| The Amazing Dr. Clitterhouse (1938) | Clitterhouse Onestep | 0:33:20 - Gangsters walk through music studio | added-note chord | common-tone diminished 7th | dancer | dancing | gangster | jaunty | on-screen music | parallel double period | pianist | playing | singing | studio | transition | walking | warming up |
The Amazing Dr. Clitterhouse (1938) | People running | 0:52:10 - Men run to the warehouse | added-note chord | crowd | exciting | mickey-mousing | robbery | running | street |
The Amazing Dr. Clitterhouse (1938) | Jo | 0:58:18 - Dr. Clitterhouse talks with Jo | 13th chord | added-note chord | altered dominant | chromatic mediant | conversing | doctor | foreign key modulation | gangster | leading lady | leading man | love scene | room | sequence | tender |
The Amazing Dr. Clitterhouse (1938) | Jo (End Cast) | 1:26:42 - Cast list | 13th chord | added-note chord | beaker | bubbling | chromatic mediant | closing credits | end title | triadic transformation |
| Angels With Dirty Faces (1938) | Rocky and Laury (Not In Film 1) | NIF - not in film | added-note chord | altered dominant | augmented sixth chord | common-chord modulation | conversing | cut from film | establish character | following | gangster | leading lady | leading man | mode mixture | street | walking |
Angels With Dirty Faces (1938) | Rocky and Laury (Not In Film 2) | NIF - not in film | added-note chord | altered dominant | augmented sixth chord | chromatic scale | conversing | cut from film | establish character | following | gangster | leading lady | leading man | street | walking |
Angels With Dirty Faces (1938) | Rocky and Laury (Sentimental) | 1:01:59 - Rocky and Laury talk | added-note chord | altered dominant | conversing | gangster | leading lady | leading man | love scene | parallel period | romantic | room |
Angels With Dirty Faces (1938) | Foxtrot | 1:02:20 - Rocky and Laury look out the window | added-note chord | altered dominant | common-tone diminished 7th | dreaming | foxtrot | gangster | hoping | leading lady | leading man | looking | love scene | mode mixture | romantic | room |
Angels With Dirty Faces (1938) | Jerry (Goodbye) | 1:33:12 - Jerry says goodbye to Rocky | added-note chord | climax | conversing | dissonant bass | execution chamber | gangster | leading man | priest | prison | serious | sigh gesture | somber |
Angels With Dirty Faces (1938) | Funebre (Sigh) | 1:33:19 - Rocky heads towards electric chair | added-note chord | climax | dirge | execution chamber | gangster | leading man | marching | priest | prison | sigh gesture | somber | tense | walking |
Angels With Dirty Faces (1938) | Sanctus (Mournful) | 1:34:12 - Jerry cries after Rocky dies | added-note chord | climax | crying | death | dissonant bass | execution chamber | leading man | mourning | pedal tone | priest | prison | redemption | reverse picardy | sacred | somber |
| Are These Our Children? (1931) | Flapper and Eddie Waltz | NIF - not in film | added-note chord | altered dominant | cut from film | linear chromaticism | parallel double period | waltz |
Are These Our Children? (1931) | Moonbeams | 0:25:39 - Eddie dances with Flo | added-note chord | altered dominant | common-tone diminished 7th | dance hall | dance scene | dancing | leading man | love interest | mode mixture | on-screen music | parallel double period | romantic | source music | waltz |
Are These Our Children? (1931) | Moonbeams (Dream Sequence) | 0:27:23 - Eddie takes Flo home | added-note chord | advance plot | double exposure | dream sequence | entering | friend | hectic | kissing | leading man | mode mixture | romantic | source to score | street | transcribed by ear | waltz |
Are These Our Children? (1931) | Dreams (Andante) | NIF - not in film | added-note chord | cut from film | mode mixture | parallelism | quartal chord | tense | whole-tone chord |
Are These Our Children? (1931) | Dreams (Transition 8B) | NIF - not in film | added-note chord | altered dominant | augmented triad | chromatic mediant | common-tone diminished 7th | cut from film | foreign key modulation | pedal tone | tense | turbulent |
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 |
Are These Our Children? (1931) | Dreams (Eddie’s Prayer) | 1:22:14 - Eddie behind bars | added-note chord | climax | crying | dramatic | jail | leading man | murderer | praying | prisoner | religious | sacred |
Are These Our Children? (1931) | Dreams (Meno) | NIF - not in film | added-note chord | chromatic parallelism | common-tone dominant 7th | cut from film | half-diminished 7th chord | peaceful |
Are These Our Children? (1931) | Dreams (Dark Introduction) | NIF - not in film | added-note chord | cut from film | dark |
Are These Our Children? (1931) | Incidental Music | NIF - not in film | ABAC structure | added-note chord | altered dominant | common-tone diminished 7th | cut from film | upbeat |
| Arsenic and Old Lace (1944) | Signature | 0:00:00 - WB shield | added-note chord | bold | chromatic mediant | fanfare | foreign key modulation | opening title sequence | phrase extension | WB shield |
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) | Sidewalks of New York (Misterioso) | 0:01:10 - New York City | 64 chord | added-note chord | card | city | establish place | familiar tune | mysterious | New York City | opening title sequence | tense |
Arsenic and Old Lace (1944) | Here Comes the Bride (Modulating) | 0:03:34 - Hiding in a telephone booth | added-note chord | arguing | bystander | conversing | deceptive resolution | establish character | familiar tune | fragmentation | leading lady | leading man | marriage | office | pump-up modulation | running | rushed | rushing | self-borrowing | sequence |
Arsenic and Old Lace (1944) | The Old Maid | 0:04:17 - Mortimer talks to Elaine | added-note chord | arguing | conversing | enharmonic modulation | establish character | kissing | leading lady | leading man | marriage | mode mixture | office | parallel period | pedal tone | romantic | self-borrowing |
Arsenic and Old Lace (1944) | Happy Land (Lento) | 0:09:11 - Reverend talks about the Brewster sisters | added-note chord | aunt | brother | calm | conversing | crazy person | establish character | familiar tune | gentle | kindness | leading lady | old man | room | victim |
Arsenic and Old Lace (1944) | Here Comes the Bride (Modulating) | 0:14:10 - Mortimer calls to Elaine | added-note chord | aunt | bride | cemetery | conversing | deceptive resolution | driver | familiar tune | flirting | fragmentation | groom | hurrying | leading lady | leading man | love | love scene | pump-up modulation | rushed | rushing | sequence | source to score | street |
Arsenic and Old Lace (1944) | Here Comes the Bride (Modulating) | 0:15:36 - Mortimer and Elaine talk | added-note chord | bride | cemetery | conversing | familiar tune | flirting | fragmentation | groom | hurried | leading lady | leading man | love | love scene | pump-up modulation | romantic | sequence |
Arsenic and Old Lace (1944) | Here Comes the Bride (Modulating 2) | NIF - not in film | added-note chord | cut from film | deceptive resolution | familiar tune | fragmentation | love scene | pump-up modulation | sequence |
Arsenic and Old Lace (1944) | Happy Land (Lento) | NIF - not in film | added-note chord | cut from film | suspension |
Arsenic and Old Lace (1944) | Happy Land (Screwyoso) | 0:39:06 - The aunts talk | added-note chord | advance plot | altered dominant | aunt | calm | cleaning | conversing | crazy person | familiar tune | hat | leading lady | murderer | ominous | room | stinger | suspension |
Arsenic and Old Lace (1944) | Home Sweet Home (Ominous) | 0:41:03 - Jonathan looks around the house | added-note chord | augmented triad | brother | conversing | crazy person | criminal | dark | dissonant bass | distortion | doctor | establish character | familiar tune | leading man | observing | ominous | room |
Arsenic and Old Lace (1944) | Home Sweet Home (Ominous) | 0:43:28 - Dr. Einstein talks to the aunts | added-note chord | altered dominant | aunt | brother | conversing | crazy person | criminal | distortion | doctor | establish character | familiar tune | leading lady | leading man | murderer | room | split-fifth chord | tense |
| Crime School (1938) | Gangster Blues | 0:01:16 - New York City streets | 13th chord | added-note chord | altered dominant | blues | cut from film | establish setting | fun | Gershwinesque | main title | setting | street | upbeat |
Crime School (1938) | Gangster Blues (Painting) | 0:50:45 - The boys paint their room | 13th chord | added-note chord | altered dominant | comedy | comical | gang | painting | reformatory | setting | teenager | working |
Crime School (1938) | Gangster Blues (Mechanical) | 0:54:46 - Boys get to work | 13th chord | action scene | added-note chord | altered dominant | boiler room | coal | danger | fire | fire | frantic | gang | gauge | heat | hurrying | mechanical | reformatory | sequence | shoveling | smoke | teenager | temperature | temperature | working |
Crime School (1938) | Gangster Blues (Explosion) | 0:56:04 - The boiler explodes | 13th chord | action scene | added-note chord | boiler room | collapsing | escaping | exploding | explosion | foreign key modulation | frantic | gang | mechanical | reformatory | running | sequence | teenager | tense | worker | yelling |
Crime School (1938) | Sue (The End) | 1:24:27 - The End | added-note chord | resolution | The End | triumphant |
Crime School (1938) | Sue (End Credits) | 1:24:49 - Cast list | added-note chord | bluesy | chromatic parallelism | closing credits | end title sequence | Gershwinesque | mode mixture | not by Steiner | upbeat |
| They Made Me a Criminal (1939) | Signature | 0:00:00 - WB shield | added-note chord | bold | chromatic mediant | dissonant bass | fanfare | main title | opening title sequence | WB shield |
They Made Me a Criminal (1939) | Transition | 0:00:07 - Starring list | added-note chord | chromatic parallelism | dissonant bass | dramatic | main title | opening title sequence | pedal tone | starring list | tense | title of film |
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) | Underscoring (Mysterious) | 0:23:21 - Men at the diner stand up | added-note chord | advance plot | diner | dissonant bass | fighting | half-diminished 7th chord | leading man | linear chromaticism | money | mysterious | sitting | sneaking | underscoring | whole-tone chord |
They Made Me a Criminal (1939) | On the Make | 0:49:40 - Johnnie and Peggy drive in a car | ABAB structure | added-note chord | altered dominant | car | car | cheerful | conversing | driving | hero | leading lady | leading man | linear chromaticism | love scene | mode mixture | phrase extension | romantic | traveling |
They Made Me a Criminal (1939) | On the Make (Extended) | 0:53:21 - Johnnie and Peggy drive in a car | ABAB structure | added-note chord | advance plot | altered dominant | car | car | cheerful | conversing | driving | hero | kissing | leading lady | leading man | linear chromaticism | mode mixture | phrase extension | romantic | traveling |
They Made Me a Criminal (1939) | On the Make (Dolce) | 1:05:13 - Peggy talks to Johnnie | added-note chord | altered dominant | arguing | conflict | leading lady | leading man | linear chromaticism | lying | room | tender |
They Made Me a Criminal (1939) | The Fugitive (Let Down) | 1:06:51 - The boys talk about Johnnie | added-note chord | arguing | conflict | criticizing | foreign key modulation | leading man | room | somber | teenager |
They Made Me a Criminal (1939) | On the Make (Lohenblueish) | 1:09:07 - Johnnie decides that he will stay | added-note chord | augmentation | chromatic mediant | direct modulation | foreign key modulation | hero | hopeful | hopeless | leading man | linear chromaticism | passionate | room | thinking | turning point | zoom in |
They Made Me a Criminal (1939) | Lying | 1:25:16 - Johnnie lies to Peggy about where he's going | added-note chord | augmented sixth chord | climax | common-chord modulation | detective | dissonant bass | foreign key modulation | leading lady | leading man | lying | minor-major 7th chord | room | turbulent |
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 (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) | Underscoring (Dramatic) | 0:26:38 - Car drives towards Joe and Mabel | added-note chord | barn | conflict | dissonant bass | dramatic | headlights | passerby | stinger | tone cluster | underscoring |
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 (Modulating) | 0:29:02 - Joe and Mabel run to the courthouse | added-note chord | deceptive resolution | excited | familiar tune | foreign key modulation | fragmentation | leading lady | leading man | love scene | marriage | pump-up modulation | romance | romantic | running | sequence | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Waiting) | 0:29:38 - Joe and Mabel talk about getting married | added-note chord | augmented sixth chord | chromatic mediant | common-tone diminished 7th | foreign key modulation | leading lady | leading man | love scene | romantic | street | waiting |
Dust Be My Destiny (1939) | Dust Be My Destiny (Travel Montage) | 0:36:28 - A speeding train | added-note chord | foreign key modulation | frantic | hitch-hiking | leading lady | leading man | linear chromaticism | map | montage | pc set | runaway | sign | train | train | train whistle | traveling | traveling scene | truck | walking |
Dust Be My Destiny (1939) | Dust Be My Destiny (Calm) | 0:44:32 - Mabel and Nick talk | added-note chord | altered dominant | develop character | diner | friend | gentle | leading lady | leading man | 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) | 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 |
Dust Be My Destiny (1939) | Dust Be My Destiny (Travel Montage) | 1:26:04 - Train approaches the screen | added-note chord | foreign key modulation | happy | leading lady | leading man | pc set | resolution | train | train | traveling |
Dust Be My Destiny (1939) | Dust Be My Destiny (Train) | 1:26:17 - Joe and Mabel on the train | 11th chord | added-note chord | happy | leading lady | leading man | resolution | sequence | train | train | traveling |
| Each Dawn I Die (1939) | Signature | 0:00:00 - WB shield | added-note chord | bold | chromatic mediant | fanfare | linear chromaticism | main title | opening title sequence | WB shield |
Each Dawn I Die (1939) | Headlines 2 | 0:49:31 - Newspaper headline is shown | added-note chord | bold | fanfare | headline | montage | montage | newspaper |
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) | Lute Mae | 0:01:26 - Lute Mae's Roadhouse | 13th chord | added-note chord | altered dominant | bluesy | club | countermelody | dancing | eating | establish setting | musician | on-screen music | playing | self-borrowing | simulated source music | voice-over |
Flamingo Road (1949) | Traveling | NIF - not in film | added-note chord | chromatic mediant | common-tone diminished 7th | cut from film | cut from film | deceptive resolution | leading lady | leading man | lovers meet | pedal tone | police | room |
Flamingo Road (1949) | Lane | 0:30:02 - Lane and Field kiss in the moonlight | added-note chord | augmentation | kissing | lake | leading lady | leading man | love interest | love scene | pedal tone | romance | romantic |
Flamingo Road (1949) | Lute Mae (A Reminiscence) | 0:42:04 - A female prisoner talks about Lute Mae's | 13th chord | added-note chord | advance plot | altered dominant | bluesy | conversing | countermelody | Gershwinesque | leading lady | prison | prisoner | self-borrowing |
Flamingo Road (1949) | Lute Mae (Not in Film) | NIF - not in film | 13th chord | added-note chord | altered dominant | common-chord modulation | countermelody | cut from film | cut from film | deceptive resolution | lovers meet | self-borrowing |
Flamingo Road (1949) | Lane (Lento) | 0:50:04 - Dan meets Lane | added-note chord | conversing | countermelody | gentle | graceful | leading lady | leading man | love interest | lovers meet | politician | room |
Flamingo Road (1949) | Lute Mae (Quasi Blues) | 0:51:46 - Dan flirts with Lane | 13th chord | added-note chord | conversing | countermelody | flirting | flirty | leading lady | leading man | love interest | lovers meet | politician | room | self-borrowing | sultry | thematic transference |
Flamingo Road (1949) | Lute Mae (Driving) | 0:53:02 - Lane drives Dan to the construction site | 13th chord | added-note chord | arriving | car | car | comical | common-chord modulation | driving | leading lady | leading man | love interest | politician | rushed | self-borrowing | transition | traveling |
Flamingo Road (1949) | Flamingo Road (Expressivo) | 1:02:07 - The gate to 32 Flamingo Road | 11th chord | added-note chord | arriving | gentle | husband | leading man | self-borrowing | sign | street | transition |
Flamingo Road (1949) | Lute Mae (Tenderly) | 1:03:37 - Dan is grateful for Lane's gift to him | 13th chord | added-note chord | advance plot | comical | common-chord modulation | conversing | embracing | happy | husband | leading lady | leading man | maid | room | self-borrowing | tender | wife |
Flamingo Road (1949) | Lute Mae (Tenderly) | 1:07:55 - Dan kisses Lane | 13th chord | added-note chord | bluesy | husband | kissing | leading lady | leading man | love scene | room | self-borrowing | tender | wife |
Flamingo Road (1949) | Underscoring (Mysterious) | NIF - not in film | added-note chord | cut from film | cut from film | transition | underscoring |
Flamingo Road (1949) | Lute Mae (Delicato) | 1:33:28 - Lane smiles as Dan | 13th chord | added-note chord | crying | delicate | husband | kissing | leading lady | leading man | prison | resolution | reuniting | romance | self-borrowing | sentimental | wife |
Flamingo Road (1949) | If I Could Be With You (Ecstatic) | 1:33:37 - Lane walks away | added-note chord | altered dominant | artwork in score | chromatic parallelism | friend | husband | joyous | leading lady | leading man | leaving | prison | resolution | reuniting | romance | secondary dominant | The End | thematic transference | triumphant | wife |
| The Informer (1935) | Pleading | 1:08:57 - Peter defends himself | added-note chord | anxious | chromaticism | courtroom | courtroom scene | defending | headquarters | pleading | room | stinger | suspect |
| The Letter (1940) | Leslie (Leaving) | 0:53:20 - Howard and Leslie leave the house | added-note chord | fragmentation | lawyer | leading lady | leaving | mysterious | plantation | sequence | sequential modulation | transition |
The Letter (1940) | Foxtrot No. 1 B | 1:20:05 - Leslie getting ready for the party | added-note chord | advance plot | calm | dance music | foxtrot | home | leading lady | source music | walking |
The Letter (1940) | Foxtrot No.1 C | 1:21:36 - Leslie goes to the party | added-note chord | altered dominant | calm | conversing | dance music | dancing | foreign key modulation | foxtrot | friend | leading lady | party | party | plagal cadence | 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 |
The Letter (1940) | Leslie + Foxtrot No. 3 | 1:25:08 - Leslie looks out the window | added-note chord | climax | combination of themes | common-chord modulation | dance music | foreign key modulation | foxtrot | home | lacework | leading lady | obsession | obsessive | oscillation | sequence | source music | tense | thinking |
The Letter (1940) | Foxtrot No. 3 | 1:33:58 - Camera pans to the party | added-note chord | calm | dance music | foxtrot | plantation | resolution | source music | zoom in |
| The Life of Vergie Winters (1934) | Lullaby (Park) | 0:36:28 - Nurse and baby in the park | AABA structure | added-note chord | advance plot | calm | child | common-chord modulation | conversing | leading lady | lullaby | nurse | park | peaceful | waiting |
The Life of Vergie Winters (1934) | Stars and Stripes Forever (Allegro) | 0:46:04 - Newspaper montage | 64 chord | added-note chord | gentle | leading lady | leading man | love interest | montage | patriotic tune | pedal tone | politician | soldier |
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) | Lullaby (Clarinet Solo) | 1:00:58 - John and Laura talk about Joan | added-note chord | conflict | conversing | dramatic | gentle | leading man | peaceful | room | stinger | transcribed by ear | wife |
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) | Old Lavender (Ethereal) | 1:05:26 - Ranny talks to Joan's parents | added-note chord | common-chord modulation | conflict | conversing | daughter | leading man | love interest | mode mixture | pedal tone | room | sentimental | wife |
The Life of Vergie Winters (1934) | Lullaby (Cello Solo) | 1:08:38 - Vergie talks with John | added-note chord | advance plot | common-chord modulation | confident | hopeful | hoping | leading lady | leading man | room | secret lover | sweet | warm |
The Life of Vergie Winters (1934) | Lullaby + Here Comes the Bride | 1:10:07 - Vergie imagines the wedding | added-note chord | bride | calm | chromatic mediant | combination of themes | common-chord modulation | daughter | double exposure | familiar tune | groom | leading lady | leading man | peaceful | secret lover | ternary form | transcribed by ear | walking | wedding | wedding | wedding music |
The Life of Vergie Winters (1934) | Lullaby (Resolution) | 1:21:03 - Joan talks about her mother | added-note chord | calm | conversing | crying | daughter | end title sequence | husband | peaceful | prison | redemption | resolution | The End | triumphant |
The Life of Vergie Winters (1934) | Lullaby (Resolution Not in Film) | NIF - not in film | added-note chord | cut from film |
| Out of the Fog (1941) | Signature | 0:00:00 - Warner Brothers logo | added-note chord | bold | chromatic mediant | fanfare | foreign key modulation | opening title sequence | phrase extension | WB shield |
| 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 |
| We Are Not Alone (1939) | Signature | 0:00:00 - WB shield | added-note chord | chromatic mediant | fanfare | linear chromaticism | main title | opening title sequence | phrase extension | starring list | WB shield |
We Are Not Alone (1939) | Heart of Oak | 0:01:02 - View of London ("England, 1914") | 64 chord | added-note chord | bold | British | card | England | establish location | familiar tune | folk song | London | march | pedal tone | setting |
We Are Not Alone (1939) | I Do Like to Be Beside the Seaside (Subconscious) | 0:31:36 - Jessica says goodnight to David | added-note chord | advance plot | common-tone diminished 7th | conversing | goodnight | happy | hero | home | wife |
We Are Not Alone (1939) | Captain Gerald | 0:43:23 - Gerald tells Leni a story | added-note chord | advance plot | boy | child | exoticism | foreign key modulation | heroine | home | imagination | room | somber | telling a story |
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) | Surprise Symphony (Sneaky) | 0:51:52 - David goes to bed | added-note chord | advance plot | antagonist | classical music | cook | diminution | familiar tune | Haydn | hero | heroine | home | mickey-mousing | mysterious | quotation | room | sneaking | somber |
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) | Fainting | 1:40:41 - Leni faints | added-note chord | fainting | falling | hero | heroine | love scene | mickey-mousing | prison | sequence | tense |
| Emergency Call (1933) | Theme from Cimarron | 1:00:41 - The end | added-note chord | closing credits | dramatic | end title sequence | The End | transcribed by ear |
| Headline Shooter (1933) | You Bunch of Fun | 0:00:44 - Cast list over racing vehicles | ABAA structure | added-note chord | cheerful | common-tone diminished 7th | opening title sequence | reused recording | split screen | transcribed by ear | video cast list |
| Gridiron Flash (1934) | Gridiron Flash | 0:00:24 - Cast list | added-note chord | cast list | countermelody | march | opening title sequence | starring list | title of film | upbeat |
Gridiron Flash (1934) | Gridiron Flash | 0:45:19 - Eddie in his room | added-note chord | advance plot | cheering | countermelody | leading man | march | room | upbeat |
Gridiron Flash (1934) | Gridiron Flash | 1:02:36 - The scoreboard | added-note chord | athlete | celebrating | countermelody | crowd | football | football game | leading lady | leading man | march | resolution | The End | upbeat |
| Hat, Coat, and Glove (1934) | Transient Love | 0:00:12 - Title of film; starring list; cast list | AABA structure | added-note chord | altered dominant | cast list | chromatic mediant | common-tone diminished 7th | opening title sequence | pedal tone | pleasant | starring list | title of film | transcribed by ear |
Hat, Coat, and Glove (1934) | Wonderful | 0:39:29 - Robert tells Dorothea goodbye | 11th chord | ABAC structure | added-note chord | advance plot | calm | club | common-tone diminished 7th | conversing | lawyer | leading lady | leading man | meeting | self-borrowing | source music | transcribed by ear |
| Murder on the Blackboard (1934) | Blackboard Murder (End Titles) | 1:10:39 - The End | added-note chord | augmented triad | end title sequence | grand | The End | transcribed by ear |
| Star of Midnight (1935) | Midnight in Manhattan | 0:00:34 - Cast list | added-note chord | altered dominant | cast list | chromatic scale | mode mixture | mysterious | opening title sequence | sentimental | transcribed by ear |
Star of Midnight (1935) | Midnight in Manhattan (Accelerando) | 0:54:42 - Feet walking | added-note chord | bus | chromatic parallelism | hurried | mickey-mousing | mode mixture | montage | street | transcribed by ear | traveling | walking |
| 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 |
| Don’t Turn ‘em Loose (1936) | Blackboard Murder (End Titles) | 1:04:52 - The End | added-note chord | augmented triad | end title sequence | grand | The End | transcribed by ear |
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