Music of Letha
The Duchy of Letha, located on The Armorican Peninsula, has a long and rich musical tradition, developed in the relative isolation of its rocky shores, but influenced by the many cultures that sail its waters. Letha supports a wide variety of techniques and styles, both vocal and instrumental.
Execution
Vocal music
Kan ha diskan (Call and response singing) is a common type of Bretoned vocal music and is often accompanied by dancing. The lead singer, the Kaner sings a phrase and a second singer, the diskaner joins in for the last few lines, then repeats the first part alone until the first singer joins in, changing slightly with each cycle. The subject is not restricted for this type of music, but will often require a strict number of syllables, which are sometimes drawn out with nonsense syllables. A Kan ha diskan can last upwards of 20 minutes. A musical equivalent exists, most often with a pairing of the Biniou and the Bombarde.
Kantikoù (hymns) are vocal hymns, usually religious in nature, accompanied by a variety of instruments, such as the telenn, veuze, biniou or organ. These are often sung during the processions of the Pardons. As the population are largely illiterate, the Kantikoù are a common way to spread religious dogma among the masses. In Breizh, the melodies are usually easy to remember and often draw from secular music, such as the gwerzioù and sonioù, which often draws condemnation from more conservatinve members of the Faith, who feel the songs should be in Old Imperial, not the (exceptionally vernacular) Brezhoneg.
Gwerzioù and sonioù (laments and ballads) - The two main varieties of Bretoned folk songs, usually sung by a single performer. A gwerz is a narrative ballad, describing dramatic events from history or legend. These typically are made to reference larger communities rather than celebrating individual actions, although many exceptions to exist. Gwerz often have a low and somber monophonic quality when sung. Prophecies are often delivered in the form of gwerz. Sonioù are lyrical poems, typically more lighthearted in tone and subject matter, with a more complex tonal structure..
Shanties - With a strong naval and oceanic tradition, Bretoned sea shanties are common in port towns and among sailors, and are sometimes complemented by fiddles or accordions.
Components and tools
Musical Instruments of Breizh
Telenn -- A larger harp, about a meter high. This standing harp is popular with both the courts of mortal nobles and the Sidhe.
Violin -- A small stringed instrument, popular for dancing and sea shanties.
Treujenn-gaol -- A clarinet-like reed instrument
Veuze and Biniou (Bagpipes) - There are two types of bagpipes in use of Breizh, the larger veuze and the smaller biniou.
Talabard - a double-reed instrument similar to the oboe.
Participants
Bagadou are bands, using the biniou, talabard and drums. They are often tied to a community or region, but some tour the peninsula as wandering musicians.
Troubadours - Wandering minstrels and court musicians, they often perform at festivals or in the courts of nobles, telling stories via gwerzioù and sonioù.
Observance
The musical forms of Breizh are popular among Bediz across the peninsula in both cities and the countryside. While individual songs may be tied to a particular religion or location, the general trend is evenly dispersed across the population.
Music is exceptionally important to the creatures of Faerie. The Sidhe have a deep appreciation for music, and have a tendency of abducting Bediz musicians to perform at their courts. The Korrigan are fond of singing and dancing, and can be heard doing so on the moonlit moors, as can the Fées-des-Houles.
Music forms the basis of the magic system of the Marie-Morgane. The Oceansong is often sung in the form of a Gwerz, and Springtide takes the form of a Ka ha diskan.
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