Few television theme songs are as instantly recognizable and deeply ingrained in pop culture as the Law & Order theme song. This jazzy, suspenseful tune has become synonymous with gripping crime drama, signaling the start of an intense investigation for over two decades. Every episode of Law & Order, since its debut, has opened with this signature music, immediately immersing viewers in its world of legal intrigue. The law and order theme song is more than just an intro; it’s an auditory symbol of the true-crime genre itself, an aural cue that a captivating story is about to unfold.
But how did this iconic piece of music come to be? Let’s delve into the origins of the Law & Order theme song and the creative genius behind it.
The Law & Order theme song, officially titled “The Theme of Law & Order,” was composed by the Emmy-winning maestro of television music, Mike Post. Post is a luminary in the realm of TV theme songs, responsible for crafting the soundtracks to numerous hit series.
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The law and order theme song is characterized by its distinctive instrumentation, featuring a compelling blend of guitar, electric piano, and clarinet. This combination creates a sound that is both edgy and sophisticated, perfectly capturing the essence of the show’s urban crime setting and legal drama. The tune’s effectiveness is evident in its consistent use across the entire Law & Order franchise, adapted for each spin-off while retaining its core identity.
Mike Post’s portfolio boasts an impressive array of television theme songs, including those for Murder One, The Rockford Files, L.A. Law, the original Quantum Leap, and the original Magnum, P.I. His connection with Law & Order creator Dick Wolf predates the series itself. They first collaborated when Wolf was a writer for Hill Street Blues, another iconic show whose atmosphere was significantly enhanced by Post’s musical talent. Post’s work on Hill Street Blues earned him two Grammy Awards in 1982 for “The Theme From Hill Street Blues,” solidifying his reputation as a top composer and making him the natural choice for Wolf’s new project.
According to a 2005 interview with the Television Academy Foundation, Wolf approached Post to create the Law & Order theme in the late 1980s, after drafting the pilot episode. Post was captivated by the pilot and envisioned a theme that would immediately evoke the gritty reality of city crime and the tense atmosphere of the courtroom. The resulting law and order theme song is widely hailed as the quintessential theme for a police procedural, an audible bat signal that alerts viewers to impending criminal investigations and legal battles.
Post believes that the sparseness of music within Law & Order itself amplifies the impact of the theme song and focuses viewer attention on the narrative. He explained in a 1993 EW interview that the minimal use of music in the show is intentional, ensuring that the theme and the infamous “Clang” make a maximum impact.
Beyond the main theme, Mike Post has been instrumental in crafting the musical identity of the entire Law & Order universe. Dick Wolf has consistently called upon Post to create variations of the theme for each spin-off series, including Special Victims Unit and Organized Crime. Post has revealed that Wolf’s approach is always to request a new variation that fits the specific tone of each new show, ensuring a cohesive yet distinct sonic brand across the franchise.
Equally iconic as the law and order theme song is “The Clang,” the distinctive sound effect that punctuates scene changes. While often referred to as a sound effect, Post considers it a crucial piece of music in its own right. Wolf sought Post’s expertise to create an auditory cue for the show’s signature title cards displaying location and time. He wanted something “distinctive” to maintain viewer engagement during these transitions.
Post described “The Clang” as a synthesized sound, achieved by layering various noises to produce its chilling and impactful effect. In his words, it’s designed to be “the stylized sound of a jail cell locking,” aiming to create a jarring, subconscious effect rather than a literal representation. He detailed the eclectic mix of sounds used in a Law & Order: SVU podcast episode, including drums, a hammer on an anvil, a slamming jail door, and even the sound of 500 Japanese men stomping in unison at a Kabuki performance. This sonic alchemy resulted in the unforgettable “dun dun” that has become a cultural touchstone.
Despite its function as a transitional element, Post emphasizes that “The Clang” is more than just a sound effect; it’s a piece of music that generates royalties. He jokingly refers to it as the “‘ching-ching’,” underscoring its financial value as part of the Law & Order soundscape.
In conclusion, Mike Post’s contributions to Law & Order extend far beyond just a theme song. He has sculpted the sonic identity of an entire franchise with both the law and order theme song and “The Clang”. His masterful compositions perfectly complement Dick Wolf’s storytelling, cementing the Law & Order franchise’s place in television history, not just visually, but also, and perhaps more indelibly, aurally.
