Every board has to have this thread, it is the Law.

so I start with,

That bit in Birthday where she goes, 'Scrabbles in the earth with her fingers'

the soary bits in the middle of Flugufrelsarinn by Sigur Ros

You Are The Everything, when he goes "I look at her and I see the beauty of the light of music, the voices talking somewhere in the house, late spring and you're drifting off to sleep..."

"Saw the ghost of Elvis on Union Avenue, followed him up to the gates of Graceland, and I watched him walk right through"

Transition from subdominant to tonic at the end of Bruckner's 8th.

When Birgit Nilsson sings that line 'Wonne klagend' at the end of Tristan.

God! So many!

But to start with, a couple of moments from the 'classic era' of 4AD's back-catalogue:

The bit where the drums and guitars finally burst in, halfway though 'Donimo' by Cocteau Twins, from 'Treasure'.

The soaring 'change' bit in the middle of 'Persephone (the gathering of flowers)' by Dead Can Dance, from 'Within the Realm of a Dying Sun'.

It's usually epic, 'soar-y' bits that tend to give me goosebumps. And, as previously mentioned, I tend to get them on my scalp, rather than 'the back of my neck' as so many do.

The bit where Numbers segues into Computer World II.

The one's that spring immediately to mind are mostly lyric driven. Interesting.

Tom Waits for no man:

And it's a battered old suitcase to a hotel someplace
And a wound that will never heal
No prima donna, the perfume is on her
An old shirt that is stained with blood and whiskey
And goodnight to the street sweepers
The night watchman flame keepers and goodnight to Matilda too

and

so what becomes of all the little boys
who run away from home
well the world just keeps gettin' bigger
once you get out on your own
so here's to all the little boys
the sandman takes you where
you'll be sleepin' with a pillowman,
on the nickel over there.

Brrruuce. This is totally personal. My first real girlfriend was a good (trying very hard to be bad) catholic girl named Mary:

The screen door slams
Mary's dress sways
Like a vision she dances across the porch
As the radio plays
Roy Orbison singing for the lonely
Hey, thats me and I want you only
Don't turn me home again
I just can't face myself alone again
Don't run back inside
Darling you know just what I'm here for
So you're scared and you're thinking
That maybe we ain't that young anymore
Show a little faith, there's magic in the night
You ain't a beauty, but hey you're alright
and that's alright with me.

Finally Joni. I'm usually in floods of tears by this far, well beyond goosebump territory anyway

Child with a child pretending
Weary of lies you are sending home
So you sign all the papers in the family name
Youre sad and youre sorry, but youre not ashamed
Little green, have a happy ending

Just a little green
Like the color when the spring is born
Therell be crocuses to bring to school tomorrow
Just a little green
Like the nights when the northern lights perform
There'll be icicles and birthday clothes
And sometimes there'll be sorrow

[Edit] Ooo! Ooo! I just remembered a musical one. The Velvets Run, Run, Run. It's mostly all about Mo sweating away on her bass drum with two by fours. The break begins with a screech of feedback (from Cale?) totally obliterating the rhythm (first goosebump moment.) Then back comes Mo, she ups a gear and really pulverises that sucker, you can hear her fighting to hold the beat as she simultaneously ups the volume (second goosebump moment.) Absofuckinglutely majestic.

QUOTE:
the soary bits in the middle of Flugufrelsarinn by Sigur Ros

I'm amazed you can tell one song from another, let alone individual bits.

Anyway:-

The beginning of Shine On You Crazy Diamond

The last 30 seconds of The Same Deep Water As You, the 3 seconds of silence then BAM! Disintegration starts with the shatter of glass and it's like suddenly you can breathe again. Amazing stuff.

When the singing comes in on "All Cats Are Grey"

The guitar wankery at the end of "I Am The Resurrection"

The start of "Green Calx" by Aphex Twin

Oh and Rock and Roll Suicide by Bowie until the brass kicks in and ruins it.

The opening scream of "Angel of Death" by Slayer.
The really long guitar solo on "Riding on the Equator" by Felt.
The guitar intro to "This angry silence" by the TVPs.
Michael Yonker's scream at the end of "Sold America"
The opening synth break of "Jupiter Jazz" by World 2 World.
The whole of "Mother Sky" by Can.

I sort of agree with the "Angel of Death" reference but probably feel that the drums at the start of the live version of "Raining Blood" just as it is about to kick into the riff is great when you know what is coming

The drums at the start of the live version of "Overkill"

The bit when James Hefield goes "Ho" and the main riff kicks back in for "Enter Sandman"

THe main riff coming in at the start of "No Speak,no Slave" by the Black Crowes

When the main riff comes back twice as heavy after the solo in "This Damnation" by The Godfathers

Kate Bush on "This Woman's Work": "I should be crying but I just can't let it show". Showers.

Jeff Buckley doing Hallelujah: every time.

As Clive says, so many, but some that spring to mind right now are:

The middle section of 'Good Vibrations' by the Beach Boys: "I don't know where but she sends me there"

The build up towards the end of 'Through a Long and Sleepless Night' by the Divine Comedy: "I DON'T REALLY CARE!"

The end of Sibelius' 5th Symphony.

The end of The Tonight Quintet in West Side Story.

The guitars crescendoing in the middle of 'No Language in Our Lungs' by XTC after Andy Partridge sings "I would have made this instrumental but the words got in the way".

Disco Sea Shanties wrote:

QUOTE:
The end of Sibelius' 5th Symphony.

The startling reappearance of the horn motif on top of that spooky, swerving chromatic line played by the unison strings in Sibelius' 7th Symphony.

The part when my roommate leaves the kitchen door open and the draft kicks in.

Showing my age, but here goes....

-"Amoreena" - Elton John

-"Introduction" - Nick Drake

-"Astral Weeks" - Van the Man

-"Why Does Love Have To Be So Sad" - Derek and the D's

Gorecki's third, from the tenth minute onwards. Heavenly.