panied by strings. There is also a clearly heard (possible French) horn in the music score. To me it seems as if Herrmann wants to convey a feeling of dread or something sinister to come. Perhaps a sinister feeling in reference to the story that Jed Leland will tell about Kane.
             The next section of scenes deals with Kane's first wife Emily Norton. All the scenes are done in a minor with the attention on the dialogue, but the music does a good job of portraying the feeling of the moment in each scene. Also here is where we see a musical motif associated with a character. In this case it's Emily Norton. Carringer once again explains in thorough detail how Herrmann scores this particularly important part of the flashback.
             "Emily is associated with the waltz form, as when she is first seen outside the Inquirer building. The breakfast table montage is accompanied by a waltz theme that undergoes a series of increasingly discordant variations as the marriage deteriorates. If Emily has the graceful elegance of Waldteufel, the sound track associates Susan with the brash, lowlife sensuality of Jazz." (Carringer 108)
             Scenes 2A-2E. Breakfast scenes with Emily.
             Leland scene fades to that of Kane with his first wife Emily. We see right away that Kane is lavishing attention on his new wife both through action and through the dialogue. Take special notice that the table they sit at is a small and cozy table so that Charles and Emily can share their meals with each other being as close as possible. The music being played is the waltz associated with Emily. You can readily make out stringed and horn instruments for this particular piece. The piece seems to convey a sense of calm and happiness. This is possibly why the first breakfast scene has the waltz from when Kane is first dating Emily, and obviously happy because of it. For me personally I associate waltzes with grand balls hosted by wealthy people and powerful arist...