| Description |
| On-screen: |
Marlowe and Vivian talk |
| Description: |
The love theme for Vivian and Marlowe is not introduced until well over halfway into the film; it features lush strings, with a swell and a climax as they kiss |
| Music annotations: |
[m. 18] pizz; [m. 23] poco accell; [m. 24] enharmonic; [m. 27] cresc; [m. 29] poco accell; [m. 31] mf / arpeggio / f / p; [m. 41] slower; [m. 45] rit |
| Film annotations: |
[m. 25] Then why don't you stop; [m. 32] Kiss; [m. 41] Thats even better |
| Orchestration annotations: |
[m. 19] clts / b. cl / 2 bassoons / basses; [m. 20] timp; [m. 23] add oboe + flt / celli and E. horn / 3 clts / violas divisi / basses / bassoons / b. cl; [m. 24] 1st horn; [m. 26] celli col horn / 2 horn?; [m. 27] 2 horn; [m. 31] horns / 2 oboes / W.W.; [m. 33] horn; [m. 36] add contra [cut off at bottom of page]; [m. 37] E.h.; [m. 41] basses; [m. 43] vibra col |
| Analysis: |
The love theme has an AABA structure; the first two A sections are full of yearning, unresolved progressions: ii7-Vb9 in the first and N-V in the second; the B section (when they kiss) finally resolves (with a ii7 V7 Iadd6); some of the keys are related by chromatic mediants (Bb - G - Eb); the cue also features a connecting passage of parallel dominant 13th chords |
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| Tags |
9th chord | 13th chord | AABA structure | added-note chord | altered dominant | car | chromatic mediant | chromatic parallelism | common-tone dominant 7th | conversing | foreign key modulation | kissing | leading lady | leading man | love | love interest | love scene | Neapolitan | private eye | romantic | suspension
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