# Scoring Horror, Update



## BenG (Aug 12, 2013)

I just recently got asked to score a short horror film (1920's omage, Black/White) and I am very excited as I have never worked with that genre before. Although, I am really unsure of how to approach it especially since I don't read watch horror movies in general:/ 

Does anyone have any tips and/or methods on how to score for this type of film style? Any books, YT videos, scores I could listen to that would help?


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## MarkS_Comp (Aug 12, 2013)

*Re: Scoring Horror*



BenG @ Mon Aug 12 said:


> ...I have never worked with that genre before. ... I don't read watch horror movies in general



They hired a composer to score a genre of film that he has never worked on and knows nothing about? Ok, _that _makes sense....

Symphobia has some patches that will work really well out of the box. Listen to "Psycho" and "Alien" for some influence.


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## dcoscina (Aug 12, 2013)

Roque Banos' Evil Dead is an essay in terrific classic horror scoring. It just came out this year and features some of the best music I've heard written for film- especially mainstream film. 

http://youtu.be/w6L9da1lDzg

p.s. and yes, he uses an actual siren to underscore the demonic possession moments. While not the first time an air raid siren is used (Varese used it 60 years ago in his piece Octandre) it still is inspired.


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## jleckie (Aug 12, 2013)

*Re: Scoring Horror*



MarkS_Comp @ Mon Aug 12 said:


> BenG @ Mon Aug 12 said:
> 
> 
> > ...I have never worked with that genre before. ... I don't read watch horror movies in general
> ...



God help them.


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## dcoscina (Aug 12, 2013)

Here is an actual scene from Evil Dead. Notice the wonderful opening credit card music. Minor Major chord with some terrific aleatoric brass over it. Stupendous. Not that one could achieve this kind of writing with sample libraries....

http://youtu.be/zrr2ltKdeRw


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## MikeH (Aug 12, 2013)

dcoscina @ Mon Aug 12 said:


> Minor Major chord with some terrific aleatoric brass over it. Stupendous. Not that one could achieve this kind of writing with sample libraries....



WIVI can nail that type of writing. I've scored a few horror films that way. Although the 1920's style for the OP will be considerably different. Is it a silent film, Ben?


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## BenG (Aug 12, 2013)

*Re: Scoring Horror*

Thank you for all the very helpful information! 

Obviously, I will be having meeting this week and that will clear up what they're looking for but I didn't want to go in completely blind. I really like the idea of evoking a similar style to Varese, ans I think since it's going to be an older style film, a more orchestral-based score would work best. Herrman seems like a perfect place to start for film scores and Penderecki/Varese would be great on the classical side. 

I appreciate all of your help! *Cue YouTube all nighter*


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## BenG (Aug 12, 2013)

*Re: Scoring Horror*



MarkS_Comp @ Mon Aug 12 said:


> BenG @ Mon Aug 12 said:
> 
> 
> > ...I have never worked with that genre before. ... I don't read watch horror movies in general
> ...



Don't worry, it's a student/low budget film


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## Kuusniemi (Aug 13, 2013)

Take a listen to Fernando Velazquez's scores for "The Orphanage" and "Mama". Both have a really great approach on the horror genre.


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## guitarman1960 (Aug 13, 2013)

*Re: Scoring Horror*

Best horror scores ever in my view are Halloween by John Carpenter, The Fog by John Carpenter, and the incredible Suspiria by Goblin. :D


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## Niah (Aug 13, 2013)

The others is also a fun horror score, kinda classic but not silent-film classic.

Philip glass wrote the score to the silent-film dracula from 1931


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## doctornine (Aug 13, 2013)

*Re: Scoring Horror*

Depends what you're going for - contemporary sounding, or something more authentic to the actual period.

Like most genres, horror movies scores have changed a great deal over time.


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## TimJohnson (Aug 13, 2013)

Hitchcock's back-catalogue... excluding "The Birds" 

I have also had several horror film directors cite Jonny Greenwood.

Best answer for this question is: go and watch as much horror as you can!
There is a big difference between cinematic Hollywood style horror/thrillers, European cult horror and even Japanese horror (e.g. "Ringu" - the original "Ring" - perhaps watch both).

Silence of the Lambs if you haven't seen it - awesome score! On it's own it's nothing spectacular to listen to (although it will have you looking over your shoulder) but put it with the film and sweet Jesus that's some scarey ass music.

Get watching


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## Ned Bouhalassa (Aug 13, 2013)

*Re: Scoring Horror*

softsoftsoftloud
softsoftloudloud
silence

Repeat as often as needed.


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## Walid F. (Aug 13, 2013)

hahah ^


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## Jimbo 88 (Aug 13, 2013)

I once was asked to score a History Channel documentary on a 1950's flood in Sweden. The footage was all black and white/old film look. The producer (who i thought was crazy) wanted an electronica type score mixed with distorted guitar and for me to score it like a horror show. I was totally confused and against this approach, but did it anyway. Well long story short, the score was amazing. 

The point is don't always do what is obvious. Give the "horror" its own voice and go from there.


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## Farkle (Aug 13, 2013)

dcoscina @ Mon Aug 12 said:


> Roque Banos' Evil Dead is an essay in terrific classic horror scoring. It just came out this year and features some of the best music I've heard written for film- especially mainstream film.
> 
> http://youtu.be/w6L9da1lDzg
> 
> p.s. and yes, he uses an actual siren to underscore the demonic possession moments. While not the first time an air raid siren is used (Varese used it 60 years ago in his piece Octandre) it still is inspired.



Whoa. that opening suite is awesome! Very much in the style of the classic noir sounds, reminds me of classic Hermann, as well as the Basic Instinct Score.

This is a great score to hear, very impressed with this composer's vision, and his musicality.

Thanks for sharing, David!

Mike


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## BenG (Aug 13, 2013)

*Re: Scoring Horror*



Ned Bouhalassa @ Tue Aug 13 said:


> softsoftsoftloud
> softsoftloudloud
> silence
> 
> Repeat as often as needed.



Hahaha, I'll keep that in mind 
I will definetly check out Herrman, Greenwood and other films of the time period. Glass' score to Dracula sounds very interesting as well. 

I will actually be speaking with the director and producer tommorow and I'll be able to get a feel for what they are looking. 

Thanks for everyone's help, I already have a much clearer sense of style and approach. Thank god for VI Control


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## Marius Masalar (Aug 13, 2013)

Ok, I'm somewhat bewildered that no one has mentioned Christopher Young's work yet. The man is a master of modern horror.

He covers the range from beautiful horror scores (Drag Me to Hell: http://youtu.be/oTjrasbHzoM) to mind-bending sonic WTFery (Sinister: http://youtu.be/-zf5eO3dLpA) and plenty in between.

I enjoyed Evil Dead's score, but I prefer Fernando Velasquez's horror work. Even Joseph Bishara's Insidious and The Conjuring had their moments.

Horror is an interesting genre to explore. There's plenty beyond the jump scares if you care to look


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## re-peat (Aug 13, 2013)

*Re: Scoring Horror*



Ned Bouhalassa @ Tue Aug 13 said:


> Repeat as often as needed.


Unless he gets offensive of course.

_


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## guydoingmusic (Aug 13, 2013)

@BenG congrats on the gig. 

I'm actually confused by the comments above to the OP that suggest that it's ridiculous to be given a composing opportunity in a genre he hasn't yet had experience in. Haven't we all been there in some way or another? Don't forget you started somewhere too. 

So I say to @BenG, best of luck!


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## Daniel James (Aug 13, 2013)

I'm scoring a horror right now and the things that seem to be working for me right now is the following:

Textures....alot of your score is going to be about setting the tone. It's not so much about 'themes' in the melodic sense but in the textural sence (think the joker theme in The Dark Knight, which could be considered a textural theme)

Ask yourself about what the audience should know about the situation on screen....if there is a big jump scare coming up and the characters in the film are unaware of it, should the audience. 
This can work two ways:

-The audience knows something the characters don't, leading to the shouting "Run bitch ruuuuun" at the tv moments. in which case you are putting the audience on edge textually in antisipation of the moment the horror reaches the characters.

-The audience is with the characters. There is a jump scare coming but the audience, like the characters, are unaware in which case you shouldn't even hint at the horror to come. You score the scene from the perspective of the characters...if they are having fun at a party then its party music if they are hiking...its hiking music. 

I would also recommend when doing textures that you work free form, no set tempo....that way the music has an unnatural and on edge vibe to it...makes it hard for the listener to grip on to which makes them nervous. If however you have lots of tight edits to hit IE chainsaw dude is chasing you around, try to use different time signatures, for the same reason before...keep the audience of balance musically, which leads to a feeling of no control.

Oh and as mentioned in previous posts. You can always fall back on the cliche....have the music build and build "OH FUCK HERE IT COOOOMES!" then nothing does, go to silent for a beatHOLYFUCK BOOOOM AHHHHH 

-DJ


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## BenG (Aug 13, 2013)

*Re: Scoring Horror*

@DJ, Thank you so much! I was looking for an answer like this with regards to method. I am able to figure a general style from listening to other famous scores, but I was lost when it came to implementing it 
Textures and moods definitely seems to be the way to go. I.e. less thematic-material that is melodic-based. Maybe only one or two motifs for the hero/villain, etc. 

@Mathazzar, both of those scores by Chris Young are awesome! Espescially "Drag Me TO Hell"!

I have also been checking out Frank Skinner and Hans Salter, and I think they nail the B n' W, old school horror sound.


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## MikeH (Aug 13, 2013)

*Re: Scoring Horror*



BenG @ Tue Aug 13 said:


> I have also been checking out Frank Skinner and Hans Salter, and I think they nail the B n' W, old school horror sound.



They're the best! 

Another notable composer of this genre during that era was Heinz Roemheld. But you'll have to see what type of sound they're after because a 20's horror score will sound different from a 30's horror score, etc. 30's horror scores tended to be more 'chamber-esque'. The 40's brought more of a large symphonic sound (or as large as you can sound with 30-40 players). The 50's are even more different. So yeah, seeing what type of sound they're thinking is really key.


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## BenG (Aug 13, 2013)

*Re: Scoring Horror*



MikeH @ Tue Aug 13 said:


> BenG @ Tue Aug 13 said:
> 
> 
> > I have also been checking out Frank Skinner and Hans Salter, and I think they nail the B n' W, old school horror sound.
> ...



Great point!


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## dcoscina (Aug 13, 2013)

Sascha Knorr @ Mon Aug 12 said:


> Don't know David. After watching that snippet, I must say I find the music way to epic, beautiful and glorifying in contrast to that scene. I am by no means an expert in the Horror genre and when the music, thats done for those movies these days is generally in the realm of your example, I am actually quite happy, that I don't watch those movies.
> 
> And what is so terrific on this last chord? Davis did those things already in Matrix and Penderecki and other composers of that like even before...



This was the norm for horror films for a very long time- take JAWS, the Omen, Alien, The Final Conflict, Dracula, Bram Stoker's Dracula (Kilar), Goldenthal's Interview with the Vampire...and the list goes on. Most of the score is closer to goldenthal's Alien3 with a lot of aleatoric sections and violent outbursts. The score fits the film incredibly well. 

If he's going for gothic, there is a lot of good melodic content thrown in to this score as well- in fact, it's developed based on 2 primary themes. And the level of variation and development is quite stellar. 

none of the techniques used by Banos or goldenthal or any film composer are new. they all date back to Varese, Ligeti, Xenakis, Crumb, Schoenberg, Webern, Berg, Bartok, Stravinsky, etc...

but it's a lot better than dialing up a preset patch and arbitrarily throwing them into the mix...


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## BenG (Aug 15, 2013)

*Re: Scoring Horror*

So I had a chat with the director and producers and they are really going after a 1930's, early 40's sort of feel and aesthetic. It will actually be a silent film, so the music will be heavily featured and relied on. 

And it seems like Frank Skinner, Hans Salter and the like are a perfect place to learn and listen. Thank you everyone for all of your input!


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## TheUnfinished (Aug 15, 2013)

Buy yourself a bow, go into the kitchen, bow EVERYTHING. Record it.


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## Ned Bouhalassa (Aug 15, 2013)

Right, Matt.

Step 2: add the recordings to a sampler like Kontakt, with Root Key at C3. Play notes around C0.


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## BenG (Aug 15, 2013)

Haha, very true


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## Dan Mott (Sep 3, 2013)

Listen to Charlie Clouser's stuff on the SAW soundtracks. Really inspiring.


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## Greg (Sep 4, 2013)

*Re: Scoring Horror*



MarkS_Comp @ Mon Aug 12 said:


> BenG @ Mon Aug 12 said:
> 
> 
> > ...I have never worked with that genre before. ... I don't read watch horror movies in general



Fake it till you make it! Im sure a lot of us have been in a situation like this before, props to you for getting the director onboard!

Anyways, check out Jason Grave's Dead Space soundtracks. Really fantastic horror composing, theres also a few interviews with him on youtube for some inspiration.

Also for a more orchestral horror sound, Krzysztof Penderecki is the maestro there.


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## ProtectedRights (Sep 4, 2013)

Well since it is black/white 1920 reminiscient, I would try that old piano-predecessor, "Spinett" in german, classical sound in Miss Marple is a glissando cluster chord.


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## wonshu (Sep 5, 2013)

*Re: Scoring Horror*



Ned Bouhalassa @ Tue Aug 13 said:


> softsoftsoftloud
> softsoftloudloud
> silence
> 
> Repeat as often as needed.



Dammit, you scared me there for a moment...

:-D


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## Sasje (Sep 13, 2013)

*Re: Scoring Horror*



BenG @ Mon Aug 12 said:


> I really like the idea of evoking a similar style to Varese.



That would be amazing. I love Edgar Varese to bits! he did some pretty heavy/insane stuff for his time.


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## Sasje (Sep 14, 2013)

How about Krzysztof Penderecki:


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