Tarantella - An Ancient Ritual to Piano Repertoire Part 1

Performers in traditional attire engage in a lively Tarantella dance, accompanied by musicians playing authentic instruments, set against a picturesque backdrop for a theatrical production.

The tarantella is one of Italy's most celebrated and lively folk dances, deeply woven into the nation's cultural fabric. Today it is widely recognised as a festive and lighthearted performance, particularly at weddings, its origins are ancient and remarkably peculiar, stemming from a belief in a "spider bite" cure. The dance's journey from a supposed antidote to a medical condition to a sophisticated musical form highlights its profound role as a cultural mirror, reflecting the beliefs, fears, and evolving social dynamics of the people who embraced it.

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The Legend of Tarantism

The tarantella traces its origins to Southern Italy, specifically to the city of Taranto in Puglia, often referred to as the "heel" of Italy's "boot".  Its emergence is documented as early as the fifteenth century, though its roots may extend even further back. The very name "tarantella" is derived from "tarantism," a hysterical condition believed to be caused by the bite of a local wolf spider, the Lycosa tarantula, or tarantola in Italian.  This spider, native to the region, became the subject of considerable myth and lore.

According to popular belief, the spider's venom was thought to induce frenzied behavior in its victims. Those afflicted, known as tarantata, would experience contortions, enter states of delirium, or begin dancing convulsively. The accepted remedy for this supposed possession was a frantic, non-stop dance, accompanied by fast-paced, rhythmic music known as pizzica (from pizzico, meaning "bite" in Italian).

Musicians, playing instruments such as mandolins, guitars, and tambourines, would be summoned to provide the rhythm, compelling the tarantata to dance for hours or even days until exhaustion, at which point she was considered "cured" as the venom was believed to be expelled through perspiration. This combination of music and dance was widely accepted as a legitimate remedy, even among scholars of the time. Beyond the immediate musical therapy, a definitive healing was often sought through the grace of Saint Paul, with a final healing ritual occurring annually on June 29th in a chapel dedicated to the Saint in Galatina.

While a tarantism "epidemic" swept through Puglia and other southern Italian regions like Sicily, Calabria, and Campania between the fifteenth and seventeenth centuries, modern understanding suggests that the spider's bite, typically no more severe than a bee sting, was not the true cause.

Musical Characteristics of the Tarantella

The music of the tarantella is inherently fast, upbeat, and lively, often described as shrill, mirroring the frenetic energy of the dance itself.  Its characteristic time signature is 6/8 or compound duple time. The "driven 6/8 rhythm" is considered the archetypal pattern, creating a sense of relentless motion.

Musically, the tarantella is defined by specific rhythmic patterns, such as alternating DA-da DA-da and DA-da-da DA-da-da.  Melodically, the music often alternates between major and minor keys, contributing to its dynamic character and, in some instances, evoking a "dark and delirious" feel reminiscent of its origins. The "spinning patterns" frequently found in classical piano pieces inspired by the tarantella directly reflect the whirling motion of the dance.

The music was not an accompaniment; it was considered an active therapeutic force. In the context of tarantism, musicians were beckoned to perform a specific rhythmic style of music, pizzica, (from pizzico, meaning "bite" in Italian) which was believed to be the only way to induce the frantic dance necessary to "sweat out the poison". The sound of the instruments and the voices of the musicians were regarded as powerful triggers for the dance, stimulating the affected individuals to move. This highlights a pre-modern understanding of music's physiological and psychological impact, where specific rhythmic patterns and fast tempos were deliberately designed to induce and sustain the frenetic dance deemed necessary for healing, akin to a form of sonic medicine.

Piano Examples for Level 6 & 7 Study

The tarantella, with its characteristic rhythms and energetic demands, is a valuable addition to a piano student's repertoire. These pieces help develop finger dexterity, rhythmic precision, and musical expression. 

Folk forms like the tarantella offer inherent rhythmic vitality, clear structural patterns, and often a narrative quality that makes them fun to play. They provide a bridge between cultural history and musical technique, allowing students to connect with a piece beyond just the notes on the page, enriching their musical understanding and appreciation.

These pieces offer skills in perpetual motion and rhythmic precision, introducing them to the characteristic energy and rhythmic patterns while developing fundamental piano techniques.

Friedrich Burgmüller: Tarantella in D minor, Op. 100 No. 20

Friedrich Burgmüller's "Twenty-five Progressive Pieces, Op. 100" is a cornerstone of intermediate piano study, and his "Tarantella" is one of the most ambitious pieces in the collection. This intermediate-level piece is presented in a tarantella-rondo form, offering excellent practice in finger substitution for the right hand and a variety of harmonies in the left. It features a central episode in the parallel major key and includes elements such as staccato and grace notes, along with first and second endings, which are valuable for developing students.

Download the Music: 25 Études faciles et progressives, Op.100 (iMSLP)

Stephen Heller: Petite Tarantelle, Op. 46 No. 7

Stephen Heller's etudes are renowned for their blend of musicality and technical challenge. His "Petite Tarantelle" is a foot tapping, energetic piece typical of the genre, written in 6/8 time. It includes octaves and larger chords, making it suitable for intermediate-level students. The piece is in E minor and marked Vivace.  

Download the Music: 30 Etudes progressives, Op.46 - IMSLP 

A Living Tradition in Music and Dance

The tarantella's journey is a remarkable narrative, tracing its path from a mysterious, curative ritual rooted in ancient beliefs and societal pressures to a lively, celebratory folk dance, and finally, to a sophisticated and enduring form within classical music. Its origins, steeped in the peculiar legend of tarantism and the supposed spider bite, reveal a fascinating chapter in cultural history where folklore, early medical understanding, and social expression intertwined. The dance served as a vital outlet for marginalized women, offering a unique means of emotional release within a restrictive society.

As the legend faded, the tarantella demonstrated its remarkable adaptability, transforming into a vibrant courtship and celebratory dance, a testament to its inherent appeal and capacity to evolve with changing cultural contexts. This continued relevance is evident in its enduring presence at modern Italian weddings and in phenomena like "Neo-Tarantism," which explores its rhythmic and potentially therapeutic effects.

For piano students, the tarantella offers a dynamic and engaging pathway to develop essential technical skills and musicality. Pieces by composers like Burgmüller and Heller provide an accessible entry point into this spirited genre, allowing learners to connect with a rich cultural history while building a strong technical foundation. The tarantella thus stands as a captivating and timeless subject, uniquely bridging history, folklore, social commentary, and musical artistry, continuing to enchant musicians and cultural enthusiasts alike.

Quiz

1. What is the central belief behind the origin of the tarantella dance, and where did this belief primarily emerge? 

2. Describe the pizzica music and its role in the supposed cure for tarantism. 

3. Beyond the immediate musical therapy, what other element was often sought for definitive healing from tarantism? 

4. How did modern understanding challenge the historical belief about the severity of the spider's bite?

5. What are two key musical characteristics of the tarantella identified in the text? 

6. How did the tarantella serve as a "vital outlet" for marginalized women in restrictive societies? 

7. Name two classical composers whose tarantella pieces are suggested for piano study in the text. 

8. What specific technical skills do tarantella pieces help piano students develop, according to the text?

9. How has the tarantella demonstrated its adaptability after the legend of tarantism faded? 

10. What is "Neo-Tarantism," and what does it explore? 

    
    
    
    

Essay Questions

1. Discuss the evolution of the tarantella from a "supposed antidote to a medical condition" to a "sophisticated musical form." How does this transformation reflect "evolving social dynamics"?

2. Analyse the relationship between music and healing in the context of tarantism. To what extent was the music considered an active therapeutic force, and how did this reflect a "pre-modern understanding of music's physiological and psychological impact"?

3. Compare and contrast the historical perception of the Lycosa tarantula's bite with modern scientific understanding. How did the societal acceptance of the "spider bite" cure impact the cultural significance of the tarantella during the "tarantism epidemic"?

4. Examine the tarantella's role as a "cultural mirror." How does the dance reflect the "beliefs, fears, and evolving social dynamics of the people who embraced it" through its origins and later adaptations?

5. For piano students, the tarantella is presented as a "valuable addition to a piano student's repertoire." Discuss the specific technical and musical benefits of studying tarantella pieces, using examples from the text.

Glossary of Key Terms

• Tarantella: One of Italy's most celebrated and lively folk dances, originally believed to be a cure for a spider bite, now widely recognised as a festive performance.

• Tarantism: A hysterical condition believed to be caused by the bite of the Lycosa tarantula spider, particularly prevalent in Southern Italy between the fifteenth and seventeenth centuries.

• Taranto: A city in Puglia, Southern Italy, often referred to as the "heel" of Italy's "boot," from which the tarantella and tarantism are said to derive their names.

• Lycosa tarantula (tarantola): A local wolf spider native to Southern Italy, whose bite was mistakenly believed to induce tarantism.

• Tarantata: Individuals afflicted with tarantism, believed to experience contortions, delirium, or convulsive dancing after a spider bite.

• Pizzica: A fast-paced, rhythmic music (from pizzico, meaning "bite" in Italian) considered the accepted remedy for tarantism, believed to induce the frantic dance needed to expel the venom.

• Compound Duple Time: A musical meter where each beat is divided into three subdivisions, typically found in the 6/8 time signature characteristic of the tarantella.

• 6/8 Time Signature: A common time signature for the tarantella, indicating six eighth-note beats per measure, grouped in two main beats, each divided into three.

• St. Paul: A saint whose grace was often sought for definitive healing from tarantism, with an annual healing ritual occurring on June 29th in a chapel dedicated to him in Galatina.

• Galatina: A location where a chapel dedicated to Saint Paul existed, serving as a site for an annual healing ritual for those afflicted with tarantism.

• Friedrich Burgmüller: A composer known for his "Twenty-five Progressive Pieces, Op. 100," which includes the "Tarantella in D minor, Op. 100 No. 20," an important intermediate piano study piece.

• Stephen Heller: A composer renowned for his etudes, including the "Petite Tarantelle, Op. 46 No. 7," an energetic intermediate-level piano piece typical of the genre.

• Neo-Tarantism: A contemporary phenomenon that explores the rhythmic and potentially therapeutic effects of the tarantella, signifying its continued relevance and adaptability.

Created with the assistance of AI, all facts and sources verified.

Reference list

• Ernesto De Martino and Dorothy Louise Zinn (2005). The Land of Remorse : a Study of Southern Italian Tarantism. [online] London: Free Association Books. Available at: https://www.scribd.com/document/529066147/The-Land-of-Remorse-a-Study-of-Southern-Italian-Tarantism-by-Ernesto-de-Martino-Z-lib-org [Accessed 14 Jul. 2025].

• Hall, Dr.C. (2025). Burgmüller: Tarantella, Op. 100 No. 20 | Cory Hall, pianist-composer. [online] Youtu.be. Available at: https://youtu.be/XjPHDkE27Cw?si=5YwqvdbBAb9bVSgW [Accessed 14 Jul. 2025].

• IMSLP (n.d.). 25 Études Faciles Et Progressives. [online] imslp.org. Available at: https://imslp.org/wiki/25_%C3%89tudes_faciles_et_progressives,_Op.100_(Burgm%C3%BCller,_Friedrich) [Accessed 14 Jul. 2025].

• IMSLP (n.d.). 30 Etudes progressives, Op.46. [online] imslp.org. Available at: https://imslp.org/wiki/30_Etudes_progressives,_Op.46_(Heller,_Stephen) [Accessed 14 Jul. 2025].

• Italian American Museum of Los Angeles (2020). Southern Italy’s Tarantella the ‘Dance of the Spider’ Folk Dances oF the WorlD: Made Possible in Part by a Grant from the City of Los Angeles Cultural Affairs Department PMS 285. [online] Available at: https://iamla.org/docs/IAMLA_TarantellaLesson.pdf [Accessed 14 Jul. 2025].

• RoadToVirtuosity - Sheet Music (2025). Heller - Tarantella Op. 46, No. 7. [online] Youtu.be. Available at: https://youtu.be/kuIUhAxdyu4?si=EXQao-8q8iRyxhkI [Accessed 14 Jul. 2025].

• Roffel Automatisering (2023). The Classical Tarantella Dictonary Page on Classic Cat. [online] Classiccat.net. Available at: https://www.classiccat.net/dictionary/tarantella.php [Accessed 14 Jul. 2025].

• Saint-Louis, L. (2013). La Tarantella Italiana. [online] History and Development of Dance/ Brockport. Available at: https://dancehistorydevelopment.wordpress.com/2013/05/07/la-tarantella-italiana/ [Accessed 14 Jul. 2025].

• Tita, M. (2020). Healing Songs and Music in Southern Italy: the Case of Tarantism. Tautosakos Darbai, [online] 59, pp.134–146. doi:https://doi.org/10.51554/td.2020.28371.