Problem: Philip Henry Sheridan (March 6, 1831 - August 5, 1888) was a career United States Army officer and a Union general in the American Civil War. His career was noted for his rapid rise to major general and his close association with General-in-chief Ulysses S. Grant, who transferred Sheridan from command of an infantry division in the Western Theater to lead the Cavalry Corps of the Army of the Potomac in the East. In 1864, he defeated Confederate forces in the Shenandoah Valley and his destruction of the economic infrastructure of the Valley, called "The Burning" by residents, was one of the first uses of scorched earth tactics in the war. In 1865, his cavalry pursued Gen. Robert E. Lee and was instrumental in forcing his surrender at Appomattox.

Sheridan was promoted to lieutenant general on March 4, 1869. In 1870, President Grant, at Sheridan's request, sent him to observe and report on the Franco-Prussian War. As a guest of the King of Prussia, he was present when Napoleon III surrendered to the Germans, which was gratifying to Sheridan following his experiences with the French in Mexico. He later toured most of Europe and returned to the U.S. to report to Grant that although the Prussians were "very good brave fellows [who] had gone into each battle with the determination to win, ... there is nothing to be learned here professionally." He criticized their handling of cavalry and likened their practices to the manner in which Meade had attempted to supervise him. However he referred to theirs as a "perfect military system" and had a high opinion of the officer corps. His words on the French were much more harsh; he criticized the French army for not taking numerous opportunities to halt the German advance, for advancing slow and clumsily themselves, for not taking any of the numerous good opportunities to cut the enemy's unguarded lines of communication, and for routing frequently. He remarked: "I am disgusted; all my boyhood's fancies of the soldiers of the great Napoleon have been dissipated, or else the soldiers of the "Little Corporal" have lost their elan in the pampered parade soldiers of the 'Man of Destiny'."  In 1871, Sheridan was present in Chicago during the Great Chicago Fire and coordinated military relief efforts. The mayor, Roswell B. Mason, to calm the panic, placed the city under martial law, and issued a proclamation putting Sheridan in charge. As there were no widespread disturbances, martial law was lifted within a few days. Although Sheridan's personal residence was spared, all of his professional and personal papers were destroyed. When Chicago's Washington Park Race Track organized the American Derby in 1883 he served as its first president.  Sheridan served as commander in chief of the Military Order of the Loyal Legion of the United States (MOLLUS) veterans' organization from 1886 to 1888. He was also the first president of the Society of the Army of the Potomac when it was founded in 1869.  On November 1, 1883, Sheridan succeeded General William T. Sherman as Commanding General of the U.S. Army, and held that position until his death. He was promoted on June 1, 1888, shortly before his death, to the rank of General in the Regular Army (the rank was titled "General of the Army of the United States", by Act of Congress June 1, 1888, the same rank held earlier by Grant and Sherman, which is equivalent to a five-star general, O-11, in the modern U.S. Army).

did he have any part in the war

Answer with quotes: lieutenant general

Question:
Dimitri Zinovievich Tiomkin (May 10, 1894 - November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, Gunfight at the O.K. Corral, and Last Train from Gun Hill. Tiomkin received twenty-two Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  [H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."  He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
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Did he write the scores for those movies?

Answer:
He worked on other Capra films during the following decade,