Even when foreign and exotic, song can convey deep meaning and emotion more easily than words, and magic … Well, magic touches the soul in much the same way a song does, deeply, beyond words. Few mages have the skill or strong voices to adapt their magic to song, but some do.
Hit Die: d4.
Level/Att+/F/R/WAttack Bonus Fort. Ref. Will Special Spells per Day
1 +0 +0 +0 +2 Spellsinging, Guardian Melody,Bust a Funky Rhyme
2 +1 +0 +0 +3 Aural Verisimilitude, +1 level of existing class
3 +1 +1 +1 +3 Duo Voca
4 +2 +1 +1 +4 Song of Tongues +1 level of existing class
5 +2 +1 +1 +4 Sona Destrachane
6 +3 +2 +2 +5 Songbolt +1 level of existing class
7 +3 +2 +2 +5 Ambience
8 +4 +2 +2 +6 Songburst +1 level of existing class
9 +4 +3 +3 +6 Trea Voca
10 +5 +3 +3 +7 Choral Symphony +1 level of existing class
Spellcasting: Ability to cast at least four spells that have the [sonic] or [language-dependent]
descriptors, one of which must be 2nd-level or higher. Illusions that create sound, such as ghost sound or major image also count toward this requirement.
Perform: 4 ranks, including at least two types of vocal-based perform types (a cappella, ballad,
chant, choral, madrigal, melody, ode, opera, song, and othis/hers at the GM’s option).
Spellcraft: 8 ranks.
Class skills (and thekey ability for each skill) are
Animal Empathy (Cha,exclusive skill),
Intuit Direction (Wis),
Knowledge (arcana) (Int),
Knowledge (nature) (Int),
Scry (Int, exclusive skill),
Speak Language (none),
and Wilderness Lore (Wis).
Skill Points at Each Level: 4 + Int modifier.
Weapon and Armor Proficiency:
A Spellsinger gains proficiency in light armor.
Spells Per Day: For the purposes of determining spells per day, caster level, and (for spontaneous spellcasters)
spells known, whenever a level as Spellsinger grants the ability “+1 level of existing class,” the character adds 1 effective level to one of his/her previous spellcasting classes.
Spellsinging (Su): Whenever casting a spell, a Spellsinger can choose to increase the casting time to at least
three full rounds by singing the spell instead of casting it traditionally. Spells that already require three full rounds or longer to cast do not increase in casting time, but still gain the benefits of spellsong. If he/she is unable or unwilling to complete this casting time, the spell fails wholly. Note that a Spellsinger may choose to continue singing beyond the minimum casting time, and though he/she cannot take any other actions while maintaining his/her spellsong (other than a 5-foot adjustment each round), he/she can choose to finish the spell as a free action.
If the Spellsinger chooses to cast a spell as a spellsong, the spell will always have a verbal
component, but will not require somatic components. Though spells cast this way have
no somatic component, most armor has poor harmonics that can ruin spellsongs. As such, the Spellsinger has the normal arcane spell failure chance for his/her armor, due to poor harmonics. Even if the spell cast is a divine spell, if it is sung, it can be disrupted by armor’s poor harmonics.
Another benefit of this ability is that the Spellsinger can cast spellsongs while treading water, or bound (but
not gagged), since he/she does not need his/her hands for somatic components. Though spellsongs take longer to cast than normal spells, Spellsingers can combine multiple spellsongs for greater effect. By delaying the completion of their spellsongs to the same moment, a group of
Spellsingers working cooperatively may choose from the following benefits.
While singing, the Spellsingers can sense each other’s intentions, and are thus able to coordinate which effects,
if any, they wish to use.
Choral Strength: In any group of simultaneous spellsongs cast by Spellsingers, add the highest Charisma
bonus out of all the Spellsingers to the spells’ saving throw DCs, in addition to the normal ability modifier. Thus, a sorcerer spellsinger could add his/her Charisma bonus twice.
Counterpoint: Just as a secondary melody can add an extra layer of meaning to a foreground melody, so can
Spellsingers sing in counterpoint to alter the power of their spells. In a group, all the Spellsingers may choose one spellsong as the primary, and use all other spellsongs to modify the main one. All spells but the main one have no effect when they are completed. Instead, the spell energy from those additional spells strengthens the primary spell. For each other spell, add the spell’s level to the primary spell’s effective level. These extra levels can be used for free metamagic that any of the Spellsingers possess as feats. The singer of the primary spellsong intuitively senses what metamagic feats are available out of the group, and can use any of those feats to modify his/her spellsong.
For example, Aehranda and another Spellsinger could work in conjunction. Aehranda casts the main spell -
shout - while her ally expends a 3rdlevel spell. The 3rd-level spell has no effect, but allows Aehranda to freely maximize the shout spell (maximize requires three extra levels of metamagic).
Harmony: With three or more spellsongs cast in harmony, if all of the spells target an individual creature or
object, the spell’s DC for that target is more difficult. The Spellsinger with the greatest bonus to his/her Perform skill checks makes a Perform check, and the result of this check is the spells’ DC for all targets the spells have in common. Even if the spells don’t have exactly the same targets, any target that is affected by three or more spellsongs simultaneously must overcome this harmonious song. Spellsongs that do not allow a saving throw do not count toward this requirement of three.
For example, engaged against a group of Sahuagin, Aehranda uses spellsong to cast a mass charm, while two of
her spellsinging companions cast a fireball and cloudkill, respectively. The most powerful Spellsinger in the group makes a Perform check, with a result of 30. Though they choose slightly different targets for their spells, any target caught by all three spells must save against DC 30 for those spells. If there is a large group of Spellsingers with a complicated overlapping of spells, this ability affects any creature or object affected by at least three spellsongs that are completed
Guardian Melody (Su): The Spellsinger’s unconscious control of the song always protects his/her from sonic
attacks. Whenever he/she makes a saving throw to resist an effect that a Bard’s countersong ability could protect against, he/she also makes a Perform check. He/she can choose to use either the normal saving throw or the Perform check as his/her saving throw result. This protection is constant, and applies only to him/her. However, a Spellsinger may also choose to spontaneously expend any prepared spell or spell slot of 2nd level or higher to create an effect identical to the Bard ability countersong. This ability can protect others, in addition to the Spellsinger.
Bust a Funky Rhyme (Ex): (as per game addendum)
Duo Voca (Su): At 3rd level, the Spellsinger gains the ability to manifest the ambient song that surrounds his/
her into a second singing voice. This is not his/her voice, but the essence of magical music, accompanying his/ her, obeying his/her command. The second voice sounds similar to his/her own, but slightly more distant, tinged with the subtle hints of eldritch inflection. The second song always obeys his/her will and can be silenced as a free action.
This second voice can be used to cast spellsongs, but not normal spells. As a unique exception to the normal
timing rules, when spellsinging, a Spellsinger gains a bonus action that can be used only to begin singing another spellsong. Obviously, this ability can only be used if one of the Spellsinger’s voices is unoccupied. If his/her concentration is threatened while attempting to cast two spellsongs at once in this way, the Concentration check DC is determined by adding the levels of the two spellsongs together.
For example, Aehranda could begin casting a summon monster III (3rd level) in the first round of combat with
her normal voice, then in the second round of combat begin casting a shout spell (4th level) with her duo voca. The casting time for these spells is increased to a minimum of two rounds, and if he/she was damaged while singing both spells, the Concentration check would be as if he/she were trying to cast a 7th level spell. Failure would result in both spells being disrupted.
If the Spellsinger chooses to have both spells finish simultaneously, his/her spells become more powerful just as
if two Spellsingers had been singing cooperatively. Thus, in round 1, he/she could begin a summon monster III, then begin a shout in round 2. The summon monster III spell would complete just before his/her action on round 3, but he/she could choose not to finish the spell until just before his/her action on round 4, when he/she would complete casting shout. The two spells would occur simultaneously, benefiting from the Choral Strength ability, and possibly Counterpoint.
Song of Tongues (Sp): Three times per day, a Spellsinger of 4th level or higher can cast tongues on his/herself.
However, the spell only translates song, so both sides must be singing to understand each other. Because Spellsingers tend to have melodious voices, few question when they hear one speaking to them in song, but a gravel-voiced Dwarf who has to reply in kind would often be uncomfortable.
Sona Destrachane (Su): Whenever a Spellsinger of 5th level or higher casts a spell with the descriptor [acid],
[cold], [electricity], [fire], or [force], he/she may choose to instead change this descriptor to sonic, so that a wall of fire would become a wall of thunder, and acid fog would damage targets with waves of sonic energy. The altered spell functions the same as the original, except for obvious differences. For instance, a sonic fireball cannot set things on fire. Modifying a spell with this ability increases its casting time the same as it would for a sorcerer altering a spell with a metamagic feat. Even if the Spellsinger normally prepares his/her spells, the casting time is still increased. However, actual spellsongs (which already take at least 2 full rounds to cast) are not increased in casting time.
Songbolt (Sp): As a full-round action, a Spellsinger of 6th level or higher may use his/her ambient song to
shout forth a sonic attack. The Spellsinger must succeed a ranged touch attack at a maximum range of 30 feet. If the attack hits, the target takes 1d6 points of sonic damage plus extra of sonic damage equal to the Spellsinger’s Charisma bonus, if any.
Ambience (Sp): Beginning at 7th level, a Spellsinger can subtly alter the ambient song around his/her to
arouse particular emotions. Once per day, the Spellsinger can cast emotion, with a 15ft radius, centered on his/herself. This effect lasts as long as the Spellsinger concentrates, and for a number of minutes thereafter equal to his/her Charisma bonus, if any. The Spellsinger chooses any emotion effect other than Fear or Rage, and the subtle music around his/her instills that emotion in the listeners. At any time during this ability’s duration, as a free action, the Spellsinger may designate which targets are or are not affected by the ambient song.
Songburst (Sp): An 8th-level Spellsinger may, as a full-round action, let his/her ambient song burst out in a
sonic blast. All creatures other than the Spellsinger within a 15 ft radius take 1d6 points of sonic damage, plus extra of sonic damage equal to the Spellsinger’s Charisma bonus, if any.
Trea Voca (Su): At 9th level, the Spellsinger can manifest a third voice from the ambient magical song. This
third voice sounds older and slightly deeper than the Spellsinger’s original voice. The trea voca has all the same abilities as the duo voca, including the ability to sing independently of the Spellsinger. It is thus possible for the Spellsinger to begin a spellsong in a first round, have his/her second voice begin singing in the second round, and then his/her third voice start in the third round. He/she could then delay to have all three songs complete just before his/her action on the fifth round. As with casting two songs, however, the concentration DC to maintain control of three songs is as difficult as if the spell levels were all added together.
If Aehranda attempted to cast summon monster III, shout, and mass suggestion, he/she would be casting the
equivalent of a 13th level spell for the purposes of Concentration checks.
Choral Symphony (Su): At earlier levels, with his/her duo voca and trea voca abilities, the Spellsinger could
begin singing several spells at once. At 10th level, he/she gains the ability to control the weave's voices independently of his/her own, allowing him/her to perform normal actions while his/her ambient song sings.
The Spellsinger can cast one spell each round as a free action, assuming both his/her additional voices are
unoccupied. However, in order to do so, he/she must expend an additional prepared spell or spell slot of the same level or higher than the spell he/she intends to cast. This ability manifests as a many-voiced choir that fills the air around the Spellsinger.
For example, a vicious demon has threatened Aehranda’s village, and he/she confronts it at the shoreline. As
she speaks with the demon, assuring it that it shall die for the suffering it has caused, an ominous chorus arises around her, swelling as her wrath intensifies. When Aehranda leaps to attack, the choral symphony crescendos, sending forth a crashing wave of magical energy and soaring force. As the battle progresses, Aehranda can continue to battle the demon in melee as a symphony of magic aids her.