New Sounds On New Shores

[Stevie 1598]

The beach is calm; dusk is looming over as the sky is a light grey, complimented by the calm passing of gentle clouds. The constant but soothing sounds of the waves washing along the sands is soon interrupted by a faint tune - a pitch unrecognized. It plays with a shriek, and emanates far off from the shore. And in that moment, sails can be seen, and the bow of a ship protrudes into view, the volume of the tune growing progressively louder. Rocking steadily with the waves of the sea, the ship’s sails flap calmly as the helmsman turns her parallel to the shore, and the bustling activity on her deck is increased, men scrambling up and down as they begin to descend three rowboats on her starboard side. The tune from the boat is silenced for a few moments while a contingent pile themselves onto the rowboats. And with a few calls of order and the stumbling of the final man into the boat, the oars are set out onto the rocking waves, setting a course for the peaceful beach ahead.

The moonlight illuminates the three vessels as they row in a wedge towards the sand. The tune is resumed now, only this time coming from the lead of the rowboats, and joined with two other sounds, one of a heavy war drum and one of a low horn, all playing in cadence. At the lead of the boats, a man stands with an instrument foreign to many in both sound and design. He blows into its mouthpiece, through its hide bag and out from several pipes, all the while working his fingers on the chanter rod beneath it. He wears a tabard colored red, and on both his uniform and the hide bag a white rose is seen, breathing in both respects. The boat to the left shows a large man, twice the size of the rest, beating heavily on the drum, a bass boom sounding with each hit; while the right boat plays a horn, low and dreary. All of these sounds merge into one tune, one song, which continues until they reach the beach; a few men jumping into the shallow water to pull the boats to shore. Dismounting onto the sand now, the player of the pipes breathes in loudly, contorting his face at the smell of the air, scratching his large, brown beard between grunts. The horn player soon approaches, droplets of water dripping from his light blond beard as he nods to the piper, greeting him with an arm around his shoulder. With a stray comment and a chuckle from the two, they turn to face the last of the instrumentalists, watching as the giant plops down onto the sand. Almost immediately he begins to call orders to the rest of the beaching soldiers, his guttural Hansetian accent all too familiar to the men. He gargles orders to all of them, except one man, the last of the one to step on the beach, but certainly not the least important. His iconic greathelm and stoic demeanor defines him as a man with intelligence and leadership, and his respect among the men is all too apparent. He approaches the piper and the horner and raises a finger, reciting a snide comment after a long silence, no indication of emotion from the black slits where his eyes would be. It would be by this time that the men were assembled along the beach at the supervision of the giant, a perfect line being a testament to their ultimate discipline, even more so proven when a simple order disperses them to secure a perimeter; performed with an efficiency unequaled.

The men hold here while several more rowboats come ashore, carrying non-combatants and supplies to establish a proper beachhead. Crates are piled on the sand, cooking and signal fires are lit, and the sound of productivity begins to fill the air around them. Tents are pitched further inland, and White Rose banners are placed around the perimeter, along with proper guard posts. The first night is always the most dangerous, and the camp sleeps restlessly, all of them just as awake as the perimeter sentries. The night is calm and still, the land around them unscarred and beautiful. The Rose would call this area home for now, and make the best of it, however they could. It was here that a new footnote of the Rose would come, and transition into a full-fledged chapter, all compiling into the colorful and interesting book that is the Order of the White Rose.

[Stevie 1598]

[[some Instruments mentioned in the post:

Great Gaekrin Pipes (Phiob Mhor)

The signature instrument of the Gaekrin sub-continent, the Great Gaekrin Pipes are the center of Gaekon’s musical culture. Crafted with a hide bag(which determined their value - the bigger the animal hide, the more value) and several pipes(varying in size) as its base, the Gaekrin Pipes produce a unique sound, and its inflated bag allows continuous sound while the player is able to breathe. A chanter rod allows the tuning and pitch of the pipes to change, and it is actually tradition to tune the pipes a fraction sharp, creating a more screeching yelp for its higher notes. The Great Gaekrin Pipes are used in almost all aspects of life in Gaekon, including daily village duties and routines, to battle orders being played over the sound of combat.

Uilleann Pipes (Phiob Ullnael) ((Not mentioned in post))

A more regionalized instrument, the Uilleann Pipes derive from the Great Gaekrin Pipes, and offer some distinct differences in playability. Instead of utilizing a mouthpiece, the Uilleann Pipes are considered “bellow” or “elbow” pipes, meaning that the inflation of its bag comes from compressing the bag with the player’s elbow rather than through a reed and mouthpiece. The Uillean Pipes are more common in the southern valleys of Gaekon, and troubadour bands often use this variant of woodwind over the larger and somewhat more cumbersome Great Gaekrin Pipes.

Carnyx Horn (Hron Carnaex)

The Carnyx Horn is the battle horn of Gaekon, and dates back to the tribal beginnings of the sub-continent. Most noted for its low grumbling bass sound, the Carnyx Horn gave an eerie sense to any battle, and set opponents on uneasy footing as the chants of anxious tribals mixed with the grumble of the Carnyx. The Carnyx has seen continued use in modern Gaekon, but only primarily in the military in the form of signal squadrons to better coordinate forces.

Gaesgro Drums

The typical Gaesgro war drum is a massive instrument for a massive people. Typically fixed, it and sometimes be carried by a group of men into battle. Producing low, booming and chest-rattling sounds at a variety of rhythms and speeds is the main purpose of this type of drum. It is most often used to empower a marching army (as it sets a rhythm for their marching chants and war cries), but can alternatively be used for disheartening defenders of a besieged castle. Typical of Gaesgro fashion it is meant to be intimidating and martial. For a culture where war is a way of life, the War Drum fits perfectly.

[Solaba 144]

"Ooohraaa" - Garen

[SkyyoBee 249]

Moved to the Great Library. It shall be sorted into appropriate category shortly.