Scrapper cant

The percussive language employed by Scrappers to communicate with each other, and in very rare cases, others who have learnt how to 'speak' it.
Scrapper cant was developed over thousands of years, and uses a variety of methods to create and astonishing array of sounds and rhythms which make up the semantics of the language.
The basic sounds are made from the striking and scraping of materials and objects against each other, sometimes enhanced or amplified through reverberations within the bodies of the Scrappers themselves.

Percussive components

The primary building blocks of the language are constructed through rhythmical beats. These are individual phrases and runs of hits, scrapes, vibrations and the spaces or pauses between them.
The main percussive components are:

• Single hits: these are usually indicators of a change in phrase or idea and are often followed by a distinctly longer pause before a new phrase is started.
• distinct hits: usually in groups of 2, 3 or 4 interspersed with slightly longer pauses.
• rolls: fast runs of 8, 16, 32 or more beats.
• buzzes: where the rolls become so fast the ndividual hits become indistinguishable, and are heard as buzzes. The speed and frequency can been increased or decreased to create different pitches.
• scrapes: where the objects being used to hit are instead slid across each other. The length of the scrape, and the whip-like flourishes at the end all bring different meanings.

Rythmical components

The relative timing of the percussive components brings meaning and context to what is being communicated. These elements are often used to convey the feelings, emotions of the person communicating or a value judgement on what is being communicated. A conversation will often move back and froth between different rhythmical styles, depending on what is being talked about and how the participants feel and react to each other.

• Simple rhythms: Repeated rhythms usually sound far more musical, and connote a friendliness and relaxed attitude. These are the types of rhythms that even those who are not fluent in the language can at least get some sense from.
• Polyrhythms: Overlaid beats of simple rhythms, or use of syncopation, are usual indicators of a more playful mood.
• Changing and unusual time signatures: Are usually reserved for more nuanced and complex ideas, discussions of deeper emotions or mystical philosophies.
• Arrhythmic: phrasing without a repeatable order or rythm usually connotes a strong negative emotional state in the speaker, or as an important warning that must be paid attention to by the listener. It could indicate anxiety, fear, anger or represent a danger.

Tempo

Most of the meaning of scrappers cant is understood by the relationship between the various components - the relative speed and rhythm of each hit, buzz or scrape within the rhythms. Another level of nuance is added by the changing tempo of the conversations and phrases.

• Speeding up: Will indicate added urgency or an emphasis on the thing being said relative to others. A continuous increase in tempo indicates a rising importance and emphasis, and usually indicates something coming is of much greater importance than what has preceded.
• Slowing down: Will indicate a relaxation or de-emphasis on what is being said. A continuous decrease can indicate that the conversation is drawing to a close, or that the topic has become stale or boring in comparison.
• Sudden changes: A sudden and extreme change in tempo is often used to surprise, or in response to shock or extreme and sudden events. It can also be done as a form of sarcasm or humour - especially if the tempo change is at odds with expectations.

Parralel conversations

It is possible for Scrappers who can also communicate through sound recordings to conduct parrallel conversations using Scrapper Cant. In this way, Scrappers have been known to have one conversation with normal kin, but with a secondary secret conversation in Scrapper Cant beneath.

Sound creation

Scrappers will typically construct themselves a series of mechanised hammers and a variety of metalic drum surfaces within, or upon, their bodies. They uses these to press, tap and scrape together to make the sounds.
Rudimentary scrapper cant can even be spoken by tapping agains external objects such as rocks, table tops or other surfaces within the envronment, and this is probably where the first versions of the cant were invented millenia ago.
Non-scrappers cann sometime learn basic phrasing this way, but their fluency is often limited by their physcal abilities. Many non-scrappers can understand what is being said far easier than actually creating the sounds required.

Recorded, but unwritten

Scrappers with recording devices can record the audio of scrapper cant conversations for later, and in many cases will document their own thoughts, observations and histories in this way. Through this method, records have been kept - but are as subject to the vagaries of Scrapper memory issues as anything else.
There is no know written version of the language, although it is rumoured that Miru De Notani is attempting a form of notation in order to better understand and translate.