Music

The two conflicting counterpoles of Kane’s nature are psychologically defined by
the musical score. Herrmann gives each of them a musical motive. Since these two
contrasting motives originate from the same person, they feature a certain similarity. Both motives consist of five notes.
Power is a downwards moving motive, reflecting the downfall of Kane’s power.

Rosebud is an ascending motive, representing the nobler aspirations of Kane.

Both motives are nearly mirror-figures to suggest complimentary aspects of one man.
Motives harmonized.

example of the Power motive harmonized (opening sequence)

Prelude
Both motives are presented in the opening scene, the impressive prelude.
The two motives form the main material for the film’s music and are a musical mirror for what the film is reflecting; the struggle of two identities belonging to one person.
Many sequences are long enough to permit the composer to compose complete musical numbers, or almost movements rather then cues. In all of it’s apparent diverstity of material, most of those sequences consist of deployments of the two main motives.