| Description |
| On-screen: |
Dan and Mary talk alone |
| Description: |
The love theme for Dan and Mary, breathless and romantic; the music turns darker as they discuss more serious matters |
| Music annotations: |
[m. 1] Aufpasse! Stop! / Warning: Beware of the dialogue!! Mostly whispered all through this part II / Go! Moritz! [drawing of hands pointing to this text]; [m. 5] str divisi / f / flowing / sffz; [m. 7] pp subito / rall; [m. 9] pp; [m. 10] meno; [m. 13] rall; [m. 14] a tempo; [m. 17] rall; [m. 18] rall; [m. 19] slower; [m. 21] rit / ten; [m. 22] pp / rall |
| Film annotations: |
[m. 3] "Oh! Dan!"; [m. 5] They embrace; [m. 7] Embrace [m. 9] "Poor darling, I know how you feel!"; [m. 13] "Poor Mother"; [m. 14] Oh, Dan! When is this trouble going to end?; [m. 16] This killing and more killing; [m. 17] I know!; [m. 18] You're braver than we are!; [m. 19] I love you, Mary!; [m. 21] I must ask you some questions!; [m. 22] About Frankie? / May I? / Of course! |
| Orchestration annotations: |
[m. 1] strings, harp etc; [m. 5] str divisi / harp arpeggios; [m. 9] harp / strings; [m. 10] cello solo; [m. 11] harps; [m. 19] cello solo |
| Analysis: |
The love theme first unfolds over a dominant pedal, then strays from tonality; the melody appears in two octaves, suggesting both a male and female voice; in the B section, ascending parallel half-diminished sevenths create growing tension; this is followed by parallel descending diminished sevenths that allow that tension to dissipate; the main love theme returns at the end in the solo cello, but mode mixture adds a tinge of sadness and the cue doesn't resolve |
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| Tags |
ABA structure | chromatic parallelism | deceptive resolution | diminished 7th chord | dissonant bass | embracing | half-diminished 7th chord | hero | love interest | love scene | love theme | mode mixture | passionate | pedal tone | romantic | room
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