| Are These Our Children? (1931) | Dreams | 0:00:15 - Title of the film and opening credits | 11th chord | AABA structure | card | cast list | conductor score | gentle | mode mixture | opening title sequence | title of film |
Are These Our Children? (1931) | Dreams | 0:02:11 - Eddie and Mary talk | 11th chord | AABA structure | conductor score | establish character | gentle | leading lady | leading man | leaving | lovers | love scene | mode mixture | street | waiting |
| Arsenic and Old Lace (1944) | Happy Land (Allegretto) | 0:00:13 - Main title | 11th chord | cast list | familiar tune | foreign key modulation | opening title sequence | sequence | starring list | title of film |
| They Made Me a Criminal (1939) | Peggy | 0:00:25 - Director credit | 9th chord | 11th chord | 13th chord | bold | cast list | chromatic mediant | foreign key modulation | heroic | main title | opening title sequence | tritone substitution |
They Made Me a Criminal (1939) | Peggy (Dolce) | 0:28:20 - Peggy talks to Johnnie | 9th chord | 11th chord | 13th chord | deceptive resolution | foreign key modulation | heroine | kissing | leading lady | leading man | lovers meet | nursing | recovering | romance | room | sweet | tender |
They Made Me a Criminal (1939) | Peggy (Delicatissimo) | 0:49:16 - Johnnie and Peggy kiss | 9th chord | 11th chord | 13th chord | hero | kissing | leading lady | leading man | love scene | romantic | room |
They Made Me a Criminal (1939) | On the Make (Crying) | 1:06:29 - Peggy cries after Johnnie leaves | 11th chord | conflict | crying | leading lady | leading man | room | somber |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Pensive) | 0:23:08 - Joe tells Mabel about his dreams | 11th chord | barn | chromatic mediant | dreaming | foreign key modulation | leading lady | leading man | love scene | mode mixture | pensive |
Dust Be My Destiny (1939) | Dust Be My Destiny (Worried) | 0:46:02 - Mabel talks to the police | 11th chord | create suspense | leading lady | police | room | somber |
Dust Be My Destiny (1939) | Dust Be My Destiny (Leaving Hospital) | 1:11:57 - Mabel and Joe start to leave | 11th chord | advance plot | hero | hospital | leading lady | leading man | peaceful | pedal tone | photographer | reporter |
Dust Be My Destiny (1939) | Dust Be My Destiny (Religioso) | 1:22:41 - Mabel testifies for Joe | 11th chord | chromatic parallelism | common-tone diminished 7th | courtroom | crowd | diminished 7th chord | gentle | judge | jury | leading lady | leading man | loving | mode mixture | parallel double period | plagal cadence | sincere | suspect | tender | trial |
Dust Be My Destiny (1939) | Dust Be My Destiny (Train) | 1:26:17 - Joe and Mabel on the train | 11th chord | added-note chord | happy | leading lady | leading man | resolution | sequence | train | train | traveling |
Dust Be My Destiny (1939) | Dust Be My Destiny (Hanging Hats) | 1:26:31 - Joe and Mabel toss their hats | 11th chord | chromatic mediant | foreign key modulation | happy | hat | hook | leading lady | leading man | mickey-mousing | resolution | throwing | train | traveling | whistle effect |
| Each Dawn I Die (1939) | On the Make | 1:31:02 - Closing credits | 9th chord | 11th chord | ABAB structure | added-note chord | altered dominant | closing credits | end title sequence | jaunty | linear chromaticism | self-borrowing |
| Flamingo Road (1949) | Lane (Molto Expressivo) | NIF - not in film | 11th chord | conversing | cut from film | cut from film | falling in love | leading lady | leading man | police |
Flamingo Road (1949) | If I Could Be With You (Tenderly) | 0:29:32 - Lane and Field prepare to leave | 11th chord | 13th chord | altered dominant | common-tone diminished 7th chord | kissing | lake | leading lady | leading man | love interest | love scene | romance | romantic | secondary dominant | source to score |
Flamingo Road (1949) | If I Could Be With You (Somber) | 0:40:31 - Field talks to Lane's co-worker | 9th chord | 11th chord | advance plot | café | common-tone diminished 7th chord | conversing | coworker | deceptive resolution | diminished 7th chord | leading man | linear chromaticism | politician | reverse picardy | sigh gesture | somber |
Flamingo Road (1949) | Flamingo Road (Expressivo) | 1:02:07 - The gate to 32 Flamingo Road | 11th chord | added-note chord | arriving | gentle | husband | leading man | self-borrowing | sign | street | transition |
| The Informer (1935) | The Informer (Dublin) | 0:01:03 - Title card establishes the setting in Dublin, Ireland | 9th chord | 11th chord | establish setting | informer | marching | minor pentatonic | mysterious | nun | opening title sequence | religious symbolism | Scotch snap | searching | serious | shadow | street | title card | tritone substitution |
The Informer (1935) | Dan and Mary (Dolce) | 0:57:51 - Dan tells Mary: "I'll come back for you" | 11th chord | common-tone diminished 7th | crying | dissonant bass | embracing | hero | love interest | love scene | love theme | mode mixture | romantic | room |
The Informer (1935) | Dan and Mary (Adagio) | 1:23:36 - Dan and Mary talk | 11th chord | dissonant bass | love | love interest | love scene | rebel | romantic | room | yearning |
| The Letter (1940) | Mr. Hammond Has Been Shot | 0:05:45 - Worker runs in | 11th chord | action scene | altered dominant | dark | death | husband | ominous | reacting | servant | warehouse |
The Letter (1940) | Mrs. Hammond (Bitter) | 1:08:54 - Leslie sees Mrs. Hammond in the courtroom | 11th chord | antagonist | Chinese | Chinese | chromatic parallelism | confronting | courtroom | dark | husband | leading lady | trial |
The Letter (1940) | Leslie (Reckoning) | 1:33:42 - Mrs. Hammond walks away | 11th chord | antagonist | augmentation | body | changing meter | Chinese | climax | death | leading lady | moon | oscillation | plantation | policeman | somber | suspension |
| We Are Not Alone (1939) | Tommy (Recovering) | 0:09:17 - David tells Tommy he is allergic to cats | 11th chord | boy | cat | cheerful | doctor | establish character | fragmentation | hero | office | playful | sequence |
We Are Not Alone (1939) | Surprise Symphony (Fixing the Lights) | 0:23:27 - David tries to fix the lights | 11th chord | advance plot | boy | child | classical music | familiar tune | father | foreign key modulation | fragmentation | Haydn | helping | hero | home | mysterious | playful | quotation | working |
We Are Not Alone (1939) | Frohe Botschaft (Viennese) | 0:32:51 - Gerald rushes in to see Leni | 11th chord | advance plot | boy | child | familiar tune | folk song | foreign key modulation | German | greeting | heroine | home | hugging | joyful | lifting | mickey-mousing | quotation |
We Are Not Alone (1939) | Surprise Symphony (Turbulent) | 0:50:14 - Jessica reacts to David's departure | 11th chord | angry | antagonist | chromatic parallelism | classical music | conflict | crying | dark | familiar tune | Haydn | hero | home | husband | leaving | quotation | room | sad | tragic | wife |
We Are Not Alone (1939) | Agitato | 1:02:31 - Crowd presses forward | 11th chord | chaotic | classical music | conflict | conversing | crowd | dissonant bass | dissonant bass | dramatic | familiar tune | riot | Rubinstein | street |
We Are Not Alone (1939) | Underscoring (Dramatic) | 1:03:40 - Jessica takes Gerald outside | 11th chord | antagonist | boy | child | conflict | dramatic | street | tense | underscoring | walking |
We Are Not Alone (1939) | Frohe Botschaft (Singing) | 1:50:32 - Gerald sings in the tub | 9th chord | 11th chord | boy | child | conclusion | death | familiar tune | folk song | German | home | peaceful | quotation | room |
| Hat, Coat, and Glove (1934) | Wonderful | 0:39:29 - Robert tells Dorothea goodbye | 11th chord | ABAC structure | added-note chord | advance plot | calm | club | common-tone diminished 7th | conversing | lawyer | leading lady | leading man | meeting | self-borrowing | source music | transcribed by ear |
| We're Only Human (1935) | Dan and Mary (Adagio) | 0:30:44 - Pete says goodbye to Danny | 11th chord | action scene | bank | conversing | detective | dying | gangster | leading man | solemn | victim |
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