Spells per Day: A sublime chord has the ability to cast a small number of arcane spells, all of 4th level or higher. To cast a sublime chord spell, a character must have a Charisma score of at least 10 + the spell?s level, so if she has a Charisma of 13 or lower, she cannot cast any sublime chord spells. Bonus spells are based on Charisma, and saving throws against these spells have a DC of 10 + spell level + the sublime chord?s Cha modifier. A sublime chord can choose spells from the sorcerer/wizard spell list or the bard spell list; if a spell appears on both lists at different levels, she uses the bard version of the spell. A sublime chord?s caster level for both her sublime chord spells and the spells she gains from other arcane spellcasting classes is determined by adding her sublime chord level to her level in another arcane spellcasting class. If she had more than one arcane spellcasting class before becoming a sublime chord, she must choose to which class to add her sublime chord levels for the purpose of determining her sublime chord spellcaster level. A sublime chord prepares and casts spells just as a sorcerer does, including the ability to replace a known sublime chord spell with a new spell at every even-numbered class levelbeginning at 4th.
Bardic Knowledge: A sublime chord continues to collect the odd bits of lore and knowledge that bards acquire. She can add her sublime chord class level to her bardic knowledge checks, so her bardic knowledge checks have a bonus equal to her bard level + her sublime chord level + her Int modifier.
Sublime Chord Handbook
Bardic Music: A sublime chord expands her repertoire of bardic music to encompass new songs or poetics of strange and wondrous power. These effects function just as the bardic music effects described in the Player?s Handbook. Each use of a sublime chord song expends one daily use of the character?s bardic music ability. A sublime chord adds one-half her class level (rounded down) to her bard level to determine her number of daily uses of bardic music.
Song of Arcane Power (Su): A sublime chord of 2nd level or higher with 12 or more ranks in a Perform skill learns how to use her bardic music to assist her spellcasting. As a move action, she can prepare to cast a spell by giving voice to the song of power. The next spell she casts gains a bonus to its caster level based on the result of the sublime chord?s Perform check:
Song of Timelessness (Su): A sublime chord of 6th level or higher with 16 or more ranks in a Perform skill knows the song of timelessness. As a standard action, she can envelop a single creature within 60 feet in a field of timelessness, provided she has line of effect to the target (see page 176 of the Player?s Handbook). The subject is entitled to a Will save (DC 10 + sublime chord level + Cha modifier) to negate the effect. If the subject fails its save, it is frozen in a shimmering aura of timelessness and can take no actions. However, no force can affect it?weapons cannot reach it, spells that target it automatically fail, and if the ground it is standing on is somehow taken away, it would not even begin to fall. A sublime chord can keep her target frozen in time for as long as she maintains the power by continuing to perform, up to a maximum of 1 minute per level. When she stops performing, the subject immediately returns to normal. As far as the creature is concerned, no time seemsto have passed.
A sublime chords caster level for both her sublime chord spells and the spells she gains from other arcane spellcasting classes is determined by adding her sublime chord level to her level in another arcane spellcasting class.
If she had more than one arcane spellcasting class before becoming a sublime chord, she must choose to which class to add her sublime chord levels for the purpose of determining her sublime chord spellcaster level.
Go through that same process with the other two chords. Practice positioning your fingers so that it becomes almost natural. When you strum, a clear tone should come out. In the beginning, you might have some muffled noises, but keep practicing until you get it.
A perusal of the preceding pages of this handbook will enable observers to appreciate the solemn inquiry. A believer in the fundamental truths of the Christian religion; a convert to the pacific doctrines of the founder of Pennsylvania; and habitually upright, charitable and kind, the notable chieftain was unprepared for the demonstrations of wanton violence in return. He had befriended white men to the extent of his opportunities and his means; he had opened the door of his cabin to all who were disposed to accept his hospitalities; he had given meat to the hungry, and raiment to the naked; he was the generous, abiding friend even of the pioneers whose axes were demolishing the forests which supplied his table with venison.
"The Bible" is where you keep the idioms, the motifs, the charged metaphors and battle tested phrases. Fill your bible up with flashes of poetry, sketches, questions, quotations and quotidian. Develop shorthand methods for charting melodies, chord progressions and song forms. Keep a song bouncing around in your mind at all times. Observe and evaluate the lines all day, at school, through traffic jams, in casual conversations, hear the song knocking around like a pebble in the river, waiting to land on a page in your bible.
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5. All musical examples and the analyses based on them for this article stem from my own transcriptions from original motion picture soundtracks. Major chords are represented by capital letters, minor by lower case. Chordal inversion is indicated by slash notation. In many cases, the richness of orchestration, syncopated counterlines, and harmonic filigree is largely forfeited. Yet because my attention lies solely on cadences, which are still clear, the loss of detail is, I hope, an acceptable sacrifice.Return to text
59. The closest analogue in standard diatonic theory to these abrupt, ground-shifting dominant resolutions is the deceptive cadence. However, there is a crucial difference between this cinematic technique and deceptive precedents in the eighteenth and especially nineteenth-century repertoire. In a common-practice deceptive cadence, the chord of resolution is felt as a tonic substitute, and still requires a second attempt at cadencing to capture the proper original key. In a CMCR, by contrast, the chord of resolution is a stable tonic, fit for either concluding a cue or initiating a new musical paragraph in its own key. Certainly, the idea of shuttling abruptly to keys located at chromatic removes from each other is an essential component of Romantic tonal syntax. However, it remains uncommon that these direct modulations are achieved on the heels of a cadence. More often, composers simply warp directly from one tonic triad to another, with common tones potentially softening the impact of otherwise unmediated tonal disruption.Return to text
68. The pedal chord could possibly be interpreted as a V, but given the intense lydian bent of the E.T. score at large, this cadential chord should count as a subtraction of attribute 5 all the same.Return to text 2ff7e9595c
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