Remember when Mufasa died?
Or when Luke Skywalker’s aunt and uncle were killed? Or even when George Bailey decided he couldn’t bear to live anymore? These are some of the most grim, tragic moments in film history, but they have something else in common. Once you start paying attention, these four notes are everywhere And we’ve been associating them with death for almost 800 years. What you’re hearing in those movies is called the “dies irae,” A Gregorian chant created by Catholic monks around the 13th century. It was used for one specific mass: funerals. [Latin chant plays] “Dies irae” translates from Latin to “Day of Wrath.” That’s the day Catholics believe God will judge the living and the dead and decide whether they go to heaven or hell for eternity. It really is the sort of fire and brimstone passage that’s talking about the day of reckoning where in essence the decision is being made whether you’re going to heaven or you’re going to hell. That’s Alex Ludwig, a musicologist and professor from the Berklee College of Music who keeps a big list of dies irae references in movies. The musical material and the text combine together to create this sort of ominous sort of sense of dread. Over the next few hundred years, the Church’s influence spread considerably, and the Day of Wrath started popping up in works of art outside the church, like Mozart’s 1791 symphony “Requiem,” influenced by the music of funerals. In 1830, French composer Louis-Hector Berlioz took the dies irae’s cultural capital to a new level. In his “Symphonie fantastique,” he lifted the melody but left out the words. Berlioz’s story isn’t set in a church or funeral — it’s about an obsessive love, in which the main character dreams that the lover he murdered has come back as a witch to torment him. The movement is called “The Dream of a Witches’ Sabbath.” And so it’s set at midnight in a graveyard and there are all these creepy spooky pieces of music, including the dies irae. What better piece of spooky music to play? Because this is a piece of music that already had these connotations behind it. Other great composers added versions of the dies irae to their works too, like Hungarian composer Franz Liszt’s Totentanz, or Dance of the Dead, inspired by this medieval painting depicting suffering and death, or Giuseppe Verdi’s Messa da Requiem. And then we have the early silent films. Where the dies irae is then extracted even further and used as a sort of sample or sort of reference to dark, ominous actions taking place on screen. Silent films were often accompanied by full orchestras, playing songs that helped propel soundless stories along. Like 1927’s Metropolis, a silent German sci-fi about a dystopia full of robots and destruction — which uses the dies irae in a particularly dramatic moment. As films started incorporating sound, the dies irae kept being used as a shorthand for something grim. Like in It’s a Wonderful Life and Star Wars: A New Hope. But perhaps its most iconic use is in The Shining. Everyone knows The Shining is a horror film and it’s like, that’s the perfect signifier for the dies irae. The dies irae has come a long way from 13th-century funerals to scary movies. That’s because there’s something about those four notes that makes us feel uncomfortable. Let’s talk about the music. The chant is in what’s called Dorian mode — and we don’t have to dig into all the ancient modes like that — but today if you would play those first four notes you would say that that’s in a minor mode. Minor music has always had this connotation of sadness, of darkness. If you look at the actual notes, you’ll see that F and E are half steps apart, right next to each other. Our ears are trained not to like those sounds together. Plus, the notes descend, getting deeper as the phrase progresses. Musical lines that descend are sad whereas music that ascends, that rises, is much happier. Combine these three things together and you’ve got an inherently spooky song — even without all the fire and brimstone. If you talk to a music professor like Alex, they’ll tell you the dies irae is everywhere. And it is — but maybe not in places untrained ears will catch. The phrase has become so culturally ingrained that even a modified version — like the theme to The Exorcist — or a shortened version, like the Nightmare Before Christmas can suggest the same scary feeling. It’s just that it it fascinates me that this piece of music still gets used. I’m still hearing them. I’m still adding films to my list.

Author Since: Mar 11, 2019

  1. Correction: Mozart’s Requiem isn’t a symphony, it’s a requiem: a type of Catholic mass for the dead. It was initially written for mass but later popularized and performed outside the church, as was Verdi's.

  2. I'm not aware that Mozart's and Verdi's versions of the Dies Irae (in their respective requiems) include the Gregorian melody. I mean, they set the text of the Dies Irae–it is part of the text of the requiem mass–but they set it to original melodies, not the Gregorian chant. This video really is quite careless. You should make sure that the folks who create your videos regarding music are actually musicians with expertise in the musical areas you're covering. A serious classical musician would not have made this and additional errors noted by others in the comments.

  3. Interesting! But referring to the "Turbular Bells" as "the theme of the Exorcist" is a little off. Also it doesn't contain the four note melody we're talking about.

  4. Well there is an anime called dies irae
    Please don't watch it killed a lot of Brain cells and give you brain cancer
    Just like video explains creepy

  5. How are vox videos and vox articles so opposite in quality and research..They make such great content on YouTube and then there is vox articles

  6. The Hunchback of Notre Dame's (Disney) "The Bells of Notre Dame" is my favorite interpretation of Dies Irae, know it from memory.

  7. It's lots of classical music, Mozart, Berlioz, Rachmaninov etc. I plead guilty as well (String Quartet #7 II) It is a "the end" sign in notes.

  8. The Lords of the Rings example you give is a different set of notes. Notes 1 and 3 aren't the same note as indicated on the stave.

  9. I'm sure some of these occurrences were not intentional. The melody is way too simple to claim everyone is quoting dies irae. Up next, why this guitar riff is so familiar. 0-1

  10. Reminds me of The Devil's Third, I think it's called. Three notes that were thought to conjure up the devil.
    You can hear it throughout the song "Black Sabbath" by Black Sabbath.

  11. I learned this in my music lesson by playing this on a piano and not know what it was.
    My teacher told me and I was freaked out

  12. Immediatly came to mind the intro chorus of End of Days, which sung in that almost innocent-like castrati tone, makes it so much more creepy. I still think it's one of the best soundtrack scores ever.

  13. Btw this song at 2:56 is from the 43rd episode of Hunter X Hunter where the Phantom Troupe commit a mass murder of everyone in sight with this song as the main focus accompanying the visuals

  14. We here hear it often in “Beetlejuice”, played by the tuba. It is also in the film “The End of Days”. It shows up often, sung by a boy choir soloist. Gives it an even more unsettling edge. But given the source material of that story, it makes all the more sense.

  15. The segment between 4:29 and 4:55 is really all there is to it. Composer want it to sound sad and that melody comes very naturally. There's really no sampling or tributes to the ancient monks going here.

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