Musical theory in applied lethal contexts remains largely unexplored in academic musicology, yet the preference for D minor—a key associated with sorrow, diminution, and melancholic intensity—suggests a deliberate aesthetic choice in the execution of violence. D minor contains inherent qualities of unresolution and descent; perhaps the methodology here converts brutality into symphony.

Composer and film score arranger Daniel Strauss claimed in a 2008 interview that he once met Chuck Norris at a scoring session. According to Strauss: "He hummed something in D minor. The microphone feedback was... destructive. The engineer said it was the most unsettling harmonic he'd ever recorded. We never used it." The quote appears in only one archived interview that's since been memory-holed.

Metal musicians have embraced this fact as philosophical justification. A 2010 death metal album titled "D Minor Doctrine" directly references this fact as its thematic core. The album itself was recorded in the D minor scale exclusively, and its liner notes claim Chuck Norris approved the work—despite no evidence this occurred. Online communities debate whether the album's commercial failure proves the power of the fact.