The main discourse in The Great Train Robbery was embodied through visual means. The score of the film provided viewers with peaks of emotion through climactic changes in the music's tone. John H. Lawson defined movies as audiovisual texts, relying on visual and audio means to establish meaning. This was upheld in The Great Train Robbery, as each scene presented through visual means was accompanied with music that radiated emotion.
The establishing shot in the train stations office upheld a meandering theme, setting the groundwork for what would be the most neutral scene as well as music. The smoothly orchestrated song quickened pace while becoming more ridged when the film cut to the second shot.
Looking ahead to when the hostages are being counted, a tame melody accompanies this harmless task, the flute and oboe as utilized as counterparts playfully intermingling with each other until one hostage attempts to escape. The music takes an emotionally rallying tone, with a melody which is initially established with the execution of a hostage.
While the robbers are in the swamp, the oboe and glockenspiel float a dreamy melody that gives the swamp a somewhat mystical feeling. This is ended abruptly in the dancing scene, where the bouncy melody spells out a happy joyous feeling.
The chaotic melody of the rolling strings strongly announces the desperation felt by the robbers in the horse chase. This melody is punctuated by the clash of the cymbols, announcing the first shot of the gunfight. This common usage of the cymbols elaborates on the gunfight to ensue, adding a sound-effect to a silent film.
John H. Lawson's definition of movies is exact, as music proves to provide a silent film with emotion while maintaining an eloquent position throughout the film.