Its purpose is to create a darker environment for the accompanying suspense stories. But over time the soundtracks of horror movies and series they have become monsters with a life of their own, stalking generations of the scared with their notes of intrigue, tension and fear.
For others, the screeching of violins in the shower scene Psychoor the choppy orchestra of the imminent great white shark attack Jaws they are pieces of art to be celebrated, despite scaring us.
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Therefore, with Halloween around the corner, we remember a selection of the best horror movies and series compositions of all time. And if you don’t believe it, listen to these melodies alone and isolated in a dark room and tell us.
The Omens / The prophecy (Jerry Goldsmith, 1976)
The main theme of this blockbuster, hail satani (long live satan), was the score Academy Award winner in 1977 and the only statuette for Jerry Goldsmith (died 2004) who had been nominated for the Oscar for Best Original Score eight times before with zero wins. Gregorian and choral chants are the backbone of this dark soundtrack that became the referent of satanism for pop culture.
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The Exorcist / The Exorcist (Mike Oldfield, 1973)
The director of this film, William Friedkin, wanted a minimalist soundtrack. This is how the piano melody baptized Tubular Bells by Mike Oldfieldfor the opening of this film which became one of the bands soundtracks of the most iconic horror movies in cinema and a smash hit in its own right for the progressive rock musician. Oldfield later quipped: “I’m the godfather of scary movie music.”
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The shining / The glow (Wendy Carlos and Rachel Elkind, 1980)
Director Stanley Kubrick created a chilling soundscapeusing pieces of the pioneers of electronic music Carlos and Elkindwho made the main theme of this film, based on Dream of a Witches’ Sabbaththe symphony that made the Frenchman Hector Berlioz famous, and in the traditional requiem Dies Irae, a famous 13th century Latin hymn. All this, with the strident rhythms and hissing choruses from a selection of pre-existing concert pieces, which provided the Overlook Hotel and its inhabitants with a appropriately unhinged vibe.
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A Nightmare on Elm Street / Nightmare on Elm Street (Charles Bernstein, 1984)
The composer Charles Bernstein uses a synthesized orchestration with an absolutely chilling effect. With melodies that sound almost like lullabies, but with a terrifyingly shrill consonancethe sheet music A Nightmare On Elm Street it surely keeps triggering nightmares.
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Candyman (Philip Glass, 1992)
It is thanks to this film, or because of it, that lullabies, in certain rhythms, give us goosebumps. Philip Glass was drawn to score this title thinking it would be an independent, artistic adaptation of a Clive Barker short story about an urban legend. Although it is said that Glass was not satisfied with the final result of the staging, his score works on its own merits like a set of haunting music.
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Are you afraid of the dark / Are you afraid of the Dark (Jeffrey Zahn, 1990-2000)
Composer Jeff Zahn says the song came to him while he was waiting at the Montreal airport. He recorded the track in his home studio using standard synthesizers like the Roland 880 with another Montreal musician, Jeff Fisher. People who grew up in the era will recall images of abandoned boats and wind-blown swings to this tune.
The Twilight Zone / The unknown dimension (Marius Constant, 1959-1964)
The dissonant four-note melody of The Twilight Zone touched with a electric guitar It has stood the test of time. 60 years later, it is still instantly recognizable and successfully sets the creepy and mysterious stories that are coming Constant’s song fits perfectly with the science fiction anthology series.
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The X-Files / X-files (Mark Snow, 1993-2002)
the melody of X-files is almost synonymous with looking up to the sky in search of alien activity. But the unmistakable piece was actually the product of a happy accident. Snow was toying with ideas for the supernatural investigative series when he rested his elbow on the keyboard and activated an electronic delay effect that inspired the now famous arpeggio (when the tones are played in rapid succession, usually from the lowest to the highest) four note.
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Unsolved Mysteries / unsolved mysteries (Gary Malkin and Michael Boyd, 1996)
although the new reboot of unsolved mysteries on netflix is similar to the previous version, one key difference is that no host. And while host Robert Stack has been missed by fans for a long time, there’s one aspect of the show that could not be removed: the spooky theme song. Malkin told the LA Times that “I used to get letters all the time from parents saying, ‘Could you change the theme song? Our kids are terrified of it.‘”. Composers started with the ostinato on a piano, which is a continuously repeating musical rhythm, they also make use of a combination of tones that creates a sense of tension. And a curious fact: the theme is called The Devil’s Interval.
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stranger things (Kyle Dixon & Michael Stein, 2016)
The music of stranger things became an instant modern classic at the time viewers tuned in to season 1 in 2016. The nostalgic 80s sheet music draws on its predecessors powered by synthesizers like Halloween by John Carpenter, and includes many popular songs of the time. However the haunting and throbbing opening theme leads the way for a new generation of spooky movies and TV shows.
Halloween (John Carpenter, 1978)
In 1978, when the emerging “master of horror” John Carpenter made Halloweenthe movie slasher that revolutionized the genre for the next decade, I was 30 years old. He not only co-wrote the script and directed the actors, but he also wrote a rattling piano melody for the film’s main theme, one of the most chilling scores in the horror genre. He was inspired by the spooky music of Suspiria by Goblin and the expressionist score of Psycho by Bernard Hermann.
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Jaws (John Williams, 1975)
The suspense and terror of the story of the man-eating shark, Jaws, is simply but effectively reinforced with just a couple of well-chosen notes. the extraordinary film composer John Williams opt for alternate notes a semitone apart, played by the tuba. Williams himself summed it up well when he described the music as “grinding, like a shark would. Instinctive, relentless, unstoppable…”
Psycho / Psychosis (Bernard Hermann, 1960)
there is no more sound central to a horror movie than the creaking ropes in the shower scene in Psycho (Psychosis). The composer Bernard Herrmann had recorded no less formidable film credits in Citizen Kane Y Ultimatum to Earthbut it was his work with Alfred Hitchcock that was the most resonant. Those strings, forcibly plucked and ringing at a strange frequency, have scared mankind ever since.
Source: Eluniverso
Paul is a talented author and journalist with a passion for entertainment and general news. He currently works as a writer at the 247 News Agency, where he has established herself as a respected voice in the industry.
