One of the most memorable components of the film Breakfast at Tiffany's is the extraordinary music composed by Henry Mancini. The film's theme song, “Moon River” (co-written with lyrisist Johnny Mercer), was an instant classic and the score went on to win two Acadamy Awards in 1961. Mancini opted for a jazz style of underscoring in the movie, which was a perfect fit for the 1961 movie both historically and for its romantic-comedic genre.

Holly finds more than a friend in Paul (George Peppard), the hopeful writer. The concept of the score is directed

In a way Breakfast at Tiffany's is like seeing two movies at once, as the first half or so is a light-hearted comedy and the second half is a romantic drama. The tempo and pulse of the musical score is representative of this switch in genres. The first half’s light-hearted comedy is filled with the up-beat sound of Big Band, with trumpets, saxophones, horns, percussion and piano. The second half of the movie, the romantic drama genre, is represented by softer-sounding instruments such as the flute, strings and piano. “Mancini believed that tempo could make or break a scene and thus found it to be of prime importance to a scene and the movie.”

I noticed a large use of orchestration in timely points in the story. The piano and guitar were used faintly in the beginning of the story as Paul and Holly meet for the first time. The instruments were being plucked cautiously to mirror the initial caution exerted by the characters. Holly’s cat frantically jumped onto the counter with the first sight of Paul, which was accompanied wi

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