Trailing the Cues: How Music And Sound Elevate Only Murders

The vibrant hallways of Arconia seem to be filled with creaky doors, footsteps, whispers, and…jazz? In Only Murders in the Building, sound isn’t just a side accessory. Sound is a driving force behind the mystery itself. How do the eerie silences, light jazz, and the echo of footsteps down the hallways shape the tension? How do the characters’ voices, each so distinct, reveal their hidden meanings and secrets? Sound pulls us deeper into the depths and the very heart of the investigation, making us wonder: can these amateur podcaster individuals solve the case, or will they be drowned out by the noise of their own personalized secrets?

One of the main ways Only Murders in the Building uses sound is through its music, both diegetic and non-diegetic. Non-diegetic music, or the score, is important in setting the tone for the show. Throughout the series, the score for the series often features light jazz that mirrors the personalities of the characters and the comedic aspects of their investigation. On the other hand, diegetic music, which comes from within the world of the characters, is used to tell us more about them. In the episode “Double Time,” the character Jan Bellows plays the bassoon. The sound of the bassoon is awkward and slow.

“It takes extra time and care to warm her up, to make her feel comfortable in her hands again,” Jan says about her bassoon.

During the beginning of the episode “Double Time,” the sound of Jan's bassoon is woven into the soundtrack, and it creates mood, tension, and foreshadowing. The bassoon’s deep and moody tone often underscores moments of suspicion or emotional intensity between Charles and Jan. For example, within scenes where Charles starts questioning Jan’s honesty, the sound of the bassoon becomes more subtly ominous. Are there darker aspects to Jan’s character?

While a “sonic footprint” isn’t commonly present within the series Only Murders in the Building, a unique form of silence is used. The show often shifts between lively, noisy environments and quiet, reflective moments, depending on the scene's tone. “The Boy From 6B” is an episode that centers on Theo Dimas, a character who is deaf. The series uses silence creatively to place the viewer into Theo’s perspective. The usual sounds of the Arconia—the creaky doors, conversations in the hallways, the ambient hum of New York City—are washed away by muted, soft muffled vibrations. This contrast between sound and silence pulls the viewer deeper into the character’s experience, making the tension feel more immediate and personal. The use of non-diegetic music is minimal but effective within this episode. The score often features subtle, ambient music that signifies an emotional tone of scenes without overwhelming the dialogue or visuals. The choice of music complements the emotional moments for Theo, often using soft piano to evoke feelings of tension and empathy. Silence here is not just an absence of sound but a way of telling the story through Theo’s eyes.

Dialogue is also an important aspect of how sound functions in Only Murders in the Building. Through dialogue, the characters have distinct and various vocal styles that reflect their personalities. In the episode “To Protect and Serve,” the voice of Detective Donna Williams opens with: “We're all born alone. Unless you're a twin or something, but twins creep me the f*ck out. And don't even get me started on triplets or quadrupla... Whatever the f*ck they're called. I don't know 'cause that's not my point. My point is we're born alone, spend most of our time alone, then we all go out alone.”

Throughout Detective Williams’ interactions with the main trio within the podcast, she often expresses skepticism about their investigation methods and motives. Her no-nonsense attitude contrasts with the more light and sometimes reckless behavior of the main characters. Speaking of main characters, Oliver speaks with an over-the-top, theatrical tone that matches his background as a former theater director. His voice is energetic and often dramatic, which adds humor to many of his lines. In contrast, Charles has a much more reserved, monotone voice. His speech is often slow and deliberate, matching his shy and awkward personality. Mabel, played by Selena Gomez, brings a calm, steady voice that reflects her guarded and secretive nature. The differences in their vocal delivery contribute to the comedy and help define their relationships as a trio. In “To Protect and Serve,” the main characters discuss Tim and his death within the Arconia building with Mabel’s mother, Silvia. Silvia is concerned about Mabel’s possible contact with Tim Kono.

“I’m not, Mommy. He died,” Mabel replies to her mother’s concerns. Charles then provides context to Silvia that Tim was murdered, and the news surprises Silvia.

“Murdered?” Silvia asks.

“In the building,” Charles answers.

“Catchy, right?” Oliver adds.

Only Murders in the Building uses sound in a creative way that adds more depth to the meaning of the series’ world and its characters. The score adds humor and light to the tense mystery, while diegetic sounds, like the characters' dialogue or everyday noises, build the world and develop the characters. The careful contrast between sound and silence adds tension, especially in key moments where the investigation heats up or emotional scenarios. Dialogue and sound effects further enhance the show's tone, giving the audience a fun and engaging auditory experience. Overall, sound is essential to how Only Murders in the Building shapes its narrative and connects with its characters and world.

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(Post Credits: Column Writer - Annie Jeoung, Photo/Video Editor - Precious Martin, Producer - Nicole Meier, Social Media: Spencer Berger, Scribe - Yolanda Garcia)