“Is this to be an empathy test? Capillary dilation, the so-called blush response? Fluctuation of the pupil…involuntary dilation of the iris.”
Here’s the first time we hear the main Blade Runner motif reimagined in another mode, a technique used at various points in the film by Vangelis to recontextualize the theme with darker connotations:
Here’s a comparison of the first four notes from the main theme moving from the original key of E major to D Phrygian, a mode of Bb major a tritone apart from E.
The semitonal movement from the Eb to D coupled with the drone underpinning gives this mode a pseudo-eastern flavour.
Below are some examples of Blush Response being sampled; often the dialogue from the scene where Deckard first meets Rachel at the Tyrell Corporation HQ is used rather than the music from this scene itself:
Undercover Business – The Replicant 
Felix Laband – Whistling in Tongues 
D Bridge & Instra Mental – Blush Response  (Not a sample, but influenced by Blade Runner)
Boozoo Bajou – Big Nick’s 
MC Paul Barman – Hairy Moth Owl 
Obba Supa – V.A.L.I.S 
Wait for Me
One of the few examples in the film with drums/percussion. I couldn’t find any examples of anyone sampling this section of the score but it’s a nice piece nonetheless:
A lyricless vocal-led number with some very folky chord sequences. It includes what’s known as a tierce picarde, an unusual harmonic device accomplished by ending a minor chord sequence with a major chord:
The absence of drums (as with much of the score) makes it a prime candidate for sampling, as you can hear below:
Future Sound Of London – My Kingdom 
Sub-Love – Coherent Flow 
Fridge – Paradise 
Zymotix – Rachel in Trance 
K.A.S.T.A. – Hopera 
Way Out West – Just Like A Man 
The Nasty Boyz – Angel 
Gorgeous Children – Sour ICE 
Image © chrisullrich.net.