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Thread: ► [VDA] Top 40 Scariest Horror Movie Themes ◄

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    Wink ► [VDA] Top 40 Scariest Horror Movie Themes ◄

    ► [VDA] Top 40 Scariest Horror Movie Themes ◄

    This is My First Thread in This Section ... Enjoy

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    Arrow Top 10 Scariest Movie Themes

    Top 10 Scariest Movie Themes


    The score to a horror movie can be the most essential thing sometimes. It sets the mood, the pace, everything. A great score can even make a bad horror movie seem semi-decent if the music is scary enough. Try putting these themes on a Halloween mix for trick-or-treaters this year if you want to keep all your candy. Next week, we’ll do another user-submitted Top 10 (VM Me! ), but for now, enjoy my list of the Top 10 Scariest Movie Themes.
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    10. Rosemary’s Baby (1968), composed by Krzysztof Komeda



    Director Roman Polanski hit the zietgeist with this psychological horror classic, in which Mia farrow gives birth to the spawn of Satan. Polanski may have hit a nerve with parents who couldn’t understand what had happened to their sweet children in the late 60s, but it was Polish jazz pianist and composer Krzysztof Komeda who set the mood with his creepy theme music, using a lilting lullaby voice and a string-led waltz to suggest both child-like wonder and sinister goings-on at the same time.
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    9. Friday the 13th (1980), composed by Harry Manfredini



    Do the whispered sounds of “ki-ki … ha-ha-ha-ha” count as a musical score? When they are as memorable as this one they do. Listen below to the original theme song from the very first “Friday the 13th” movie (Part 200 is due out next Spring, in a reboot produced by Michael Bay): the familiar refrain is jammed in between tons of driving “Psycho”-like strings and sound effects that are reminiscent of a steel blade being unsheathed. Chicago-born composer Harry Manfredini has contninued to work steadily on the “Friday the 13th” series and other B-movies such as “Zombie Island Massacre” and “Wishmaster.” Somehow, he also found time to write and bring to Broadway a country/western musical titled “Play Me a Country Song” that opened and closed after one performance in 1982.
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    8. Suspiria (1977), composed by Goblin



    The only Italian prog-rock band on this list, Goblin made a name for themselves scoring director Dario Argento’s horror hits “Deep Red” and “Suspiria.” For a band that looked up to mentors Yes, King Crimson, and Emerson, Lake, and Palmer, it’s a bit ironic that their sole claim to fame comes from performing galloping, spooky little numbers to watch young women be murdered by. These days, Goblin’s “Suspiria” theme certainly sounds a little dated and cheesy, but that’s also part of what makes it sound so cool. Supposedly, the soundtrack was written before the film was completed; allowing Argento to blast the score at his actors—full volume—to get better, more terrifying performances out of them.
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    7. “The Shining” (1980), composed by Krzysztof Penderecki



    The theme to director Stanley Kubrick’s Steven King adaptation is by Wendy Carlos (who, before sexual reassignmen—and billed as Walter Carlos—played synthesised Beethoven all over Kubrick’s “A Clockwork Orange”), and it’s a fine piece of work. But most of the disturbing and truly memorable music in the movie comes from Polish modern classical composer Krzysztof Penderecki. The insane dissonance of pieces like “Utrenja Kanon Paschy” and “Polymorphia” (part of which was also used briefly in “The Exorcist”) serve to unsettle Shelley Duvall as she tries to deal with the fact that her husband, played by Jack Nicholson, is losing his grip on reality and breaking down the bathroom door with a very large axe. Start about two minutes in and listen to the unsettling string noise.
    Life is 10% what happens to you and 90% how you react to it.

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    6. The Exorcist (1973) “Tubular Bells,” composed by Mike Oldfield



    First released as a two-song LP (Part One on side one, Part Two on side two), Mike Oldfield’s album “Tubular Bells” was quickly seized by director William Friedkin to become the theme song to his demon-possession tale “The Exorcist.” As a direct result, the album—a progression of that familiar theme that lasts for almost 49 minutes total—became a sensation, selling more than 17 million copies worldwide and spawning a series of album “sequels.” Ironically, it took Oldfield almost twenty years of disappointing record sales to finally, inevitably return to the well with the creatively named “Tubular Bells II” (1992), “Tubular Bells III” (1998), and finally—to cash in on the impending Y2K doom—“Millennium Bell” (1999). In 2003, Oldfield said goodbye to all credibility and actually re-recorded the entire album, calling it—wait for it—“Tubular Bells 2003.” Regardless, the four-minute-something version that was appropriated as “The Exorcist” theme still retains its inherent spookiness.
    Life is 10% what happens to you and 90% how you react to it.

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