Estampie - The Noble Dance

The estampie is one of the earliest surviving forms of medieval instrumental music. Popular in the courts of France during the 13th and 14th centuries, it was a fast-paced, rhythmically driven dance music. Each musical section or punctum - was repeated with two different endings: an "open" ending (ouvert) and a "closed" ending (clos), creating a pattern that dancers could follow. Originally monophonic (a single melodic line), the estampie occasionally evolved into more complex textures in later versions. Its vibrant character made it a favourite at courtly events.

Instrumental Music Forms

Ductia - Graceful Simplicity

The ductia was another type of dance music, somewhat gentler and shorter than the estampie. Though fewer examples of this form have survived, music historians believe the ductia had a smooth, lilting rhythm and was typically monophonic. Like the estampie, it likely accompanied noble dancing, though with a lighter and more elegant feel. Its simplicity allowed for improvisation and adaptability among performers.

Saltarello and Trotto - Italian Dance Rhythms

In medieval Italy, two dance forms stood out for their energy and style: the saltarello and the trotto. The saltarello was lively and buoyant, often written in triple meter, encouraging dancers to leap and move quickly - hence its name, which comes from "saltare" (to jump). The trotto, on the other hand, had a steadier, more grounded rhythm, often paired with a trotting motion in the dance. These dances were staples at festive gatherings and demonstrate the regional diversity of medieval instrumental music.

Instrumental Interludes in Drama

Medieval dramas - both sacred and secular - often included instrumental interludes to enhance the storytelling. These short musical passages were performed between scenes or during transitions in liturgical plays and public performances. Instruments such as the hurdy-gurdy, shawm, pipe and tabor, or early organs would provide atmosphere and keep the audience engaged. These interludes helped bridge the gap between words and music in medieval theatre.

Cantigas with Instrumental Accompaniment

While primarily known as a collection of sacred vocal songs, the Cantigas de Santa Maria (compiled in 13th-century Spain under King Alfonso X) also showcased the use of instruments. These cantigas were often performed with the accompaniment of harps, lutes, rebecs, and hand drums. The addition of instruments added flair and rhythmic vitality, especially in songs that told miracle stories of the Virgin Mary. Though sacred in nature, their performance was full of musical colour, blending reverence with entertainment.

Part 4 - Instrumental Music in the Medieval Era

While much of the music we associate with the Medieval period is vocal - especially sacred and secular chants and songs - instrumental music also played a vibrant role in medieval life. From grand courts to village festivals, instruments accompanied dances, dramas, and everyday activities. This chapter explores six of the most prominent medieval instrumental music forms, highlighting the cultural settings where they flourished and the popular instruments that brought them to life.

Quick note: Since instrumental music has no lyrics, it is by default not linked to any sacred texts and therefore automatically falls under secular music.

Improvised Folk Instrumentals - The Music of the People

Beyond the courts and cathedrals, instrumental music thrived in everyday medieval life. Much of this music was not written down but passed orally through generations. Villagers used instruments like bagpipes, fiddles, flutes, and drums to play dance tunes at weddings, seasonal festivals, and other community gatherings. These folk instrumentals were lively and repetitive, designed for dancing and celebration. Though they left little trace in written manuscripts, they were an essential part of the medieval soundscape.