Top 12 Instrumental TV Theme Songs

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Let’s be realistic—TV theme music is among the best pleasures of television. They’re not merely earworm melodies; they’re mood-makers, memory markers, and, in the best instances, popular culture references. And if there are no words—just raw melody and beat—the music must strive even more to leave its imprint. Some of these instrumental themes are so deeply embedded in our minds that a few notes are enough to recall a show inundating the memory. Here’s a reverse countdown of 12 instrumental TV themes that became legends in themselves, influencing decades of TV and deserving a permanent spot in pop culture.

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12. Peter Gunn (1958–1961)

Henry Mancini’s jazzy, rock-infused theme didn’t just open a detective show—it defined a genre. Even if you’ve never seen a single episode, you’ve heard that pulse-pounding groove somewhere: in films, commercials, or just playing in your head during your imaginary stakeouts. This one is the blueprint for “cool TV cop music.”

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11. The Office (2005–2013)

Jay Ferguson’s upbeat, offbeat tune—covered by The Scrantones—is the ideal theme for cringe-worthy office hijinks. Bright, airy, and immediately familiar, it puts you right into the cozy mess of Dunder Mifflin every time it comes on.

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10. Star Trek (1966–1969)

Alexander Courage’s grand theme is sheer adventure. From its introductory notes that tinkle like stars, to its blaring, brass fanfare, it embodies the excitement of exploring the ultimate frontier. Each subsequent Star Trek has borrowed from this very first masterpiece.

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9. Get Smart (1965–1970)

Irving Szathmary’s spy-flavored theme nails the balance between danger and goofiness. Paired with the famous door-slamming title sequence, it announces that you’re in for a mix of espionage thrills and slapstick fun with Maxwell Smart.

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8. MASH (1972–1983)

Johnny Mandel’s “Suicide Is Painless” has lyrics elsewhere, but for television, it’s all bittersweet instrumental. Soft but haunting, it captures perfectly the series’ bittersweet blend of comedy and hard-won realities of war.

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7. Hawaii Five-0 (1968–1980; 2010–2020)

Morton Stevens’ brassy, high-adrenaline theme is effectively a sonic shot of adrenaline. It’s been adopted by marching bands, sports teams, and anyone who requires a shot of unadulterated, sun-baked action.

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6. Morse (1987–2000, with Endeavour)

Barrington Pheloung’s sophisticated, cryptic theme music is the intellectual detective at its center. Cleverly, the notes occasionally even write out clues in Morse code—a musical nod to the viewer.

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5. The Rockford Files (1974–1980)

Mike Post and Pete Carpenter’s theme is easygoing but assertive, a blend of harmonica and guitar that brings Jim Rockford’s charm to life. It was so popular, it was a radio hit apart from the show.

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4. Doctor Who (1963–1989; 2005–present)

Ron Grainer’s theme—actualized by electronic music trailblazer Delia Derbyshire—was not like anything else on television in the ’60s. Other musicians have reimagined it over the years, but it’s always been spooky, alien, and indelible.

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3. Dragnet (1951–1959; 1967–1970)

Walter Schumann’s “Danger Ahead” is TV shorthand for “serious stuff.” Those four opening notes have been borrowed, parodied, and referenced everywhere, long after the show ran its course.

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2. Mission: Impossible (1966–1973; 1988–1990)

Lalo Schifrin’s driving 5/4 beat is suspense. It’s the audio equivalent of a ticking time bomb—cool, clinical, and unforgettable. From televisions to Tom Cruise franchises, it never went out of style.

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1. The Twilight Zone (1959–1964 and onward)

Marius Constant’s eerie four-note motif is the sound of the uncanny. CBS stitched it together from his royalty-free work without him knowing, but it became one of the most instantly recognizable TV themes ever. Hear it, and you’re already halfway into another dimension.

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These are not merely background music but part of the DNA of TV. They can take you back years, make you hum along without you even knowing it, or put you immediately in the mood for the world you belong to. No need for words—just the right notes in the right sequence, and you’re there.

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