Music (Original Score)

Supernatural has two score composers. Christopher Lennertz and Jay Gruska, brought in by executive producers Eric Kripke and Robert Singer respectively, who typically share the composing responsibility by alternating episodes throughout the season. While both have worked hard in creating and retaining a unified sound for the show, they nonetheless have their own distinct style.

Score identification and analysis by zimshan.

Season 1

Lennertz Scoring

Lennertz seems to prefer a style of scoring for SPN similar to the Bernard Herrmann idea, focusing on the irrational by consisting of small dissonant repetitive pieces that rest on "unfulfilled" endings or just pure Jerry Goldsmith-stamped clangor. If you’ve ever found yourself on the edge of your seat in anticipation or just scared absolutely shitless, he’s probably the reason. He typically uses the strings more for the unsettling, scary action and turns to the piano keys for the creepy tension. He works with a lot of extended notes and swells along with a diverse set of percussion. Generally, his approach is very anti-melodic. His pieces are perfect for the visuals that accompany it, and its effect is incredibly embedded in the subconscious but they are very indistinct and therefore harder to recognize. I've done the best I could in identification below.

NEWS, ARTICLES, AND INTERVIEWS

• February 2008 - TrackSounds 2008 Interview with Lennertz
• July 2007 - Winchester Journal Interview with Lennertz
• May 2007 - Sequential Tart's Interview with Lennertz
• Summer 2006: Christopher Lennertz's scoring from Supernatural received an Emmy nomination for Outstanding Music Composition for a Series (Original Dramatic Score) on the Pilot (1.01)
• July 26, 2006: TrackSounds interviews Lennertz
• August 17, 2006: Scifi.com article on Lennertz's score and Emmy nod
• September 29, 2006: Ain't It Cool News interviews Lennertz

On August 25, 2006, a compilation entitled 'Supernatural Official Soundtrack' which consisted of a number of Lennertz's cues used throughout season one, was leaked on the Internet.

cover of the promotional CD

This promotional CD showcases the following tracks:

• And So It Begins - 1.01 - Heard in the opener as Mary gets out of bed to check on baby Sam. The beginning strains are heard again in 114 as Max tells Sam his mother died in his nursery. (Can be considered The Demon's Theme.))

• Let‘s Go Hunting - 1.01 - Heard as Dean opens up the trunk and tells Sam what John was hunting

• On the Bridge - 1.01 - Heard as Dean and Sam spot the Woman in White who falls from the bridge

• Sam Understands - 1.03 - Heard as the father sits on the deck through the son talking to the boys

• A Father‘s Despair - 1.03 - Heard after the boys first meet Lucas as the Sheriff tells them what he’s been through

• He Can‘t Speak - 1.03 - Heard as Dean colors with the kid in the park

• Not The Lake - 1.03 - Heard as the boys find the father in the boat on the lake through the attack

• A Lonely Picture - 1.03 - Heard as Dean talks to the kid the second time, realizing he’s scared and telling Lucas that his father would want him to be brave

• The Water Attacks - 1.03 - Heard as Andrea gets attacked in the tub

• Evil Awaits - 1.03 - Heard as the old lady tells Dean and Sam about her boy’s disappearance through the father sitting on the dock.

• The Hidden Terror - 1.03 - Heard throughout the climactic scene, starting as Andrea says “Tell me you didn’t kill anybody” and all the way through to Dean saving Lucas

• The Morgue - 1.05 - Heard as the boys examine the body in the morgue. Theme throughout the episode

• Dean Comforts Sam - 1.05 - Heard when Dean pulls over the car to tell Sam Jess’s death wasn’t his fault

• Searching History - 1.07 - Heard as Dean and Sam first get the boxes to go through papers at the library

• The Library - 1.07 - Heard as Sam and Dean return to the books after the pastor gets attacked

• No One Believes Me - 1.07 - Heard at the end as Laurie and Sam talks while Dean watches in the mirror

• Fighting the Beast - 1.09 - Heard as the boys fight the poltergeist in the house through Mary appearing

• Nightmare - 1.14 - Heard when the brothers are at the wake at the house, starting as Dean asks the mother about the house, through Sam talking to Max

• Into The Loft - 1.16 - Heard as Sam follows Meg through the streets and into the warehouse

• Dad Is Alive - 1.16 - Heard throughout the reunion of John and the boys

• Hell House - 1.17 - Heard as the police are drawn away from the cabin by the "Laughing Fisherman" the boys set off in the woods. (I think, confirmation anyone?)

• Boys Break In - 1.19 - Heard as the boys break in the auction house to destroy the painting

• Sam Can Love Again - 1.19 - Heard as Dean confronts Sam about moving on after Jess

• Sam Opens Up - 1.19 - Heard as Sam tells Sara about Jess

• Penance/Murder - 1.21 - Heard from the moment the episode begins (the beginning vocals were taken out of the real ep track) through Meg’s arrival and subsequent attack on Pastor Jim

In addition to those appearing on the compilation, there are a few other memorable pieces of Lennertz score featured in Season One, including:

• Home Sweet Home - 1.09 - The full opening sequence in Lawrence, Kansas

• Go Back Home - 1.09 - Sam tells Dean where they need to go next

• What Happened That Night - 1.09 - Sam and Dean discuss what they know

• Dean Calls Dad - 1.09 - Self-explanatory, don't ya think?

• Goodbye - 1.09 - Towards the end as Sam and Dean leave

• Ending - 1.10 - Sam and Dean sees the kids off, and Sam apologizes

• Let Sam Go His Own Way - 1.16 - Through Dean's confession that he wants them to be a family again

• Let Dad Go - 1.16 - As Sam and Dean let John go, and watch him drive away

• Jim Murphy's Dead - 1.21 - As the trunk and Impala drive down the road through John stopping and explaining what happened to Pastor Jim

• Finding The House - 1.21 - After Sam has the first vision, as he goes looking for the house

• Happy Family - 1.21 - As Sam leaves Monica and Rosie, and watches the family from afar

• Holy Water - 1.21 - Throughout John saying his prayer and dropping the rosary in the water

• The Brothers' Confrontation - 1.21 - Throughout Sam's lamenting at Dean not letting him go back in.

Gruska Scoring

Gruska, in comparison, plays a much more melodic hand. He’s the one that helps give the show its big beating heart. While Lennertz tends to be more focused on the scare, Gruska seems to be more willing to play the sentiment. He’s created a fairly equal balance between the two aspects. What struck me when I first started watching was the amount of actual emotion contained in the show, and how they could balance it in just being real instead of going over the line into the corn most shows might make it. I’ve found Gruska’s scores to be really integral many of the most important scenes, skilled in being just prominent enough to be effective while still being careful enough not to be intrusive. It’s unconscious enough to let a viewer live in a scene alone, but when you are listening for it, you realize why that scene worked so well for you before. It truly lent something to the scene. If you've developed a connection to these characters and their journey during Season One, most likely it’s because of Gruska’s score that has effected you along the way. Of course, because this IS Supernatural, he also plays the needed amount of creepy Lennertz favors so much. But generally, Season One, he showed more willingness to use strings and woodwinds (including some fabulous oboe uses), especially in terms of sentiment where Lennertz leans more on the use of lone piano keys. It was also more likely hear an acoustic guitar for Gruska's score (opposed to Lennertz's electric) and as well as less-commonly used folk instruments to create a much more rustic Midwestern sound for the show.

Some of his most memorable cues from Season One:

• For Jessica - 1.02 - Sam’s dream of visiting Jess’s grave

• We‘re Gonna Find Dad - 1.02 - End of episode as Dean assures Sam they’ll find John

• Triumph - 1.04 - The muted horn victory as the plane returns to safe flight

• On Solid Ground - 1.04 - The passengers return to safety of the airport

• Dad‘s Message - 1.04 - Sam and Dean call John’s cell and hear the new message. Melody heard again in 120 when John tells Sam this was never the life he wanted for him. (Can be considered Sam and John's Theme)

• Mirror Murder - 1.06 - After Dean shoots the shapeshifter, as he examines the body and retrieves his necklace

• Never Disappointed - 1.08 - Dean assures Sam John was never disappointed in him

• To Find The Truth - 1.08 - Native melody heard as the boys visit the tribe to find information

• Sam Wants To Find Dad - 1.08 - End of the episode as Sam admits to Dean he does want to find John

• Opener - 1.11 - Beginning as the couple comes out of the restaurant in the town

• Dad‘s Call - 1.11 - Throughout John's call to the boys

• The Split - 1.11 - As Sam gets out of the car, Dean declares he's selfish, through Sam walking away and Dean leaving him behind

• Coming Into Town - 1.11 - Dean drives into Burkittsville

• Brothers' Goodbye - 1.11 - Throughout Dean's conversation with Sam on the cell

• To Boston - 1.11 - A short melodic piece heard as the boys see Emily's bus off

• Stuck With Sam - 1.11 - Sam tells Dean he's staying

• Sheriff Checks Out The House - 1.15 - As the Sheriff walks up to the hillbillies' house

• Don't Ever Do That Again - 1.15 - The ending as Dean expressing his sympathies to the sheriff, through Dean and Sam walking away to the close

• The Hospital Walk (Full Episode Theme) - 1.18 - Heard as the boys first investigate the hospital corridors through talking to the doctor

• Full Episode Theme - 1.18 - Same place as above, just cut before dialogue for a cleaner version of the theme

• Drive Into Town - 1.18 - A short fragment heard as the boys drive into the hotel parking lot

• Second Flashback - 1.18 - Heard throughout Dean remembering the milk and spaghettio's memory

• Asher's Sick - 1.18 - Throughout Michael telling Dean about his brother

• Old Woman (Theme) - 1.18 - Throughout Dean and Sam walking through the hospital to the old woman's room

• Fort Douglas, Wisconsin - 1.18 - Throughout Dean's reveal of what happened before

• Do Anything For Your Brother - 1.18 - As Michael comes back and agrees to help

• All Better - 1.18 - As Dean, Sam, and Michael find out the kids are all well again

• Stake Out/The Colt - 1.20 - As John stakes out the vamps with the boys, through him telling them about The Colt

• Not The Life John Wanted For Sam - 1.20 - As John explains to Sam his mindset in their fight ((Same motif as that used in 'Dad's Message' - 1.04)

• Leaving The Colt - 1.22 - A small response to Dean supposedly giving into Sam and putting The Colt in the trunk

• Pulling The Alarm - 1.22 - As Sam pulls the alarm, Dean bothers the firefighters, and Sam gets the uniforms

• Attack - 1.22 - Throughout Sam being attacked, to Dean's bullet usage

• Dean's Family Dedication Theme - 1.22 - Heard as the Impala speeds down the road in the night, this is the clean version of the motif used for Dean later in 122, more fully heard throughout 201, then again in 209, 211, and its final use in 221. (Dean's Theme Analysis)

• The Things Dean's Willing To Do (Dean's Full Theme) - 1.22 - In the cabin, the full motif is heard as Dean laments to Sam about killing for Sam, through John coming in and praising Dean

Season 2

By Season Two, the scoring had evolved into a much more integrated sound. Gruska could be heard using electric guitar melodies similar to those used by Lennertz in the Silly Brothers Theme and the End Credits. Lennertz could now be heard turning to an acoustic guitar similar to Gruska's use in Scarecrow (1.11) and The Benders (1.15) to codify the Roadhouse (first notably introduced in 2.02) and help lend more of that Midwestern sound to the show. Additionally, Lennertz's score seems to have evolved immensely over the last year, especially in terms of timbre expansion, with a more liberal use of strings (such as the gorgeous piece heard during the Winchester reunion in All Hell Breaks Loose (Part 2)) and a willingness to implement woodwinds (for such sweet-sounding scores as those heard in What Is And What Should Never Be). Meanwhile, Gruska seemed to have not only experimented with different sounds this season, but also could be heard establishing an increased musical presence, especially in the case of scene transition cues (such as those in Croatoan and Playthings). Still, we saw patented Lennertz responsible for much of the exhilarating tension and suspense of the season, such as that seen in Nightshifter (2.12) and Born Under A Bad Sign (2.14), as well as classic Gruska in the emotionally-driven scenes of Heart (2.17) and Croatoan (2.09).

While overall, I tend to believe the consistency of effective scoring in the second season had waned, it also contained some of the most excellent standout moments of the series, including those written for Crossroad Blues (2.08), What Is and What Should Never Be(2.20), and arguably the best full episode score heard yet, All Hell Breaks Loose (Part 2) (2.22), all by Lennertz.

Perhaps the most noteworthy occasion of the Season Two scoring was hearing Gruska put his memorable melodic presence to work through the excellent usage of the Dean Family Dedication Theme. This theme could be heard in emotional scenes throughout the season, possessing a strong sense of meaning and purpose, adding dimension to the scenes it accompanied, and overall pulling the season together from bookend to bookend. [For more on this motif, see below]

Series Motifs

Background on Motifs:

Just as literature can possess reoccurring themes called 'motifs', so can strains of music within the score of a film or television show. The tradition of the use of motifs in film score is actually an old idea which was derived from the German composers who coined the phrase, leitmotif ('leading motif') and made the practice popular. While the precise term, 'leitmotif' was first to explain the work of von Weber (1786-1826), it was Wagner (1813-1888) who is most commonly associated with popularizing the practice. His operas which early film composers would later look to for inspiration, made liberal use of these leitmotifs, and consequently became a large part of scoring film and television.

The most common use of a musical motif ties a particular melody to a character, which is repeated in reference to that character. More complex motifs which reference feelings or ideas can also occur. They function quite interestingly on a subconscious level for the viewer to recall the visual or visuals previously associated with that melody and evoke certain emotions because of it.

Motifs on Supernatural:

Because Supernatural has two composers, it is hard to keep up a truly consistent motif usage. Individually, each have introduced and used their own motifs for certain characters or ideas. It's debatable whether Gruska and Lennertz have been consciously willing to use the others motif for a specific instance a scene might relate to.

It's hard to purely quantify what the meaning of a repeated melody on the show might be. Sometimes, it means nothing. Composers on television recycle bits of score all the time. But sometimes a melody will be reused, and has a direct connection with its first use. These are the motifs I've listed below as they have occurred in Supernatural. Motifs were named purely based on the common thread that all its instances contained.

Derivatives of a theme are also commonly used in film score, where a motif is taken and manipulated in a meaningful way. For instance, flattening out the notes of a melody can illustrate metaphorically the loss of the idea that that melody previously represented.

Different forms of a theme through the use of different timbres can also be meaningful. Trumpets can be victory. Woodwinds can be warmth and safety. Violins can be the voice of a specific character.

All of this is of course hinged on the word 'can'. We can't actually know whether or not the meaning is there intentionally. These notes below are simply sketches of what was presented. Infer or not as you wish. (But really, that's half the motif fun!)

Lennertz Motifs

The Demon's Theme: (the beginning of 'And So It Begins')

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• 1.01 - Starts as Mary gets out of bed to check on Sammy
• 1.14 - Heard again as Max tells Sam his mother died in his nursery

UPDATE! (08/03/07) Silly Brothers Theme:

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• 1.01 - Electric guitar piece heard first as Dean and Sam first arrive at the bridge and impersonate U.S. Marshalls
  • Heard again a couple minutes later after they run into the REAL U.S. Marshalls
  • One bar of this piece is heard in the later bridge scene after Sam tells Dean he "smells like a toilet"
• 1.08 - Heard as Dean convinces Sam to squat in the model house for the night
• 1.14 - Heard at the end of the episode as Dean cracks his Vegas joke
• 1.17 - Heard as a response to Sam's prank of salsa-fying Dean's radio
  • Heard as Dean slips pepper in Sam's pants while he takes a shower
  • Heard again as Dean realizes his hand is stuck to the beer bottle and Sam celebrates in victory
• 2.06 - Heard towards the end after Dean drives in with the cement truck

(thanks to stargatemouse for helping find all these instances)

Gruska Motifs

Sam and John's Theme:

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• 1.04 - Heard at the end as Sam and Dean listen to John's new cell message
• 1.08 - A wavering, unsettled derivative heard as Sam tells Dean he wants to find John
• 1.20 - Heard as John tells Sam this was never the life he wanted for him

Dean's Family Dedication Theme:

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• 1.22 - A small piece first heard as the Impala drives on an nightroad to the cabin
• 1.22 - The full theme heard through Dean's "Things I'm willing to do" speech inside the cabin
• 2.01 - Episode Theme (small strains are heard throughout the episode)
  • The pure form heard as John sits by Dean's bedside while Dean yells at him to do something
  • A distorted form heard as Tessa is revealed as a reaper and tries to convince Dean to let go
  • A piano and flute version heard through John's "You did that" speech to Dean
  • A higher octave flute w/ backed orch. version heard as Sam finds John dead
• 2.09 - An acoustic version heard throughout Dean's "I'm tired" speech
• 2.11 - Same acoustic version heard as Dean watches Drunk!Sam go to sleep after he made Dean swear to kill him if he goes dangerous
• 2.20 - Flattened form heard when Dean realizes Sam and him don't get along in Wishverse
• 2.21 - A brass form of the full theme heard as Sam dies in Dean's arms
• 3.08 - A disguised derivative of the theme heard as Young!Sam gives his present to Young!Dean
• 3.16 - The original theme heard in during Dean's "Things I'm Willing To Do" Speech resurfaces as he tells Sam they cannot make the same mistakes again

Download this theme HERE.

MOTIF ANALYSIS:

Season Two Perspective This theme could be heard in emotional scenes throughout the season, possessing a strong sense of meaning and purpose, adding dimension to the scenes it accompanied, and overall pulling the season together from bookend to bookend. After first appearing in 'Devil's Trap' (1.22]) to accompany Dean's speech in which revealed his fears for the things he is willing to do for his family, it's melody becomes the major musical theme of the season two premiere, 'In My Time of Dying' (2.01). In here, it is most notably paired with John and his silent decision to sacrifice himself to save Dean and suggests that that sacrifice was for Dean in response to everything Dean had given him and Sam over the years. Furthermore, its accompaniment to The Secret tells us of John's belief in Dean and his power to watch over his family. As it is carried throughout the season, the theme references not only Dean's responsibility to keep Sam safe, but also the burden of The Secret, and marks Dean's weariness with this life, both in 'Croatoan' (2.09) and 'Playthings' (2.11). During Dean's Wish World in 'What Is' (2.20), Lennertz quite brilliantly (whether intentional or not) references this theme in a flatten form of the theme's melody right as Dean realizes that the Sam in this world does not need him, and signifies the loss of that responsibility. Probably most memorable is its use at the end of 'All Hell Breaks Loose (Part 1)' (2.21), as Dean holds a stabbed Sam and watches him die in his arms. This use all at once invokes the whole season and all of Dean's dedication towards his family right before your eyes, helping the viewer to mourn with Dean his complete loss of the most important people in his life and subsequent loss of purpose.

Season Three Perspective

In season three, the theme resurfaces exactly twice. In the flashback of ‘A Very Supernatural Christmas’ (3.08), a messy disguised derivative of this theme begins as Little Sammy gives Young Dean his Christmas present (the amulet), effectively signifying the passing of responsibility of Sam from John to Dean. Existing not in the purified form which would characterize Dean’s dedication to his family almost twenty years later, but as this disguised derivative in which the core melody remains hidden beneath numerous filler noters surrounding it, perfectly characterizes the moment as the beginning of the dedication which would later result in the Dean we know today.

The purified theme is resurrected in the Season Three Finale, ‘No Rest For The Wicked’ (3.16) as Dean tells Sam that they cannot keep making the same mistakes over again. The version used is identical to that first heard in the theme’s introduction during Dean’s “Things I’m Willing To Do” speech, which appropriately references back to that speech two years before, and with it, brings the accompanied imagery of the last three years, particularly family’s mistakes marked by John’s and Sam’s death, to the current scene at hand. Moreover, it stands to subvert that which was once considered sacred: The Dedication of the Winchester Family, as Dean explains to Sam how they need to stop being martyrs and making the same mistakes over again, bringing the theme and the idea behind it completely full circle. Perhaps we should have been calling this theme the Winchester Family Dedication Theme all along, but since Dean restates his role as the protector of the Winchester Constitution in the next breath, I feel confident in keeping it as is.

Sources/Credits

• Score analysis and downloads by zimshan
• Score motif analysis by zimshan
• Lennertz & Gruska score division by zimshan
• The Music of Supernatural Fanlisting
• Supernatural Music on Squidoo
• trustygeek *here
• shadow_walker3 *here
• goldie_gal here
• keepaofthecheez *here
• Lord_Turkey's Supernatural Soundtrack Season 2 Torrent