalm of_____,or Hymn of _____, whatever tickles your fancy.) Songs are considered performances for purposes of duration, unless otherwise noted. A performance remains as long as the bard pays the maintenance cost of his minor action, and succeeds his perform check, and does not exceed a number of rounds greater than uses per day. Through medleys a bard may effect a number of allies or foes equal to the bard's level unless the song description denotes otherwise. Metamagic feats do not effect bard songs. However a feat like Lingering Performance will, enabling the magical effects of bard songs in play to remain in play for an additional two rounds even if the bard fails at maintaining his medley. Zero level songs can be used an unlimited number of times per day, as single songs only if all uses of performance are expired for that day.

Zero Level Songs:

Adrenal Maneuvers:
Classification: Song (Transmutation)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or ally per level that must be within 30 feet of the target
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
The bard using this song grants himself and his allies the ability to make great leaps, or acrobatic maneuvers. Granting a +1 per perform rank to a maximum of +10 to any acrobatics check while the song is active.

Battle:
Classification: Song (Abjuration)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or ally per level that must be within 30 feet of the target
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
The bard inspires his allies to greater feats of courage. The bard and allies gain a morale bonus +1 + (1 per 5 perform ranks) to attack rolls, damage rolls, and saves vs charm, and fear effects.

Calm Emotions:
Classification: Song (Enchantment)
Components: Audible Peformance by singing or instrument
Range: Medium 100' + 10' per level
Target: One creature per level that all must be within 30 feet of target creature
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
The bard may alter the state of people or creatures in the area reducing any tendancy towards hostility. Affected creatures take a -5 to perception checks, and are considered one level further towards nuetral. Thus normally hostile, would be threatening (50% of going aggressive should they perceive the bard.) Threatening would become suspicious (20% chance of aggressiveness), suspicious would become nuetral. Multiple applications of the song will not reduce the targets hostility any further. Range of the song is short 25' + 5' per level. Effecting a ten foot radius from target.

Cloaking:
Classification: Song (Illusion)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or ally per level that must be within 30 feet of the target
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
The bard and his allies images are blurred to their opponents granting a 10 percent miss chance due to concealment. This is considered an illusionary effect, and can be countered with clairvoyance, true seeing, high wisdom (18+), or blind fighting feat.

Dissonance:
Classification: Song (Evocation)
Components: Audible Peformance by singing or instrument
Range: Area of Effect centered on performer
Target: One creature per level that must be within 30 feet of the performer
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
The bard assaults his foes with a cacophany of noise. Effected foes can make a will(cha) save to negate the effects, failure results in 1d4 sonic damage, and foe is shaken. This is an AoE song centered at the bard. The song does not effect allies, only foes.

Guess:
Classification: Song (Divination)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: 1 round
Saving Throw none Spell Resistance no
The bard through song gains a vision of which will be either the safest route to his destination, or the shortest route but cannot obtain both. The bard must chose whether to declare safe, or most direct before performing the song. If their is not a safe route the bard may end up getting no information, or only seeing his route as long as it is safe, then the vision goes cloudy. This song is self only.

Inspire Awe:
Classification: Song (Illusion)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: Bardic Performance
Saving Throw none Spell Resistance no
The bard is sorrounded in an aura that makes him appear more powerful. Targets make a will(cha) save or select another target to attack. Target is self only.

Origins:
Classification: Song (Divination)
Components: Audible Peformance by singing or instrument
Range: 50'
Target: cone shaped emanation
Duration: 3 rounds per level
Saving Throw none Spell Resistance no
The bard sees a vision of the items origin, where it was crafted, by whom it was crafted, and its general purpose. Granting the bard a +10 bonus to spellcraft checks for the purpose of identifying magical items. Target is item, or items within 50' of the bard, and must be within line of sight in order to be identified. The bard may identify any number of items equal to bard levels per day.

Running:
Classification: Song (Transmutation)
Components: Audible Peformance by singing or instrument
Range: close 25' + 5' per level
Target: One creature per level within 30' of each other.
Duration: 10 minutes + 10 minutes per level
Saving Throw will negates Spell Resistance yes
The bard and his allies feel their pace quicken, enabling them to run faster, and longer. The bard and allies gain +10 feet to their base movement, +5 feet per three bard levels to a maximum of plus 30 feet. The song replenishes stamina enabling them to run twice as long as normal.

Study Another:
Classification: Song (Divination)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: Target creature
Duration: 1 round per level
Saving Throw will negates Spell Resistance yes
The bard using this song makes a knowledge check to learn something about the target, getting a +10 to the appropriate Knowledge skill for this purpose. What the bard learns depends upon the success level of his check. The bard can learn an additional fact about the person or creature for every five points his skill check succeeds. This song is single target only.

First Level Songs:

Change:
Classification: Song (Illusion)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: 10 minutes per level
Saving Throw none Spell Resistance no
Through this song the bard alters his appearance up to a 50% change in mass, and can change gender if desired. If the bard has used study another song, the bard can take on that identity, including some of the targets skills, and expressions depending on how successful his study another had been. This change is illusionary and can be dispelled, or countered by means that typically counter illusions. Study Another grants more stability to this change making any efforts to dispell, or see through it 5 dc higher. Target is self only.

Dream:
Classification: Song (Divination)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: 1 rest, or sleep period of at least one hour
Saving Throw none Spell Resistance no
The bard chooses a topic which can be an object, person, or place known to the bard. He sings the song before going to sleep, and can learn something about his target while he sleeps. Target is self only.

Imbue Weapon:
Classification: Song (Conjuration)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Target weapon currently being wielded
Duration: Bardic Performance
Saving Throw none Spell Resistance no
The bard uses the magic of song to guide his weapon granting a +1, +1 per five levels of experience to his attack rolls, and his weapon is considered magical for purposes of dr. (This bonus does not stack with arcane strike feat, or other such bonuses like magic weapon spell.) Target is bard's weapon, or weapons only. Effected weapons must currently be weilded.

Healing:
Classification: Song (Conjuration - Healing)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature per level within a 30' radius of target
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
The bard and his allies gain regeneration per round of 1 hp + 1 hp per five bard levels for as long as the song is active.

Invisibility:
Classification: Song (Illusion)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: 1 round plus one round per level
Saving Throw none Spell Resistance no
The bard can make himself invisible to the perceptions of others. However creatures in the area the bard is passing through will hear lilting music echoing around them, drawing their perceptions away from the bard's actual location. Intelligent creatures may deduce what is happening, and set others to searching for the mischief maker. Attacking, or starting another song ends the invisibility. Invisibility cannot be part of a medley. Target is self only, and the invisible bard becomes invisible to his allies as well.

Resistance:
Classification: Song (Abjuration)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature per level within 30' radius of the target
Duration: 1 round
Saving Throw none Will negates Resistance yes
The bard and allies are shielded from the effects of a chosen element such as acid, cold, fire, etc... The amount of protection is equal to 5, + 5 for every five bard levels. This protection does stack with other forms of protection like Resist Elements spell, and elemental resistance items. The bard must specify which element his song is protecting against when he starts the song.

Sleep:
Classification: Song (Enchantment)
Components: Audible Peformance by singing or instrument
Range: Medium 100' + 10' per level
Target: One creature per level within a 30' radius of target
Duration: 1 round per level
Saving Throw will negates Spell Resistance yes
The bard can project a lullaby to target an area. Creatures in that area make a will(Cha) save or fall into a natural sleep. Any attack made against the sleeping creatures awakens them. Those creatures that save are still drousy and at -5 to their perception rolls, and - 2 to any further will saves. (This song does not effect targets that are three or more levels higher than the bard.)

Seduction:
Classification: Song (Enchantment)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature
Duration: Number of rounds equal to Charisma Modifier minus target's Wisdom Modifier per level
Saving Throw none Will negates Resistance yes
The bard can make himself more attractive to any non hostile member of same race, or compatible race. Seducing the target into performing favors for him. The favors could be as simple as delivering a message, or as complex as becoming a temporary follower of the bard that will vouch for him around other locals, and officials. However the entralled follower gets a will(cha) save for doing anything against the law, or their own morality. This song is single target only.

Sounding:
Classification: Song (Abjuration)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: Special
Saving Throw none Will negates Resistance yes
Can be sung before starting a medley, sounding song grants the bard a +3, +1 per three levels to his next song performance or medley. If his medley ends, he must re-sing sounding to regain the bonuses. Target self only.

Writing:
Classification: Song (Divination)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: 1 hour + 10 minutes per level
Saving Throw none Will negates Resistance yes
This song allows a bard to do one of two things, either make a perfect copy of a written document, or translate the document. Magical protections against copying, or scribing the document may still apply. However the song does allow the bard a spellcraft roll to understand what is blocking his efforts if such protections are in place. Bard may copy or translate a number of documents equal to bard level per day.

Second Level Songs:

Charm:
Classification: Song (Enchantment)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature
Duration: Bard level + charisma modifier minus the target's level + wisdom modifier in number of rounds between each save.
Saving Throw Will negates Spell Resistance yes
The target is effected into thinking the bard is a trusted ally, and companion. Although the target gets a will (cha) save if commanded to attack any of its other allies, same if any of the bard's allies attacks the charmed person, or creature. A successful will (cha) save negates the charm song, and causes the bard to become the target of the creatures hate. This song is single target only.

Concealment:
Classification: Song (Abjuration)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature per level that all must be within 30 feet of target creature
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
This song conceals the bard's identity, and location. Useful for protecting themselves against magical forms of scrying or detection. It does not make the bard or his party invisible, or protect them from mundane forms of survelaince. This song only blocks magical scrying spells, and items such as crystal balls, know alignment, detect alignment, clairaudience/clairvoyance, etc..

Fear:
Classification: Song (Necromancy-mind effecting)
Components: Audible Peformance by singing or instrument
Range: Medium 50' + 10' per level
Target: One creature per level that all must be within 30 feet of target creature
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
This song draws forth nightmares from the targets imagination to assault them, and make them cringe in fear. Those effected are panicked, and flee away from the bard. A successful will(cha) save leaves the target shaken. A second successful will(cha) save restores them to normality. Target or targets must be in bard's forward visual facing, and within line of sight.

Foresight:
Classification: Song (Divination)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: 1 round plus 1 round per three levels.
Saving Throw none Spell Resistance no
The bard goes into an almost meditative trance while performing this song, and gains a vision of a probable future. The bard may only see possible future events that could happen at any given time within one minute per level of the bard. The bard does not know the exact point in the future, or exact details, only a guess, similiar to a gut feeling. Target self only.

Gating:
Classification: Song (Conjuration-Teleportation)
Components: Audible Peformance by Instrument
Range: Touch
Target: Self
Duration: Special
Saving Throw Fortitude negates Spell Resistance yes
This song requires a flute to be played, and carries the bard along ethereal conduits back to his town of birth. Any barrier that blocks teleportation spells will also block this song. This song can can only be used at great peril in the midst of combat, for it leaves the bard unaware of his sorroundings making him flat footed for any attacks of oppurtunity. Also note a foe grappling the bard during the song of gating has a 75% chance of being carried through the conduit with the bard. The travel through the conduit is not instantaneous, it takes one round per mile of real distance traveled. A lot could happen, and should the bard die, the conduit collapses leaving his body, and the assailant trapped in the ethereal plane. Target self, or grappled person or creature only, a grappled bard must make a perform check to maintain his song of gating. Should the perform check fail the conduit collapses leaving bard, and passenger trapped in the ethereal plane.

Haste:
Classification: Song (Transmutation)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw Fortitude Negates Spell Resistance yes
The bard inspires his allies to act more quickly granting them +30 feet to their movement, one additional attack at highest value when making a full round attack, +2 dodge bonus to their armor class, and +4 to their initiative.

Levitation:
Classification: Song (Transmutation)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw Fortitude Negates Spell Resistance yes
This song will carry the bard and his allies in a vertical direction only, up or down. Any other direction has to be because of some other exterior force in action.

Sonic Burst:
Classification: Song (Evocation)
Components: Audible Peformance by singing or instrument
Range: 60'
Target: Cone Shaped Emanation
Duration: Instantaneous
Saving Throw Fortitude Negates Spell Resistance yes
One of the bard's only direct damage songs. This song inflicts 1d6 sonic damage per two bard levels, and has a chance to stun for 1d4 rounds those unlucky enough to get caught in the cone of sonic energy. The cone is 5 ' beginning at the bard and extending 60 ' in forward cone from the bard and 30 ' wide at its ending point. Fortitude save halves the damage, and negates any stun effect.

Third Level Songs:

Binding:
Classification: Song (Transmutation)
Components: Audible Peformance by singing or instrument
Range: Medium 75' + 5' per level
Target: One creature per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw Fortitude Negates Spell Resistance yes
The bard calls forth ethereal bonds of music to bind his foes, slowing their movement. Those failing have their movement speed cut in half for the duration of the song. Targets must be in bard's forward visual facing.

Curing:
Classification: Song (Conjuration - Healing)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature per level within 30' of target creature.
Duration: 1 round
Saving Throw Fortitude Negates Spell Resistance yes
The bard using this song cleanses himself, and allies of poisons, or diseases, and grants a minor heal. A perform check versus the poison or disease dc is required to remove the ailment. The heal is equal to 1d8 + 1 per two bard levels to a maximum of +5.

Disenchanting:
Classification: Song (Abjuration)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or object per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw None Spell Resistance no
This song serves two-fold purpose, one to strip away undesirable magical effects from allies, or two strip away magical effects such as buffs, wards, glyphs from targets. Range is 25' + 5' per bard level, area is thirty foot radius centered on target. The disenchanting is handled in the same manner as a dispel, stripping away lower level spells first. A perform versus 10 + caster level check must succeed first before any spells are stripped away.

Flight:
Classification: Song (Transmutation)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: Bardic Performance
Saving Throw Fortitude negates Spell Resistance yes
The bard gains the ability to fly while this song is active. He may use his versatile perfomance:dance, or fly skill to manuever. However if the bard stops his song, is stunned, defeaned, or silenced the fly effect wears off, and he falls. He may make a versatile performance:dance, or acrobatics check to reduce damage from the fall.

Heroism:
Classification: Song (Enchantment - Mind Effecting)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or object per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
Through means of this song bards have turned commoners into heroes, and heroes into champions of valor. Those effected by the song are bolstered to great acts. They receive a plus four morale bonus to attacks, damage, and saving throws, are immune to fear, and gain a number of temporary hit points equal to the bard's level. These bonuses do stack with other morale bonuses such as those from Song of Battle. Target and creatures within a 30' radius. Temporary hit points granted by this song are one time boost, and when stricken are gone until the bard ends his current performance, and begins a new one.

Multiplicity:
Classification: Song (Illusion)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: Special
Saving Throw None Spell Resistance no
The bard creates an illusionary duplicate of himself. The duplicate mimics the bard's actions, and magical effects centered on bard switch between the bard, and the duplicate. Foes who are not fooled by illusions are also not fooled by this bard's duplicate. Otherwise treat the duplicate as if it is priority on enemies hate list. The duplicate can only sustain damage equal to the bard's level before it dissapates. The bard may only duplicate himself through means of this song, not other party members, or allies. Duration is equal to bard level plus cha modifier or until it has sustained its hit points in damage. If the bard is invisible this song automatically fails.

Slow:
Classification: Song (Illusion - Mind Effecting)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature per level in line of sight to the bard.
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
The bard calls forth hooligans to perform shenanigans on his foes, distracting them and slowing their actions. The hooligans are mostly constructs from the targets imagination, and are not seen by others. Depending on how descriptive your gamemaster wants to play this out, it can even look to others that the effected foe has begun dancing, or gone stark raving mad. Game effect is that the target(s) may only perform one action. A successful will (cha) save negates the effect.

Thunder:
Classification: Song (Evocation)
Components: Audible Peformance by singing or instrument
Range: Area of Effect centered on Bard.
Target: 100' radius, +10' per level in effective radius
Duration: Instant
Saving Throw Fortitude halves, Reflex Halves Spell Resistance yes
The bard's voice booms audibly when using this song, the thunder of it rolling for a mile for every two levels the bard has obtained. Those in medium range 100' + 10' per level make fortitude save or be stunned 1d6 rounds. One creature plus one per level may also be struck by a lightning bolt dealing 6d6 damage. The bard may selct to strike no creatures with lightning if he so chooses. Creatures struck by lightning get a reflex save for half damage. Creatures struck by lightning must be within line of sight.

Travel:
Classification: Song (Conjuration - Teleportation)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: Instantaneous
Saving Throw None Spell Resistance no
The bard makes a short hop through the ethereal plane to a distance no further than 100' + 10' per level, and within line of sight. Travel in this manner replaces the bard's movement action for that round. Target self only.

Fourth Level Songs:

Displacement:
Classification: Song (Illusion)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or object per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
The bard and allies within 30' radius appear to shift back and forth in a 5' radius of themselves to the perceptions of the bard's foes. This grants the bard and his allies a 50% miss chance due to concealment for as long as the song is active.

Protection:
Classification: Song (Abjuration)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or object per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw Fortitude negates Spell Resistance yes
The bard using this song grants himself and allies a damage reduction, and minor heal. DR is equal to 1 + 1 per 4 bard levels and is followed by /- . Thus a twentieth level bard would grant himself and allies a DR 5/- . This DR follows the rules concerning of other DRs in regards to whether or not it stacks. The heal from this is 2d8 + 1 per level and only initiates when the song is first sung.

Restoration:
Classification: Song (Conjuration - Healing)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or object per level within 30' of target creature.
Duration: One round per level
Saving Throw Fortitude negates Spell Resistance yes
The bard may grant himself or an ally the restoration of a lost ability point per round through use of this song. This song is single target only. A perform check versus the dc of what inflicted the debilitation is required in order for the ability point to be restored.

Shielding:
Classification: Song (Abjuration)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or object per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw Fortitude negates Spell Resistance yes
The bard grants himself and allies spell resistance by means of this song. The amount of spell resistance is equal to bard level plus his charisma modifier.

Victory:
Classification: Song (Enchantment - Mind Effecting)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or object per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
The bard boosts allies combat prowess, while baffling the efforts of his enemies for as long as this song is active. Allies within 30' radius of the bard gain a +2 profane bonus to attack, damage, armor class, and saves. Enemies within 30' radius make a will (cha) save or become shaken. The number of targets that can be effected at once is equal to the bard's level.

Fifth Level Songs:

Ancient Lore:
Classification: Song (Divination)
Components: Audible Peformance by singing or instrument
Range: 50'
Target: cone shaped emanation
Duration: 3 rounds per level
Saving Throw none Spell Resistance no
The bard may use this song to receive a +10 bonus for the purpose of identifying artifacts, intelligent items, or relics. The bard will gain a vision of the items history, and "flavor text", in order to identify any of its properties the bard must make an ego check versus the target item. Learning each property takes an hour of the bard's time. Target is equal to a number of artifacts, intelligent items, or relics equal to the bard's charisma modifier per week. Duration one hour per charisma modifier. The bard must remain focused on a target item for a minimum of one hour, and is oblivious to all else around him during this time.

Domination:
Classification: Song (Enchantment - Mind Effecting)
Components: Audible Peformance by singing or instrument
Range: Close 40' + 5' per level
Target: One Creature
Duration: Special
Saving Throw Will negates Spell Resistance yes
The bard through this song supresses the target's ego into submission, and takes control of its actions. The dominated creature acts on the same initiative as the controlling bard, starting on the round after it is dominated. The bard may not dominate more than one creature at a time. The bard must overcome the creature's ego in order to dominate it. This could well take a few rounds itself depending upon how your gamemaster handles ego battles. Creatures once they break free of domination utterly despise the bard, and seek to destroy him. This can also backfire on the bard, and he can find himself dominated by his target instead. Once you have chosen to commit to domination of a person or creature the loathing you gain from said creature is assured, regardless of who wins the ego battle. Particularly nasty enemies who dominate the bard may chose to keep their "pet" for a time before destroying him.

Elemental Doom:
Classification: Song (Evocation)
Components: Audible Peformance by singing or instrument
Range: 60' cone emanating from bard
Target: cone shaped emanation
Duration: Instantaneous
Saving Throw Reflex halves Spell Resistance yes
The bard through this song assaults enemies within cone shaped emanation with tiny shards pulled from one of the elemental planes. The shards could be sharp slithers of rock, tongues of fire, sleet, etc... The effect is that enemies in the area take 1d6 + 1 point of damage per two bard levels to a maximum of 8d6 + 8.

Freedom:
Classification: Song (Abjuration)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature or object per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
The bard and allies are able to move and act freely under the protection of this song. Even if conditions would normally state otherwise, enabling them to ignore effects such as rough terrain, slippery surfaces, hold, paralysis, solid fog, slow, and web. (This song does not enable flight, or running up walls, cliffs, etc...)

Sixth Level Songs:

Dream Journey:
Classification: Song (Conjuration - Teleportation)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: Minimum of one hour of sleep
Saving Throw None Spell Resistance no
The bard using this song before sleep may induce a dream that will enable the bard to travel to a location known to the bard via his dream. The bard's ego, and soul are actually at the location interacting with it in the form of a manifested ghost. Damage sustained during this time is real to the bard, and he could die from it. The bard may also aquire information, items, or objectives while he is present through his dream personae. All the bard's talents, and items are available to him during the dream. Effects that block teleportation also block this spell. Once the bard awakes the dream journey is over, regardless of whether his mission objectives were completed or not. The bard does not gain any rest from sleep taken while performing a dream journey.

Metamorphesis:
Classification: Song (Transmutation)
Components: Audible Peformance by singing or instrument
Range: Touch
Target: Self
Duration: 10 minutes per level
Saving Throw none Spell Resistance no
The bard may assume the appearance, skills, and abilities of a studied target for a duration of one hour per bard level. The song literally changes the bard's anatomy to that of the target. The process is uncomfortable, but causes no real damage. The bard reverts to his own anatomy once the songs duration has run its course. Since this is an actual change and not just an illusion it becomes harder to expose the bard. Even the target himself maybe taken offguard at first seeing himself, but is one way to expose the bard. Depending upon on convincing the bard's performance can become.

Slaying:
Classification: Song (Necromancy-mind effecting)
Components: Audible Peformance by singing or instrument
Range: Medium 50' + 10' per level
Target: One creature per level that all must be within 30 feet of target creature
Duration: Bardic Performance
Saving Throw Will negates Spell Resistance yes
A bard through this song may cause one enemy to die either from joy or sorrow. The target must be able to hear, and see the bard for one full round, after which the target gets a will save dc equal to bard level plus charisma modifier or perish. Even if the target saves against this effect it is staggered for 1d4 rounds, and shaken. This is a mind-effecting death effect that requires both visual, and audio components.

Speed:
Classification: Song (Transmutation)
Components: Audible Peformance by singing or instrument
Range: Close 25' + 5' per level
Target: One creature per level within 30' of target creature.
Duration: Bardic Performance
Saving Throw Fortitude Negates Spell Resistance yes
The bard and his allies metabolism is increased to an incredible degree. Movement, and actions are increased. The bard and allies gain +30' to base movement, + 4 to initiative, +4 dodge bonus to armor class, +1 attack bonus, +1 additional attack of highest value during a full attack action. These effects stack with any other haste effects. Once the song ends the bard and his party are exhausted.

New Feats:

Exceptional Performance:
The bard has learned the benefit of flambouyance to give his performance an extra flourish.
Pre-Requisite: Bardic Performance
Benefit: Any numeric measurement pertaining to area, or target's effected by the bard's song, or medley is increased by 100%

Perfect Pitch:
The bard possesses a golden voice, soothing, and authorative.
Pre-Requisite: Bardic Performance
Benefit: Effective dc of bard's song are increased by +2

Silent Song:
The bard has learned that it is the focus of the mind which directs the power of his song, not his voice. By humming the song in his head, and focusing his mind, he can still make magic happen.
Pre-Requisite: Ability to perform bard songs of first level or higher
Benefit: The audible component of a song is waived. This feat cannot be applied to medleys, only a single song at a time can be used through this feat.

Sounding Performance:
The bard learns to project his voice through training, and practice to reach the ears of his audience.
Pre-Requisite: Bardic Performance
Benefit: Effective range of your bardic performance is increased by 100%.

New Magic Items:

Music Boxes
Aura varies CL varies
Slot ---; Price varies, special Weight 2lbs.

Description:

Ingeniously crafted boxes, usually with ornate decoration are prized treasures in many countries. A music box can recreate a song or a medley that was imbued into the device.
Activation of the music box usually only requires one opening the music box. Once the music box has played for one round, the song or songs begin to take effect on its audience.

Construction:

Craft Wonderous Items, Bardic Performance, Songs must be performed at the time they are imbued. Suggested cost for construction is equal to scroll cost by bard level per song, plus an addtional 5,000 gp per extra song beyond the first song imbued into the box. Caster level based on bard performing the songs. The music box will recreate the song at 3/4 of the performing bard's levels.

I put into practice an initiative system, that my players were at first skeptical about, but later liked after using it for a few sessions. Initiative was rolled with a d20 still, but initiative modifiers subtracted from that roll. Results of 0 or less indicated that that party member or monster got a surprise action. Then the count began 1, 2, 3, ... When each person's initiative came up, I took their declaration of intent, and told them how long their declared action would take to reach its resolution. That is when that action would resolve, and their next action could be declared. I set values to each type of action, that was the initiative modifying cost of that action, and had the chart laid openly on the table, so no changes could be made mid combat. This initiative system opened up combat chases, people evading by moving out of area targeted AoEs. Declared movements causing two individuals to run into each other. (I gave party members a reflex save to move in a coordinated fashion past one another.) I also began seeing players coordinate their attacks/actions to help one another. I also had to alter duration of spells into initiative factors as well, especially combat buffs, damage over time spells etc...I had each round equal to 10 initiative count, thus a two round duration spell would last 20 initiative count. Issues like attacks of opportunity, guarded actions, held actions, and the like brought up some debate, but we worked our way through them. I also allowed players to use feats like improved initiative to buy off some initiative costs, and hasten the resolution of their declaration. Haste also effected the initiative costs of certain actions, etc...

I love the idea of a Bard who actually just uses his performances, but this feels a little all over the place.

The bard is by far my favorite class, I played multiclass characters in 1st, and 2nd edition AD&D, but something was always lacking even then. I found what lacked when I finally started playing bards. My first bard was made in I.C.E.s Middle Earth Roleplaying System. I am trying to recreate that bard, that feel here in this alternate.

Specific critiques:

1) Its formatting is all over the place. This is not a game breaker, but it does make it harder to judge.

Yeah this maybe a challenge for me to iron out. I have all the knowledge of how this works in my head, but I am learning communicating that information is not always easy. Suggestions of how to reorganize it? Redefine parts of it, so that I can more clearly express my ideas would be helpful.

2) I don't understand what the Auwen actually do. It seems like you cast your songs through the medium of an Auwen, but that's not entirely clear.

An auwen is two or more magical songs, or mystical effects woven into one performance. The more songs you combine together, the greater the difficulty. Auwens are really meant for use in battle, but can be used in non combative, especially social situations as well.

3) There is no limit to how much they can use their abilities. There needs to be some sort of limiting factor.

I meant for the songs to be ever present resource for bards. That is one of the problems I have with Pathfinder bards, I do not have enough performance time to do even one "concerto" per day. Maybe enough time to grab an audience's attention for the opening song, then watch the rest of the performance go flat as I can no longer weave magic and song, inspiration, and evoke emotion due to daily uses of performance all expired on opening song. Then we head out on an adventure and well guys sorry no performances left for insire courage, or inspire competence...I used them all in the first song of the day at the "concerto" Then as you witnessed the audience walked out around song three or four when I could no longer captivate their attention.

4) The actually act of casting a single song doesn't feel any different than casting a spell. (Note: I love the fact that you can maintain multiple spells in an Auwen, and the fact that it is maintained through a perform check.)

A single song would not be much different, its dc would only be like a perform 5 check, so even a first level bard, that is automatic success.

5) I don't like the fact that it puts a 30' limit on the effectiveness of Bard song. A limiter is good. I don't think this is the right limiter.

The radius could be altered through feats, perhaps roleplay it out in game. I also meant to add a line of songs that could boost radius, increase ranges, increase number of targets that could be effected. I only listed songs I have detailed thus far. In truth any current spell on the bard spell list could be rewritten as a song.

There are some minor nitpicks with language (concentration, for instance) but those items above are the major issues I see.

Yeah I learned after writing this that there are already rules for concentration in the core mechanics. I would need to rename concentration as to avoid confusion, for certainly the rules for concentration as they exist would make this variant unplayable.

Thanks for your reply. I hope I have answered some of your questions, and will get to work attempting to clarify my mess.

Hmm absolutely no replies...You guys are tough. Well okay, here is what I put together as a rough draft and my first attempt at an alteration of a core class. Any thoughts suggestions will be appreciated.

Bard

Role: Bards inspire their comrades to greatness through auwens, while confusing, and befuddling their enemies. They are good at martial prowess, and masters of song. Many who have been on the opposing side against a bard, has claimed, "It was almost as if they know what we were going to do, before we do."

Aligment: Any
Hit Die: d8

Class Skills as per core rulebook

Weapons and Armor: as per core rulebook
A bard can cast songs in light armor without incurring arcane spell failure.

Songs:

A bard draws forth arcane energy through their songs. A bard can perform any song they know without prior preperation. All songs have a verbal component, or require an instrument. The music must be heard in order for the magic to take effect. In order to learn a song a bard must have a Charisma score of 10 + the song's level. The bard begins play with four zero level songs, and two first level songs. Through their travels they will learn no more than two songs per level from other bards, or even write their own songs. As you can see they only gain songs at a limited rate per level as drawing the arcane energy through song takes practice, and most bards never master all songs. A bard may also weave songs into an auwen, but this also takes practice and concentration. Bards singing a auwen must allocate their minor action each round to maintain the auwen in addition to making a perform check against a dc determined by the number of songs in the auwen.

Two songs___10 + the highest song level in the auwen
Three songs_18 + the highest song level in the auwen
Four songs__32 + the highest song level in the auwen
Five songs__48 + the highest song level in the auwen
Six songs___72 + the highest song level in the auwen

Bards aquire higher more powerful songs at a slow rate, for example a bard of fifth level may learn second level songs, a bard of eighth level may learn third level songs, a bard of eleventh level learn fourth level songs, a bard of fifteenth level may learn fifth level songs, and finally a bard of eighteenth level may learn sixth level songs. A bard advancing beyond twentieth level may begin writing and composing his own epic songs which should be worked out in quest, and gameplay between him, and his gamemaster.

Bardic Knowledge (Ex): As per core rulebook
Bardic Performance: Cantrips: Bard Spells: Are replaced by bard songs, and auwens
Versatile Performance: As per core rulebook
Well Versed: As per core rulebook
Lore Master: As per core rule book
Jack of all Trades: As per core rulebook
BaB, and Saves as per core rule book

Bard Auwens while are not limited to a number of uses per day, only last as long as the bard is singing, or performing. The bard is limited to the number of songs he can know, and the number of songs he can put into an auwen at any given time. A failure to pay minor action cost, or to make the perform check dc ends the bard's auwen and its magical effects. The bard may only add one song to an auwen each round. He must choose how many songs he is going to weave into his auwen, and what order they will be woven in the song. A perform check failure during any round causes the bard to begin again. Starting the auwen on the first round is a standard action, adding a new song to the auwen in the following rounds is a swift action. Some songs function better as auwens than do others. Knowing how to construct auwens usually comes with practice, and experience. Auwens were designed to be used in battle, and thus do not provoke attacks of oppurtunity.

Bard Songs Known:
Level_____0__1__2__3__4__5__6
One_______4__2
Two_______5__3
Three_____6__4
Four______6__6
Five______6__6__2
Six_______6__6__4
Seven_____6__6__6
Eight_____6__6__6__2
Nine______6__6__6__4
Ten_______6__6__6__6
Eleven____6__6__6__6__2
Twelve____6__6__6__6__4
Thirteen__6__6__6__6__6
Fourteen__6__6__6__6__6
Fifteen___6__6__6__6__6__2
Sixteen___6__6__6__6__6__4
Seventeen_6__6__6__6__6__6
Eighteen__6__6__6__6__6__6__2
Nineteen__6__6__6__6__6__6__4
Twenty____6__6__6__6__6__6__6

(All songs can be read as Song of _____, Psalm of_____,or Hymn of _____, whatever tickles your fancy.) Songs are considered concentration for purposes of duration, unless otherwise noted. Concentration remains as long as the bard pays the maintenance cost of his minor action, and succeeds his perform check. Through auwens a bard may effect a number of allies or foes equal to the bard's level unless the song description denotes otherwise. Bard buff songs are considered 30' radius centered on the bard. Metamagic feats do not effect bard songs. However a feat like Lingering Song will, enabling the magical effects of bard songs in play to remain in play for an additional two rounds even if the bard fails at maintaining his auwen.

Zero Level Songs:

Adrenal Maneuvers: The bard using this song grants himself and his allies the ability to make great leaps, or acrobatic maneuvers. Granting a +10 to any acrobatics check while the song is active.

Battle: The bard inspires his allies to greater feats of courage. The bard and allies gain a morale bonus +1 (+1 per 5 bard levels) to attack rolls, damage rolls, and saves vs charm, and fear effects.

Calm Emotions: The bard may alter the state of people or creatures in the area reducing any tendancy towards hostility. Affected creatures take a -5 to perception checks, and are considered one level further towards nuetral. Thus normally hostile, would be threatening (50% of going aggressive should they perceive the bard.) Threatening would become suspicious (20% chance of aggressiveness), suspicious would become nuetral. Multiple applications of the song will not reduce the targets hostility any further. Range of the song is short 25' + 5' per level. Effecting a ten foot radius from target.

Cloaking: The bard and his allies images are blurred to their opponents granting a 10 percent miss chance due to concealment. This is considered an illusionary effect, and can be countered with clairvoyance, true seeing, high wisdom (18+), or blind fighting feat.

Dissonance: The bard assaults his foes with a cacophany of noise. Effected foes can make a will(cha) save to negate the effects, failure results in 1d4 sonic damage, and foe is shaken. This is an AoE song centered at the bard. The song does not effect allies, only foes.

Guess: The bard through song gains a vision of which will be either the safest route to his destination, or the shortest route but cannot obtain both. The bard must chose whether to declare safe, or most direct before performing the song. If their is not a safe route the bard may end up getting no information, or only seeing his route as long as it is safe, then the vision goes cloudy. This song is self only.

Inspire Awe: The bard is sorrounded in an aura that makes him appear more powerful. Targets make a will(cha) save or select another target to attack. Target is self only.

Origins: The bard sees a vision of the items origin, where it was crafted, by whom it was crafted, and its general purpose. Granting the bard a +10 bonus to spellcraft checks for the purpose of identifying magical items. Target is item, or items within 30' of the bard, and must be within line of sight in order to be identified. The bard may identify any number of items equal to bard levels per day.

Running: The bard and his allies feel their pace quicken, enabling them to run faster, and longer. The bard and allies gain +10 feet to their base movement, +5 feet per three bard levels to a maximum of plus 30 feet. The song replentishes stamina enabling them to run twice as long as normal.

Study Another: The bard using this song makes a knowledge check to learn something about the target, getting a +10 to the appropriate Knowledge skill for this purpose. What the bard learns depends upon the success level of his check. The bard can learn an additional fact about the person or creature for every five points his skill check succeeds. This song is single target only.

First Level Songs:

Change: Through this song the bard alters his appearance up to a 50% change in mass, and can change gender if desired. If the bard has used study another song, the bard can take on that identity, including some of the targets skills, and expressions depending on how successful his study another had been. This change is illusionary and can be dispelled, or countered by means that typically counter illusions. Study Another grants more stability to this change making any efforts to dispell, or see through it 5 dc higher. Target is self only.

Dream: The bard chooses a topic which can be an object, person, or place known to the bard. He sings the song before going to sleep, and can learn something about his target while he sleeps. Target is self only.

Imbue Weapon: The bard uses the magic of song to guide his weapon granting a +1, +1 per five levels of experience to his attack rolls, and his weapon is considered magical for purposes of dr. (This bonus does not stack with arcane strike feat, or other such bonuses like magic weapon spell.) Target is bard's weapon, or weapons only. Effected weapons must currently be weilded.

Healing: The bard and his allies gain regeneration per round of 1 hp + 1 hp per five bard levels for as long as the song is active.

Invisibility: The bard can make himself invisible to the perceptions of others. However creatures in the area the bard is passing through will hear lilting music echoing around them, drawing their perceptions away from the bard's actual location. Intelligent creatures may deduce what is happening, and set others to searching for the mischief maker. Attacking, or starting another song ends the invisibility. Invisibility cannot be part of an auwen. Target is self only, and the invisible bard becomes invisible to his allies as well.

Resistance: The bard and allies are shielded from the effects of a chosen element such as acid, cold, fire, etc... The amount of protection is equal to 5, + 5 for every five bard levels. This protection does stack with other forms of protection like Resist Elements spell, and elemental resistance items. The bard must specify which element his song is protecting against when he starts the song.

Sleep: The bard can project a lullaby to target an area. Creatures in that area make a will(Cha) save or fall into a natural sleep. Any attack made against the sleeping creatures awakens them. Those creatures that save are still drousy and at -5 to their perception rolls, and - 2 to any further will saves. (This song does not effect targets that are thre or more levels higher than the bard.) Range is short, 25' + 5' per bard level. Area is thirty foot radius centered at target. (Yes this does mean an inexperienced bard may end up putting his ally to sleep.)

Seduction: The bard can make himself more attractive to any non hostile member of same race, or compatible race. Seducing the target into performing favors for him. The favors could be as simple as delivering a message, or as complex as becoming a temporary follower of the bard that will vouch for him around other locals, and officials. However the entralled follower gets a will(cha) save for doing anything against the law, or their own morality. This song is single target only.

Sounding: Can be sung before starting an auwen, sounding song grants the bard a +3, +1 per three levels to his next song performance or auwen. If his auwen ends, he must resing sounding to regain the bonuses. Target self only.

Writing: This song allows a bard to do one of two things, either make a perfect copy of a written document, or translate the document. Magical protections against copying, or scribing the document may still apply. However the song does allow the bard a spellcraft roll to understand what is blocking his efforts if such protections are in place. Bard may copy or translate a number of documents equal to bard level per day.

Second Level Songs:

Charm: The target is effected into thinking the bard is a trusted ally, and companion. Although the target gets a will (cha) save if commanded to attack any of its other allies, same if any of the bard's allies attacks the charmed person, or creature. A successful will (cha) save negates the charm song, and causes the bard to become the target of the creatures hate. This song is single target only.

Concealment: This song conceals the bard's identity, and location. Useful for protecting themselves against magical forms of scrying or detection. The song also grants change song more stability, and protection from being exposed. Make an opposed Caster versus Perform check to determine whether or not the concealment is broken. Target self only.

Fear: This song draws forth nightmares from the targets imagination to assault them, and make them cringe in fear. Those effected are panicked, and flee away from the bard. A successful will(cha) save leaves the target shaken. A second successful will(cha) save restores them to normality. Target or targets must be in bard's forward visual facing, and within line of sight. Range is moderate 40' + 5' per level. Qualified targets up to half bard's level may be chosen by the bard.
Foresight: The bard goes into an almost meditative trance while performing this song, and gains a vision of a probable future. The bard may only see possible future events that could happen at any given time within one minute per level of the bard. The bard does not know the exact point in the future, or exact details, only a guess, similiar to a gut feeling. Target self only.

Gating: This song requires a flute to be played, and carries the bard along ethereal conduits back to his town of birth. Any barrier that blocks teleportation spells will also block this song. This song can can only be used at great peril in the midst of combat, for it leaves the bard unaware of his sorroundings making him flat footed for any attacks of oppurtunity. Also note a foe grappling the bard during the song of gating has a 75% chance of being carried through the conduit with the bard. The travel through the conduit is not instantaneous, it takes one round per mile of real distance traveled. A lot could happen, and should the bard die, the conduit collapses leaving his body, and the assailant trapped in the ethereal plane. Target self, or grappled person or creature only, a grappled bard must make a perform check to maintain his song of gating. Should the perform check fail the conduit collapses leaving bard, and passenger trapped in the ethereal plane.
Haste: The bard inspires his allies to act more quickly granting them +30 feet to their movement, one additional attack at highest value when making a full round attack, +2 dodge bonus to their armor class, and +4 to their initiative.

Levitation: This song will carry the bard and his allies in a vertical direction only, up or down. Any other direction has to be because of some other exterior force in action.

Lord's Voice: This song amplifies the bard's voice, enabling him to double the effective range of his songs. Target self only. Duration number of rounds equal to bard level plus charisma modifier.

Sonic Burst: One of the bard's only direct damage songs. This song inflicts 1d6 sonic damage per two bard levels, and has a chance to stun for 1d4 rounds those unlucky enough to get caught in the cone of sonic energy. The cone is 5 ' beginning at the bard and extending 30 ' in forward cone from the bard and 30 ' wide at its ending point. Fortitude save halves the damage, and negates any stun effect.

Third Level Songs:

Binding: The bard calls forth ethereal bonds of music to bind his foes, slowing their movement. The chains are mostly illusionary, and can be resisted with a successful will (cha) save which negates the effect. Those failing have their movement speed cut in half for the duration of the song. Targets must be in bard's forward visual facing, and within moderate range 40' + 5' per bard level.

Curing: The bard using this song cleanses himself, and allies of poisons, or diseases, and grants a minor heal. A perform check versus the poison or disease dc is required to remove the ailment. The heal is equal to 1d8 + 1 per two bard levels to a maximum of +5. The heal from this song is offered only once as it is first brought into play.

Disenchanting: This song serves two-fold purpose, one to strip away undesirable magical effects from allies, or two strip away magical effects such as buffs, wards, glyphs from targets. Range is 25' + 5' per bard level, area is ten foot radius centered on target. The disenchanting is handled in the same manner as a dispel, stripping away lower level spells first. A perform versus caster level check must succeed first before any spells are stripped away.

Flight: The bard gains the ability to fly while this song is active. He may use his versatile perfomance:dance, or fly skill to manuever. However if the bard stops his song, is stunned, defeaned, or silenced the fly effect wears off, and he falls. He may make a versatile performance:dance, or acrobatics check to reduce damage from the fall. Target self only.

Heroism: Through means of this song bards have turned commoners into heroes, and heroes into champions of valor. Those effected by the song are bolstered to great acts. They receive a plus four morale bonus to attacks, damage, and saving throws, are immune to fear, and gain a number of temporary hit points equal to the bard's level. These bonuses do stack with other morale bonuses such as those from Song of Battle. Target bard, and allies within a 30' radius.Temporary hit points granted by this song are one time boost, and when striken are gone until the bard ends his current performance, and begins a new one.

Multiplicity: The bard creates an illusionary duplicate of himself. The duplicate mimics the bard's actions, and magical effects centered on bard switch between the bard, and the duplicate. Foes who are not fooled by illusions are also not fooled by this bard's duplicate. Otherwise treat the duplicate as if it is priority on enemies hate list. The duplicate can only sustain damage equal to the bard's level before it dissapates. The bard may only duplicate himself through means of this song, not other party members, or allies. Duration is equal to bard level plus cha modifier or until it has sustained its hit points in damage. If the bards is invisible this song automatically fails.
Slow: The bard calls forth hooligans to perform shenanigans on his foes, distracting them and slowing their actions. The hooligans are mostly constructs from the targets imagination, and are not seen by others. Depending on how descriptive your gamemaster wants to play this out, it can even look to others that the effected foe has begun dancing, or gone stark raving mad. Game effect is that the target may only perform one action; move action, minor action, or standard action per round. They still get their swift, and free action as well. Any such effected target may only make one attack per round. A successful will (cha) save negates the effect. This song may also be used to counter haste, in such case hasted mobs are returned to their normal actions as opposed to hasted actions. (A perform check versus caster level much like a dispel check is made is required to counter a haste spell.)

Thunder: The bard's voice booms audibly when using this song, the thunder of it rolling for a mile for every two levels the bard has obtained. Those in long range 100' + 10' per level make fortitude save or be stunned 1d6 rounds. Once this song has started the bard may chose a single target each following round to be struck by lightning which inflicts 1d6 lightning damage per bard level to a maximum of 6d6. Duration is equal to half the bard's levels. the initial thunder does not discriminate between friend or foe, and allies in the area must save as well.

Travel: The bard makes a short hop through the ethereal plane to a distance no further than 100' + 10' per level, and within line of sight. Travel in this manner replaces the bard's movement action for that round. Target self only.

Fourth Level Songs:

Displacement: The bard and allies within 30' radius appear to shift back and forth in a 5' radius of themselves to the perceptions of the bard's foes. This grants the bard and his allies a 50% miss chance due to concealment for as long as the song is active.

Protection: The bard using this song grants himself and allies a damage reduction, and minor heal. DR is equal to 1 + 1 per 4 bard levels and is followed by /- . Thus a twentieth level bard would grant himself and allies a DR 5/- . This DR follows the rules concerning of other DRs in regards to whether or not it stacks. The heal from this is 2d8 + 1 per 3 bard levels and only initiates when the song is first sung. Duration is one round per bard level.

Restoration: The bard may grant himself or an ally the restoration of a lost ability point per round through use of this song. This song is single target only. A perform check versus the dc of what inflicted the debilitation is required in order for the ability point to be restored.

Shielding: The bard grants himself and allies spell resistance by means of this song. The amount of spell resistance is equal to bard level plus his charisma modifier.

Victory: The bard boosts allies combat prowess, while baffling the efforts of his enemies for as long as this song is active. Allies within 30' radius of the bard gain a +2 profane bonus to attack, damage, armor class, and saves. Enemies within 30' radius make a will (cha) save or become shaken. The number of targets that can be effected at once is equal to the bard's level.

Fifth Level Songs:

Ancient Lore: The bard may use this song to receive a +10 bonus for the purpose of identifying artifacts, intelligent items, or relics. The bard will gain a vision of the items history, and "flavor text", in order to identify any of its properties the bard must make an ego check versus the target item. Learning each property takes an hour of the bard's time.Target a number of artifacts, intelligent items, or relics equal to the bard's charisma modifier per week. Duration one hour per charisma modifier. The bard must remain focused on a target item for a minimum of one hour, and is oblivious to all else around him during this time.

Domination: The bard through this song supresses the target's ego into submission, and takes control of its actions. The dominated creature acts on the same initiative as the controlling bard, starting on the round after it is dominated. The bard may not dominate more than one creature at a time. The bard must overcome the creature's ego in order to dominate it. This could well take a few rounds itself depending upon how your gamemaster handles ego battles. Creatures once they break free of domination utterly despise the bard, and seek to destroy him. This can also backfire on the bard, and he can find himself dominated by his target instead. Once you have chosen to commit to domination of a person or creature the loathing you gain from said creature is assured, regardless of who wins the ego battle. Particularly nasty enemies who dominate the bard may chose to keep their "pet" for a time before destroying him.

Elemental Doom: The bard through this song assaults enemies within 30' radius with tiny shards pulled from one of the elemental planes. The shards could be sharp slithers of rock, tongues of fire, sleet, etc... The effect is that enemies in the area take 1d6 + 1 point of damage for each round they remain in the area, and the bard continues to maintain the song. The song can either be centered on self, or a target within long range 100' + 10' per level. Additional effects may be allowed up to gamemaster discretion depending upon element, and target. Example, shards of earth may inflict bleeding condition, sleet may impede movement, and create slippery surface, tongues of fire could catch flammables on fire, etc...

Freedom: The bard and allies are able to move and act freely under the protection of this song. Even if conditions would normally state otherwise, enabling them to ignore effects such as rough terrain, slippery surfaces, hold, paralysis, solid fog, slow, and web. (This song does not enable flight, or running up walls, cliffs, etc...)

Sixth Level Songs:

Dream Journey: The bard using this song before sleep may induce a dream that will enable the bard to travel to a location known to the bard via his dream. The bard's ego, and soul are actually at the location interacting with it in the form of a manifested ghost. Damage sustained during this time is real to the bard, and he could die from it. The bard may also aquire information, items, or objectives while he is present through his dream personae. All the bard's talents, and items are available to him during the dream. Effects that block teleportation also block this spell. Once the bard awakes the dream journey is over, regardless of whether his mission objectives were completed or not. The bard does not gain any rest from sleep taken while performing a dream journey.

Metamorphesis: The bard may assume the appearance, skills, and abilities of a studied target for a duration of one hour per bard level. The song literally changes the bard's anatomy to that of the target. The process is uncomfortable, but causes no real damage. The bard reverts to his own anatomy once the songs duration has run its course. Since this is an actual change and not just an illusion it becomes harder to expose the bard. Even the target himself maybe taken offguard at first seeing himself, but is one way to expose the bard. Depending upon on convincing the bard's performance can become.

Slaying: A bard through this song may cause one enemy to die either from joy or sorrow. The target must be able to hear, and see the bard for one full round, after which the target gets a will save dc equal to bard level plus charisma modifier or perish. Even if the target saves against this effect it is staggered for 1d4 rounds, and shaken. This is a mind-effecting death effect that requires both visual, and audio components.

Speed: The bard and his allies metabolism is increased to an incredible degree. Movement, and actions are increased. The bard and allies gain +30' to base movement, + 4 to initiative, +4 dodge bonus to armor class, +1 attack bonus, +1 additional attack of highest value during a full attack action. These effects stack with any other haste effects. Once the song ends the bard and his party are exhausted.

I am tossing together some ideas for creating a bard that works purely on a mix of martial talents, skills, and songs. Now for the most part the bard would remain as written in the core rule book, with the following changes:

Bardic Performance, Cantrips and Bard Spells would be replaced

Bard Songs would added in place of the above.

Lore Songs: a line of songs that has recorded the memories of bards through the ages, and been passed down, also a source of all that bardic lore we always hear about. Bards call upon the memories of the ages, and remember what others have forgotten.

"Ahh yes, Kelbor, you have studied well at the library. Your information is spot on. However those musty tomes have failed to record the plight of that item as it has traveled and changed owners through the ages, now if you will ..."

Inspire Songs: a line of battle themed music that inspires allies to greatness in battle. The kind of songs that turns farmers into soldiers, guardsmen into heroes, and heroes into champions of valor.

At lower levels these would emulate inspire courage, and inspire competence, as the bard grows in skill, be similar to good hope, greater heroism, heroes feast, etc...

Sluece Songs: Songs that can be whistled, and or hummed. Self effecting songs only that the bard uses to aide themselves in subterfuge, and infiltration. Illusionary disguises, invisibility, short distance teleports, etc...

Movement Songs: One of the ways a bard helps contribute to a party is enabling it to march or move rapidly, and remain mobile. Get the party to a destination, help their mobility in combat, out maneuver, and out flank your opponents.

Under this heading you would gain the abilities similar to expeditious retreat, haste, stamina renewal, forced march, etc...

Dirges, and Bellows: Bards with such mastery of voice should be able to wield that voice like a weapon. Deafening their opponents, stunning, irritating, confusing, and keeping them off guard through an onslaught of sonic, even thunderous barrages.

This song line would mimic effects like sound burst, shout, and greater shout, earthquake, thunder clap, cacophony, and dirge of doom type stuff.

Charm Songs: Playing on the emotions through their mastery of music bards can suggest, seduce, charm, and even dominate the minds of others.

I was thinking of giving songs duration of concentration, and making it so they are not effected by metamagic feats, but would benefit from lets say Lingering Performance. Requiring bards to make performance checks if they want to attempt multiple songs. These are all just ideas. Anyways what do you think? Any ideas?

"Yes, I am more than what I appear, and often misunderstood for it." Bhaene sighs, "If that makes you uncomfortable, then mayhaps it is time to part ways."

15. Celestial Tonic
The adventurers have just stopped at a wayside inn or tavern to rest from their adventure(s), or simply get out of the weather.
An elderly lady distracts the barmaid taking a second or third round of drinks to their table (set perception dc how you deem appropriate) She drops sprinkles of dust in each drink. Once the players retire to their room, their dream that night becomes a nightmare construct foreshadowing what is about to happen. (Almost like they get one shot to experience an upcoming particularly nasty fight to help them become better prepared.)
If a player notices what the old lady did, and decides to confront her, she claims innocence. She is also well known, and respected by the locals, so this could be bad for the players. Should it be forced she can simply send them into the dream construct via spell cast directly upon them. All watching it will look like the players passed out. The staff will lay them in a common room together, and on into the nightmare.
The players are in no real danger in the nightmare construct, if they die, they simply wake up. Although if any manage to survive the entire encounter you may allow them to keep something they acquired in the dream that will help them in the coming battle.

"You may have guessed I do not originate from this world, but from another world. The journey here while it did not rob me of memory, did rob me of some of my power." Bhaene laughs a bit again, "or maybe that was the gods price for my defying them in the outer planes. However it maybe, I now only have access to the very first songs I was ever taught. Two of which I am weaving together for you now. Accelerando, and Jig of Vigor. I was a well honored in my home world, a protector. Now I am but a dancer."

*Nods at Dolok* "Yes it does, or allows quicker travel, or retreat away from overwhelming odds."Smiling as she runs, "My mentor said it would come in handy in many circumstances." At that point she also begins singing, and the air pulses with energy that refreshes the runners, preventing exhaustion. Bhaene Sidhe laughs, "I can run all day!"

*Nods at Bree-Bran*, "I shall head for Neryson, and if along the way my talents mature enough to be of even more help, so be it." Bhaene begins a dance of twirls and spins, the astute notice a ting of magic in her performance, then she dashes off at incredible speed for one on foot.(The magic also effects Dolok, and any others nearby, if they so chooses to run with Bhaene.)

'What skills I have shall unfold," She smiles. "I have been taught to listen to what is not spoken, to see what is concealed. I have found entertaining on stage, and for others places me in a good position for applying my talents. Doors open for me, that do not open for others, and tongues become loose around those who offer no threat."