| All This, and Heaven Too (1940) | Agitato | 0:06:49 - Henriette leaves the classroom | agitated | appoggiatura | chromatic scale | distressed | establish character | hurrying | leading lady | leaving | minister | Neapolitan | principal | school | teacher | walking |
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) | Underscoring (Gentle) | 1:25:28 - Henriette smiles at the Duke | advance plot | child | chromatic sequence | conversing | duke | foreign key modulation | forest | gentle | governess | leading lady | leading man | Neapolitan | tender | underscoring |
All This, and Heaven Too (1940) | Spring Time | 1:30:22 - A carriage approaches the palace | 64 chord | arriving | bright | carriage | chattering | cheerful | child | duke | foreign key modulation | governess | happy | leading lady | leading man | Neapolitan | palace | pedal tone | riding | transition |
All This, and Heaven Too (1940) | Spring Time | 1:30:41 - The children get out of the carriage | 64 chord | bright | cheerful | child | chromatic sequence | conversing | duke | governess | happy | leading lady | leading man | Neapolitan | palace | pentatonic | transition |
All This, and Heaven Too (1940) | Henriette (Molto Expressivo) | 1:31:48 - The Duke talks to Henriette | chromatic mediant | chromatic parallelism | conversing | duke | governess | leading lady | leading man | love scene | mode mixture | Neapolitan | palace | pedal tone | reassuring | romantic | sigh gesture | stinger | tender |
All This, and Heaven Too (1940) | Henriette (Meno) | 1:46:24 - Henriette talks with the children | arriving | calm | child | duke | greeting | leading lady | leading man | mode mixture | Neapolitan | reunion scene | room |
All This, and Heaven Too (1940) | Henriette (Funereal) | 2:14:27 - Henriette leaves the Duke | conversing | death bed | death scene | detective | duke | dying | funeral march | leading lady | leading man | Neapolitan | parallelism | pedal tone | prisoner | questioning | room | sad | sigh gesture | soldier | suspect |
| Angels With Dirty Faces (1938) | The Gangster (Reformatory) | 0:05:04 - Sign: "Society for Juvenile Delinquents" | establish character | main title | Neapolitan | prisoner | reformatory | serious | sign | somber | teenager |
| Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:39:58 - The aunts see shadows at the door | augmentation | aunt | conversing | crazy person | dark | establish character | fear | foreign key modulation | fragmentation | knocking | leading lady | murderer | mysterious | Neapolitan | ominous | parallel 63s | pedal tone | room | shadow | whispering |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:44:00 - The aunts go into the kitchen | augmentation | aunt | brother | conversing | crazy person | criminal | doctor | establish character | fear | foreign key modulation | fragmentation | leading lady | leading man | murderer | mysterious | Neapolitan | ominous | parallel 63s | pedal tone | room | walking | watching |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:45:22 - The aunts peek through the kitchen window | aunt | brother | conversing | crazy person | criminal | doctor | establish character | face | fear | leading lady | leading man | murderer | mysterious | Neapolitan | ominous | parallel 63s | pedal tone | room | snooping | watching |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:50:20 - Jonathan and Dr. Einstein talk | advance plot | brother | crazy person | criminal | digging | doctor | familiar tune | leading man | march | murderer | Neapolitan | on-screen music | parallel 63s | patriotic tune | pedal tone | plotting | room | source and scoring overlap | tense | whistling |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 1:01:49 - Aunts talk to Jonathan | arguing | aunt | brother | conflict | crazy person | fear | fragmentation | leading lady | leading man | murderer | Neapolitan | parallel 63s | pedal tone | room | tense |
| 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) | 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) | 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) | 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 |
| 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 |
| 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 (Religioso) | 1:09:41 - Johnnie looks at a picture | 9th chord | hero | leading man | Neapolitan | room | tender | thinking | turning point |
| Dust Be My Destiny (1939) | The Daily Journal | 1:00:10 - Sign for The Daily Journal | establish setting | fanfare | heroic | mode mixture | Neapolitan | newspaper | sign | street | triumphant |
Dust Be My Destiny (1939) | Buzzing | 1:01:05 - Men working in the dark room | 64 chord | action scene | added-note chord | buzzy | chromatic parallelism | dark room | enharmonic modulation | exciting | foreign key modulation | leading man | mode mixture | Neapolitan | newspaper | newspaper editor | parallelism | photographer | photography | pump-up modulation | Rimsky-Korsakov | working |
| 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 |
| 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 Letter (1940) | Robert and Leslie (Tense) | 1:27:06 - Leslie talks to Robert | chromatic mediant | climax | conversing | gentle | home | husband | leading lady | love theme | Neapolitan | suspension | tender | tense |
The Letter (1940) | Robert and Leslie (The Body) | NIF - not in film | alternate music | body | chromatic mediant | climax | death | foreign key modulation | love theme | Neapolitan | pedal tone | plantation | somber |
| Lightning Strikes Twice (1951) | Trev | 0:07:18 - Myra talks about finding Trev | actor | conversing | establish character | father | foreign key modulation | gentle | hotel | leading lady | mode mixture | mother | Neapolitan | owner |
Lightning Strikes Twice (1951) | Shelly 3 (Dolce) | 0:24:43 - Shelly sees Liza | actor | arriving | brother | calm | common-chord modulation | conversing | enharmonic respelling | feeding | goat | leading lady | Neapolitan | ranch | rancher | transition | watching |
| Mildred Pierce (1945) | Bert (Triste) | 0:24:26 - Bert and Mildred separate | augmented sixth chord | breaking up | crying | establish character | fragmentation | heroine | husband | leading lady | leaving | Neapolitan | pedal tone | room | somber |
Mildred Pierce (1945) | Kay and Veda (Ashamed) | 0:28:13 - Mildred overhears Veda complaining about her new dress | advance plot | child | heroine | leading lady | Neapolitan | room | sigh gesture | somber | watching |
Mildred Pierce (1945) | Mildred (Regretful) | 0:39:37 - Mildred regrets slapping Veda | apologizing | child | chromatic mediant | conflict | foreign key modulation | heroine | hopeful | leading lady | mode mixture | Neapolitan | regretting | room | somber | tritone |
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 |
| The Unfaithful (1947) | Unfaithful | 0:00:07 - Title of the film | altered dominant | Beverly Hills | cast list | common-chord modulation | house | main title | mode mixture | Neapolitan | opening title sequence | ostinato | pedal tone | serious | starring list | title of film |
The Unfaithful (1947) | Unfaithful (Angry) | 1:15:00 - Bob looks around | angry | common-chord modulation | deceptive resolution | husband | intense | meandering | Neapolitan | ostinato | room | sequential modulation | transition | walking |
The Unfaithful (1947) | Unfaithful (Not in Film) | NIF - not in film | acceleration | arguing | climax | cut from film | husband | Neapolitan | ostinato | room | sequential modulation | tense | wife |
The Unfaithful (1947) | Unfaithful (End Cast) | 1:48:07 - Closing credits | closing credits | common-chord modulation | dramatic | end title sequence | Neapolitan | ostinato | pedal tone | turbulent |
| Is My Face Red? (1932) | Mildred Waltz (Rushing) | 0:22:05 - Mildred and William leave | advance plot | boat | hurried | hurrying | leading lady | leading man | mode mixture | Neapolitan | 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 |
| Star of Midnight (1935) | Midnight in Manhattan (Tango) | 0:08:56 - Dancers in a Broadway show | advance plot | countermelody | dancer | dancing | energetic | mode mixture | Neapolitan | on-screen music | pit orchestra | score to source | source music | syncopation | tango | theater |
Star of Midnight (1935) | Midnight in Manhattan (Warm) | 0:09:35 - Clay in the theater lobby | advance plot | altered dominant | conversing | leading man | mode mixture | Neapolitan | score to source | sentimental | source music | theater |
| We're Only Human (1935) | Midnight in Manhattan (Warm) | 0:36:50 - Mary and Pete in a restaurant | advance plot | altered dominant | arguing | conversing | detective | leading lady | leading man | mode mixture | Neapolitan | reporter | restaurant | sentimental | source music |
| Caged (1950) | Molto Expressivo (Slowly) | 1:32:59 - Marie's mugshot | advance plot | leading lady | leaving | looking | mode mixture | mug shot | Neapolitan | prison | prisoner | solemn | throwing | warden |
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