How to Write Medieval Metal Songs

You want your song to sound like a tavern brawl and a cathedral choir had a beautiful, loud baby. You want throat shredding, majestic strings, ancient modes, and a lyric that smells like oak and old maps. This guide gives you step by step tools to write medieval metal songs that feel authentic but still hit like a freight train. Also you will get practical recording and stage tips so the song is not just a great idea stuck in your head.

Everything here is written for musicians who jam, tour, tweet and binge playlists. Expect exercises, real life scenarios, and plain definitions for any acronym you meet. We will cover instruments, modal harmony, lyric voice, vocal techniques, recording tips, arrangement templates, mixing pointers, live show strategies, and how to avoid sounding like a cosplay band that only knows two chords. You will leave with a clear method to write medieval metal songs that feel epic and original.

What Is Medieval Metal

Medieval metal is a branch of heavy music that blends metal energy with pre modern folk sounds. It borrows instruments, modes and lyrical themes from medieval and folk traditions. Bands add hurdy gurdy, bagpipes, fiddles, lutes, pipes, and choir like vocals to guitars, bass and drums. The result can be atmospheric, celebratory, ritualistic, battle ready, or heartbreakingly ancient.

Think of it as a fusion where electric distortion meets rustic acoustic textures. There is overlap with folk metal and pagan metal. Folk metal is a broader term that includes any folk tradition. Medieval metal specifically leans into European medieval tonalities and instruments. You will hear modes like Dorian and Phrygian, drone notes that mimic a hurdy gurdy wheel, and lyrics that invoke old rituals, sailors, fallen knights, or weathered townsfolk.

Example bands for reference. Eluveitie, Skyclad, In Extremo, and Corvus Corax have legible medieval flavors. Each band blends authenticity and modern power differently. Listen to one track from each and notice instrument blends and singing choices. That will give you a palette to steal from responsibly.

Core Elements of Medieval Metal

• Authentic acoustic instruments that carry melody and texture. Hurdy gurdy, bagpipes, fiddle, recorder or flute, and lute family instruments.
• Modes and drones such as Dorian, Aeolian, Phrygian, Mixolydian, and pedal drones under chords.
• Metal rhythm and power with distorted guitars, tight bass, and impactful drums including double bass technique where appropriate.
• Lyric themes about myths, harvests, battles, tavern life, saints, gods, or personal sorrow framed by historical images.
• Vocal contrast between clean melodic singing, choral gang vocals, and aggressive harsh vocals for drama.
• Production choices that allow old world textures to breathe inside modern mixes.

Instruments and Sound Choices

How you sound starts with what you and your band can actually play. You do not need a museum budget to get medieval vibes. Here are practical instrument choices that work on any budget and how to use them like a pro.

Acoustic and folk instruments

Hurdy gurdy. This classic instrument gives a constant drone and melodic wheel sound. If you cannot get a live hurdy gurdy hire a good sample library or a hurdy gurdy player for the studio. When you use samples, tune them and add small imperfections to sound alive.

Bagpipes. Very identifiable. Use sparingly unless you are writing a full on pipe anthem. If you have a bagpipe player consider dynamics and breath. If you use samples layer them behind strings or guitar to reduce piercing frequencies.

Fiddle and violin. Brilliant for melodies, countermelodies, and harmonic pads. A bowed instrument carrying a modal line lifts emotion quickly.

Recorders, wooden flutes and tin whistles. These carry melody with clarity and can cut through a distorted mix if recorded properly. Use them for intro motifs or to mirror a guitar line an octave higher.

Lute, cittern, and bouzouki. Plucked textures create rhythmic drive and medieval color. They work well in acoustic intros and as doubled rhythm under electric guitars.

Guitars and bass

Electric guitars provide the body that makes the song heavy. Tuning choices matter. Drop D, drop C or even standard tuning with thick lower guitar strings all can work. If you want vintage medieval darkness pick drop D and tune your acoustic folk instruments to match modes.

Guitar tone tip. Use a tight low end and mid scoop in some passages to make room for hurdy gurdy or violin. For chorus hits bring the mids back up so the guitars cut through. Double the guitar riff with a clean electric or acoustic to make it sound bigger.

Bass. The bass should lock with the kick drum and provide the drone or pedal note in places. A simple steady bass line that follows the drone can be more effective than busy runs. If the song needs movement use fills that reinforce modal notes.

Drums

Drums carry the energy. For medieval metal you will use both tribal grooves and standard metal patterns. The gallop rhythm borrowed from traditional metal can add battle vibe. Double bass is a go to tool. Use tom fills to add a tribal pulse. Keep dynamics obvious so the acoustic instruments can be heard in softer sections.

Keyboards and samples

Keyboards are essential for filling sonic space when live folk instruments are not present. A choir patch, organ pad, or a sampled medieval instrument can create great atmosphere. Use convolution reverb to place sampled instruments in realistic rooms so they sit well with live recorded parts.

Modes, Scales and Harmony

Modes are the secret sauce for medieval flavor. A mode is a scale with a specific pattern of intervals. It is not a complicated idea. Think of modal scales as ways to color your melody and chords with different emotions.

Quick definitions for the acronyms and terms you will meet. BPM stands for beats per minute. A DAW is a digital audio workstation which is the software you record in such as Ableton Live, Logic Pro, Cubase, or Reaper. MIDI stands for Musical Instrument Digital Interface which carries note and performance data to virtual instruments. EQ stands for equalization and is the tool you use to boost or cut frequencies.

Common modes and how they feel

• Dorian feels minor but has a raised sixth which gives it hopeful tension. Example scenario. A rebel in a small boat singing about leaving with lanterns.
• Aeolian is natural minor. It is melancholic and familiar to metal fans. Use it for ballads about lost kin or ruined castles.
• Phrygian has an exotic, dark flavor because of the low second. It can sound ancient and dramatic. Great for doom like slow sections or ominous intros.
• Mixolydian is major with a flattened seventh. It feels celebratory but old. Use it for tavern anthems and sing along parts.

How to use modes in songwriting

Pick one mode for the verse and another for the chorus if you want color change. Or stay in one mode and use a borrowed chord for lift. Example. Verse in D Dorian. Chorus borrows the F major chord from D minor to create a moment of major lift. Think of modes as different palettes. You will not need to name them on stage. But knowing the shapes helps craft melodies that do not sound like modern pop by accident.

Drones and pedal notes

Drones emulate medieval instruments and create a solid center. A drone is a sustained note under changing chords. Use a low D or A on bass or on a hurdy gurdy sample. It creates trance like unity. In modern mixes automate volume so the drone breathes with the song and does not become mud.

Songwriting Method for Medieval Metal

Here is a repeatable workflow to write a medieval metal song from riff idea to demo. Follow it with a timer and you will be surprised how fast a strong sketch appears.

1. Pick the emotional promise. One sentence that states the song. Example. We ride at dawn to steal the winter king crown. Keep it specific.
2. Create a motif. This can be a two bar melody on a flute or a four chord guitar riff. Record a raw loop. Work on it until singing on vowels produces a memorable gesture.
3. Choose a mode. Play the motif in Dorian or Phrygian and see what sticks. If the motif sounds brighter move to Mixolydian. Match the mode to the lyric theme.
4. Write the chorus. The chorus is the thesis. Keep it short and repeatable. Use a ring phrase which is a short line repeated at the start and end of the chorus to cement memory.
5. Build verses. Add concrete imagery. One verse could show a tavern, the next verse shows a sunrise. Use objects as anchors. Example. The black mug left cold on the bench becomes an emotional device.
6. Add folk orchestration. Layer a simple fiddle countermelody and throw in a drone under the pre chorus. Use harmonic space so the metallic guitars do not drown everything.
7. Record a demo. Use your DAW. Keep the demo focused on the hook and the main motif. You want the idea to translate without perfect performance.

Lyrics That Feel Medieval Without Being Fake

Lyrics matter. They are what make the song feel like a tale you want to sing at a bonfire. But avoid cheap archaic words for the sake of flavor. You do not need every second word to be thou or thee. Instead use sensory images, small details, and a clear emotional anchor.

Practical lyric rules

• Use concrete objects. The reader remembers a rusty chain more than the phrase I am trapped.
• Add a time or place crumb. Midnight, the thaw, the second tower on the west wall. These make the scene cinematic.
• Use one archaic word as seasoning not the whole stew. Words like hearth, scribe, leech, or keel have strong flavor.
• Balance the old and the new. A chorus line like We raise our voices against the cold will sound universal and modern while verse details provide the medieval imagery.

Examples

Weak. I am sad and alone in the winter.

Better. My cloak smells like smoke and lost gold. The lighthouse keeps its single eye closed.

Use everyday modern metaphors sparingly. A relatable line helps millennial and Gen Z listeners. Example. Your betrayal tastes like stale beer works because it mixes an ancient action with a modern taste.

Vocal Styles and Arrangements

Medieval metal often uses vocal contrast. Clean leads deliver melody and lyrics. Harsh vocals add rage or ritual energy. Gang vocals and choir stacks create communal feeling.

Clean vocal strategies

Sing like you are telling a story to one person and also to a crowd. Keep verses intimate and the chorus open and wider. A good trick is to record a dry intimate lead for verse and then add a more open vowel second take for chorus. That creates the sense of walking from a candle lit room into a stadium.

Harsh vocals

Growls and screams can punctuate lines or power entire sections. Use them to represent battle screams, death, or supernatural force. If you do not scream safely get coaching. Bad technique will ruin your vocal cords and your weekend plans.

Choirs and gang vocals

Group vocals sell the community and ritual feeling. Record multiple people singing the same line, or record the same singer several times and pan each take. Add slight timing differences and tonal differences to create a real crowd texture.

Production and Recording Tips

Now you have parts. The mix is where medieval textures and metal power either make peace or fight forever. Practical tips to make them cooperate.

Recording acoustic instruments

Microphone tips. Use a condenser microphone for detailed acoustic instruments like recorder or lute. Place the mic within one to three feet depending on the instrument and the boom of the room. For hurdy gurdy capture both close for attack and a room mic for natural resonance.

Room. If you have access to a great sounding hall or church room record a few takes there. The natural reverb can make your track feel ancient. If you only have a bedroom add convolution reverb in the mix and sample the impulse from a real room that matches your desired space.

Mix tips for clarity

• EQ separation. Cut frequencies in guitars where the fiddle or hurdy gurdy needs presence. Carve space instead of boosting every instrument into the same band.
• Sidechain the choir or drones lightly to the kick drum to keep the rhythm intact during heavy hits.
• Reverb and delay. Use shorter reverbs for rhythmic instruments so the groove stays tight. Use longer church like reverbs for choirs and pads to add that cathedral feeling.
• Panning. Place folk instruments slightly wide to leave center for vocals and main riffing guitars. Add a stereo double for the lead instrument if you recorded one take only.

Blending samples and live instruments

When you use samples layer them with live takes if possible. A sampled bagpipe can sit on top of a real violin. Slight detuning or adding a tiny bit of tube saturation makes samples feel less clinical. Also add human noises like breath and fret squeaks. The ear knows authenticity and you want to play with that.

Arrangement and Dynamics

Medieval metal thrives on contrast. A quiet chant followed by full band explosion is a classic move. Use dynamics to tell a story.

Common arrangement shapes

• Intro motif that returns. Start with a solo folk instrument and bring the band in full force on the chorus.
• Verse that tames the guitars while folk instruments lead. Let the chorus open wide into full distortion and gang vocals.
• Instrumental middle section for dance tempo or battle gallop. This is where fiddles and pipes get solos.
• Bridge that strips to a chant or spoken word before a final cathartic chorus.

Song Structure Templates You Can Steal

Template A Epic Saga

• Intro motif with choir and hurdy gurdy
• Verse one low band texture and intimate vocal
• Pre chorus drone and increasing toms
• Chorus full band gang voice and lead guitar anthem
• Verse two adds fiddle countermelody
• Instrumental battle with gallop rhythm and flute solo
• Bridge chant in a different mode
• Final chorus with choir stacks and double time ending

Template B Tavern Anthem

• Cold open with a stomping rhythm and whistle
• Verse one story telling with acoustic guitar
• Chorus big sing along with call and response
• Short middle eight with spoken story
• Final chorus with extra harmony and claps

Template C Ritual Doom

• Slow intro with organ and drone
• Verse low chant and minimal drums
• Chorus heavy guitar and low growl
• Long instrumental drone and bowed strings
• Final slow fade with choir and bells

Common Mistakes and How to Fix Them

• Overloading the mix. Problem. Too many folk sounds at once create mud. Fix. Prioritize one lead folk instrument per section and reduce others to padding.
• Being cheesy. Problem. Every line reads like a fantasy novel blurb. Fix. Ground lyrics in small details and real feelings. Make it about one human with hands and a problem.
• Ignoring dynamic range. Problem. Everything is loud. Fix. Give the audience a quiet moment so the chorus lands harder. Use automation to shape energy.
• Bad sample timing. Problem. Sample loops feel robotic. Fix. Add slight timing variations and humanize the MIDI. Shift notes by a few milliseconds and vary velocity.
• Poor live planning. Problem. You cannot bring a hurdy gurdy on the bus and the guitar player dies inside. Fix. Use backing tracks for festival shows and keep acoustic players for club gigs. Plan cues and practice transitions.

Practice Exercises and Prompts

Do these exercises to build skills that translate into songs.

The Mode Swap Drill

Write one riff in a minor key. Play the same riff in Dorian and Mixolydian. Record both versions and note how each makes the melody feel. Pick the best one for your song idea.

The One Object Story

Pick an object you see. Write a verse where every line mentions the object but in a different role. This trains you to use props for emotional weight.

The Drone Window

Create a two minute loop with a single drone note and a melody on top. Do not change chords. Push the melody to tell a full story within repetition.

Gear and Budget Options

If you are starting with zero budget here are realistic choices that still get great results.

• DAW. Reaper is affordable and powerful. Audacity is free for basic editing but limited for modern production.
• Interface. A two input audio interface like Focusrite Scarlett Solo gives you a mic and a guitar input to start.
• Microphone. A large diaphragm condenser is versatile. Add a dynamic mic like the SM57 for louder sources.
• Virtual instruments. Invest in one good medieval sample pack or a folk instrument library. Many companies sell affordable libraries for hurdy gurdy, lute, and medieval choirs.
• Pedals and amps. For live gritty tone a tube preamp or a good drive pedal will help you cut back on heavy amp volume.

Collaboration and Cultural Respect

Medieval music sources come from cultures and histories. If you borrow melodies from living traditions credit the source. If you work with a traditional musician pay them fairly and let them define how their instrument is played. Avoid pretending that you discovered a culture by reading one Wikipedia entry. If a language appears in your song get a proper translator and phonetic guidance so your vocal delivery is believable and respectful.

Case Studies and Breakdowns

Break down a famous medieval metal track in your head. Listen for instrument placement, mode use, and lyric technique. Here are quick snapshots to train your ear.

Eluveitie reference. Listen to the way the hurdy gurdy or violin carries the central motif while guitars add rhythm and force. The vocals alternate between chant like clean singing and harsh textures. Notice how the mix gives space to the folk instruments without making them background props.

Skyclad reference. Listen to the lyrical wit and how a simple acoustic chord progression supports strong melody. Skyclad often uses imagery in close quarters which helps you feel the story instantly.

How to Write Your First Medieval Metal Song Today

1. Pick a one sentence theme that fits medieval imagery. Make it vivid and specific.
2. Create a two bar motif on a folk instrument or guitar at 90 to 140 BPM depending on mood.
3. Choose a mode. Try Dorian or Mixolydian first.
4. Write a short chorus with a ring phrase you can sing back. Keep it under 12 words if possible.
5. Write two verses with concrete objects and time crumbs. Keep the story moving.
6. Arrange with intro motif, verse, chorus, verse, instrumental, chorus, bridge, final chorus. Use dynamics to build.
7. Record a demo in your DAW and share it with two friends who are honest and loud. Ask them what line they remember first.
8. Fix only the one element that blocks the emotion. Then sleep and come back with fresh ears.

Frequently Asked Questions

What modes sound medieval?

Dorian, Phrygian, Aeolian and Mixolydian are common. Dorian gives a minor but hopeful feel. Phrygian adds darkness. Aeolian is natural minor and feels mournful. Mixolydian feels ancient and celebratory. Try the same melody in each and choose the mood you need.

Do I need real folk instruments or can I use samples

Samples are fine and often necessary. Live players add nuance that samples cannot fully reproduce. A good compromise is to use samples for demos and hire one or two live players for the final recording or for key solos. When using samples process them to add human variations so they breathe.

How do I avoid medieval cliche lyrics

Focus on small human details rather than sweeping fantasy adjectives. Use objects, specific places and short time markers. If you must use archaic words use only one or two per song to keep authenticity without parody.

What tempo works best

There is no single tempo. For anthems 100 to 130 BPM works well. For ritual doom go 60 to 80 BPM. For battle gallops push 140 to 180 BPM. The tempo should suit the lyric and the groove you want listeners to move to.

How do I make acoustic instruments cut through a heavy mix

Use EQ to give the instrument a presence band around 1.5 to 4 kHz. Add a short presence boost and avoid competing guitar frequencies in the same band. Use mid side processing to widen the guitar while keeping the flute more centered. Compression and transient shaping also help for sustained instruments.

Should I sing in old languages

Singing in old languages can be powerful but requires research. Use a translator, get phonetic coaching, and understand the meaning so you deliver with intention. If you use one line in a different language place it in the chorus or a key phrase so listeners can grasp its weight.