Theory Corner: The Rhyme and Rhythm Behind Halloween and Horror Music
It’s finally my time—spooky season—and I’m about to make it everyone’s problem. Whether you’re enjoying a classic horror movie marathon with your family or having a slasher flick night with friends, there’s always some kind of sinister or unnerving music (or even just creepy sound effects) setting the mood. So what exactly makes this music sound scary? Let’s talk about it.
The Tritone – “The Devil’s Interval”
At the heart of many spooky melodies lies the tritone, an interval spanning three whole tones (e.g., C to F#). In medieval times, this unsettling sound was nicknamed diabolus in musica—“the devil in music”, which honestly sounds pretty metal. Its dissonant clash creates immediate tension, which composers love to use in horror scores and Halloween-themed music.
Dissonance and Clashing Harmonies
Unlike the pleasing and often jovial sounds of a major chord, horror music often leans into dissonance—notes that don’t quite “fit” together. It’s kind of like trying to jam in a puzzle piece that looks like it belongs but doesn’t quite click into place. Composers like Bernard Herrmann (think Psycho) and many modern artists use layers of clashing harmonies and avoid resolution, which creates that uneasy, unsettled feeling we associate with fear.
Unpredictable Rhythms and Uneven Meter
A good scare always comes from the unexpected! I got a taste of this myself when I worked as a scare actor in SeaWorld’s Howl-O-Scream, where keeping people off-balance was part of the fun. Horror music frequently uses strange time signatures (like 5/4 or 7/8) or irregular rhythms to keep listeners off-balance. Combine that with sudden dynamic shifts or jarring tempo changes, and you’ve got a feeling of musical unease.
Sound Design & Texture – Less Melody, More Atmosphere
In modern horror scores, composers often abandon traditional melodies in favor of texture. Think eerie string glissandos (sliding notes), whispering woodwinds, or electronic drones. These create a soundscape that feels more like creeping fog than a singable tune—perfect for building suspense. These atmospheric sounds and noises are enough to force attention elsewhere, and I guarantee any instrument is capable of producing them with plenty of experimenting.
The Minor Key is King
Finally, many Halloween favorites are written in minor keys, which naturally sound darker and more somber than their major counterparts. Try playing “In the Hall of the Mountain King” or The Addams Family theme in a major key—you’ll quickly realize why flats feel so much darker than sharps. The Nightmare Before Christmas soundtrack (or any Danny Elfman composition really) is a fun pit stop for spooky season shenanigans.
Try It Yourself!
You can challenge yourself this month to compose an 8-bar spooky piece. Use a minor key, experiment with tritones, and don’t be afraid of a little dissonance. You can and probably will drive your parents nuts (batty even), but hey—they can’t stop you because you’re learning!
