# Why does the Twilight Zone theme song sound eery?



## Pergamum (Jul 27, 2008)

Its only a few chords, but it sounds eery. Why?


What objective markers account for the subjective labeling of music as happy, sad, or eery? What aesthetic qualities do horror movie producers look for when they pick "scary" music?

Are the chords "in between" or irregular? Is the beat 1,3, whatever instead of 2,4? Are the chords sharp or flat or in some irregular? 

(P.s. I know little about music, I can burp my name and play my armpit but that is about all).


It appears that the quality of music is not totally subjective and yet there is much to be said for this issue being largely an issue of preference (the tune to the song Tequila would seem not to fit at a funeral).






(p.s., a follow up question...what's with the wooden barbie doll flying across space too in the Twilight Zone opening credits? Now THAT'S EERY!).


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## panta dokimazete (Jul 27, 2008)

lol - good question

the core notes are Ab-A-F - half-step combination seems to be a key motif for lots of "scary music" (here is a virtual keyboard to play along ):

YouTube - Twilight Zone intro.

here is an E-F half-step combo

YouTube - Jaws theme!!

c#-d and b-c half steps

YouTube - Halloween Theme Song

another c#-d combo

YouTube - Psycho Theme


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## panta dokimazete (Jul 27, 2008)

Mind the naturalistic presup, but interesting article:

What makes sad music sad?


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## Pergamum (Jul 27, 2008)

Cool...so, beauty might be order and logic and scary music might exhibit "half-steps" or less than complete or "whole rythms'? Can you explain this?

Is a march (2-4) more whole or soothing than a back beat? Are minor keys the main culprit?


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## turmeric (Jul 27, 2008)

What about modal scales?


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## panta dokimazete (Jul 27, 2008)

Pergamum said:


> Cool...so, beauty might be order and logic and scary music might exhibit \"half-steps\" or less than complete or \"whole rythms'? Can you explain this?
> 
> Is a march (2-4) more whole or soothing than a back beat? Are minor keys the main culprit?



Well, now you are complicating the equation! 

Here is a good short summary of the elements of music.

It is fair to say that music is the language of emotion and as with any language, one can structure it to deliver a range of meaning if one understands the cultural context.

That is, I understand the "dialect" of most Western music and can use this knowledge to either write instrumental music that can convey a very basic "mood" or I can marry it with lyrics of that same "mood" to more effectively and deliberately convey a specific message (or vice versa).

Just as there are ranges of capability, talent and skill to communicate in the written word, so is the range of capabilities within music.

A capable trained composer can deliberately take elements such as tonality, harmony and rhythm and construct them to deliver very intentional responses (so can a talented amateur ).

Here are a couple of my favorites:

YouTube - Handel - Messiah - Hallelujah

YouTube - Samuel Barber - Adagio for Strings

YouTube - William Christie - Haydn, The Creation

YouTube - Pavarotti - Nessun Dorma

YouTube - Luciano Pavarotti - Ingemisco

Ingemisco:I groan like the guilty man. My face is red with guilt. Spare me, who kneel before you, O God.

You who absolved Mary Magdalen and favourably listened to the good thief – to me also, you give hope.

My prayers are unworthy, but you, full of goodness, treat me kindly so that I will not burn in fire forever.

Find a place for me amongst thy sheep and separate me from the loathsome goats and stand me on your right side.


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## panta dokimazete (Jul 27, 2008)

turmeric said:


> What about modal scales?



I'd say the same principles apply, but unless the listener's "ear" is "tuned" to them, your intended results may vary. 

Here is a good basic description of the church modes.


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