Roy Shield's Musical Transitions For Radio "... will fulfill a great demand for music of this nature. These compositions have been carefully selected from many thousands written by the composer for radio shows as being the most adaptable to the greatest number of dramatic situations which might occur in radio programs. They are broadly classified as Pay-Offs, Neutrals, Montages and Dramatic Transitions. The many musical moods that the compositions express will be of great value not only to radio pianists, organists and musical directors, but to radio schools and universities that have radio courses in their curriculum." —from the PREFACE to the sheet music, 1946 Copyright 1946 BREGMAN, VOCCO and CONN, Inc., 1619 Broadway, New York, N.Y.

Folio 1 (Timings refer to the CD release)

Montages 1 Montage No. 1 (2:03) This composition will be found very useful if series of “stingers” is needed. The chords may be played in rotation or chromatically. 2 Montage No. 2 (1:15) For exciting dramatic episodes 3 Montage No. 3 (1:12) Slow. Beginning at 6th bar music is heavy and emotional with dramatic climax. 4 Montage No. 4 (1:01) March. Each whole note beginning at 7th bar may be held under dialogue and following bar played as up-line in montage 5 Montage No. 5 (1:45) Impressive (dramatic) – Neutral – Slow (dramatic 6 Montage No. 6 (0:56) Sneering, dark deeds 7 Montage No. 7 (1:51) Train scenes 8 Montage No. 8 (0:57) “All goes well” 9 Montage No. 9 (1:15) Slow – for things that happen in the darkness such as robberies – other unpleasant things 10 Montage No. 10 (0:47) Frenzied happenings 11 Montage No. 11 (1:15) To tag big scene Pay-offs 12 Pay-Off No. 1 (0:12) Suitable for final pay-off; curtain for gay or happy endings 13 Pay-Off No. 2 (0:29) Slowly & softly. First 2 bars may be played under dialogue and chord with fermata at end of 2nd bar held softly until cue for 6/8 14 Pay-Off No. 3 (0:22) Final curtain for sad, serious, mournful type of ending 15 Pay-Off No. 4 (0:4 Part A may be used as semi-final pay-off and part B as neutral; part C may be played alone or as pay-off 16 Pay-Off No. 5 (0:37) Heravy – passionate – remorse – finale 17 Pay-Off No. 6 (0:21) Married 18 Pay-Off No. 7 (0:12) Important event

19 Pay-Off No. 8 (0:18) Dignified 20 Pay-Off No. 9 (0:10) Final punctuation 21 Pay-Off No. 10 (0:59) Music may play under scene 22 Pay-Off No. 11 (0:20) Gay – enthusiastic – joyful 23 Pay-Off No. 12 (0:48) Gay. Part A may be used to pay-off a scene needing space. Part B is neutral in character under dialogue 24 Pay-Off No. 13 (0:16) Begin at A (bar 5) for TRANSITION denoting firmness. Also for steps (fairly fast stride) 25 Pay-Off No. 14 (0:16) Happy – Lively 26 Pay-Off No. 15 (0:17) Playful – Slightly “goofy” 27 Pay-Off No. 16 (0:20) Laughing – sneering – ironical 28 Pay-Off No. 17 (0:46) Fast Run Off – pyramids – grotesque 29 Pay-Off No. 18 (0:18) Restless 30 Pay-Off No. 19 (0:42) For religious ending – important event Neutrals 31 Neutral No. 1 (0:55) Not too serious – reflective, slowly 32 Neutral No. 2 (0:43) Quiet to big emotional climax to quiet 33 Neutral No. 3 (0:29) May be used as theme for some important personage 34 Neutral No. 4 (0:39) Rather gay 35 Neutral No. 5 (0:47) Effusive – almost “gushy” 36 Neutral No. 6 (0:09) Very dramatic or sneery or nonchalant 37 Neutral No. 7 (0:29) In Love 38 Neutral No. 8 (0:36) Quiet to peak and down 39 Neutral No. 9 (0:21) May be used to follow a pleasant laugh 40 Neutral No. 10 (0:38) Action, punch – Very pleasant thoughts

43 Neutral No. 13 (0:35) Suitable for quiet scene background and up to finale 44 Neutral No. 14 (0:24) Firm – determined 45 Neutral No. 15 (1:24) For sobbing (first 7 bars) 46 Neutral No. 16 (0:37) Desire Dramatics 47 Dramatic Transition No. 1 (0:15) For big emotional peak 48 Dramatic Transition No. 2 (0:47) Hesitation to determination 49 Dramatic Transition No. 3 (0:21) Agitaion and worry 50 Dramatic Transition No. 4 (0:30) First 3 bars for “villains”; from 4th bar on – “neutral”. 51 Dramatic Transition No. 5 (0:26) For frightening,mysterious scenes 52 Dramatic Transition No. 6 (0:27) Stern, for judges’ decision, etc. 53 Dramatic Transition No. 7 (1:06) First 2 bars Part A may be used alone. Beginning at Part B under dialogue. Letter C for pay-off dramatic 54 Dramatic Transition No. 8 (0:29) For intense dramatic situations 55 Dramatic Transition No. 9 (0:24) Unsettled situations 56 Dramatic Transition No. 10 (1:10) For mental terror – murder – eerie scenes 57 Dramatic Transition No. 11 (0:27) Strong dramatic happenings 58 Dramatic Transition No. 12 (0:34) Big - emotional 59 Dramatic Transition No. 13 (1:29) Slow walk in connection with fear, mystery 60 Dramatic Transition No. 14 (0:52) Sneaking – crawling 61 Dramatic Transition No. 15 (0:33) To top emotional scene

62 Dramatic Transition No. 16 (0:21) Smell of death 63 Dramatic Transition No. 17 (0:26) It could be murder 64 Dramatic Transition No. 18 (0:36) “Stingers” 65 Dramatic Transition No. 19 (0:22) Dramatic or laughing 66 Dramatic Transition No. 20 (0:15) Laugh or sneer of heavy dramatic 67 Dramatic Transition No. 21 (0:45) Emotional 68 Dramatic Transition No. 22 (0:45) Emotional 69 Dramatic Transition No. 23 (0:39) Dark scenes at night 70 Dramatic Transition No. 24 (3:26) Processional – Dignified – Religious 71 Dramatic Transition No. 25 (2:09) “Low to High” (In hell – up to heaven) 72 Dramatic Transition No. 26 (0:53) Intense excitement – screaming – horror 73 Dramatic Transition No. 27 (0:47) Fright – pain – breathless 74 Dramatic Transition No. 28 (0:37) Suitable for many types of prison scenes 75 Dramatic Transition No. 29 (0:38) Passion – anger 76 Dramatic Transition No. 30 (1:10) Dramatic – machinery creaking – sad 77 Dramatic Transition No. 31 (0:31) Jungle – war scenes 78 Dramatic Transition No. 32 (0:24) River scenes – chugging of boat 79 Dramatic Transition No. 33 (0:53) Hysterical laugh Total Time Folio 1 — 01:01:14

Folio 2

Montages 1 Montage No. 12 (1:01) Strictly neutral at the beginning up to dissonances 2 Montage No. 13 (3:05) Villainous 3 Montage No. 14 (0:59) Fiendish – cackling – sneering 4 Montage No. 15 (1:34) First 2 bars may be played as someone prowling or mysterious. High chords suitable for cold weather. Last 5 bars for pay-off. 5 Montage No. 16 (0:58) Slow, crying, weeping. Start at bar 6 for sneak under death scene. 6 Montage No. 17 (1:43) Suitable for many situations 7 Montage No. 18 (3:14) For almost any situation 8 Montage No. 19 (1:42) Intense excitement 9 Montage No. 20 (0:46) Action 10 Montage No. 21 (1:07) Action 11 Montage No. 22 (1:28) First chord may be played an octave higher for scream Pay-off 12 Pay-Off No. 20 (1:28) Important scene 13 Pay-Off No. 21 (0:53) Emotional ending 14 Pay-Off No. 22 (0:22) Serious to happy ending 15 Pay-Off No. 23 (0:15) Bridge from emotional scene 16 Pay-Off No. 24 (0:29) Strange – weird – comedy 17 Pay-Off No. 25 (0:32) Quiet curtain (reflective) 18 Pay-Off No. 26 (1:29) Part A may be used for any ending of emo-tional nature and ended either soft or loud At B the beginning may be used for almost any highly dramatic, slightly tragic ending. 19 Pay-Off No. 27 (0:47) For exaggerated and unusual scenes 20 Pay-Off No. 28 (0:26) Slow to fast curtain

21 Pay-Off No. 29 (1:20) Religious or peaceful ending 22 Pay-Off No. 30 (0:36) Final curtain beginning under dialogue – satisfactory ending 23 Pay-Off No. 31 (0:19) Final curtain 24 Pay-Off No. 32 (0:42) Tense ending for heavy drama 25 Pay-Off No. 33 (0:25) For egotistic person or eccentric neurotic 26 Pay-Off No. 34 (0:17) Light – neutral 27 Pay-Off No. 35 (0:15) Decisive action 28 Pay-Off No. 36 (0:15) The burlesque hero 29 Pay-Off No. 37 (0:41) Fast ending for scene. Last six bars may be used for zero cold or mysterious lonely effect 30 Pay-Off No. 38 (0:08) "Up and down" (Skippy) 31 Pay-Off No. 39 (0:20) Final curtain 32 Pay-Off No. 40 (0:24) Quiet scene to intense one (growing excitement) 33 Pay-Off No. 41 (0:38) Good for many situations Neutrals 34 Neutral No. 17 (0:19) Moving transitions 35 Neutral No. 18 (0:35) Vague situations 36 Neutral No. 19 (0:16) Questioning – undecided 37 Neutral No. 20 (0:14) Firmness 38 Neutral No. 21 (0:21) Not much going on 39 Neutral No. 22 (0:18) For happy anticipation 40 Neutral No. 23 (0:40) Western or hillbilly 41 Neutral No. 11 (0:32) Suitable for many situations 42 Neutral No. 12 (0:18) Joyous, happy

43 Neutral No. 26 (0:16) “Up and down” (very sweet) 44 Neutral No. 27 (0:39) Pleasant and sentimental 45 Neutral No. 28 (0:25) Happy 46 Neutral No. 29 (0:13) For a quick pay-off 47 Neutral No. 30 (1:07) For rhythmical play-off of scene 48 Neutral No. 31 (0:33) Comedy situations 49 Neutral No. 32 (0:25) Sarcastic laugh (in slang: a horse laugh) 50 Neutral No. 33 (0:45) Happy scenes 51 Neutral No. 34 (2:54) Monastery or church scene. Quiet – peaceful Dramatics 52 Dramatic Transition No. 34 (0:45) Despair 53 Dramatic Transition No. 35 (0:21) Villainous laugh - comedy laugh (Cackle – old man) 54 Dramatic Transition No. 36 (0:22) Anger – fright 55 Dramatic Transition No. 37 (0:31) Ominous walk 56 Dramatic Transition No. 38 (0:20) Rain 57 Dramatic Transition No. 39 (0:25) Quiet to traffic noise 58 Dramatic Transition No. 40 (0:26) For intense dramatic scenes 59 Dramatic Transition No. 41 (0:39) Pyramids – questioning 60 Dramatic Transition No. 42 (0:31) Pyramids – typewriter 61 Dramatic Transition No. 43 (0:31) Old-fashioned chase 62 Dramatic Transition No. 44 (0:34) Crescendo to top and exciting scene

63 Dramatic Transition No.45 (0:51) Hysterical 64 Dramatic Transition No. 46 (0:27) For action; transition 65 Dramatic Transition No. 47 (0:33) Approaching footsteps (sinister) 66 Dramatic Transition No. 48 (0:29) Strong emotions 67 Dramatic Transition No. 49 (1:07) Somber to bright light 68 Dramatic Transition No. 50 (0:35) Menacing 69 Dramatic Transition No. 51 (0:19) Stern 70 Dramatic Transition No. 52 (0:29) Can be played fast and loud, as an agitato; or slow, like a nasty laugh. Last 8 bars suitable for pay-off. 71 Dramatic Transition No. 53 (0:12) Heavy emotion 72 Dramatic Transition No. 54 (0:22) Mock heroic 73 Dramatic Transition No. 55 (0:32) Transition from doubt to hope (or approaching dawn) 74 Dramatic Transition No. 56 (0:17) Grotesque; comical or lazy shuf 75 Dramatic Transition No. 57 (0:21) Lackadaisical saunter 76 Dramatic Transition No. 58 (0:47) Chinese 77 Dramatic Transition No. 59 (0:34) Tugging – Falling 78 Dramatic Transition No. 60 (0:57) For night scenes 79 Dramatic Transition No. 61 (0:35) Mysterious or comedy scenes Total Time Folio 2 — 0:59:52