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Typically appearing in works that employ a score with non-original elements, these are brief segments of recognizable songs — like classical music that doesn't involve paying royalties — as themes for various types of scenes or activities. Some of these occur often enough to seem standardized, and in some cases they are the only reason people know the songs at all. Many of these have become verbal shorthand for particular nationalities or ethnicities, and thus may border on stereotypes. Very common in Golden Age cartoons that employ Mickey Mousing, where they may be used as a leitmotif. Less so in modern cartoons, unless they have the budget to score episodes individually. If there is danger of having to pay money to use a piece of music, the piece can be imitated in style (Suspiciously Similar Song) or parodied. In Renaissance Age Warner Bros. cartoons, this often happened with movie scores. A few other unreasonable substitutes are very recognizable, though. Many songs owe their entries on the list below to the work of Carl W. Stalling, the musical director for the vast majority of the Warner Bros. Looney Tunes cartoons. He had a well-known tendency toward musical quotation and punning; Chuck Jones was known to complain that Stalling would always use certain pieces of music in certain situations and would go out of his way to find preexisting pieces whose titles corresponded to the action he was scoring.note Stalling would have been foolish not to make the most of the studio's great facilities: the vast Warner music catalogue and a full studio orchestra. Stalling's contribution to those Golden Age cartoons is noticeable when you compare the 1940s classics to the later shorts of the 1950s, with much more minimal scoring. (Classic Warner Bros. cartoons also used some songs that were neither public domain nor from the Warner music catalogue, particularly Raymond Scott's "Powerhouse"). Expect a fair amount of Exactly What It Says on the Tin with classical pieces; the composers typically wrote these pieces for the precise contexts that their titles indicate (likewise with some pop songs). Many of these are Undead Horse Tropes, but may reach a stage where they are only used ironically. Subtropes and snippets with their own pages include: Also sprach Zarathustra Amazing Freaking Grace (or just "Amazing Grace") Amen Break "Bringer of War" Music The Cancan Song Chaos of the Bells (for "Carol of the Bells") Deathly Dies Irae Colonel Bogey March Jeopardy! Thinking Music (aka "Think!") Lohengrin and Mendelssohn Minsky Pickup O Fortuna Ode to Joy "Pachelbel's Canon" Progression Ride of the Valkyries Shave And A Haircut Taps Toccata and Fugue in D minor — what everyone who plays an Ominous Pipe Organ is required to play Westminster Chimes Compare with Bad to the Bone, Stock Footage, Stock Sound Effects, Regional Riff, and Public Domain Soundtrack. If you're trying to find the name of a famous tune, "100 Very Well-Known Instrumentals", "Another 100 Well-Known Instrumentals", or "100 Songs You´ve Heard And Don´t Know The Name" may help. |
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The Six Million Dollar Man theme: Superhuman strength or speed, in slow motion. | |
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The Good, the Bad and the Ugly (Main Theme) (aka "a-A-a-A-aah wah-wah-wah"): Old West gunfight, or parody thereof; showdown or confrontation of any kind | |
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Carmen, Entr'acte between acts III & IV, Georges Bizet: Toros y Flamenco, The Bad News Bears. | |
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The Twilight Zone (1959) Theme: Something is very disturbingly wrong. (Note that the first season of The Twilight Zone didn't use this iconic theme.) | |
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"Ghostbusters" (Ray Parker, Jr.): Sometimes used when people are vacuum cleaning, always Played for Laughs. | |
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"In-A-Gadda-Da-Vida", Iron Butterfly: Another one often used for The '60s, hippie or New-Age Retro Hippie things, drugs, traveling in psychedelic painted vans, etc. | |
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The Magnificent Seven theme (Elmer Bernstein): In settings with cowboys; portraying the romantic Old West. Also the theme for Marlboro Country. | |
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Lohengrin (Richard Wagner): Prelude to Act III: Flight, air power, squadrons of bombers. | |
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Pictures at an Exhibition: The Great Gate at Kiev (Mussorgsky/Ravel): Huge monuments, epic grandeur; Jerry Lawler's theme music. | |
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Mission: Impossible theme (Lalo Schifrin): Preparation for or execution of a complex task, generally with high-tech elements or requiring gymnastic activity. Also the surprise injection of visible gas into a confined space such as a lift, where the protagonists are trapped. | |
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