In a Psychological thriller/Horror, sound, diegetic and non diegetic, is very important, as it is used mainly to increase tension or amplify "normal" sounds for a greater effect. Without the sound, the teaser trailer would lose its appeal, and be not as effective.
Many generic sounds commonly used in the Psychological thriller/horror sub-genre can also be found in the wider genre of horror. Usually, real life instruments are used in favour of computer generated SFX, however both together can be used to create iconic sound tracks.
The best known examples include:
Psycho (1960)
The score is divided into three main movements: 1st Movement The first movement of the score is made up of multiple runs, trills, and short, staccato stabs played agitato ( As if to agitate the audience). While there is no direct melody, the fast-paced runs constantly switch around between the keys of F, F#, C#, and D, with a few sections played in G. A notable feature that Herrmann implemented is the use of alternating eighth-note semitones to create a sense of approaching and imminent danger. John Williams made this technique famous 15 years later in his score for Steven Spielberg's Jaws (1975). The movement ends with a high Dbmaj7/Bb chord that crescendoes to an abrupt fermata cutoff. 2nd Movement The second movement is the most recognizable piece of the score: directly after the first movement's fermata, a lone first violin launches directly into a series of discordant, screechy glissandos before being joined by the rest of the string section. This pattern is repeated twice, albeit the second set of glissandos is notated somewhat differently. The movements ends with another fermata. 3rd Movement
The cello and contrabass start the third movement with long, low, drawn out dotted half-notes that are answered with minute, staccato stabs from the rest of the string section. The half-notes alternate between E and F 3 three times before going down to C.
and Jaws (1975)
John Williams composed the film's score, which earned him an Academy Award, his second win and first for Original Score,and was later ranked the sixth greatest score by the American Film Institute.The main "shark" theme, a simple alternating pattern of two notes—variously identified as "E and F"or "F and F sharp"—became a classic piece of suspense music, synonymous with approaching danger (see leading-tone). Williams described the theme as "grinding away at you, just as a shark would do, instinctual, relentless, unstoppable."The piece was performed by tuba player Tommy Johnson. When asked by Johnson why the melody was written in such a high register and not played by the more appropriate French horn, Williams responded that he wanted it to sound "a little more threatening".When Williams first demonstrated his idea to Spielberg, playing just the two notes on a piano, Spielberg was said to have laughed, thinking that it was a joke. As Williams saw similarities between Jaws and pirate movies, at other points in the score he evoked "pirate music", which he called "primal, but fun and entertaining".The primal opening notes are developed from the opening foreboding tone of Ravel's La Valse. Calling for rapid, percussive string playing, the score contains echoes as well of Igor Stravinsky's The Rite of Spring.
Last year, with my experience of using programmes like Garageband and Audacity, I shortened a classical piece to suit and contrast our chosen sub genre's film opening. This year, to advance my skills, I've decided to create my own.
example of track in garageband #1
example of tracks in garageband #2
I just used a few familiar notes to create a simple melody from which you can add layers of sound to increase the dramatic effect. Most psychological thriller/horror movies often have recognizable patterns within the soundtrack which reiterates itself throughout the movie. As this is a teaser trailer, it's probably best to create a sound track that audiences will remember and identify quickly
Ultimately, I used another Mac program called Sound Track Pro to add in some percussion. Then in Garageband, I looped these so they can repeat for at least a minute.
Editing sound waves which aren't cut up like my previous AS soundtrack is a lot harder, because everything has to remain in time, as well as sound professional. In order to do this, I took the Master EQ and normalized the whole track, so that the output sounds like it came out from a studio instead of just the Mac.
example of percussion track in Sound Track Pro #1
example of tracks in garageband #3
Subverting typical sounds found in Psychological horrors, I decided to use softer instruments like the crotales and harps to eminate a sense of warmth before being gradually brought to a point of high tension, done best with a fortissimo or several crescendoes to built to silence. The use of silence in music helps to bring the audience to attention, and keep them in suspence until the sequence ends, which is what I've done here. Also reflecting delicate states of mind, according to Jung, the harder more stereotypical sounds come in much later and merge with the softer instruments to create an audial representation of the characters state of mind and psyche.
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