| All This, and Heaven Too (1940) | Arriving 2 | 0:13:24 - Henriette walks to the front door | 9th chord | arriving | caretaker | deceptive resolution | gentle | leading lady | pleasant | secondary dominant | street | transition |
All This, and Heaven Too (1940) | Fairy Godmother | 0:23:28 - Henriette reads a fairy tale | 9th chord | altered dominant | book | calm | child | delicate | establish character | fairy tale | foreign key modulation | governess | leading lady | magical | pleasant | room | storytelling |
All This, and Heaven Too (1940) | Rubato | NIF - not in film | 9th chord | added-note chord | advance plot | arguing | child | cut from film | deceptive resolution | duchess | governess | leading lady | room | tense |
All This, and Heaven Too (1940) | Rubato (Carriage) | NIF - not in film | 9th chord | advance plot | carriage | child | cut from film | deceptive resolution | duchess | governess | leading lady | leaving | parallelism | passionate | street |
All This, and Heaven Too (1940) | Underscoring (Tense) | 0:30:19 - Henriette dresses Raynald | 9th chord | advance plot | arguing | caring | child | duke | governess | illness | leading lady | leading man | room | sequence | tense | underscoring |
All This, and Heaven Too (1940) | Henriette (Andante) | 0:31:04 - The Duke apologizes to Henriette | 9th chord | 64 chord | advance plot | apologizing | child | conversing | duke | foreign key modulation | governess | illness | leading lady | leading man | romantic | room |
All This, and Heaven Too (1940) | Raynald (Adagio) | 0:38:26 - The doctor takes Raynald's pulse | 9th chord | advance plot | caring | child | chromatic scale | conversing | doctor | duke | governess | governess | illness | leading lady | leading man | room | solemn |
All This, and Heaven Too (1940) | Pleading (Extended) | 0:40:26 - The Abbe talks with the Duchess | 9th chord | angry | arguing | chromatic sequence | despair | duchess | fragmentation | leading lady | mad scene | oscillation | parallelism | priest | room |
All This, and Heaven Too (1940) | Raynald (Andante) | 0:41:36 - Henriette and the Duke by Raynald's bedside | 9th chord | 64 chord | augmented sixth chord | child | chromatic sequence | conversing | duke | governess | hopeful | illness | illness scene | leading lady | leading man | parallelism | room | solemn | somber |
All This, and Heaven Too (1940) | Henriette (Ethereal) | 0:42:36 - Henriette asks to open the window | 9th chord | bright | child | conversing | duke | foreign key modulation | governess | half-diminished 7th chord | hopeful | illness | illness scene | leading lady | leading man | room | sequence | timid |
All This, and Heaven Too (1940) | Gossip | 0:55:36 - Scissors cut a newspaper clipping | 9th chord | advance plot | chromatic parallelism | cutting | dissonant bass | gossiper | gossiping | harsh | minor second | newspaper | room | scissors | tense |
All This, and Heaven Too (1940) | Pleading (Extended) | 1:01:39 - The Duke responds to Henriette | 9th chord | arguing | chromatic sequence | conflict | dramatic | duke | governess | leading lady | leading man | room | trouble |
All This, and Heaven Too (1940) | Henriette (Gentle) | 1:09:26 - Isabelle talks to Henriette | 9th chord | advance plot | child | chromatic parallelism | comforting | crying | gentle | governess | leading lady | Neapolitan | room | sweet |
All This, and Heaven Too (1940) | Henriette (Rubato) | 1:11:14 - The Duke talks to Henriette | 9th chord | added-note chord | advance plot | calm | conversing | duke | governess | leading lady | leading man | mode mixture | peaceful | room |
All This, and Heaven Too (1940) | Henriette (Sad Waltz) | 1:12:55 - Henriette watches the people dancing | 9th chord | 64 chord | advance plot | ballroom | crowd | dancing | dissolve | governess | leading lady | pedal tone | point-of-view shot | room | somber | watching |
All This, and Heaven Too (1940) | Desperation (Dark) | 1:13:56 - Henriette watches the Duke leaving | 9th chord | advance plot | altered dominant | dark | dissonant bass | duke | leading man | leaving | parallelism | point-of-view shot | room | watching |
All This, and Heaven Too (1940) | Henriette (Agitato) | 1:14:39 - The Duke paces anxiously | 9th chord | advance plot | agitated | conflicted | dissonant bass | duke | half-diminished 7th chord | leading man | pacing | pondering | room | turbulent |
All This, and Heaven Too (1940) | The Duchess (The Letter) | 1:14:48 - A letter is pushed under the door | 9th chord | advance plot | agitated | chromatic parallelism | conflicted | deceptive resolution | duke | fragmentation | leading man | letter | pacing | pondering | room | turbulent |
All This, and Heaven Too (1940) | Henriette (Tristan) | 1:18:13 - Henriette opens a gift | 9th chord | advance plot | fragmentation | gift | governess | happy | leading lady | opening | pump-up modulation | room | snow globe |
All This, and Heaven Too (1940) | Pleading (Extended 2) | 1:19:43 - The Duchess pleads with the Duke | 9th chord | acceleration | arguing | chromatic sequence | conflict | desperate | duchess | duke | fragmentation | leading lady | leading man | parallelism | room |
All This, and Heaven Too (1940) | Loti's Song | 1:24:31 - Apples roasting on a fire | 9th chord | child | chromatic mediant | chromatic parallelism | chromatic scale | cooking | create suspense | dissonant bass | forest | governess | leading lady | linear chromaticism | old man | pedal tone | scary | scored source music | singer | singing | split-third chord | spooky |
All This, and Heaven Too (1940) | Grazioso | 1:27:26 - Madame Gauthier talks about the children | 9th chord | 64 chord | added-note chord | advance plot | cheerful | conversing | duke | governess | leading lady | leading man | room | servant |
All This, and Heaven Too (1940) | Henriette (Very Romantic) | 1:29:07 - Henriette talks with the Duke | 9th chord | altered dominant | augmented triad | conversing | duke | falling in love scene | gentle | governess | leading lady | leading man | pedal tone | romantic | room | sweet |
All This, and Heaven Too (1940) | Raynald (Mysterioso 3) | 1:30:51 - The children talk to Henriette | 9th chord | bright | child | chromatic parallelism | conversing | duke | governess | leading lady | leading man | palace | surprise | tense | transition |
All This, and Heaven Too (1940) | Spring Time (Ominous) | 1:31:04 - The children enter the palace | 9th chord | 64 chord | augmented sixth chord | bright | cheerful | child | common-chord modulation | conversing | deceptive resolution | diminished third chord | duke | governess | leading lady | leading man | mode mixture | ominous | palace | surprise | transition |
All This, and Heaven Too (1940) | Henriette (Ominous) | 1:31:15 - Henriette talks to the Duke | 9th chord | 64 chord | added-note chord | conversing | duke | foreign key modulation | governess | hopeful | leading lady | leading man | love scene | ominous | palace | reassuring |
All This, and Heaven Too (1940) | Spring Time (Shimmery) | 1:35:12 - Henriette opens a gift | 9th chord | 64 chord | added-note chord | advance plot | cheerful | child | conversing | foreign key modulation | gift | governess | leading lady | light | opening | room |
All This, and Heaven Too (1940) | Spring Time (Moderato) | 1:35:45 - Henriette opens a gift | 9th chord | 64 chord | advance plot | augmentation | calm | child | chromatic mediant | foreign key modulation | gift | governess | leading lady | locket | opening | parallelism | room | tender |
All This, and Heaven Too (1940) | Henriette (Romantic) | 1:39:53 - The Duke reads the locket inscription | 9th chord | chromatic mediant | conversing | crying | crying gesture | duke | foreign key modulation | gentle | governess | leading lady | leading man | love scene | mode mixture | romantic | room | sigh gesture | tender |
All This, and Heaven Too (1940) | Underscoring (Gentle) | 1:41:02 - Henriette talks with the children | 9th chord | child | conversing | farewell scene | gentle | governess | leading lady | parallelism | pedal tone | room | tender | underscoring |
All This, and Heaven Too (1940) | Henriette (Appassionato 2) | 1:46:00 - Henriette descends the staircase | 9th chord | 11th chord | added-note chord | anxious | chromatic sequence | common-tone diminished 7th | descending | excited | foreign key modulation | hurrying | leading lady | not mickey-moused | room | stairs | transition | walking |
All This, and Heaven Too (1940) | Henriette (Tristan) | 1:46:15 - Henriette greets the children | 9th chord | arriving | child | duke | fragmentation | grand | greeting | leading lady | leading man | pump-up modulation | reunion scene | romantic | room |
All This, and Heaven Too (1940) | Gossip 2 | 1:47:20 - Henriette sees her landlady gossiping | 9th chord | chromatic parallelism | dissonant bass | duke | gossiper | gossiping | harsh | landlady | leading man | minor second | reunion scene | room | tense | watching |
All This, and Heaven Too (1940) | Dolce | 2:05:51 - Henriette talks to Henry | 9th chord | 11th chord | advance plot | calm | common-chord modulation | conversing | gentle | leading lady | minister | pleasant | prison | prisoner | suspect |
All This, and Heaven Too (1940) | Underscoring (Tense) | 2:10:17 - A carriage arrives at the palace | 9th chord | arriving | carriage | chromatic scale | leading lady | prisoner | soldier | street | suspect | tense | transition | traveling | underscoring |
All This, and Heaven Too (1940) | Henriette (Moderato Maestoso) | 2:16:29 - A hand signing a release form | 9th chord | chromatic mediant | deceptive resolution | hopeful | leading lady | leaving | noble | prison | resolution | walking | writing |
All This, and Heaven Too (1940) | Columbia Gem of the Ocean (Somber) | 2:18:19 - Children listening to Henriette | 9th chord | child | hopeful | leading lady | mode change | resolution | school | storytelling | student | teacher |
All This, and Heaven Too (1940) | Henriette (Dolschissimo) | 2:21:00 - Henriette kisses a child on the cheek | 9th chord | 64 chord | child | chromatic mediant | conversing | foreign key modulation | gentle | leading lady | leaving | minister | mode mixture | resolution | school | student | sweet | teacher |
| The Amazing Dr. Clitterhouse (1938) | Cauldron 2 | 0:00:27 - Cast list | 9th chord | beaker | bubbling | cast list | chromatic parallelism | dramatic | main title | ominous | opening title sequence | ostinato | title of film |
The Amazing Dr. Clitterhouse (1938) | Night Watchman (Knocked Out) | 0:45:04 - Watchman knocked out on the floor | 9th chord | chromatic parallelism | crime | criminal | diminished 7th chord | gangster | guard | mysterious | robbery | stealing | store | thief |
The Amazing Dr. Clitterhouse (1938) | Spiraling down | 0:47:38 - Doctor goes down the stairs | 9th chord | criminal | descending | diminished 7th chord | doctor | gangster | leading man | mickey-mousing | mysterious | robbery | spiraling | store | tense | thief | walking |
The Amazing Dr. Clitterhouse (1938) | Underscoring (Tense) | 0:52:15 - Policemen report the alarm | 9th chord | operator | reporting | robbery | room | telephone | tense |
The Amazing Dr. Clitterhouse (1938) | Jo (At the Phone) | 0:59:24 - Rocks takes the phone apart | 9th chord | advance plot | antagonist | combination of themes | dark | gangster | leading lady | ominous | plotting | room | tense |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Funebre) | 1:10:07 - Dr. Clitterhouse talks with Jo | 9th chord | chromatic parallelism | dark | death | doctor | gangster | leading lady | leading man | murder | murderer | murder scene | office | pleading | realizing | tense |
| Angels With Dirty Faces (1938) | The Cartoon | 1:04:49 - Jerry looks at newspaper cartoon of Rocky | 9th chord | advance plot | cartoon | chromatic parallelism | comical | leading man | priest | reading | room |
Angels With Dirty Faces (1938) | Headlines | 1:10:28 - A montage of newspaper headlines | 9th chord | 42 chord | 64 chord | dramatic | foreign key modulation | headline | mickey-mousing | montage | montage | newspaper | newspaper editor | newspaper office | spinning | zooming |
Angels With Dirty Faces (1938) | Pleading | 1:11:08 - Laury pleads for Rocky | 9th chord | advance plot | appoggiatura | circle of fifths | common-chord modulation | crying | leading lady | leading man | love interest | pleading | priest | room | somber |
Angels With Dirty Faces (1938) | Jerry | 1:11:35 - Jerry talks to Laury | 9th chord | advance plot | deceptive resolution | foreign key modulation | leading lady | leading man | love interest | memory | pleading | priest | room | tender |
Angels With Dirty Faces (1938) | Pleading (Extended) | 1:21:00 - Jerry arrives on the scene | 9th chord | appoggiatura | arriving | chromatic sequence | circle of fifths | concerned | conflict | crowd | gun | gunshot | hurried | hurrying | leading lady | leading man | love interest | polychord | priest | pushing | street | yearning |
Angels With Dirty Faces (1938) | The Gangster (Triste) | 1:23:57 - Rocky uses Jerry as a hostage | 9th chord | building | chromatic parallelism | conflict | coughing | dark | double-cross | foreign key modulation | fragmentation | gangster | hostage | leading man | linear chromaticism | major 7th chord | menacing | polychord | priest | smoke | somber | street | tear gas | walking |
| Are These Our Children? (1931) | Makes You Forget Your Troubles (Alternate Version) | NIF - not in film | 9th chord | AABA structure | cheerful | cut from film | dance hall |
Are These Our Children? (1931) | Hey! Hey! | 0:50:14 - Eddie and Flo dance | 9th chord | AABA structure | altered dominant | augmented sixth chord | cheerful | dance hall | dance scene | dancing | friend | leading man | love interest | murderer | on-screen music | source music |
Are These Our Children? (1931) | Dreams (Transition 9) | NIF - not in film | 9th chord | altered dominant | cut from film | dark | mysterious | pc set | tragic | whole-tone | whole-tone chord |
Are These Our Children? (1931) | Dreams (Transition 13) + Makes You Forget Your Troubles (Transition 13) | NIF - not in film | 9th chord | added-note chord | chromatic sequence | common-tone diminished 7th | cut from film | dramatic | plagal cadence | somber |
| Arsenic and Old Lace (1944) | Happy Land (Screwy Gavotte) | 0:00:39 - Cast list | 9th chord | 64 chord | added-note chord | cast list | happy | opening title sequence | ostinato | pedal tone | upbeat |
Arsenic and Old Lace (1944) | Here Comes the Bride (Comical) | 0:05:05 - Goofy man turns around | 9th chord | comical | common-tone diminished 7th | establish character | familiar tune | leading lady | leading man | marriage | office | smiling | winking |
Arsenic and Old Lace (1944) | Here Comes the Bride (Running) | 0:23:58 - Mortimer runs to the door | 9th chord | 13th chord | aunt | bride | child | chromatic scale | crazy person | dark | familiar tune | groom | Halloween | intervallic expansion | leading lady | leading man | murderer | room | running | rushing | source music | source to score | trick-or-treating | turning point |
Arsenic and Old Lace (1944) | Underscoring (Dramatic) | 1:01:21 - They take Elaine into the cellar | 9th chord | aunt | bride | brother | chromatic scale | conflict | crazy person | darkness | diminished 7th chord | doctor | dramatic | fear | fighting | gagging | harmonic sequence | leading lady | leading man | metric dissonance | murderer | oscillation | room | running | self-borrowing | struggling | suspenseful | underscoring |
Arsenic and Old Lace (1944) | Molto Agitato | 1:29:57 - Jonathan ties Mortimer to a chair | 9th chord | brother | captive | chromatic parallelism | conflict | crazy person | diminished 7th chord | doctor | dramatic | fear | gagging | leading man | mickey-mousing | murderer | room | stinger | tying | victim |
| The Big Sleep (1946) | The Big Sleep | 0:00:13 - Starring actors and main title | 9th chord | ABA structure | cast list | chromatic mediant | chromatic sequence | dark | heavy | leading lady | leading man | Neapolitan | opening title sequence | silhouette | smoke | smoking | starring list |
The Big Sleep (1946) | Sternwood | 0:02:31 - Carmen walks away | 9th chord | added-note chord | altered dominant | bluesy | daughter | establish character | femme fatale | leading man | Neapolitan | private eye | retardation | room | seductive | walking |
The Big Sleep (1946) | Underscoring (Tense) | 0:02:45 - Marlowe goes to meet Sternwood | 9th chord | altered dominant | butler | chromatic scale | establish character | leading man | private eye | room | tense | underscoring | walking |
The Big Sleep (1946) | Underscoring (Tense) | 0:18:57 - Geiger enters car | 9th chord | antagonist | car | departing | oscillation | rain | street | tense | transition | underscoring |
The Big Sleep (1946) | Marlowe (Heroic) | 0:21:28 - Marlowe enters the house | 9th chord | action scene | breaking in | heroic | inversion | leading man | private eye | running | street |
The Big Sleep (1946) | Marlowe (Taxi) | 0:39:05 - Marlowe talks to the lady cab driver | 9th chord | car | car | chromatic scale | driver | driving | following | investigation scene | leading man | mysterious | private eye | taxi | tense |
The Big Sleep (1946) | Marlowe 2 (Waiting) | 0:47:11 - Marlowe waits in his car | 9th chord | car | driving | investigation scene | leading man | mysterious | private eye | tense | waiting |
The Big Sleep (1946) | Sternwood (Extended) | 0:52:29 - Carmen asks for her picture back | 9th chord | altered dominant | blackmail | chromatic parallelism | conflict | diminished 7th chord | evidence | femme fatale | flirting | leading lady | leading man | mysterious | pc set | private eye | room | seductive | whole-tone chord |
The Big Sleep (1946) | Vivian | 1:15:22 - Marlowe and Vivian talk | 9th chord | 13th chord | AABA structure | added-note chord | altered dominant | car | chromatic mediant | chromatic parallelism | common-tone dominant 7th | conversing | foreign key modulation | kissing | leading lady | leading man | love | love interest | love scene | Neapolitan | private eye | romantic | suspension |
The Big Sleep (1946) | Marlowe (Not in Film) | NIF - not in film | 9th chord | 11th chord | advance plot | conversing | cut from film | femme fatale | leading man | private eye | room |
The Big Sleep (1946) | Drops hat | NIF - not in film | 9th chord | advance plot | cut from film | dropping | femme fatale | hat | leading man | mickey-mousing | private eye | room |
The Big Sleep (1946) | Wrong Address | 1:30:46 - Marlowe ends the phone call | 9th chord | altered dominant | chromatic parallelism | conversing | death | death scene | half-diminished 7th chord | leading man | phone call | private eye | room | somber | victim |
The Big Sleep (1946) | Marlowe (Dramatic) | 1:33:37 - Marlowe looks at sign | 9th chord | altered dominant | car | dramatic | investigating | leading man | private eye | street | tense | traveling scene |
The Big Sleep (1946) | Vivian | 1:40:03 - Marlowe and Vivian kiss | 9th chord | 13th chord | AABA structure | added-note chord | altered dominant | captive | chromatic mediant | chromatic parallelism | common-tone dominant 7th | foreign key modulation | freeing | kissing | leading lady | leading man | love interest | love scene | Neapolitan | private eye | romantic | room | suspension |
The Big Sleep (1946) | Underscoring (Dramatic) | 1:41:36 - Marlowe runs to his car | 9th chord | action scene | criminal | diminution | dramatic | fragmentation | leading lady | leading man | linear chromaticism | love interest | outside | private eye | running | underscoring | whole-tone chord |
The Big Sleep (1946) | Driving 2 + Vivian | 1:44:16 - Vivian tells Marlowe she loves him | 9th chord | 13th chord | car | chromatic parallelism | conversing | driving | leading lady | leading man | love | love interest | love scene | ostinato | private eye | romantic | suspension | tense |
The Big Sleep (1946) | Driving 2 + Vivian | 1:45:21 - Marlowe tells Vivian he loves her | 9th chord | 13th chord | arriving | car | chromatic parallelism | conversing | driving | leading lady | leading man | love | love interest | love scene | ostinato | private eye | romantic | suspension | tense |
The Big Sleep (1946) | Vivian | 1:52:48 - Marlowe talks to Vivian | 9th chord | 13th chord | chromatic parallelism | conversing | leading lady | leading man | love | love interest | Neapolitan | private eye | resolution | romantic | room |
The Big Sleep (1946) | Vivian (Expressivo) | 1:53:20 - Marlowe pulls Vivian close | 9th chord | 13th chord | chromatic parallelism | conversing | foreign key modulation | leading lady | leading man | love | love interest | private eye | resolution | romantic | room | suspension |
| The Breaking Point (1950) | The Breaking Point (Ethereal) | 1:34:41 - Harry recognizes Lucy | 9th chord | boat | climax | comforting | conversing | crying | ethereal | leading lady | leading man | mixed meter | mode mixture | sailor | sweet | wife |
The Breaking Point (1950) | Leona | 1:36:26 - Leona watches | 9th chord | 11th chord | 13th chord | augmented sixth chord | child | chromatic parallelism | climax | crowd | crying | doctor | harbor | leading lady | leading man | sailor | somber | watching | wife |
The Breaking Point (1950) | Sad Boy | 1:36:44 - Sad orphaned boy looks on | 9th chord | 11th chord | blue note | child | climax | crowd | crying | harbor | leaving | somber | spiritual | triumphant | watching |
| Caged (1950) | Prison | NIF - not in film | 9th chord | augmented sixth chord | conversing | cut from film | dark | exiting | guard | leading lady | opening title sequence | police car | prison | prisoner | suspension | underscoring |
Caged (1950) | Isolation Ward | 0:08:54 - Edna lying in a bed | 9th chord | conversing | dark | dissonant bass | establish character | illness | isolation | leading lady | mysterious | ominous | oscillation | prison | prisoner | rain | uneasy |
Caged (1950) | Molto Expressivo | NIF - not in film | 9th chord | advance plot | arriving | cut from film | disbelief | foreign key modulation | guard | leading lady | pregnancy | prison | prisoner | realization | somber | stinger | tense | walking |
Caged (1950) | Mrs. Benton (Not in Film) | NIF - not in film | 9th chord | added-note chord | altered dominant | augmented sixth chord | comforting | common-tone modulation | crying | cut from film | disbelief | establish character | gentle | leading lady | mode mixture | office | pregnancy | prison | prisoner | realization | warden |
Caged (1950) | Lullaby | NIF - not in film | 9th chord | added-note chord | conversing | cut from film | establish character | gentle | leading lady | office | pregnancy | prison | prisoner | sequential modulation | warden |
Caged (1950) | Prison | 0:32:40 - Marie working in the prison laundry | 9th chord | double exposure | dramatic | leading lady | montage | montage | prison | prisoner | suspension | working |
Caged (1950) | June and Marie (Very Slow) | 0:39:59 - Marie helps June | 9th chord | consoling | dark | despair | establish character | friend | guard | helping | leading lady | prison | prisoner | somber | whole-tone chord |
Caged (1950) | Lullaby | 0:49:51 - Marie holds her new baby | 9th chord | added-note chord | advance plot | altered dominant | baby | conversing | gentle | leading lady | nurse | nursery | prison | prisoner | sequential modulation |
Caged (1950) | Marie (Dramatic) | 0:52:43 - Marie pleads with her mother to take the baby | 9th chord | altered dominant | chromatic scale | chromatic wedge | despair | dramatic | leading lady | mother | nurse | pleading | prison | prisoner | tragic | turning point |
| His Greatest Gamble (1934) | Russian Waltz | 0:30:05 - Philip arrives at Florence's home | 9th chord | arriving | calm | chromatic sequence | common-tone diminished 7th | establish setting | fugitive | leading man | mansion | mode mixture | on-screen music | piano | playing | pleasant | source music | waltz | wandering |
His Greatest Gamble (1934) | Morning Glory Waltz (Radio) | 0:57:06 - Philip talks with Alice | 9th chord | advance plot | conversing | daughter | fugitive | gentle | leading lady | leading man | mansion | mode mixture | radio | score to source | sentimental | source music | transcribed by ear | walking |
| City for Conquest (1940) | Tone Poem D (Main Title) | 0:01:00 - Credits over a city skyline | 9th chord | 64 chord | added-note chord | blue note | bluesy | cast list | city | countermelody | mode mixture | opening title sequence | sentimental | skyline |
City for Conquest (1940) | Tone Poem B + Train | 0:01:19 - Sign for the Williamsburg Bridge | 9th chord | added-note chord | bridge | busy | chromatic parallelism | city | combination of themes | countermelody | hurried | Mixolydian mode | old man | police | train | transition | traveling |
City for Conquest (1940) | Sidewalks of New York (Soliloquy) | 0:01:33 - A cop tells a man to keep moving | 9th chord | 13th chord | bridge | chromatic parallelism | city | conversing | establish place | establish setting | old man | police | soliloquy | uneasy |
City for Conquest (1940) | Sidewalks of New York (City Struck) | 0:02:03 - Old-timer talks with cop | 9th chord | bridge | chromatic scale | city | conversing | establish setting | excited | old man | police | soliloquy |
City for Conquest (1940) | Sidewalks of New York (Soliloquy) | 0:02:50 - Old-timer talks with cop | 9th chord | 13th chord | arguing | bluesy | bridge | chromatic parallelism | city | establish setting | old man | police | sentimental | soliloquy |
City for Conquest (1940) | Sidewalks of New York (Cop Grabs Bum) | 0:03:06 - Cop pushes old-timer | 9th chord | arguing | bridge | chromatic parallelism | chromatic scale | city | comical | establish setting | mickey-mousing | old man | police | pushing | rushing | tense |
City for Conquest (1940) | Sidewalks of New York (Soliloquy 2) | 0:05:44 - Old-timer talks to a stone carver | 9th chord | 13th chord | bluesy | child | chromatic parallelism | conversing | establish character | fragmentation | love | old man | romantic | sentimental | soliloquy | street | worker |
City for Conquest (1940) | Sidewalks of New York (Waltz Grazioso) | 0:06:09 - Two children playing | 9th chord | child | conversing | establish character | foreign key modulation | love | Neapolitan | old man | romantic | sentimental | soliloquy | street | waltz |
City for Conquest (1940) | Tone Poem A | 0:13:03 - Eddie plays the piano | 9th chord | 11th chord | 13th chord | brother | common-chord modulation | composer | conversing | deceptive resolution | establish character | leading man | musician | piano | playing | romantic | room | source music | transcribed by ear |
City for Conquest (1940) | Tone Poem A | 0:27:59 - Eddie plays the piano | 9th chord | 13th chord | advance plot | brother | composer | composing | deceptive resolution | enharmonic respelling | leading man | musician | on-screen music | piano | playing | romantic | room | source music | transcribed by ear |
City for Conquest (1940) | Tone Poem A (Dolce) | 0:30:28 - Peggy talks to Danny | 9th chord | 11th chord | arguing | chromatic parallelism | common-chord modulation | conversing | flirting | gentle | leading lady | leading man | love scene | playful | room | shaving |
City for Conquest (1940) | Tone Poem A (Expressivo) | 0:31:00 - Peggy apologizes to Danny | 9th chord | added-note chord | appoggiatura | chromatic mediant | common-tone diminished 7th | conversing | foreign key modulation | kiss | kissing | leading lady | leading man | love scene | parallelism | romantic | room |
City for Conquest (1940) | Tranquillo | 0:31:35 - Peggy and Danny on a boat | 9th chord | boat | conversing | delicate | gentle | leading lady | leading man | love scene |
City for Conquest (1940) | Tone Poem A (Waltz) | 0:31:48 - Peggy and Danny talk about the future | 9th chord | 13th chord | added-note chord | boat | calm | common-chord modulation | conversing | deceptive resolution | foreign key modulation | leading lady | leading man | love scene | mode mixture | romantic |
City for Conquest (1940) | I'm Just Wild About Harry (Foxtrot) | 0:33:35 - Peggy starts to leave | 9th chord | added-note chord | boat | calm | chromatic mediant | conversing | gentle | leading lady | leading man | love scene |
City for Conquest (1940) | Tone Poem A (Dolcissimo) | 0:34:02 - Danny talks with Peggy | 9th chord | added-note chord | boat | common-tone diminished 7th | conversing | gentle | kissing | leading lady | leading man | love scene | romantic |
City for Conquest (1940) | Tone Poem A (Headlines) | 0:38:25 - Sports news headlines | 9th chord | bold | fanfare | headline | montage | newspaper | transcribed by ear |
City for Conquest (1940) | Tone Poem A (Resolution) | 0:39:10 - Montage of boxing scenes | 9th chord | added-note chord | boxing ring | chromatic mediant | double exposure | foreign key modulation | headline | montage | newspaper | resolution | transcribed by ear | triumphant |
City for Conquest (1940) | Tone Poem A | 0:42:10 - Eddie plays the piano | 9th chord | 11th chord | 13th chord | advance plot | boxer | brother | common-chord modulation | composer | conversing | crowd | deceptive resolution | leading man | musician | on-screen music | party | piano | playing | romantic | source music | transcribed by ear |
City for Conquest (1940) | Tone Poem A (Stride Piano) | 0:43:27 - Eddie plays the piano | 9th chord | 11th chord | 13th chord | added-note chord | advance plot | augmented sixth chord | boxer | brother | chord substitution | common-tone diminished 7th | composer | conversing | crowd | foreign key modulation | leading man | mode mixture | musician | on-screen music | parallelism | party | piano | playing | ragtime | source music | syncopation | upbeat |
City for Conquest (1940) | Tone Poem A (Simplice) | 0:48:06 - Danny talks to Peggy | 9th chord | 13th chord | boxer | dancer | embracing | kissing | leading lady | leading man | love scene | romantic | street |
City for Conquest (1940) | Tone Poem A (Molto Expressivo) | 0:48:44 - Danny talks with Peggy | 9th chord | 64 chord | appoggiatura | boxer | countermelody | dancer | embracing | kissing | leading lady | leading man | love scene | plagal cadence | romantic | sequence | street |
City for Conquest (1940) | Tone Poem A (Farewell) | 0:55:31 - Peggy bids farewell to Danny | 9th chord | appoggiatura | augmented sixth chord | conversing | crying | embracing | enharmonic respelling | farewell scene | leading lady | leading man | leaving | mode mixture | plagal cadence | romantic | sentimental | street |
City for Conquest (1940) | Tone Poem A (Ominous) | 1:14:02 - Googi talks with the boxing managers | 9th chord | arguing | car | car | criminal | dissonant bass | driving | fragmentation | gangster | manager | murder scene | ominous | tense |
City for Conquest (1940) | Tone Poem A (The Song of the City) | 1:23:05 - Eddie plays the piano | 9th chord | 13th chord | advance plot | brother | common-chord modulation | composer | diminished 7th chord | leading man | listening | musician | on-screen music | playing | romantic | room | source music | transcribed by ear | victim |
City for Conquest (1940) | Tone Poem A (Lento 2) | 1:28:11 - Peggy cries | 9th chord | advance plot | altered dominant | conversing | crying | foreign key modulation | friend | leading lady | room | sequence | somber |
City for Conquest (1940) | Tone Poem D (Dolce) | 1:28:33 - Gladys talks to Peggy | 9th chord | 11th chord | advance plot | blue note | chromatic sequence | comforting | common-tone diminished 7th | conversing | crying | friend | gentle | leading lady | mode mixture | newspaper | parallel fifths | room | sweet |
City for Conquest (1940) | Tone Poem Introduction | 1:32:01 - Orchestra playing in a concert hall | 9th chord | audience | bold | Carnegie Hall | chromatic parallelism | common-tone dominant 7th | concert | concert hall | concert scene | conducting | conductor | dissonant bass | dominant 7th chord | double exposure | Dutch angle | Gershwinesque | listening | musician | on-screen music | orchestra | playing | radio | score to source | source music | watching |
City for Conquest (1940) | Tone Poem A | 1:32:32 - Violins playing | 9th chord | 11th chord | 13th chord | audience | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dramatic | Gershwinesque | leading lady | listening | musician | on-screen music | orchestra | playing | romantic | sentimental | sequence | source music | watching | zoom in |
City for Conquest (1940) | Tone Poem A (Tutti) | 1:33:02 - Peggy watches from the audience | 9th chord | 11th chord | 13th chord | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dramatic | fragmentation | Gershwinesque | leading lady | listening | musician | on-screen music | orchestra | playing | point-of-view shot | romantic | source music | watching | zoom in |
City for Conquest (1940) | Tone Poem Transition 1 | 1:33:15 - The conductor | 9th chord | added-note chord | audience | Carnegie Hall | common-tone diminished 7th | concert | concert hall | concert scene | conducting | conductor | dissonant bass | Dutch angle | excited | fragmentation | listening | musician | on-screen music | orchestra | playing | source music | watching |
City for Conquest (1940) | Tone Poem B | 1:33:32 - The wind section plays | 9th chord | added-note chord | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | excited | Mixolydian mode | musician | on-screen music | orchestra | ostinato | playing | pump-up modulation | source music |
City for Conquest (1940) | Tone Poem Transition 2 | 1:33:48 - Orchestra playing | 9th chord | added-note chord | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | dramatic | Gershwinesque | grand | listening | musician | on-screen music | orchestra | playing | source music | watching |
City for Conquest (1940) | Tone Poem Introduction (Abbreviated) | 1:34:01 - Orchestra playing | 9th chord | audience | bold | Carnegie Hall | chromatic parallelism | concert | concert hall | concert scene | conducting | conductor | dissonant bass | double exposure | Dutch angle | Gershwinesque | listening | musician | on-screen music | orchestra | playing | radio | source music | watching |
City for Conquest (1940) | Tone Poem C | NIF - not in film | 9th chord | bluesy | concert scene | countermelody | cut from film | enharmonic modulation | enharmonic respelling | mode mixture | sus chord |
City for Conquest (1940) | Tone Poem A (Very Broad) | 1:34:24 - Peggy reacts to the music | 9th chord | 13th chord | audience | bold | Carnegie Hall | chromatic parallelism | chromatic scale | chromatic sequence | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dissonant bass | dramatic | Gershwinesque | leading lady | leading man | listening | musician | newspaper | newspaper stand | on-screen music | orchestra | playing | radio | romantic | source music | street | watching | zoom out |
City for Conquest (1940) | Tone Poem A (Lento) | 1:35:02 - Orchestra playing | 9th chord | audience | Carnegie Hall | chromatic parallelism | chromatic sequence | concert | concert hall | concert scene | conducting | conductor | crying | leading lady | linear chromaticism | listening | musician | on-screen music | orchestra | playing | polychord | romantic | somber | source music | tender | watching |
City for Conquest (1940) | Tone Poem D | NIF - not in film | 9th chord | AABA structure | added-note chord | altered dominant | blue note | bluesy | chromatic parallelism | chromatic sequence | concert scene | countermelody | cut from film | mode mixture | parallelism |
City for Conquest (1940) | Tone Poem B | 1:35:43 - Danny listens to the radio | 9th chord | added-note chord | audience | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | excited | Gershwinesque | leading man | listening | Mixolydian mode | musician | newspaper | newspaper stand | on-screen music | orchestra | playing | pump-up modulation | radio | source music | street | watching |
City for Conquest (1940) | Tone Poem A (Grandioso) | 1:36:11 - Audience enjoying the performance | 9th chord | 13th chord | altered dominant | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | double exposure | dramatic | Gershwinesque | leading lady | leading man | listening | musician | on-screen music | orchestra | playing | romantic | sentimental | smiling | source music | watching |
City for Conquest (1940) | Tone Poem A (Tutti 2) | 1:36:41 - Danny's figure appears in the concert hall | 9th chord | 13th chord | AABA structure | added-note chord | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | crying | deceptive resolution | double exposure | dramatic | Gershwinesque | leading man | listening | mode mixture | musician | on-screen music | orchestra | playing | romantic | sentimental | smiling | source music | watching | zoom out |
City for Conquest (1940) | Tone Poem A (Beoootiful) | 1:40:11 - Danny working at his newsstand | 9th chord | 11th chord | blur | conversing | dissonant bass | ethereal | gentle | into focus | leading lady | leading man | love scene | reunion | reuniting | shimmery | squinting | street | tone cluster | victim | whole-tone chord |
City for Conquest (1940) | Tone Poem A (Chorus) | 1:41:14 - Danny talks with Peggy | 9th chord | 11th chord | 13th chord | chromatic sequence | conversing | crying | ethereal | foreign key modulation | gentle | leading lady | leading man | love interest | love scene | optimistic | reunion | reuniting | romantic | shimmery | street | suspension | victim |
| Crime School (1938) | Transition | 0:00:08 - Starring and cast list | 9th chord | cast list | dissonant bass | dominant pedal | dramatic | main title | opening title sequence | parallelism | starring list | tense | title of film |
Crime School (1938) | Underscoring (Tense) | 0:09:40 - Spike is captured by the cops | 9th chord | arresting | capturing | conflict | dramatic | police | street | teenager | tense |
Crime School (1938) | Underscoring (Dramatic) | 0:28:01 - Frankie escapes from the warden's office | 9th chord | chromatic parallelism | dramatic | escape | escaping | half-diminished 7th chord | hiding | mickey-mousing | ostinato | reformatory | running | teenager | tense | throwing | tone cluster | warden | whole-tone scale |
Crime School (1938) | Spots | 0:49:20 - Squirt has spots on his pajamas | 9th chord | chromatic parallelism | comedy | comical | conversing | gang | hero | leading man | mickey-mousing | paint | reformatory | spots | teenager | tense |
Crime School (1938) | Underscoring (Dramatic) | 1:11:24 - Boys plot their escape | 9th chord | arguing | chromatic parallelism | chromatic scale | dramatic | escape | gang | plotting | reformatory | teenager | underscoring |
Crime School (1938) | Sue (Allegretto) | 1:24:18 - Boys talk about Sue | 9th chord | chromatic parallelism | conversing | courthouse | fragmentation | gang | optimistic | resolution | sequence | teenager |
| 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) | The Bicycle | 0:14:42 - Newspaper boy on bicycle | 9th chord | 13th chord | bicycle | cheerful | mickey-mousing | newspaper | newspaper boy | riding | street | throwing | transition |
They Made Me a Criminal (1939) | Traveling | 0:22:25 - Johnnie becomes a fugitive | 9th chord | added-note chord | altered dominant | countryside | double exposure | dramatic | leading man | map | mickey-mousing | money | montage | montage | purchasing | street | traveling | walking |
They Made Me a Criminal (1939) | The Fugitive (Triste) | 0:23:12 - Johnnie at a diner | 9th chord | advance plot | diner | leading man | money | somber | thinking | underscoring |
They Made Me a Criminal (1939) | The Fugitive | 0:24:29 - Johnnie walks | 9th chord | advance plot | altered dominant | desert | foreign key modulation | leading man | Neapolitan | tired | traveling | walking | wandering |
They Made Me a Criminal (1939) | The Fugitive (Looking Around) | 0:25:11 - The young man sees Johnnie | 9th chord | deceptive resolution | establish character | foreign key modulation | leading lady | leading man | ranch | teenager | tired | walking |
They Made Me a Criminal (1939) | Date picking | 0:25:21 - Boys picking dates | 9th chord | establish character | light | ranch | sequence | step modulation | teenager | working |
They Made Me a Criminal (1939) | The Fugitive (Arriving) | 0:25:42 - Johnnie arrives at the ranch | 9th chord | arriving | establish character | foreign key modulation | leading lady | leading man | ranch | teenager | tired |
They Made Me a Criminal (1939) | The Fugitive (Fainting) | 0:26:32 - Johnnie stumbles and faints | 9th chord | dark | deceptive resolution | dissonant bass | establish character | fainting | falling | foreign key modulation | leading man | ranch | tired | tragic | walking |
They Made Me a Criminal (1939) | Underscoring (Tender) | 0:26:58 - Peggy helps Johnnie | 9th chord | 64 chord | heroine | leading lady | leading man | lovers meet | mode mixture | nursing | room | tender | underscoring |
They Made Me a Criminal (1939) | The Fugitive (Recovering) | 0:27:13 - Peggy takes care of Johnnie | 9th chord | foreign key modulation | heroine | leading lady | leading man | lovers meet | nursing | recovering | romance | room | sweet | waking |
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) | The Fugitive (Apology) | 0:48:31 - Johnnie and Peggy talk | 9th chord | conversing | hero | leading lady | leading man | love scene | romantic | room | secondary dominant | 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) | The Fugitive (Ashamed) | 1:03:55 - Johnnie tells them he can't fight | 9th chord | conflict | dark | foreign key modulation | harmonic sequence | leading lady | leading man | lying | room | somber | teenager |
They Made Me a Criminal (1939) | On the Make (Heartbreak) | 1:06:05 - Johnny talks to Peggy | 9th chord | arguing | conflict | dissonant bass | dramatic | leading lady | leading man | room | slamming | somber | tense |
They Made Me a Criminal (1939) | On the Make (Tenderly) | 1:07:57 - Tommy talks to Johnnie | 9th chord | ABAB structure | altered dominant | arguing | chromatic mediant | conversing | direct modulation | foreign key modulation | hero | leading man | room | tender | turning point |
They Made Me a Criminal (1939) | The Fugitive (Religioso) | 1:09:41 - Johnnie looks at a picture | 9th chord | hero | leading man | Neapolitan | room | tender | thinking | turning point |
They Made Me a Criminal (1939) | On the Make (Appassionato) | 1:25:51 - Peggy wants to go with Johnnie | 9th chord | altered dominant | climax | detective | embracing | kissing | leading lady | leading man | leaving | linear chromaticism | mode mixture | pedal tone | romantic | room | sentimental | sigh gesture | tender |
They Made Me a Criminal (1939) | On the Make (End Cast) | 1:31:03 - End titles | 9th chord | added-note chord | closing credits | end title | linear chromaticism | mode mixture | not by Steiner | plagal cadence | upbeat |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Opening B) | 0:00:49 - Cast list | 9th chord | augmented sixth chord | blues | bluesy | cast list | dust | main title | mode mixture | opening title sequence |
Dust Be My Destiny (1939) | Dust Be My Destiny (Opening A2) | 0:01:04 - Cast list | 9th chord | common-tone diminished 7th | dust | main title | mickey-mousing | opening title sequence | romantic |
Dust Be My Destiny (1939) | Dust Be My Destiny (Injustice) | 0:02:29 - Joe reacts to the warden | 9th chord | 64 chord | agitated | chromatic parallelism | conversing | dramatic | establish character | injustice | leading man | prison | prisoner | warden |
Dust Be My Destiny (1939) | Dust Be My Destiny (In Love) | 0:22:04 - Mabel and Joe talk | 9th chord | added-note chord | barn | common-tone diminished 7th | leading lady | leading man | love scene | mode mixture | romantic | secondary dominant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Expressivo) | 0:23:38 - Joe and Mabel talk | 9th chord | added-note chord | augmented sixth chord | barn | common-tone diminished 7th | leading lady | leading man | love scene | mode mixture | romantic | secondary dominant | sequence |
Dust Be My Destiny (1939) | Running | 0:26:05 - Joe and Mabel run | 9th chord | barn | conflict | dramatic | leading lady | leading man | mickey-mousing | octatonic | running |
Dust Be My Destiny (1939) | Arriving | 0:26:52 - Joe and Mabel settle into their new situation | 9th chord | arriving | calm | dramatic | freedom | leading lady | leading man | runaway | settling down | street | traveling | traveling scene | truck |
Dust Be My Destiny (1939) | Dust Be My Destiny (In Love) | 0:27:22 - Joe and Mabel talk | 9th chord | added-note chord | advance plot | common-tone diminished 7th | freedom | gentle | leading lady | leading man | mode mixture | runaway | secondary dominant | street | walking |
Dust Be My Destiny (1939) | Here Comes the Bride (Triple) | 0:30:31 - Man talks to Joe and Mabel | 9th chord | 64 chord | chromatic parallelism | courthouse | familiar tune | leading lady | leading man | love scene | marriage | producer | pump-up modulation | romantic | sequence | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Injustice) | 0:35:25 - Joe and Mabel talk in the alley | 9th chord | alley | chromatic parallelism | escape | fearful | leading lady | leading man | runaway | street |
Dust Be My Destiny (1939) | Underscoring (Dramatic) | 0:38:00 - Joe and Mabel argue | 9th chord | arguing | conflict | dissonant bass | dramatic | leading lady | leading man | runaway | street | underscoring |
Dust Be My Destiny (1939) | Dust Be My Destiny (In Love) | 0:43:51 - Mabel and Nick talk | 9th chord | develop character | diner | friend | gentle | leading lady | leading man | shopkeeper |
Dust Be My Destiny (1939) | My Wild Irish Rose (Goodbye) | 0:51:35 - Joe and Mabel say goodbye to Nick | 9th chord | escape | familiar tune | foreign key modulation | friend | leading lady | leading man | linear chromaticism | mode mixture | popular song | shopkeeper | tender | train station |
Dust Be My Destiny (1939) | My Wild Irish Rose (Grandioso) | 0:52:06 - Joe and Mabel leave on a train | 9th chord | 64 chord | calm | escape | familiar tune | friend | leading lady | leading man | popular song | shopkeeper | sweet | tender | train station | triumphant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Not In Film) | NIF - not in film | 9th chord | common-tone diminished 7th | conflict | cut from film | sequence |
Dust Be My Destiny (1939) | Dust Be My Destiny (Sehr Ominous) | 0:56:14 - Joe walks towards the shop | 9th chord | chromatic parallelism | crime scene | criminal | leading man | mysterious | sequence | shop | shopkeeper | street | walking |
Dust Be My Destiny (1939) | Cantor | 0:56:34 - Joe talks to a Jewish shopkeeper | 9th chord | crime scene | criminal | Gypsy minor scale | Jewish | kind | leading man | shop | shopkeeper |
Dust Be My Destiny (1939) | Dust Be My Destiny (Reunited) | 0:58:04 - Joe embraces Mabel | 9th chord | 64 chord | added-note chord | embracing | foreign key modulation | leading lady | leading man | love scene | romantic | room | triumphant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Cornered) | 1:12:21 - Mabel and Joe decide what to do | 9th chord | conflict | hero | hospital | inversion | leading lady | leading man | pedal tone | tense |
| Each Dawn I Die (1939) | Underscoring (Dramatic) | 0:05:24 - Frank is framed for drunk driving | 9th chord | attacking | car | conflict | diminished 7th chord | dramatic | gangster | hero | leading man | minor second | murder | pushing | reporter | setup | street | underscoring | violence |
Each Dawn I Die (1939) | Hits with bottle | 0:05:26 - A bottle of alcohol is broken | 9th chord | bottle | breaking | conflict | dramatic | gangster | hero | leading man | mickey-mousing | reporter | street | violence |
Each Dawn I Die (1939) | Underscoring (Dramatic) | 0:06:06 - Crowd accuses Frank of murder | 9th chord | accusing | car crash | conflict | crowd | dissonant bass | dramatic | hero | injury | leading man | linear chromaticism | police | reporter | sequence | shaking | street | underscoring | yelling |
Each Dawn I Die (1939) | Headlines | 0:41:50 - Newspaper headline is shown | 9th chord | chromatic parallelism | dark | fanfare | headline | montage | montage | newspaper | pedal tone |
Each Dawn I Die (1939) | Frank (Parole Denied) | 1:07:58 - Frank's parole is denied | 9th chord | common-tone diminished 7th | dark | despair | foreign key modulation | half-diminished 7th chord | hopeful | leading man | letter | prison | prisoner | reading | sigh gesture | solemn | turning point |
Each Dawn I Die (1939) | Transition (Extended) | 1:28:35 - Newspaper headline is shown | 9th chord | dissonant bass | dramatic | headline | montage | montage | newspaper |
Each Dawn I Die (1939) | Frank (Released) | 1:28:49 - Frank is released | 9th chord | altered dominant | artwork in score | conclusion | embracing | friend | gentle | goodbye | leading lady | leading man | Neapolitan | passionate | peaceful |
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) | Crime School | 0:00:08 - Starring list | 9th chord | dramatic | opening title sequence | parallelism | self-borrowing | starring list | tense |
Flamingo Road (1949) | Underscoring (Lyrical) | NIF - not in film | 9th chord | altered dominant | conversing | cut from film | cut from film | leading lady | leading man | lovers meet | police | room | underscoring |
Flamingo Road (1949) | Lane (Sentimentale) | NIF - not in film | 9th chord | chromatic parallelism | conversing | cut from film | cut from film | falling in love scene | leading lady | leading man | police |
Flamingo Road (1949) | Lane (Not in Film 2) | NIF - not in film | 9th chord | advance plot | chromatic parallelism | conversing | cut from film | cut from film | leading lady | newspaper editor | office | whole-tone chord |
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 | conversing | coworker | deceptive resolution | diminished 7th chord | leading man | linear chromaticism | politician | reverse picardy | sigh gesture | somber |
Flamingo Road (1949) | Lane (Chromatic) | 0:50:24 - Lane ties Dan's tie | 9th chord | chromatic parallelism | conversing | dark | gentle | leading lady | leading man | love interest | lovers meet | politician | room |
Flamingo Road (1949) | Flamingo Road (Bluesy) | 0:55:00 - Dan buys some cold drinks | 9th chord | altered dominant | bluesy | flirting | foreshadowing | leading lady | leading man | love interest | love scene | mode mixture | parallelism | politician | porch | self-borrowing |
Flamingo Road (1949) | Flamingo Road (Agitato) | 1:18:50 - Dan gets upset with Lane | 9th chord | accusing | angry | augmented sixth chord | conflict | fragmentation | husband | leading lady | leading man | politician | quartal chord | room | self-borrowing | wife |
| Her Kind of Man (1946) | It Had to Be You (Jazz Trumpet) | 0:00:44 - Music by Franz Waxman | 9th chord | bluesy | cast list | gambling | jazz | mode mixture | opening title sequence | roulette |
Her Kind of Man (1946) | It Had to Be You (Somber) | 0:44:48 - Georgia leaves | 9th chord | arguing | conflict | departing | gambler | leading lady | leading man | love interest | room | somber | underscoring |
Her Kind of Man (1946) | Underscoring (Dark [Steiner]) | 1:12:32 - Candy reacts | 9th chord | advance plot | arguing | conversing | criminal | dark | gambler | half-diminished 7th chord | henchman | leading man | murderer | ominous | ostinato | underscoring | warehouse |
Her Kind of Man (1946) | It Had to Be You (Tragic) | 1:17:10 - Georgia holds Steve | 9th chord | augmented triad | climax | comforting | conversing | corpse | cradling | criminal | crying | death | dying | familiar tune | gambler | henchman | leading lady | leading man | murderer | police | popular music | reporter | singer | street | tense | tragic | wife |
Her Kind of Man (1946) | Water | 1:17:41 - Steve's corpse | 9th chord | corpse | criminal | death | flowing | gambler | henchman | leading lady | leading man | murderer | panning shot | police | reporter | resolution | singer | street | swirling | tense | tragic | voice-over | water | water effect | wife |
| I Was a Communist for the FBI (1951) | Underscoring (Tense) | 0:01:02 - Brooklyn Bridge | 9th chord | airport | bridge | mysterious | pc set | street | tense | transition | underscoring |
I Was a Communist for the FBI (1951) | Family (Molto Expressivo) | 0:26:15 - Matt writes a letter to his son | 9th chord | added-note chord | advance plot | baby | deceptive resolution | double exposure | flashback | foreign key modulation | gentle | leading man | letter | looking | love | memory | photograph | room | self-borrowing | sentimental | smiling | son | tender | thinking | undercover agent | voice-over | writing |
| In This Our Life (1942) | Our Life | 0:00:17 - Title of the film | 9th chord | cast list | dissonant bass | dramatic | opening title sequence | sequence | title of film |
In This Our Life (1942) | Stanley Introduction | 0:06:35 - A car arrives | 9th chord | arriving | car | chromatic scale | conversing | establish character | leading lady | leading man | love interest | stinger | tense |
In This Our Life (1942) | Stanley | 0:06:56 - Stanley talks with Peter | 9th chord | appoggiatura | car | circle of fifths | conversing | establish character | leading lady | leading man | love interest | sultry |
In This Our Life (1942) | Stanley | 0:07:23 - Stanley drives away | 9th chord | appoggiatura | car | circle of fifths | conversing | establish character | leading lady | leading man | love interest | sultry |
In This Our Life (1942) | Roy (Triste) | 0:12:54 - Roy walks up the stairs | 9th chord | altered dominant | countermelody | establish character | foreign key modulation | gentle | leading lady | room | somber | walking |
In This Our Life (1942) | Caring | 0:13:08 - Roy talks to Peter | 9th chord | advance plot | chromatic parallelism | conversing | leading lady | leading man | packing | parallelism | passionate | room | tender |
In This Our Life (1942) | Stanley (Peter Lies) | 0:13:28 - Peter talks about his trip | 9th chord | advance plot | appoggiatura | conversing | leading lady | leading man | lying | musical clue | packing | room | serious | somber |
In This Our Life (1942) | Discussion | 0:13:57 - Roy talks with Peter | 9th chord | advance plot | altered dominant | conversing | leading lady | leading man | passionate | reverse picardy | room | serious | somber |
In This Our Life (1942) | Roy (Rubato) | 0:14:34 - Roy talks with Peter | 9th chord | advance plot | chromatic parallelism | conversing | dark | fragmentation | leading lady | leading man | major 7th chord | playful | room |
In This Our Life (1942) | Stanley (Valse Triste) | 0:16:22 - Roy looks out the window | 9th chord | advance plot | altered dominant | appoggiatura | circle of fifths | dark | leading lady | leading man | leaving | room | somber | waltz | watching | window |
In This Our Life (1942) | Stanley B (Valse Triste) | 0:16:33 - Craig arrives | 9th chord | advance plot | arriving | dark | dissonant bass | leading lady | leading man | somber | street | waltz | watching | window |
In This Our Life (1942) | Stanley | 0:16:44 - Craig comes inside | 9th chord | advance plot | appoggiatura | circle of fifths | dark | father | leading lady | leading man | room | somber | waltz |
In This Our Life (1942) | Stanley Introduction | 0:16:56 - Craig talks with Asa | 9th chord | advance plot | chromatic scale | conversing | father | fiancé | leading lady | room | tense | underscoring |
In This Our Life (1942) | Stanley | 0:17:11 - Stanley comes down the stairs | 9th chord | advance plot | appoggiatura | circle of fifths | conversing | fiancé | kissing | leading lady | room | sultry |
In This Our Life (1942) | Stanley (Packing) | 0:17:51 - Stanley packs her things | 9th chord | advance plot | agitated | appoggiatura | circle of fifths | leading lady | packing | room | tense |
In This Our Life (1942) | Roy (Grazioso) | 0:23:08 - Roy looks in the mirror | 9th chord | conflict | conversing | countermelody | father | foreign key modulation | leading lady | mysterious | room |
In This Our Life (1942) | Caring | 0:23:19 - Asa talks to Roy | 9th chord | chromatic parallelism | conflict | conversing | father | leading lady | room | sentimental | underscoring |
In This Our Life (1942) | Stanley (Gloomy) | 0:28:32 - Roy walking in the park | 9th chord | advance plot | altered dominant | appoggiatura | chromatic parallelism | dark | depressed | leading lady | leading man | park | sigh gesture | sitting | tritone substitution |
In This Our Life (1942) | Roy (Rubato) | 0:29:00 - Roy talks to Craig | 9th chord | advance plot | chromatic parallelism | conversing | fragmentation | leading lady | leading man | major 7th chord | park | uneasy |
In This Our Life (1942) | Stanley (Morendo) | 0:29:32 - Craig talks with Roy | 9th chord | advance plot | appoggiatura | chromatic parallelism | conversing | harmonic sequence | leading lady | leading man | park | somber |
In This Our Life (1942) | Roy (Encouragement) | 0:29:56 - Roy tries to cheer Craig up | 9th chord | advance plot | common-chord modulation | conversing | encouraging | leading lady | leading man | park | sequential modulation | uplifting |
In This Our Life (1942) | Here Comes the Bride (A Little Shimmer) | 0:31:40 - A convertible | 9th chord | 11th chord | 64 chord | car | courthouse | deceptive resolution | happy | leading lady | leading man | leaving | pump-up modulation | sequential modulation | street | wedding | wedding |
In This Our Life (1942) | Stanley (Stringy) | 0:32:14 - Stanley and Peter in the car | 9th chord | appoggiatura | car | circle of fifths | conversing | leading lady | leading man | sultry | wedding | wedding |
In This Our Life (1942) | Stanley Introduction (Extended) | 0:36:41 - Peter goes home | 9th chord | arriving | car | chromatic scale | leading man | love scene | room | solemn | somber | tense |
In This Our Life (1942) | Stanley (Cello Solo) | 0:37:11 - Peter sits on the couch | 9th chord | contemplating | enharmonic respelling | leading man | love scene | room | sigh gesture | somber |
In This Our Life (1942) | Flirting | 0:37:31 - Peter goes to Stanley | 9th chord | 64 chord | conversing | flirting | happy | leading lady | leading man | love scene | mode mixture | room |
In This Our Life (1942) | Stanley (Grazioso) | 0:37:56 - Stanley talks to Peter | 9th chord | added-note chord | appoggiatura | circle of fifths | conversing | flirting | happy | leading lady | leading man | love scene | pleasant | room | sultry |
In This Our Life (1942) | Driving | 0:38:19 - Roy and Craig in a car | 9th chord | calm | car | conversing | driving | leading lady | leading man | love interest | love scene | oscillation |
In This Our Life (1942) | Driving + Love Theme | 0:39:07 - Roy and Craig in a car | 9th chord | altered dominant | calm | car | combination of themes | conversing | driving | iii chord | leading lady | leading man | love interest | love scene | oscillation | pedal tone | romantic | suspension |
In This Our Life (1942) | Love Theme | 0:40:44 - Roy and Craig sit on the ground | 9th chord | altered dominant | artwork in score | calm | conversing | fire | iii chord | leading lady | leading man | love interest | love scene | outdoors | romantic | suspension |
In This Our Life (1942) | Blues in the Night (Transition) | 0:43:37 - Craig's office door | 9th chord | arriving | assistant | calm | friend | leading lady | love scene | office | pleasant | source to score |
In This Our Life (1942) | Love Theme (Valse Sentimentale) | 0:44:06 - Roy and Craig embrace | 9th chord | altered dominant | calm | conversing | iii chord | leading lady | leading man | love scene | office | romantic | waltz |
In This Our Life (1942) | Love Theme (Valse Sentimentale) | 0:46:31 - Roy talks with her uncle | 9th chord | altered dominant | conversing | iii chord | leading lady | leading man | love scene | pleasant | proposal | room | tender | uncle | waltz |
In This Our Life (1942) | Underscoring (Somber) | 0:48:46 - Asa relates the bad news | 9th chord | bad news | conversing | deceptive resolution | father | leading lady | leading man | room | sigh gesture | somber | turning point | uncle | underscoring |
In This Our Life (1942) | Caring | 0:51:39 - Roy greets Stanley | 9th chord | advance plot | arriving | chromatic parallelism | gentle | leading lady | room | sister | tender | widow |
In This Our Life (1942) | Stanley (Peter Lies) | 0:51:55 - Roy at Stanley's bedside | 9th chord | advance plot | appoggiatura | conversing | gentle | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley B (Slowly) | 0:52:05 - Roy at Stanley's bedside | 9th chord | advance plot | agitated | chromatic scale | chromatic sequence | conversing | dissonant bass | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley (Packing) | 0:52:23 - Roy at Stanley's bedside | 9th chord | advance plot | appoggiatura | conversing | gentle | leading lady | room | sister | tense | widow |
In This Our Life (1942) | Stanley (Valse Triste) | 0:52:42 - Stanley talks to Roy | 9th chord | advance plot | agitated | altered dominant | appoggiatura | circle of fifths | conversing | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley B (Valse Triste) | 0:52:48 - Stanley talks to Roy | 9th chord | advance plot | agitated | conversing | dissonant bass | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley | 0:52:56 - Stanley talks to Roy | 9th chord | advance plot | agitated | appoggiatura | circle of fifths | conversing | leading lady | room | sister | widow |
In This Our Life (1942) | Discussion | 0:53:04 - Stanley talks to Roy | 9th chord | advance plot | agitated | altered dominant | conversing | leading lady | room | sister | whole-tone chord | widow |
In This Our Life (1942) | Stanley B (Valse Triste) | 0:53:17 - Stanley cries | 9th chord | advance plot | agitated | chromatic scale | chromatic sequence | conversing | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley | 0:53:23 - Roy comforts Stanley | 9th chord | advance plot | appoggiatura | circle of fifths | comforting | crying | gentle | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley Introduction | 0:53:32 - Roy comforts Stanley | 9th chord | advance plot | chromatic scale | comforting | crying | leading lady | room | sister | tense | widow |
In This Our Life (1942) | Stanley | 0:53:46 - Roy comforts Stanley | 9th chord | advance plot | appoggiatura | calm | circle of fifths | comforting | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley (Morendo) | 0:53:56 - Roy puts Stanley to bed | 9th chord | advance plot | calm | comforting | harmonic sequence | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley Introduction (Extended 2) | 1:05:31 - Stanley in Craig's office | 9th chord | advance plot | chromatic scale | conversing | lawyer | leading lady | leading man | office | reading | uneasy | whole-tone chord |
In This Our Life (1942) | Stanley (Extended) | 1:05:53 - Stanley talks to Craig | 9th chord | advance plot | appoggiatura | circle of fifths | conversing | lawyer | leading lady | leading man | office | solemn | uneasy |
In This Our Life (1942) | Stanley B (Slowly) | 1:06:13 - Stanley talks to Craig | 9th chord | advance plot | chromatic parallelism | chromatic scale | conversing | dissonant bass | lawyer | leading lady | leading man | office | uneasy |
In This Our Life (1942) | Stanley (Triste) | 1:06:29 - Stanley talks to Craig | 9th chord | advance plot | appoggiatura | circle of fifths | conversing | lawyer | leading lady | leading man | office | uneasy |
In This Our Life (1942) | Stanley Introduction | 1:07:01 - Stanley talks to Craig | 9th chord | advance plot | chromatic scale | lawyer | leading lady | leading man | manipulating | office | passionate |
In This Our Life (1942) | Stanley | 1:07:11 - Stanley talks to Craig | 9th chord | advance plot | appoggiatura | circle of fifths | lawyer | leading lady | leading man | manipulating | office | uneasy |
In This Our Life (1942) | Stanley (Dark) | 1:07:32 - Stanley leaves | 9th chord | advance plot | dark | lawyer | leading lady | leading man | manipulating | office | uneasy |
In This Our Life (1942) | Stanley Introduction (Extended 3) | 1:12:42 - Stanley talks with Roy | 9th chord | advance plot | conversing | criminal | leading lady | lying | room | tense |
In This Our Life (1942) | Minerva and Parry | 1:13:29 - Minerva talks with Roy | 9th chord | 11th chord | advance plot | blue note | calm | chromatic mediant | common-tone diminished 7th | conversing | foreign key modulation | leading lady | maid | mellow | mother | questioning | room | sentimental | solemn | spiritual |
In This Our Life (1942) | Stanley (Packing) | 1:14:36 - Newspaper headline about the accident | 9th chord | appoggiatura | arriving | circle of fifths | conflict | conversing | headline | lawyer | leading lady | leading man | mysterious | newspaper | office |
In This Our Life (1942) | Stanley (Slowly) | 1:16:07 - Craig reads a note | 9th chord | altered dominant | conflict | lawyer | leading man | note | office | sentimental | thinking | whole-tone chord |
In This Our Life (1942) | Underscoring (Somber) | 1:21:07 - Parry in his jail cell | 9th chord | conflict | conversing | criminal | diminished 7th chord | lawyer | leading lady | leading man | prison | prisoner | sigh gesture | somber | suspect | underscoring | victim |
In This Our Life (1942) | Minerva and Parry | 1:21:28 - Parry in his jail cell | 9th chord | 11th chord | blue note | chromatic mediant | common-tone diminished 7th | conflict | conversing | criminal | foreign key modulation | lawyer | leading lady | leading man | lying | prison | prisoner | somber | suspect | tender | testifying | victim |
In This Our Life (1942) | Stanley Introduction (Extended 4) | 1:23:09 - Stanley and Craig leave the jail | 9th chord | car | conflict | criminal | lawyer | leading lady | leading man | leaving | street | tense |
In This Our Life (1942) | London Bridge is Falling Down (Mysterious) | 1:23:45 - Craig and Stanley argue | 9th chord | car | children's song | conflict | conversing | criminal | familiar tune | lawyer | leading lady | leading man | lying | mysterious | ominous |
In This Our Life (1942) | Stanley (Valse Triste) | 1:26:23 - Stanley confesses | 9th chord | altered dominant | appoggiatura | arguing | circle of fifths | climax | confessing | confession | criminal | crying | dramatic | father | lawyer | leading lady | leading man | mother | room | suspect | whole-tone chord |
In This Our Life (1942) | Stanley B (Slowly Extended) | 1:26:39 - Stanley confesses | 9th chord | agitated | arguing | chromatic scale | chromatic sequence | climax | confessing | confession | criminal | crying | dissonant bass | father | lawyer | leading lady | leading man | lying | mother | room | suspect |
In This Our Life (1942) | Big Sweep (Subtle) | 1:27:23 - Stanley reacts | 9th chord | climax | conversing | criminal | father | lawyer | leading lady | leading man | mother | pc set | plotting | room | suspect | tense | underscoring |
In This Our Life (1942) | Stanley (Extended) | 1:27:33 - Stanley goes upstairs | 9th chord | appoggiatura | circle of fifths | climax | conversing | criminal | crying | father | lawyer | leading lady | leading man | mother | room | somber | suspect | uneasy |
In This Our Life (1942) | Love Theme (Gentle) | 1:27:58 - Roy talks to Craig | 9th chord | accusing | altered dominant | climax | conversing | criminal | crying | embracing | gentle | iii chord | lawyer | leading lady | leading man | room | sneaking | tender |
In This Our Life (1942) | Stanley (Triste) | 1:29:42 - Stanley enters the house | 9th chord | agitated | appoggiatura | circle of fifths | criminal | leading lady | room | running | sigh gesture | somber | tense | transition | uncle |
In This Our Life (1942) | Stanley (Chase) | 1:32:59 - The police chase after Stanley | 9th chord | acceleration | chase scene | chasing | chromatic scale | climax | criminal | desperate | dramatic | driving | fleeing | fragmentation | leading lady | police | street | tense |
In This Our Life (1942) | Stanley (Crying) | 1:33:37 - Stanley crying in her car | 9th chord | appoggiatura | chase scene | chasing | climax | criminal | crying | dark | dramatic | driving | fleeing | harmonic sequence | leading lady | police | somber | street | tense |
In This Our Life (1942) | Stanley (Desperate) | 1:34:02 - The police in hot pursuit | 9th chord | chase scene | chasing | chromatic parallelism | climax | criminal | crying | desperate | dramatic | driving | fleeing | fragmentation | leading lady | police | street | tense |
In This Our Life (1942) | Underscoring (Dramatic) | 1:34:09 - Stanley's eyes in the rear-view mirror | 9th chord | acceleration | chase scene | chasing | climax | criminal | crying | desperate | dissonant bass | dramatic | driving | fleeing | leading lady | pc set | police | street | tense | tone cluster | underscoring |
In This Our Life (1942) | Car crash 2 | 1:34:17 - Stanley's car crashes | 9th chord | brash | car | car crash | chase scene | climax | crashing | criminal | dramatic | driving | dying | falling | fire | leading lady | mickey-mousing | police | street | tense |
In This Our Life (1942) | Stanley (Tragic) | 1:34:28 - Police run to Stanley's car | 9th chord | added-note chord | appoggiatura | brash | car | car crash | chase scene | climax | criminal | dramatic | dying | fire | half-diminished 7th chord | helping | leading lady | mournful | police | reporting | rescuing | rushing | sigh gesture | somber | street | tragic |
In This Our Life (1942) | Stanley | NIF - not in film | 9th chord | appoggiatura | circle of fifths | cut from film | resolution |
| The Informer (1935) | The Informer (Bridge) | 0:00:46 - Shadows move across the screen behind the cast list | 9th chord | cast list | informer | march | marching | mysterious | Neapolitan | opening title sequence | Scotch snap | searching | serious | shadow | soldier | street |
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) | The Minstrel Boy | 0:25:32 - Man sings a folk tune at the street corner | 9th chord | AABA structure | advance plot | angelic | antagonist | calm | familiar tune | folk song | gentle | leading man | listening | mode mixture | mourner | mourning | on-screen music | playing | praying | singer | singing | street | violinist | watching |
The Informer (1935) | Katie (Thinking) | 0:49:37 - Gypo looks at the money and the poster | 9th chord | advance plot | antagonist | leading man | money | pondering | sentimental | street |
The Informer (1935) | Falling down the stairs | 1:06:19 - Gypo falls down the stairs | 9th chord | antagonist | chromatic scale | courtroom scene | down | dramatic | falling | headquarters | leading man | mickey-mousing | rebel | room | stairs | suspect |
The Informer (1935) | The Informer (Confession) | 1:16:00 - Gypo confesses and cries | 9th chord | altered dominant | antagonist | confessing | confession | courtroom | courtroom scene | crying | deceptive resolution | diminished 7th chord | dissonant bass | guilt | half-diminished 7th chord | headquarters | leading man | pedal tone | pedal tone | remorseful | room | traitor |
The Informer (1935) | Underscoring (Dramatic) | 1:20:24 - Rebels plan how to catch Gypo | 9th chord | 64 chord | advance plot | bold | fanfare | headquarters | hurrying | planning | rebel | room | tense |
| The Letter (1940) | Leslie | 0:00:11 - The Letter | 9th chord | changing meter | main title | minor-major 7th chord | opening title sequence | oscillation | sequence | suspension | tense | title of film |
The Letter (1940) | Leslie (Rubato) | 0:00:44 - Cast list | 9th chord | cast list | changing meter | main title | minor-major 7th chord | opening title sequence | oscillation | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie (Tense) | 0:34:20 - Howard tells Leslie about the letter | 9th chord | altered dominant | chromatic parallelism | conversing | lawyer | leading lady | letter | pivotal scene | prison | sequence | suspenseful | tense |
The Letter (1940) | Leslie (Plotting) | 0:39:32 - Howard and Leslie plot their next move | 9th chord | advance plot | buildup | changing meter | chromatic sequence | fragmentation | hospital | lawyer | leading lady | letter | minor-major 7th chord | ominous | oscillation | plotting | tense |
The Letter (1940) | Law Office (The Plea) | 0:40:00 - Howard asks Leslie to be honest | 9th chord | advance plot | anxious | artwork in score | chromatic sequence | conversing | hospital | lawyer | leading lady | letter | refusing | tense |
The Letter (1940) | Leslie (Wild) | 1:14:57 - Robert waits for a response | 9th chord | arguing | augmented major 7th chord | chromatic parallelism | conflict | distress | fragmentation | home | husband | lawyer | leading lady | lying | sequence | tense |
The Letter (1940) | Distress | 1:15:08 - Robert confronts the lawyer | 9th chord | arguing | conflict | dissonant bass | distress | home | husband | lawyer | leading lady | tense |
The Letter (1940) | Foxtrot No. 1 | 1:19:49 - Leslie getting ready for the party | 9th chord | advance plot | calm | dance music | foxtrot | home | leading lady | sitting | source music |
The Letter (1940) | Foxtrot No. 2 | 1:22:12 - Leslie joins the party | 9th chord | AABA structure | altered dominant | conversing | dance music | dancing | foxtrot | friend | happy | husband | leading lady | party | party | pump-up modulation | secondary dominant | source music |
The Letter (1940) | Foxtrot No. 3 | 1:23:25 - Robert talks to friends at the party | 9th chord | added-note chord | common-tone diminished 7th | contrasting period | conversing | dance music | drinking | foxtrot | friend | happy | husband | leading lady | party | party | source music |
| Lightning Strikes Twice (1951) | Menace (Expressivo) | 0:03:24 - Newspaper editor on the phone | 9th chord | bus | conversing | dissonant bass | headline | newspaper | newspaper editor | office | telephone | transition | uneasy | worker |
Lightning Strikes Twice (1951) | Menace (Ominous) | 0:17:50 - Newspaper headline about Trev | 9th chord | 64 chord | actor | conversing | dark | establish character | headline | leading lady | leading man | newspaper | ominous | room | suspect |
Lightning Strikes Twice (1951) | Shelly and Trev | NIF - not in film | 9th chord | actor | blowing | candle | cut from film | establish character | leading lady | leading man | light | room | suspect | suspension | tense | turning off |
Lightning Strikes Twice (1951) | Shelly 2 (Dolce) | 0:24:34 - Shelly walks around the ranch | 9th chord | actor | arriving | brother | calm | conversing | countermelody | leading lady | ranch | rancher | transition | walking |
| Mildred Pierce (1945) | Transition | 0:00:10 - Starring list and wave effect | 9th chord | bold | chromatic scale | dissonant bass | fanfare | mickey-mousing | opening title sequence | tense | title of film | water | wave |
Mildred Pierce (1945) | Mildred B | 0:00:52 - Cast list and wave effect | 9th chord | appoggiatura | cast list | chromatic mediant | deceptive resolution | enharmonic modulation | foreign key modulation | gentle | mickey-mousing | name on screen | opening title sequence | optimistic | romantic | sequential modulation | water | wave |
Mildred Pierce (1945) | Underscoring (Dramatic) | 0:08:53 - Wally looks for Mildred | 9th chord | action scene | ascending | augmented triad | chromatic parallelism | chromatic scale | down | dramatic | falling | friend | half-diminished 7th chord | hurrying | knocking | mickey-mousing | room | searching | setup | suspenseful | underscoring | walking | whole-tone chord | whole-tone scale |
Mildred Pierce (1945) | Wally goes upstairs | 0:09:28 - Wally ascends the spiral staircase | 9th chord | action scene | ascending | chromatic scale | dramatic | friend | mickey-mousing | room | spiral staircase | stairs | whole-tone chord |
Mildred Pierce (1945) | Bert | 0:20:18 - Bert comes home | 9th chord | added-note chord | arriving | common-chord modulation | cooking | establish character | flashback | gentle | heroine | husband | leading lady | mode mixture | room | self-borrowing | street |
Mildred Pierce (1945) | Mildred (Waltz Fantasy) | 0:32:38 - Veda fantasizes about her mother marrying Wally | 9th chord | advance plot | appoggiatura | child | chromatic parallelism | dreaming | fantasy | greed | heroine | leading lady | room | uneasy |
Mildred Pierce (1945) | The Maid | 0:36:57 - Mildred's maid in the kitchen | 9th chord | advance plot | comical | conversing | cooking | heroine | kitchen | leading lady | maid | sequence | working |
Mildred Pierce (1945) | Ballet Lesson | 0:37:25 - Kay dances | 9th chord | 11th chord | ballet | child | dancing | double exposure | graceful | heroine | leading lady | montage | pleasant | room | voice-over |
Mildred Pierce (1945) | Work (Excited) | 0:42:35 - Mildred and Wally leave | 9th chord | added-note chord | excited | excitement | friend | heroine | leading lady | leaving | room | self-borrowing | shadow | transition | work |
Mildred Pierce (1945) | Beach House | 0:42:49 - Mildred and Wally drive up to the beach house | 9th chord | arriving | beach house | driving | friend | heroine | leading lady | ocean | peaceful | transition | water | wave |
Mildred Pierce (1945) | Walking | 0:49:48 - Driving to the beach house | 9th chord | beach house | cheerful | driving | falling in love scene | friend | heroine | leading lady | parallelism | room | traveling | walking |
Mildred Pierce (1945) | Opens closet | 0:49:57 - Mildred slides open a door | 9th chord | cheerful | falling in love scene | heroine | leading lady | love interest | mickey-mousing | opening | room | sliding |
Mildred Pierce (1945) | Bathing Suit | 0:50:49 - Monte looks at Mildred in her bathing suit | 9th chord | attraction | beach house | cheerful | dissonant bass | falling in love scene | flirting | foreign key modulation | heroine | leading lady | love interest | mickey-mousing |
Mildred Pierce (1945) | Mildred (Frolicking) | 0:51:01 - Mildred runs to the beach | 9th chord | beach | cheerful | falling in love scene | flirting | foreign key modulation | frolicking | heroine | jaunty | leading lady | love interest | running | tritone |
Mildred Pierce (1945) | Frolicking in the Surf | 0:51:05 - Monte and Mildred run to the water | 9th chord | 64 chord | beach | falling in love scene | foreign key modulation | frolicking | heroine | jaunty | leading lady | love interest | mickey-mousing | playful | running | splashing | swimming | water | waves |
Mildred Pierce (1945) | Pneumonia (Dying) | 0:55:24 - Kay passes away | 9th chord | child | chromatic parallelism | dark | death | death scene | doctor | dying | ex-husband | heroine | illness | leading lady | linear chromaticism | minor-major 7th chord | nurse | oscillation | patient | room | sick person | somber | tense | treating | turning point | waiting | watching |
Mildred Pierce (1945) | Mildred (Mourning) | 0:56:07 - Mildred mourns Kay's death | 9th chord | augmented sixth chord | child | death | death scene | doctor | ex-husband | heroine | leading lady | mourning | nurse | patient | room | sick person | somber | turning point |
Mildred Pierce (1945) | Work (Success) | 1:01:42 - People work in Mildred's restaurant | 9th chord | added-note chord | advance plot | busy | cook | foreign key modulation | restaurant | secondary dominant | self-borrowing | server | upbeat | working |
Mildred Pierce (1945) | Bert (Regretful) | 1:04:43 - Bert tells Mildred about the divorce | 9th chord | advance plot | chromatic mediant | common-chord modulation | conversing | divorce | ex-husband | heroine | leading lady | love interest | regretting | restaurant | somber |
Mildred Pierce (1945) | Underscoring (Tense) | 1:14:53 - Mildred and Monte argue | 9th chord | added-note chord | arguing | bitter | breakup | conflict | deceptive resolution | heroine | leading lady | love interest | room | tense | underscoring |
Mildred Pierce (1945) | It Can't Be Wrong (Not in Film) | NIF - not in film | 9th chord | cut from film | familiar tune | mickey-mousing | popular music | source to score |
Mildred Pierce (1945) | Mildred (Angry) | 1:18:21 - Mildred walks out of an argument | 9th chord | aggressive | angry | arriving | chromatic parallelism | conflict | heroine | hurrying | leading lady | leaving | Neapolitan | room | walking |
Mildred Pierce (1945) | Mildred (Waltz Fantasy) | 1:19:18 - Mildred talks to Veda | 9th chord | antagonist | appoggiatura | chromatic parallelism | comforting | conflict | daughter | dream-like | friend | heroine | leading lady | room | tense |
Mildred Pierce (1945) | It Can't Be Wrong (Molto Misterioso) | 1:42:42 - Mildred learns that Monte has betrayed her | 9th chord | bankruptcy | betrayal | dark | familiar tune | friend | heroine | leading lady | love theme | memory | mysterious | pc set | popular music | realizing | room | somber | turning point | whole-tone chord |
Mildred Pierce (1945) | Mildred (Waltz Fantasy) | 1:44:53 - Mildred tells Veda not to confess | 9th chord | appoggiatura | chromatic parallelism | detective | harsh | heroine | interrogating | interrogation | leading lady | pleading | police station |
Mildred Pierce (1945) | Mildred (Breakdown) | 1:47:11 - Mildred tries to start her car | 9th chord | climax | crying | dramatic | emotional | foreign key modulation | heroine | leading lady | leaving | street |
| The Life of Vergie Winters (1934) | La Marseillaise | 0:28:48 - Montage of newspaper headlines | 9th chord | altered dominant | dark | headline | montage | newspaper | patriotic | patriotic tune |
The Life of Vergie Winters (1934) | Underscoring (Gentle) | 0:51:06 - Joan talks with Vergie | 9th chord | advance plot | altered dominant | augmented sixth chord | child | chromatic parallelism | conversing | daughter | foreign key modulation | gentle | half-diminished 7th chord | leading lady | mother | reunion | secret | shop | timid |
The Life of Vergie Winters (1934) | Lullaby (Delicato) | 0:51:39 - Joan talks with Vergie | 9th chord | advance plot | child | conversing | daughter | gentle | leading lady | mother | parallel 63s | reunion | secret | shop |
The Life of Vergie Winters (1934) | Underscoring (Gentle) | 0:51:52 - Vergie gives Joan a fan | 9th chord | advance plot | child | conversing | daughter | gentle | leading lady | mother | reunion | secret | shop |
The Life of Vergie Winters (1934) | Old Lavender | 1:00:07 - Joan and Ranny talk | 9th chord | added-note chord | altered dominant | common-chord modulation | conversing | daughter | direct modulation | harmonic sequence | light | love interest | love scene | optimistic | proposal | proposing | room | transcribed by ear |
The Life of Vergie Winters (1934) | Old Lavender | 1:02:11 - Joan and Ranny enter | 9th chord | added-note chord | altered dominant | arguing | common-chord modulation | conflict | conversing | daughter | direct modulation | harmonic sequence | leading man | light | love interest | optimistic | room | surprise | wife |
The Life of Vergie Winters (1934) | Lullaby (Dolcissimo) | 1:05:11 - Joan talks to Laura | 9th chord | conflict | daughter | leading man | love interest | peaceful | proposal | proposing | room | wife |
The Life of Vergie Winters (1934) | Lullaby (Doloroso) | 1:05:58 - John talks with his wife Laura | 9th chord | arguing | conflict | dark | leading man | leaving | reverse picardy | room | tense | wife |
The Life of Vergie Winters (1934) | Lullaby (Dolce) | 1:08:00 - Vergie talks with John | 9th chord | advance plot | common-chord modulation | conversing | leading lady | leading man | room | score to source | secret lover | tender |
The Life of Vergie Winters (1934) | Lullaby (Passionate) | 1:09:39 - John and Vergie embrace | 9th chord | advance plot | embracing | leading lady | leading man | pedal tone | romantic | room | secret lover | tense |
| Out of the Fog (1941) | Transition | 0:00:08 - Starring list | 9th chord | deceptive resolution | harbor | opening title sequence | starring list | tense | transition |
| Kid Galahad (1937) | Kid Galahad (Introduction) | 0:00:00 - The WB shield | 9th chord | appoggiatura | fanfare | jaunty | main title | opening title sequence | starring list | WB shield |
Kid Galahad (1937) | Kid Galahad | 0:00:09 - Title of the film | 9th chord | appoggiatura | cast list | common-tone diminished 7th | fanfare | jaunty | march-like | opening title sequence | parallel period |
Kid Galahad (1937) | Kid Galahad (Tender) | 1:39:15 - Nick speaks his final words | 9th chord | 64 chord | added-note chord | appoggiatura | climax | death | dying | fanfare | foreign key modulation | leading lady | leading man | manager | mode mixture | pedal tone | room | sister | somber | stretto imitation |
Kid Galahad (1937) | Kid Galahad (End Title) | 1:41:09 - End cast | 9th chord | added-note chord | common-tone diminished 7th | end title sequence | fanfare | jaunty | march-like | mode mixture | plagal cadence |
| The Unfaithful (1947) | Chris | 0:01:26 - Chris arrives at home | 9th chord | arriving | Beverly Hills | calm | establish character | foreign key modulation | house | leading lady |
The Unfaithful (1947) | Chris | 0:07:27 - Chris drives home | 9th chord | calm | car | driving | leading lady | street | transition |
The Unfaithful (1947) | Chris 2 (Minor) | 0:07:37 - Chris arrives home | 9th chord | antagonist | car | cheerful | dark | driving | house | leading lady | sequential modulation | suspension | transition |
The Unfaithful (1947) | Chris (Dark) | 0:07:46 - Chris continues driving | 9th chord | advance plot | antagonist | calm | danger | dissonant bass | foreign key modulation | house | leading lady | ominous | sequential modulation | shadow | tritone | tritone oscillation | walking |
The Unfaithful (1947) | Unfaithful (Somber) | 0:22:24 - Bob comforts Chris | 9th chord | augmented sixth chord | comfort | comforting | common-chord modulation | husband | leading lady | love scene | mode mixture | ostinato | pedal tone | room | somber | victim |
The Unfaithful (1947) | Chris | 0:43:45 - Chris pulls up in a cab | 9th chord | added-note chord | driving | foreign key modulation | law office | leading lady | office | peaceful | spinning | transition |
The Unfaithful (1947) | Chris 2 | 0:43:56 - Chris goes to Larry's office | 9th chord | law office | leading lady | office | peaceful | pedal tone | sequential modulation | transition | walking |
The Unfaithful (1947) | Unfaithful (Distressed) | 0:52:17 - The maid turns on a lamp | 9th chord | advance plot | arriving | foreign key modulation | forlorn | leading lady | maid | obsession | ostinato | pc set | room | tense |
The Unfaithful (1947) | Unfaithful (Somber 2) | 1:00:01 - Chris thinks | 9th chord | advance plot | altered dominant | augmented sixth chord | chromatic mediant | common-chord modulation | conversing | foreign key modulation | husband | leading lady | mode mixture | ostinato | room | somber | tender |
The Unfaithful (1947) | Unfaithful (Attack 2) | 1:13:06 - Bob attacks the art shop owner | 9th chord | angry | antagonist | attacking | chromatic scale | fighting | husband | pc set | pivotal scene | room | widow | zoom in |
The Unfaithful (1947) | Unfaithful (Distressed) | 1:41:24 - Larry talks with Bob | 9th chord | conversing | foreign key modulation | husband | lawyer | ostinato | pc set | resolution | room | somber | wife |
The Unfaithful (1947) | Unfaithful (Leaving) | 1:42:32 - Chris prepares to leave | 9th chord | conversing | husband | lawyer | mode mixture | ostinato | pedal tone | resolution | room | somber | wife |
| We Are Not Alone (1939) | Boy runs downstairs | 0:03:07 - Gerald runs down the stairs | 9th chord | altered dominant | antagonist | boy | child | chromatic mediant | down | downstairs | establish character | foreign key modulation | gentle | home | mickey-mousing | mother | pedal tone | playful | running |
We Are Not Alone (1939) | Surprise Symphony (Innocent) | 0:06:36 - Gerald runs inside | 9th chord | boy | child | classical music | comforting | common-tone diminished 7th | establish character | familiar tune | father | foreign key modulation | fragmentation | Haydn | hero | home | innocent | mode mixture | nagging | parallel fifths | playful | quotation | step modulation | tritone | Wagner |
We Are Not Alone (1939) | Allergic Reaction | 0:09:04 - Tommy has an allergic reaction to the cat | 9th chord | 64 chord | allergies | boy | cat | doctor | dramatic | establish character | hero | office |
We Are Not Alone (1939) | Tommy (Lyrical) | 0:09:34 - David gets some medicine for Tommy | 9th chord | boy | cat | doctor | establish character | gentle | hero | lyrical | Mozart | office | peaceful |
We Are Not Alone (1939) | Jessica | 0:10:01 - Jessica enters the room | 9th chord | antagonist | chromatic parallelism | chromatic scale | establish character | half-diminished 7th chord | office | sour | wife |
We Are Not Alone (1939) | Surprise Symphony (Better) | 0:23:55 - David puts his son in bed | 9th chord | advance plot | boy | calm | child | classical music | conversing | dark | familiar tune | father | foreign key modulation | Haydn | hero | home | playing | quotation | warm |
We Are Not Alone (1939) | Frohe Botschaft (Ethereal) | 0:25:12 - David tells his son about his patient, Leni | 9th chord | 64 chord | advance plot | boy | child | conversing | familiar tune | father | folk song | German | hero | home | mode mixture | pedal tone | quotation | sweet |
We Are Not Alone (1939) | Surprise Symphony (Newspaper) | 0:31:52 - David sits and whistles | 9th chord | classical music | deceptive resolution | familiar tune | foreshadowing | happy | Haydn | hero | home | ominous | quotation | reveal | transition | whistling |
We Are Not Alone (1939) | Frohe Botschaft (Somber) | 0:38:52 - Leni reacts | 9th chord | antagonist | common-chord modulation | conflict | conversing | evaded cadence | familiar tune | folk song | garden | German | heroine | mode mixture | quotation | sentimental | sigh gesture | somber |
We Are Not Alone (1939) | Surprise Symphony (Dark) | 0:39:33 - Leni thinks to herself | 9th chord | antagonist | classical music | conflict | dark | familiar tune | garden | Haydn | heroine | quotation | suspension | thinking |
We Are Not Alone (1939) | Barcarolle | 0:44:06 - Gerald talks about sailing | 9th chord | advance plot | barcarolle | boy | child | dissonant bass | heroine | home | hopeful | imagination | pedal tone | room | telling a story |
We Are Not Alone (1939) | Jessica | 0:45:10 - Jessica enters the room | 9th chord | advance plot | antagonist | chromatic parallelism | chromatic scale | conversing | half-diminished 7th chord | home | mother | room | sour |
We Are Not Alone (1939) | Frohe Botschaft (Crying) | 0:45:45 - Leni kisses Gerald | 9th chord | 64 chord | advance plot | antagonist | boy | child | crying | deceptive resolution | familiar tune | folk song | fragmentation | German | heroine | home | leaving | mode mixture | mother | quotation | room | sequence | somber | tritone |
We Are Not Alone (1939) | Frohe Botschaft (Triste) | 0:51:10 - David talks to Leni | 9th chord | added-note chord | advance plot | conversing | deceptive resolution | familiar tune | folk song | foreign key modulation | fragmentation | German | hero | heroine | home | quotation | room | somber |
We Are Not Alone (1939) | God Save the King (Angry) | 1:05:06 - British mobs in the street | 9th chord | angry | British | conflict | crowd | diminished 7th chord | familiar tune | mode mixture | patriotic | riot | rioting | street |
We Are Not Alone (1939) | Underscoring (Tense) | 1:15:25 - David is taken away by the police | 9th chord | added-note chord | arresting | conflict | hero | heroine | pedal tone | police | tense | train station | underscoring |
We Are Not Alone (1939) | In Love | 1:30:55 - David realizes he is in love with Leni | 9th chord | courtroom | courtroom scene | hero | heroine | linear chromaticism | love scene | realization | realizing | romantic | suspension | testifying | tone cluster |
We Are Not Alone (1939) | Surprise Symphony (Tense) | 1:31:42 - News bulletins about the trial | 9th chord | advance plot | announcing | classical music | dark | familiar tune | Haydn | main theme | quotation | shop | sign | street | tense | window |
We Are Not Alone (1939) | Frohe Botschaft (Death Sentence) | 1:33:07 - The judge sentences David and Leni to death | 9th chord | common-chord modulation | conflict | courtroom | courtroom scene | crowd | dark | familiar tune | folk song | German | quotation | reverse picardy | sentencing | verdict |
We Are Not Alone (1939) | Frohe Botschaft (Hopeful) | 1:38:41 - David comforts Leni | 9th chord | comforting | conversing | familiar tune | folk song | German | hero | heroine | love scene | mode mixture | pedal tone | plagal cadence | prison | quotation | somber |
We Are Not Alone (1939) | Underscoring (Romantic) | 1:39:42 - David comforts Leni | 9th chord | 13th chord | comforting | conversing | hero | heroine | love scene | prison | romantic | underscoring |
We Are Not Alone (1939) | Heart Break | 1:40:11 - David and Leni kiss | 9th chord | appoggiatura | dissonant bass | first kiss | hero | heroine | kissing | love | love scene | mode mixture | passionate | pedal tone | prison | suspension |
We Are Not Alone (1939) | Underscoring (Subtle) | 1:40:57 - David helps Leni | 9th chord | advance plot | conversing | delicate | helping | hero | heroine | octatonic scale | prison | underscoring |
We Are Not Alone (1939) | Frohe Botschaft (Restful) | 1:41:47 - David watches Leni sleep | 9th chord | advance plot | delicate | familiar tune | folk song | German | hero | heroine | mode mixture | plagal cadence | prison | quotation | watching |
We Are Not Alone (1939) | Waiting | 1:46:39 - David asks about his execution | 9th chord | advance plot | hero | prison | somber | waiting |
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 |
We Are Not Alone (1939) | Frohe Botschaft (The End) | 1:51:01 - The End | 9th chord | end title sequence | familiar tune | folk song | German | grand | home | mode mixture | quotation | room | suspension | The End |
| Is My Face Red? (1932) | You Bunch of Fun (Introduction) | 0:00:15 - Title and cast list on placards | 9th chord | cheerful | main title | opening title sequence | parallelism | sequence | syncopation | transcribed by ear |
| Penguin Pool Murder (1932) | Run Around | 1:01:51 - The End | 9th chord | altered dominant | end title sequence | mode mixture | self-borrowing | The End | transcribed by ear | upbeat |
| The Phantom of Crestwood (1932) | Transgression | 0:18:54 - Ms. Wren descends the staircase | 9th chord | AABA structure | advance plot | arriving | common-chord modulation | conversing | party | radio | romantic | self-borrowing | transcribed by ear |
The Phantom of Crestwood (1932) | Lady | 0:20:17 - People talk at a party | 9th chord | AAB structure | advance plot | common-chord modulation | conversing | dinner | party | peaceful | radio | sequence | transcribed by ear |
| Thirteen Women (1932) | Ursula (Romance 2) | 0:33:10 - Burns kisses Ursula | 9th chord | advance plot | kissing | leading lady | love interest | Neapolitan | romantic | room | secondary dominant | transcribed by ear | waltz |
| Headline Shooter (1933) | You Bunch of Fun (Introduction) | 0:00:15 - Title and starring list over camera lens montage | 9th chord | boat | camera lens | car | cast list | cheerful | chromatic parallelism | kaleidoscope effect | opening title sequence | plane | racing | reused recording | sequence | split screen | title of film | transcribed by ear |
| Sing and Like It (1934) | King Kong March | 0:58:31 - Annie's name in lights | 9th chord | 11th chord | 13th chord | added-note chord | advance plot | arriving | binary form | boss | common-tone diminished 7th | critic | crowd | dressing room | fanfare | fanfare | gangster | leading lady | lobby | mode mixture | neon lights | parallelism | self-borrowing | singer | street | theater | worker |
| We're Only Human (1935) | Old Lavender | 0:22:44 - Packaged-up food | 9th chord | added-note chord | advance plot | altered dominant | buying | common-chord modulation | detective | direct modulation | food | harmonic sequence | leading lady | leading man | light | love interest | optimistic | ordering | reporter | store | worker | working |
We're Only Human (1935) | Game 7 | 1:05:48 - Pete runs up the stairs | 9th chord | climax | conflict | detective | dramatic | gangster | leading man | murderer | parallelism | pc set | pedal tone | room | running | rushing | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Isn't This a Night For Love (The End) | 1:08:36 - Pete kisses Sally | 9th chord | altered dominant | car | detective | end title sequence | kissing | leading lady | leading man | love interest | mode mixture | reporter | resolution | romantic | The End | transcribed by ear |
| Girl of the Rio (1932) | Paso Doble | 0:00:00 - Title of the film | 9th chord | cast list | common-tone diminished 7th | opening title sequence | Spanish | starring list | title of film | upbeat |
| Caged (1950) | Marie 2 (Molto Appassionato) | NIF - not in film | 9th chord | cut from film | cut scene | foreign key modulation | passionate |
Caged (1950) | Water Dripping + Caged (Tense) | NIF - not in film | 9th chord | chromatic parallelism | chromatic sequence | combination of themes | cut from film | dark | dissonant bass | hysteria | isolation | leading lady | mad scene | melodic cell | mickey-mousing | mysterious | ostinato | prison | prisoner | sigh gesture | tense | uneasy | water effect |
Caged (1950) | Water Dripping (Molto Expressivo) | 1:18:15 - Marie in solitary | 9th chord | crying | dissonant bass | dripping | hysteria | isolation | leading lady | mad scene | mickey-mousing | mickey-mousing | minor-major 7th chord | mysterious | prison | prisoner | tense | uneasy | water | water effect | wipe | yelling |
| All This, and Heaven Too (1940) | Henriette (Resolution) + Falling Snow (Resolution) | 2:22:03 - Henry talks to Henriette | 9th chord | chromatic parallelism | combination of themes | conversing | diminished third chord | gentle | leading lady | minister | mode mixture | promising | resolution | school | snow | teacher |
All This, and Heaven Too (1940) | Henriette (End Credits) | 2:22:42 - Closing credits | 9th chord | cast list | end title sequence | happy | upbeat |
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