Bladesingers and art of bladesong

Foreword

For nineteen years now, I have walked the way of the bladesong. I once told this to a human warrior, and he said: it is an honour to meet such a renowned master of elven swordsmanship. I was amused, but refrained from correcting him so as not to insult his prowess. For surely it would be insulting to tell him, a veteran sellsword who had surely not had time to practice warcraft for any longer than two decades, that I can be called little more than a novice after such short training.
Preventing such awkard situations is one reason for writing this essay. Another is that I have experienced a distinct lack of knowledge about bladesingers on Amia, and indeed, a lack of those who practice this ancient art. I am well aware of the controversy I may stir in certain circles; circles that believe elven lore is better kept to elves, that such secrets is to be kept from the eyes of N'Tel'Quess. I sympathize with this notion, but only to an extent. As a servant of Labelas Enoreth and a scholar, the preservation of history and culture is important to me. I do not believe wisdom is to be hoarded, but spread and nurtured. If me writing this makes one human understand the People better, if it makes one elf inspired to pursue the song, it has been worth it. Though at this point, I must comfort the circles I referred to, and disappoint the one greedy for easy power: within these pages, I will reveal no great secrets of elven warcraft, no locations of elven treasure let alone shortcuts to mastering High Magic or something equally ridicilous. This is merely an introduction to the bladesong, based on my own experiences and known history. I hope it will serve both as a reminder for Tel'Quessir of Amia about their tradition and as a guidebook to the elven mind, for others.

Who are the bladesingers?

Oftentimes, I am asked whether I am a wizard, a bard or perhaps a spellsword. When I say I am a bladesinger, it's either met with blank stares or misinformed but polite admiration. Perhaps I can remedy this confusion. Each race and civilization has its champions. Many human kings are served by paladins, dwarven realms from the Great Rift to cold Vaasa are home to unyelding Defenders and even the Forgotten Folk have their brave breachgnomes. In elven realms, this role belongs to the bladesingers. Treasure hunters, wandering swordsmen, mysterious artist of magic and steel; we are all this, but first and foremost we protectors of the People. That is our primary concern, the purpose of our existance. It is what sets us apart from regular warriors, no matter how skilled, and makes the way of the bladesong a hard one to walk. Not only does the bladesinger need talent and determination, he must also devote his heart to the cause. Bladesingers, as a group, are perhaps the most graceful and skilled swordsmen on Toril. In addition, we master spells to rival many a talented mage, and know how to create them safely and quickly in battle. As is the law of the planes, such power has to be balanced by great demands; not unlike the matter of paladins and their knightly codes. Those priviledged to learn the bladesong must swear to serve and defend the People and the Seldarine with their lives. This is no small oath to make, as the life of an elf is long and the enemies of the People are many. For many, the cost is too high and they're content to learn only the basics of the style, never reaching its truest nature. Those that do go all the way, however, must forever put the good of the People before their personal gain and even the safety of their friends. A bladesinger may never leave another elf undefended and in need of help, unless it is an unavoidable sacrifice for a mission greater still. Those that fail to uphold this principle must give up practicing the bladesong or be renounced in the eyes of the Seldarine. Indeed, even if a bladesinger falls and attempts to continue his art for personal gain, he will no longer reach the True Song. The style becomes but a shell without a heart, learned manouvers with no passion or devotion to give them true strength. This is what happened to the all-but-forgotten H'ei'Yal Drathinmaleé of Aryvandaar. The life of a bladesinger is often that of a loner, but every one of us draws power from the confidence that we are the People, and the People are as one. Wherever we walk, we mustn't turn our backs to the People, for the People do not turn their backs on us. No matter how long we are away from home, no matter how few friends we have – indeed, even if we had no home or friends – there will still be unity among Tel'Quessir, and we are part of that symbiosis in our own way.
This is a good moment to take a quick look at the history of bladesingers. By no means will this be a complete presentation, but I feel it is useful to connect the abstract ideas above to the living world. One legend tells that the style was created in the heavens and given to mortals by Corellon Larethian himself. Another claims it arrived on Toril with the Ar'Tel'Quessir who came from other worlds. This much is certain: its roots reach as as far as before the First Flowering, to the sun elves of Occidian, and the avariel. It was widely practiced in at least Aryvandaar, Illefarn, Ardeep, Syórpiir, Miyeritar and Shantel Othreier. Bladesingers also played a major part in the defense of Myth Drannor, the most legendary individual being Josidiah Starym: he who returned the Artblade, Spell-Major of the Akh'Faer and one on the Council of Twelve, the last defender of the Speculum in the Battle of Stars Shining. Unfortunately, the stories of other notable bladesingers haven't been as thoroughly documented as his. There is one legend I learned from my mentor: that of the Irbryn Gyrah, Birds of Prey. They were a band of seven bladesingers in late Illefarn, over three millenia ago. Relic hunters and wanderers, they never stayed in one place for long; a testimony to the suitability of their airborne totem animals. Nothing lasts forever, though, and the group split up after a daredevil raid against the Twisted Tower during the Elventh Rysar of Rystall Wood. It is said three of them fell in this battle, and the remaining four went seperate ways to pass on the legacy of the Birds on to another generation. I am an heir to this tradition, though I know not how many masters there have been before mine. Whether it is coincidence or a whim of the gods, my totem animal is also a bird of prey; the owl.
In modern days, the bladesinger tradition has become less prominent. Most of us work alone, whether we prefer it or not. The disappearance of elven realms on Faerûn and the Retreat has also brought about a decline in the ranks of bladesingers, and those who remain on the continent have no common hub of activity. This is further augmented by the fact that a bladesinger's training is always done one-on-one, with a deeply personal and dedicated relationship of master and apprentice. As the training takes decades, it is apparent why so few bladesinger groups see the light of day on Faerûn. The situation isn't quite the same on the Green Isle. There, the tradition of bladesinger lodges is still lively, though they are focused on defending Evermeet rather than travelling Faerûn as champions of all elves. I do not mean to critisize, but simply to point out the difference in outlook and why the bladesingers of Evermeet are of little help in revitalizing the tradition elsewhere. They do offer a fascinating view into the ancient traditions, though: groups of sun and moon elves, trained in the arts and magic but organized in a primitive fashion, each lodge represented by a totem animal that brings to mind the ways of the Sy'Tel'Quessir more than anything. Elven life has many aspects and our different races embody different ideals of the Seldarine, but it all blends together in the serene beauty that is the way of the bladesong.

The Way of the Bladesong

In the earlier chapter, I spoke of the elven way of ife. What does it mean and how is it connected to the bladesingers? As I have explained, we are champions of all elves and elven culture. But how can one be champion of something one does not know? An absurd notion, and therefore a bladesinger must embrace elven culture in all its aspects. That is why the training is so challenging, why apprenticeship lasts for decades and why it is such a rewarding path to walk. For war wizards, understanding the Weave, mastering new spells and developing their tactical skills is everything. For warriors, combat manouvers and physical training is enough to reach excellency. Minstrels know songs and lore. But bladesingers have to learn all these and more. We must know history in order to preserve it and to locate and retrieve artifacts of ancient elven realms, and to understand the wisdom of Labelas in all of us. We must know painting, sculpture, poetry and music to know the creative spirit of Corellon and Hanali inside us. We must be serene and balanced, so that Sehanine may come to us in Reverie. We must know the ways of the world, for only travelling and experience reveals the divine seeds Aerdrie, Deep Sashelas and Rillifane have planted in our souls. To hunt evil is to know Solonor and Shevarash. We mustn't take ourselves too seriously, however, for to do so is to deny Erevan Ilesere. Finally, we must know the loneliness of Fenmarel and through it, come to love the unity and wholeness represented by Angharradh.
These are the first things a bladesinger is taught. Bladesong is not the way of the Sword, but the way of the World. If one is detached from life, one cannot understand it. And if one cannot understand life, one cannot defend it. Do not think this is the bladesong, though! This is only the basis on which bladesong must be built. After this understanding, begins rigorous training of the beautiful art that has struck awe or fear into those who have witnessed it in action. The three cornerstones of bladesong are art, magic and swordplay. These names are easy to understand, but one could also call them spirit, mind and skill. From these pillars grows harmony. Harmony is the essence of bladesong. It is in the humming of the whirling sword, the unfaltering steps of the warrior, the spells he casts with percision and purpose, and in the trance he enters to outperform even a much stronger foe. Harmony itself cannot be learned, but it is reached via training the three pillars.
Swordplay is the foremost passion and the primary weapon of the bladesinger. We train daily, striving to find the perfect balance of movements. The bladesinger rarely needs more protection than his speed and sword, for in the trance of the bladesong none but the most lucky and masterful of attacks can get through his defense. Ours is not an offensive style, but one of constant movement and distraction. Every strike we deal is precise and vital. I should not say more, lest some fool believes he can use such round-about knowledge to defeat us, and rushes straight to his sad death.
Magic supports swordsmanship, and we study it with the same patience wizards do. For us, however, magic is not its own goal. It is part of a balanced self, and a means to an end. The Song of Celerity is technique that allows us to hurl deadly evocations or weave cunning illusions in the heat of battle without losing focus or opening our defense for the enemy. Becoming as strong as a bull before facing an ogre half-again your size is also a preparation one shouldn't dismiss. Bladesingers' training focuses on battle magic, for learning the full spectrum of wizardry is impossible for those who dedicate anything less than their life to the task. A bladesinger's life is dedicated to something else.
Every bladesinger has a weapon that is his own, the symbol of steel and Weave united. Most often, and especially in modern days, this weapon is a thinblade, a longsword or a rapier. There is no fundamental restriction preventing the use of other balanced melee weapons, though. What is signifigant about the bladesinger's weapon is that it has become part of him. A soldier may buy a new sword for every major war, but a bladesinger will hold onto his chosen weapon forever. Choosing this weapon is an important rite of passage for bladesingers who have finished their apprenticeship. Traditionally, a family heirloom sword has been chosen. Lacking such, it's not uncommon to have one made for the bladesinger. My thinblade, Salka Tel'Osta, is an example of such. Forged by Thraldur of Winya, enchanted by two mages and myself, coated in alchemical silver, I hope to pass it on to generations to come when my time is done. It holds my soul, my devotion to all Tel'Quessir, and will hopefully define what it is to be bladesinger for another young warrior in the far future. It is more than a deadly weapon and a symbol of my training: for bladesingers, our weapons serve as conduits of magic. Eventually, we learn to cast spells through our blades and even store magic in them. These are challenging techniques, however, and few in today's Faerûn have truly mastered them.
Art, the refining of spirit, is the part of bladesingers' training that is the hardest to explain. It is what completes the harmony of the other two fields. Music and painting are arts of peace that correspond with magic and swordplay, arts of war. That is why they are so important to bladesingers. As the name of the tradition implies, music also plays a greater part in the bladesong itself. Bladesong, in the most concrete sense, is the music a bladesinger's whirling sword creates in battle. I accompany this with singing of my own, though that is a personal addition and not a traditional part of the style. However, music also has a deeper meaning. In the trance of the bladesong, it is music that guides the bladesinger's movements. When I transcend into the bladesong, it is not random melodies I create with my sword and voice. No, it is reflections of the universal harmonies that ring clear in my soul. Only when a warrior has advanced far enough to hear this song clearly, do they really practice the bladesong in the real meaning of the word. It is my belief, based on my research and experiences, that those elves and half-elves who fail to uphold the bladesingers' oaths lose contact to this divine melody. They will know magic and swordplay, but as the third pillar crumbles they can no longer reach harmony. I have often wondered about the source of this harmony, the song that plays in a bladesinger's soul. I think it is reasonable to assume it is related to the inner power of monks and the faith of paladins. Sword sages of the East may have similar experiences, and perhaps even the raw energy of sorcerers is somehow connected to our power. Some hear it as song, others see it as order and light, and for some yet it is a pure ideal. Is there a building block of the multiverse, a seed in our souls that is common to all beings in all worlds? I do not know. However, the True Bladesong is a particular manifestation of such hypothetical power. It is the song of the elven soul, granted by the Seldarine and nurtured by our culture. That is why, even if knights can become extraordinary swordsmen and monks may learn to overcome to limitations of physicality, only Tel'Quessir or those of immediate elven descent can ever become bladesingers.
In Winya Ravana, island of Amia 29h Eleint, the Year of Lightning Storms Kalliniel Galadhron

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Bladesinger

Combining the offensive physical power of the warrior and the intelligence and magical abilities of the mage, these are truly fearsome fighters. They have knowledge—not only of strategy and tactics—but of magical theory and offense. They are vital to the elves.
An elite group of elven fighter/mages, the bladesingers are dedicated to the defense of the elven nation, and many of them journey back to Faerûn to help defend those elves who stayed behind or have yet to join the Retreat.
Bladesingers are terrifying weapons experts and spellcasters. On Evermeet they are organized into small warrior lodges, each specializing in a different weapon. They are even more dedicated to the ancient ways and styles of dress than other Silver elves. They often tattoo themselves with old runes and symbols and their armor and weapons are all of great antiquity and beautiful craftsmanship.
Of the roving elves, there are few as deadly as the Bladesinger. They are masters of their weapons and have spent their lives in the study of their chosen weapons. They have al¬so learned to cast spells while engaged in com¬bat, and thus they double their might. While some characters may stay at home to defend the elven way, Bladesingers go out and actively promote it. They do this by seeking out their race's foes and eliminating them, either through words or actions. Acting as both diplomats and one-elf armies, they in¬sure the safety of the elf race.
The Bladesinger is always identifiable by his weapon of choice. Such an item is always ornate and beautiful, enhanc¬ing the Bladesinger's appearance in battle.
Not only are they easily identifiable by their weapon of choice and catlike grace, Bladesingers are dec¬orated with their weapon guild's distinctive tattoo. Each guild has a separate and unique tattoo depicting its style of weapon through an animal representation. Long swords are of¬ten represented by great cats such as lions or panthers, a whip would be shown as a striking snake, and so forth.
Bladesingers are elves who have blended art, swordplay, and arcane magic into a harmonious whole. In battle, a bladesinger's lithe movements and subtle tactics are beautiful, belying their deadly martial efficiency.
If another elf wishes to learn the bladesong, he must seek one of the masters of the blade. Bladesingers charge a high price for sharing their skills.
Bladesingers rarely use weapons other than swords. With only rare exceptions, they never learn two-handed fighting styles. They may not use shields or two-handed weapons, for these interfere with the bladesong. Even when they have run out of spells. Bladesingers will fight one-handed or with both hands on their single-handed weapon. To do otherwise ne¬gates all bladesinging bonuses.

Benefits

Weapon attack bonuses

The Bladesinger chooses one weapon and practices with it extensively, to the exclu¬sion of most other weapons. If practice makes perfect, the Bladesingers are very well prac¬ticed in their weapon of choice—for they are virtually perfect.

Bladesong

bonuses to AC, mobility The poised steps of the bladesong (the act of attack by a Bladesinger) not only reveals the Bladesinger to be a creature of beauty even during battle, but the steps also carry him into advantageous positions for either offense or defense. He can instinctively grasp the flow of the battle around him, and his feet will carry him through the intricate maneuvers neces¬sary to optimize his attack.

Defensive bonus

Bladesingers have been taught from an early age to grasp the flow of magic around them and to turn it to their advantage. They can cast spells even while in the front lines.

Spellcasting with weapon

Bladesingers have practiced the somatic portion of their spells well enough that they may cast their spells one-handed

Hindrances

Only light armor

Armor: bladesinger can use only light armor such as elven chain or studded leather. Bladesinger can’t use bladesong and shields or medium or heavy armor. Bladesingers may wear no armor heavier than elven chain or studded leather. Bulkier armor restricts the Bladesingers' movement enough

Must help elves

Not only must they attempt to advance the cause of elvendom somehow at all times, they must also lend aid to any elf in need. Unless the elf is proven to be an enemy of the elven way of life, the Bladesinger must sacrifice life and limb to save that elf's life. Of course, the Bladesinger is free to deter¬mine whether there is, in fact, an elf in danger. Too many times other races have tried to elim¬inate the Bladesinger menace through illusion and trickery. The Bladesingers have grown wary and have, unfortunately, allowed fellow elves to perish while trying to determine the truth of the threat. Thus, most Bladesingers carry at least one detect magic spell in order to avoid possible errors.

Bladesong

The bladesong itself is an extremely demanding martial art, the epitome of Tel'Quessir mastery of the sword, almost never taught to those not of Tel'Quessir blood. The bladesong is a primarily defensive style of combat, with devastating strikes considered less important than a superior guard position. From this superior defensive posture, magical attacks and spells may be used without fear of successful counter-attack, when performed by a Tel'Quessir fully proficient in the style. In addition to the violent purpose inherent to all martial arts, the bladesong is uniquely Tel'Quessir in the fact that the aesthetic components of the style are as important as its martial efficacy, with its dance-like movements and the haunting whistling sounds produced by the sword blade cutting through the air being the source of the name bladesong.
These dedicated elf warriors take their craft seriously enough to have created a uniquely elven fighting style. Unlike the martial arts of other races, the elven fighting style, also known as the bladesong, emphasizes beauty and economy of movement over sheer destructive power. However, the elven bladesong is deceptively dangerous, for all its seeming gentleness and apparent grace
Bladesong is so named for several reasons. The first and most obvious is because of the whistling of the blade as it slices through the air when this style of fighting is used. The second, according to some, is for the haunting, wordless tune many of its practitioners are said to sing as they fight. Other sources indicate that Bladesingers practice an ancient elven variant of the art of Spellsong which they have adapted to suit their uniquely elven arcane-martial style.
Those who practice the bladesong appear as if they are dancing when they fight. Their movements seem misleadingly slow and elegant, deflecting opponents' blades while lazily drifting back to score hits themselves. The technique requires, above all, misdirection and subtlety. The bladesingers do not believe in smashing blows or strong and crushing offense, but rather in guiding their opponents to anticipate a different attack entirely, thus overbalancing the foe and making him seem clumsy.

Bladesong 5e

Starting at 2nd level, you can invoke a secret elven magic called the Bladesong, provided that you aren’t wearing medium or heavy armor or using a shield. It graces you with supernatural speed, agility, and focus.
You can use a bonus action to start the Bladesong, which lasts for 1 minute. It ends early if you are incapacitated, if you don medium or heavy armor or a shield, or if you use two hands to make an attack with a weapon. You can also dismiss the Bladesong at any time you choose (no action required).
While your Bladesong is active, you gain the following benefits:
You gain a bonus to your AC equal to your Intelligence modifier (minimum of +1). Your walking speed increases by 10 feet. You have advantage on Dexterity (Acrobatics) checks. You gain a bonus to any Constitution saving throw you make to maintain your concentration on a spell. The bonus equals your Intelligence modifier (minimum of +1). You can use this feature twice. You regain all expended uses of it when you finish a short or long rest. Extra Attack Starting at 6th level, you can attack twice, instead of once, whenever you take the Attack action on your turn.

Bladesinging

In elvish, 'Megilhiniue' or "Hinue'Kerym" (which I'll confess a partiality towards). This quintessential elven style would have to be included in any writeup, of course. I was thinking about having there be a subtle difference between the Aryvandaaran tradition, today melded with surviving Illefarn/Keltomir/etc. traditions and evolved into a style associated with Evermeet and the Cormanthyr tradtion. I also believe there would be a seperate Evereska tradition. Most of them would be close to each other, with the possible exception of pure Aryvandaaran Hinue'Kerym. Then, of course, there is Nael'kerym.

Schools of Bladesong

Bladesong Styles

Kerymvian "graceful sword" Keryth "war-sword” the sword style that elven soldiers teach to new recruits, what we'd call "basic training" Kery'faen "life-sword" which focuses on defense and non-lethal combat--i.e., dealing subdual damage and making your opponent defeat himself without harm Mhaor'arkerym "greatsword of the corruptor"--a style that utilizes two-handed swords and works to wear down an opponent stylishly and with debilitating magic channeled through one's strikes Natha kerymvian a dueling style developed by the Nathalans of Evermeet (of which Yldar Nathalan is a practitioner, albeit not a skilled one toward the beginning of his career (in 1362 ["tGT"] he's only about 5th level, though by 1374-5 he's about 16th level). kerym syolkiir "shooting star sword," which relies on blasing fast attacks at a distance (similar to what he tries on Walker in the end of the duel) Nyr'iolaa flash-arrow" for its emphasis on "flashy" (Elvish: nyrrt) moves and feints to distract you and lightning fast "arrow" (Elvish: iolaa) thrusts (generally as ripostes to a missed blow) to finish you Biir-kerym ("junk-sword") is a general term elves use to describe any sword-school they consider inferior to their own (generally speaking, *any* sword-style not taught by elves), and more specifically refers to self-taught swordsmanship
According to Ed , the elves were the first ones to create what we on Earth would call "fencing"--i.e., fighting side-to-side with a light rapier/smallsword/saber/what-have-you, as far back as the Crown Wars. Humans have only recently *rediscovered* what the elves had long since surpassed in favor of the more elegant and "perfect" bladesong ("recently rediscovered" as in, 300 or 400 years ago). Fencing as a genre of fighting is called in the Realms "blade-chime" or "sword-grace," albeit translated into Elvish, so it sounds cooler: kerymvian roughly means "graceful sword" and I would suggest this as a possible elven name for "fencing", or at least one possible school of fencing. There are literally hundreds, if not thousands of different elven schools of swordplay, from kerymvian to the simple keryth ("war-sword," being the sword style that elven soldiers teach to new recruits, what we'd call "basic training"), to the graceful and elegant kery'faen ("life-sword," which focuses on defense and non-lethal combat--i.e., dealing subdual damage and making your opponent defeat himself without harm), to my favorite mhaor'arkerym ("greatsword of the corruptor"--a style that utilizes two-handed swords and works to wear down an opponent stylishly and with debilitating magic channeled through one's strikes).
Note that elves rarely use two-handed weapons in conjunction with bladesong, though it is not entirely unknown as early as the 14th century. Depending on what elves you ask, two-handed sword-wielders may or may not be *true* bladesingers--most of them are members of the duskblade class. If you're looking ahead to 1479, I imagine the influx of sword-magic styles from Returned Abeir (swordmages using the aegis of assault style) have had some influence on elven bladesong (elf and eladrin swordmages, at least those who live in the mortal realms). Still, most 4e bladesingers use a single one-handed sword and the aegis of shielding style. These are *genres* of fencing styles, and most individual schools are named after a specific master, such as Natha kerymvian, a dueling style developed by the Nathalans of Evermeet (of which Yldar Nathalan is a practitioner, albeit not a skilled one toward the beginning of his career. One is the acrobatic school of sword-dance called kerym syolkiir, which means "shooting star sword," which relies on blasing fast attacks at a distance (similar to what he tries on Walker in the end of the duel). The other style is called "flash-arrow" (nyr'iolaa) by humans, for its emphasis on "flashy" (Elvish: nyrrt) moves and feints to distract you and lightning fast "arrow" (Elvish: iolaa) thrusts (generally as ripostes to a missed blow) to finish you. (Point of interest: Twilight's sword style borrows largely from nyr'iolaa and her teacher Neveren was a swordmaster of one such school.) Tangentially related point of interest: biir-kerym ("junk-sword") is a general term elves use to describe any sword-school they consider inferior to their own (generally speaking, *any* sword-style not taught by elves), and more specifically refers to self-taught swordsmanship. If you learned how to fight by doing, rather than through instruction, your style is biir-kerym, or just generally biir, which is the elven word for "junk" or "crap."
It is considered a *massive* insult to describe your opponent's style as biir-kerym.
More about biir-kerym
It's a very undisciplined, improvised hodge-podge of skills and techniques coupled with raw enthusiasm, which is essentially what you get if you try and teach yourself to fight. You might be really good (or really lucky) but without formal training, your swordsmanship is biir-kerym. To become a student of a particular school, you'd have to unlearn all that self-taught biir and replace it.
Interestingly, the greatest swordmasters in history (in fact, ALL swordmasters in history) were once deviants who followed no particular school, or at least broke away from one school to found another. Whether your style is considered biir or one of the treasured wonders of elven swordplay depending directly on 1) how successful you are, and 2) how popular you are.
Bladesong styles follow three general genres (like we'd say foil, saber, epee in fencing), determined generally by one's weapon of choice:

rapier/thinblade, weapon finessible: kerymvian ("graceful sword"). This bladesinger is well represented by the bladesinger PrC, focusing on spells and abilities that take advantage of his high dexterity and enhance mobility.

longsword/broadsword/etc, not weapon finessible: keryth ("war sword"). Ditto the bladesinger PrC, except this character picks feats that take advantage of a more balanced distribution of abilities and uses spells to enhance strength and fighting prowess.

two-handed sword (any type): arkerym--great sword. This type of bladesinger is better represented by a straight progression through the duskblade base class, as the PrC bladesinger pretty much requires use of either a longsword or a rapier (or the equivalent).

The two-handed styles limit your spellcasting abilities (because bladesingers can perform their semantic castings with the off-hand), so it is correspondingly the rarest and most difficult style of bladesong. (In mechanical terms, think of the range of spells for duskblades vs. wizard/fighters.) A two-hander is represented by the duskblade class constructed with a two-handed sword in mind Generally speaking, you can pull off most of the spells a two-hander can do with a one-handed style (i.e., you can be a einhander duskblade, but you're severely hampered if you're a two-handed PrC bladesinger).
The elven courtblade is an exception to these guidelines, and the bladesong style utilizing that particular weapon is a mix of kerymvian and arkerym styles. (The afore-mentioned mhaor'arkerym utilizes a courtblade.)
Two-handed bladesingers generally choose the aegis of assault and throw themselves entirely into offense, while one-handed bladesingers more often go the traditional path of the coronal guard, with the aegis of shielding ability.
The magic is roughly the same (all swordmages can in theory do the same magic as all other swordmages)

Bladesinger Styles

From its inception as a martial and magical art, Bladesinging has been tied to the sword, more specifically the longsword. Yet many generations of study gave rise to various styles of Bladesinging based on the melee weapon employed. The techniques of these styles are passed from master to students in small schools, some of which have a building dedicated to instruction. Even the newest styles are hundreds of years old, but are still taught by their original creators due to the long lives of elves. Most schools of Bladesinging are in Evermeet or Evereska. One was started in Myth Drannor, but the city’s destruction has scattered those students who survived. Styles of Bladesinging are broadly categorized based on the type of weapon employed, and each is associated with a category of animal. Within that style are specializations named after specific animal types, based on the types of spells employed, the techniques of the master, and the particular weapon used. Bladesingers who apprentice to a master typically get a tattoo of their chosen style’s animal. Some bladesingers learn multiple styles and bear many tattoos, wearing a warning on their skin of their deadly skills.

Cat

Styles that employ a sword belong to this family. The lion style, the eldest, trains practitioners in the use of the longsword and doesn’t favor any particular type of spells. Leopard style focuses on the shortsword and spells of illusion and stealth. Red tiger, a style just three centuries old, has its bladesingers using the scimitar in a whirling dance of defense from which they launch into sudden leaps and attacks.

Bird

Styles that focus on the use of a hafted weapon, such as an axe or hammer, have been grouped together as bird styles, yet they vary wildly. All relatively new styles, they use weapons not typically favored by elves. Eagle-style bladesingers use small handaxes, and many maneuvers in the style focus on fluid ways to throw the weapon and draw a new one. Raven style uses a war pick, and spells associated with it grant the bladesinger more agility in combat.

Snake

Practitioners of these styles use a flail, chain, or whip. Viper style uses a whip, despite its inelegance as a weapon, and has almost as long a history as the lion style. Its masters punctuate their bladesong with a stunningly rapid rhythm of whip cracks, which can keep many foes at bay and allow the bladesinger space to cast the cruel spells of poison and disease favored by the style.

Ahmaquissar Bladesong

This bladesong style uses very fast strikes that come in from the oddest conceivable angles manageable by the lanky practitioners of this style. The wielder must be a Bladesinger or have the Bladesong proficiency. This fighting style comes from the idea that the user can kill off his enemies before they have a chance to mount a battle strategy. And while his enemy's try to follow his rhythms, he is speeding them on to their own demise at his hands. It is almost forgotten today, even amongst high level and ancient Bladesingers. This style is comprised of very fast strikes. This style grants the Bladesinger a bonus to his initiative with his or her chosen weapon. Like the Bladesong style, this style may be purchased twice to gain a to initiative bonus. This proficiency is cumulative with single weapon style.

Evanero Bladesong

This bladesong style uses the powerful and beautiful strikes seen in the elven Blade Dance to cause vicious wounds. The wielder must be a Bladesinger or have the Bladesinging proficiency. This fighting style comes from a nearly extinct elven family that once patrolled the outskirts of Cormanthyy, before the Standing Stone was erected. It is infrequently seen today, even amongst Bladesingers. (One Baelnorn Bladesinger in Myth Drannor, one Stadius Evanero, is known to possess it; as well as his closest relative Wiquaestreal Evanero, his student and nephew. Masol picked it up from Wiquaestreal recently.)
This style is comprised of gentle, but swift and decisive strikes to the vulnerable areas of the elf's enemies. This style grants the Bladesinger more damage with his or her chosen weapon. Like the Bladesong style.
Evanero Bladesinging BA+4, Bladesinging, Dodge, Perform: Dance Elves with this feat gain a +1 to damage rolls when fighting.
Evanero Bladesinging This proficiency costs 1 slot. The wielder must be a Bladesinger or have the Bladesinging proficiency.
This fighting style comes from a nearly extinct elven family that once patrolled the outskirts of Cormanthyr, before the Standing Stone was erected. It is infrequently seen today, even amongst Bladesingers. (One Baelnorn Bladesinger in Myth Drannor-Stadius Evanero-is known to possess it.) This style grants the Bladesinger a +1 to damage with his or her chosen weapon. Like the Bladesinging style, this style may be purchased twice to gain a +2 to damage.

Lecvero'estrii Bladesong

This bladesong style uses very slow and rhythm-laden strikes, like the elven Blade Dance in slow motion. The wielder must be a Bladesinger or have the Bladesong proficiency. This fighting style comes from the ideas that the user can slow down the tempo of the battle and make his enemy's follow his rhythms, during which he is now thinking three or more steps ahead of them (in this respect it is like a physical game of chess). It is almost forgotten today, even amongst high level and ancient Bladesingers. This style is comprised of slow and deceptive strikes that also serve to cover his person in a protective sphere of blades.

Staryn's Bladesong

Started by Jediah Starym, this bladesong style was simple in one thing and served one purpose only, it was also only able to be used with one weapon. The Moonblade. Though the moonblade would only draw blood it deemed worthy, once unsheathed it would permeate the battlefield in what was called in the common tongue, Mortal Maker. It rid the area of metaphysicial abilities, including the weilders, making the unnatural, natural, mortal, making what might be a supernatural fight, completely natural, leaving the combatants with only their wits and prowess with their weapons to fight.

Song of Fury 3ed

When a 10th-level bladesinger makes a full attack with a longsword or rapier in one hand (and nothing in the other), she can make one extra attack in a round at her highest base attack bonus, but this attack and each other attack made in that round take a -2 penalty. This penalty applies for 1 round, so it also affects attacks of opportunity the bladesinger might make before her next action.

Song of Celerity 3ed

Once per day, a bladesinger of 4th level or higher may quicken a single spell of up to 2nd level, as if she had used the Quicken Spell feat, but without any adjustment to the spell's effective level or casting time. She may only use this ability when wielding a longsword or rapier in one hand (and nothing in the other). At 8th level and higher, she can quicken a single spell of up to 4th level.

Song of Defense 5ed

Beginning at 10th level, you can direct your magic to absorb damage while your Bladesong is active. When you take damage, you can use your reaction to expend one spell slot and reduce that damage to you by an amount equal to five times the spell slot’s level.

Song of Victory 5ed

Starting at 14th level, you add your Intelligence modifier (minimum of +1) to the damage of your melee weapon attacks while your Bladesong is active.

Bladespells 4ed

You must take your 3 default at-will attacks from a special list of cantrips that have the Bladespell keyword, consisting of Dancing Fire, Dazzling Sunray, Frost Bite, Lightning Ring, Shadow Sever, and Unseen Hand. Bladespells differ from normal at-will attacks in that they are Triggered attacks, which go off automatically when you hit the target with a basic melee attack. You can only apply one Bladespell per hit, and they do... very little damage.

Steely Retort 4ed

feature, which lets you make a melee basic attack as an opportunity action whenever an adjacent enemy hits you whilst you have Bladesong active.

Choir of Swords 4ed

When Bladesong is active, you can spend your action point to make a melee basic attack against all adjacent enemies as a standard action.

Bladesong Ballet 4ed

feature, which lets you shift squares up to your speed as a move action whilst Bladesong is active.

Unerring Bladespell 4ed

feature, which lets you apply bladespells to foes you attack even if your strike misses. But only whilst your Bladesong power is active.

Bladespell Step 4ed

feature, which lets you teleport up to 5 squares as a free action after you use a bladespell power.

Bladespell Burst 4ed

feature, which lets you apply the effects of a bladespell to all adjacent enemies after hitting one adjacent enemy, which you can do once per day.

Guarded Flourish 4ed

Whilst holding a one-handed melee weapon, your ranged attacks and area attacks do not provoke opportunity attacks - also, you gain a +2 shield bonus to AC if you're also wearing light armor or no armor.

Blade Magic 4ed

Pick one Light Blade or Heavy Blade category weapon that you have proficiency with; you treat that weapon as an Implement for your spellcasting, though it can still only hold weapon-specific enchantments. It also "counts as a wand for you", but the book doesn't clarify what this actually means - presumably, it functions as per the normal Wizard's Wand of Accuracy feature and/or it grants a bonus for "added in" wizard spells that specifically key off of being used with a Wand.

Bladesinging 5ed

Bladesingers are elves who bravely defend their people and lands. They are elf wizards who master a school of sword fighting grounded in a tradition of arcane magic. In combat, a bladesinger uses a series of intricate, elegant maneuvers that fend off harm and allow the bladesinger to channel magic into devastating attacks and a cunning defense.

Training in War and Song 5ed

When you adopt this tradition at 2nd level, you gain proficiency with light armor, and you gain proficiency with one type of one-handed melee weapon of your choice. You also gain proficiency in the Performance skill if you don’t already have it.

Improved Bladesinging

1. Elves only BA+6, Bladesinging, Dodge, Perform: Dance, Dexterity 15+ This feat supercedes the Bladesinging feat. Each round of combat, choose one benefit: a) +2 dodge bonus to AC; b) +2 to attack rolls; or c) one extra parry with your primary weapon

The Book of the Cathshee

The Book of the Cathshee is a tome that was written in the early days of Aryvandaar. It describes the history of the cathshee bladesong, the code of the cathshee bladesingers, and the art of bladesinging. Finally, it describes the powers of the bladesong. The last item is only accessible (will only open the page too) those which have adhered to the code and have gained the experience necessary to learn its power. Jeiroth also states that hidden within the book is another power, which can be learned if discovered. This hidden power is only accessible by singing a song, which was learned by studying the engraved inside covers (make a wisdom and intelligence check at -4, a check is allowed once per year). This last power allows the elf to learn the secrets of combining his bladesong with that of spellsinging (as per elven bards)!  

Duskblades

In the ancient Vyshaanti fighting academies, a martial style developed among young elves who were gifted in fighting and magic. This was a divergent path of bladesinging -- a more brutal style that incorporated heavier armor and more deadly spells. Originally known as Nael'kerym, these warriors greatly complemented bladesingers. They were meant to be heavy combat spellblades, while the bladesingers acted as precision skirmishers.
When the army of Aryvandaar invaded Shantel Othreier in -10,900, the heavily armored spellblade contingent was faced with a terrible decision. Witnessing their nation invading an allied land, trafficking with infernal powers, and showing a complete disregard for the lives of their kin, these warriors were torn between abandoning their nation or slaughtering their brethren. Heated discussion occurred at the war council. One side was firmly in support of the Vyshaanti, citing a variety of reasons why the attack was just. To the other side, these explanations and excuses rang hollow.
Before the war council could resolve this thorny question, a fast-moving orc horde fell upon both armies. The loyalists stayed with the Aryvandaaran forces, slaughtering elf and orc alike. The dissenters fought orcs only, attempting to stay away from both other contingents and meeting mostly with success.
Afterward, the warriors who slew indiscriminately became known as duskblades. They received this name because their contingent broke through the Shantel Othreier line at dusk, cresting a hill toward victory. Survivors of the enemy forces described these warriors as frightening blurs of magic and metal, shining in the fading orange sun like vengeful, fallen angels.
Following the massacre, the duskblades came to be thought of as "steel dancers" or H'ei'Yal Drathinmaleé. Those that cleaved through their brethren with sword and spell became ignominious symbols of Aryvandaaran treachery. The dissenters were forgotten, a footnote in most elven lore tomes. When the Vyshaanti, and later the Dlardrageth, descended into the evil of infernal lore, the duskblades became symbols for the corruption of the ancient bladesinging tradition.
The dissenters at the battle for Northern Shantel Othreier may have been forgotten, but the tradition did not end there. Valorous duskblades remained, helping Shantel Othreier until the end, as well as other invaded kingdoms. They constantly proved their valor in these battles, but eventually, their tradition all but died out when the Vyshaanti succeeded in conquering the rest of the elven realms. When the Vyshaan reign came to an end, many of the duskblades died with it. Later, some were sealed in Nar Kerymhoarth with the rest of the Fey'ri legion. They were recently seen among the Fey'ri army led by Sarya Dlardrageth.
A few of the duskblade dissenters remained after the Crown Wars, passing down the tradition through the generations. Eventually, this art became mostly lost, something that was practiced only secretly for fear of association with the Vyshaanti. Future duskblades hid their abilities, mimicking the more fluid styles of the bladesingers by wearing mithral armor and studying music and dance. They knew that if their true abilities were revealed, they would be associated with the treachery of the crown wars.
Thousands of years have passed, and the duskblade tradition is all but forgotten. Here and there, an elven warrior learns this tradition from a mentor, usually unaware of its dark origin. Most current duskblades are sun elves, but there are members from other subraces.
There are no formal groups of duskblades in Faerun. The study of this art is always passed down by an experienced mentor to a promising young elven warrior. Many young duskblades do not learn anything about their history until centuries into their studies. The secrets are jealously guarded by justifiably cautious mentors.
The greatest concentration of duskblades seems to be in Silverymoon, but there are a number in Evereska and the new settlements in Cormanthor. For the most part, these are valorous elven warriors. Small numbers of duskblades closer to the Vyshaanti ideal are hidden among members of the Eldreth Veluuthra and in some of the sun elf noble houses of Evermeet. Duskblades serving the Eldreth Veluuthra are often called "cleansing blades" (Uluuth Phlarenn), a name sometimes used as an alternative for the entire organization.
For those wishing to utilize the history of the duskblades in Faerun but without incorporating the class into their games, there is an alternative. It is easy enough to use the bladesinger prestige class from Races of Faerun. Use the Battle Caster feat from Complete Arcana to allow bladesingers to wear mithral full plate. The rest is just character choices and style.
Bladesinger Bladesingers have a prominent place in the society of the Tel'Quessir of Faerûn, being renowned as heroes of the Tel'Quessir race, and welcomed in Tel'Quessir communities. Bladesingers are taught in a single master-apprentice tutelage system, with a master taking on a single apprentice to carry on the work of defending the Tel-Quessir and promoting their principals and way of life.
Bladesingers are terrifying weapons experts and spellcasters, specialising in the bladesong martial art. They often tattoo themselves with old runes, and each lodge has a special symbol it's members tattoo themselves with to identify their membership. Their armor and weapons are all of great antiquity and beautiful craftsmanship, even more so than other elven warriors, representing their special dedication to and pride in the weapon they have dedicated their lives to mastering. They shower precise detail and decoration on their swords, dedicating themselves to making a thing of beauty out of an object which would otherwise be an ugly weapon of war.

Bladesong

The bladesong itself is an extremely demanding martial art, the epitome of Tel'Quessir mastery of the sword, almost never taught to those not of Tel'Quessir blood. The bladesong is a primarily defensive style of combat, with devastating strikes considered less important than a superior guard position. From this superior defensive posture, magical attacks and spells may be used without fear of successful counter-attack, when performed by a Tel'Quessir fully proficient in the style. In addition to the violent purpose inherent to all martial arts, the bladesong is uniquely Tel'Quessir in the fact that the aesthetic components of the style are as important as its martial efficacy, with its dance-like movements and the haunting whistling sounds produced by the sword blade cutting through the air being the source of the name bladesong.
These dedicated elf warriors take their craft seriously enough to have created a uniquely elven fighting style. Unlike the martial arts of other races, the elven fighting style, also known as the bladesong, emphasizes beauty and economy of movement over sheer destructive power. However, the elven bladesong is deceptively dangerous, for all its seeming gentleness and apparent grace.
Bladesong is so named for several reasons. The first and most obvious is because of the whistling of the blade as it slices through the air when this style of fighting is used. The second, according to some, is for the haunting, wordless tune many of its practitioners are said to sing as they fight. Other sources indicate that Bladesingers practice an ancient elven variant of the art of Spellsong which they have adapted to suit their uniquely elven arcane-martial style.
Those who practice the bladesong appear as if they are dancing when they fight. Their movements seem misleadingly slow and elegant, deflecting opponents' blades while lazily drifting back to score hits themselves. The technique requires, above all, misdirection and subtlety. The bladesingers do not believe in smashing blows or strong and crushing offense, but rather in guiding their opponents to anticipate a different attack entirely, thus overbalancing the foe and making him seem clumsy.

The Oath

Below is the Bladesinger Oath. Remember it and heed it. Once you become a bladesinger in Tel'Mithrim, you will gain a book with the oath scribed inside, and the 'badge' of office.

I walk in the light but darkness surrounds me; Mighty are the foes of my people; I am their shield; My blood for their blood, My life for their life; My sword and I are one; We will serve our people and The Elven Way. I have sworn this Oath upon my life; This day and forever, I name myself Bladesinger.