| All This, and Heaven Too (1940) | Signature | 0:00:00 - Warner Brothers shield | added-note chord | bold | chromatic mediant | fanfare | opening title sequence | oscillation | WB shield |
All This, and Heaven Too (1940) | Henriette | 0:00:28 - Cast list | 64 chord | added-note chord | cast list | chromatic mediant | countermelody | deceptive resolution | diminished third chord | foreign key modulation | mode mixture | opening title sequence | pedal tone | pleasant | romantic | sentence form | suspension |
All This, and Heaven Too (1940) | School Girls | 0:01:12 - Young girls walking to school | added-note chord | chatting | child | establish setting | pedal tone | pleasant | school | street | upbeat | walking |
All This, and Heaven Too (1940) | Henriette (Proud) | 0:08:21 - Mr. Field encourages Henriette | added-note chord | deceptive resolution | establish character | hopeful | leading lady | minister | mode mixture | mysterious | pedal tone | principal | reassuring | reverse picardy | school | student | teacher |
All This, and Heaven Too (1940) | Pierre | 0:13:47 - Pierre introduces himself | added-note chord | caretaker | conversing | deceptive resolution | introducing | leading lady | mode mixture | pedal tone | pleasant | street | tense | transition |
All This, and Heaven Too (1940) | Fairy Tale | 0:23:13 - Henriette reads a fairy tale | added-note chord | book | calm | child | delicate | establish character | fairy tale | governess | leading lady | pentatonic | pleasant | room | storytelling |
All This, and Heaven Too (1940) | Henriette (Molto tranquillo) | 0:26:30 - The Duke talks to Henriette | added-note chord | advance plot | conversing | countermelody | delicate | duke | gentle | governess | leading lady | room | worrying |
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) | Desperation (Carriage Starts) | NIF - not in film | added-note chord | advance plot | carriage | child | cut from film | duchess | gentle | governess | leading lady | leaving | pedal tone | street |
All This, and Heaven Too (1940) | Romance | 0:30:48 - Henriette talks with the Duke | added-note chord | advance plot | arguing | child | duke | governess | illness | leading lady | leading man | romantic | room | sequence |
All This, and Heaven Too (1940) | Underscoring (Tense) | 0:37:37 - They rise from prayer | added-note chord | child | chromatic scale | chromatic wedge | conversing | deceptive resolution | duchess | duke | governess | illness | leading lady | leading man | leaving | priest | religious scene | room | somber | tense |
All This, and Heaven Too (1940) | Henriette (Appassionato) | 0:44:08 - Raynald plays outside | 64 chord | added-note chord | advance plot | child | common-tone diminished 7th | conversing | courtyard | duke | foreign key modulation | governess | happy | leading lady | leading man | passionate | playing |
All This, and Heaven Too (1940) | Louise | 0:52:39 - Louise hugs her father | added-note chord | advance plot | appoggiatura | child | conversing | duke | excited | governess | happy | hugging | leading lady | leading man | mode mixture | room |
All This, and Heaven Too (1940) | The Duchess (Arguing) | 1:00:32 - Henriette leaves | added-note chord | arguing | conflict | dramatic | duchess | duke | governess | leading lady | leading man | linear chromaticism | listening | romantic | room | serious | trouble |
All This, and Heaven Too (1940) | Henriette (Sweepingly) | 1:02:57 - Henriette with tears in her eyes | added-note chord | augmented sixth chord | chromatic mediant | conflict | conversing | deceptive resolution | duke | foreign key modulation | governess | leading lady | leading man | mode mixture | pedal tone | romance | romantic | room |
All This, and Heaven Too (1940) | Valse | 1:03:32 - Montage of newspaper clippings | added-note chord | ballroom | cheerful | crowd | dancing | double exposure | duchess | duke | leading lady | leading man | mode mixture | montage | upbeat | waltz |
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) | Underscoring (Tender) | 1:26:48 - The Duke talks with the servants | 11th chord | 13th chord | 64 chord | added-note chord | advance plot | arriving | common-tone diminished 7th | conversing | duke | gentle | governess | leading lady | leading man | light | pentatonic | room | servant |
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) | Heaven Theme | 1:28:16 - Henriette tells the Duke about herself | added-note chord | common-chord modulation | duke | falling in love scene | gentle | governess | leading lady | leading man | room | storytelling |
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) | 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) | Spring Time (Flowers) | 1:47:09 - The children give flowers to Henriette | added-note chord | cheerful | child | conversing | leading lady | pleasant | reunion scene | room | sequential modulation |
All This, and Heaven Too (1940) | Henriette (Confession of Love) | 2:15:34 - The Duke confesses his love | added-note chord | caretaker | chromatic mediant | common-tone modulation | confessing | conversing | death bed | death scene | duke | dying | foreign key modulation | leading man | love | mode mixture | room | somber |
| 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 8) | 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 |
| The Big Sleep (1946) | Signature | 0:00:00 - WB shield | added-note chord | bold | chromatic mediant | fanfare | opening title sequence | starring list | voice-exchange | WB shield | whole-tone chord |
The Big Sleep (1946) | Marlowe | 0:02:01 - Marlowe gives Carmen a fake name | added-note chord | comical | common-tone dominant 7th | daughter | establish character | femme fatale | flirting | leading man | private eye | room |
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) | Marlowe (Grazioso) | 0:13:46 - Marlowe puts on a disguise | added-note chord | advance plot | disguise | disguising | half-diminished 7th chord | leading man | mysterious | private eye | street |
The Big Sleep (1946) | Waiting | 0:18:15 - Marlowe talks to lady in bookstore | added-note chord | altered dominant | book shop | chromatic scale | conversing | leading man | love interest | love scene | mode mixture | mysterious | oscillation | private eye | romantic |
The Big Sleep (1946) | Marlowe (Agitato) | 0:19:05 - Marlowe gets in his car | added-note chord | car | following | leading man | mysterious | private eye | rain | street | tense | transition |
The Big Sleep (1946) | Underscoring (Mysterious) | NIF - not in film | added-note chord | alternation | deleted scene | deleted scene | half-diminished 7th chord | investigating | investigation | leading man | mickey-mousing | mysterious | private eye | room | searching | underscoring | whole-tone chord |
The Big Sleep (1946) | Marlowe (Investigating) | NIF - not in film | added-note chord | deleted scene | deleted scene | dramatic | investigating | investigation | leading man | private eye | room | searching | sequential modulation | tense |
The Big Sleep (1946) | Carmen (Foreboding) | 0:24:22 - Marlowe sees the name Sternwood in a code book | added-note chord | clue | foreboding | investigating | investigation scene | leading man | name on screen | private eye | room | searching | secret code |
The Big Sleep (1946) | Marlowe (Thinking) | 0:24:26 - Marlowe tries to solve the mystery | added-note chord | chromatic parallelism | chromatic scale | clue | investigating | investigation scene | leading man | mysterious | private eye | room | secret code | thinking |
The Big Sleep (1946) | Marlowe (Risoluto) | 0:24:39 - Marlowe searches for clues | added-note chord | chromatic parallelism | fragmentation | investigating | investigation scene | leading man | private eye | resolved | room | searching |
The Big Sleep (1946) | Marlowe (Grazioso) | 0:25:28 - Marlowe asks Vivian to help with Carmen | added-note chord | advance plot | butler | conversing | femme fatale | half-diminished 7th chord | inserted scene | leading lady | leading man | mysterious | not in score | private eye | reused recording | room |
The Big Sleep (1946) | Marlowe (Melancholy) | NIF - not in film | added-note chord | arriving | deleted scene | leading man | melancholy | not in score | private eye | room | transition |
The Big Sleep (1946) | Marlowe (Decisive) | 0:47:04 - Marlowe walks out the door | added-note chord | advance plot | bold | decisive | leading man | leaving | pedal tone | private eye | room |
The Big Sleep (1946) | Marlowe (Ear Business) | 0:59:42 - Marlowe pulls on his ear | added-note chord | corpse | fragmentation | investigating | investigation scene | leading man | mysterious | private eye | room | thinking |
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) | Sternwood (Extended) | NIF - not in film | added-note chord | advance plot | altered dominant | chromatic scale | conversing | cut from film | femme fatale | leading man | private eye | room | whole-tone chord |
The Big Sleep (1946) | Marlowe (Thinking) | 1:20:49 - Marlowe sits in a diner | 11th chord | added-note chord | advance plot | café | chromatic parallelism | fragmentation | leading man | mysterious | private eye | tense | thinking |
The Big Sleep (1946) | Marlowe (Investigating) | 1:22:38 - Marlowe looks at car registration | added-note chord | investigating | investigation scene | leading man | mysterious | private eye | punching | sequence | street | tense |
The Big Sleep (1946) | Marlowe (Risoluto) | 1:30:12 - Marlowe makes a phone call | added-note chord | bold | conversing | death scene | fragmentation | leading man | phone call | private eye | room | victim |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 1:31:23 - Marlowe gets up to answer the phone | added-note chord | conversing | death scene | informer | leading man | mysterious | pedal tone | phone call | private eye | room |
The Big Sleep (1946) | Hurrying (Car) | 1:33:13 - Marlowe drives in a car | added-note chord | car | driving | hurried | leading man | parallelism | private eye | sequential modulation | street | tense | traveling scene |
The Big Sleep (1946) | Hurrying (Car) | 1:33:25 - Marlowe continues driving | added-note chord | car | driving | fragmentation | hurried | leading man | parallelism | picardy third | private eye | sequential modulation | 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) | Marlowe (Risoluto) | 1:52:01 - Marlowe walks to the phone | added-note chord | bold | death | fragmentation | leading lady | leading man | love interest | mysterious | plotting | private eye | resolution | room | tense |
| Caged (1950) | Signature | NIF - not in film | added-note chord | bold | chromatic mediant | chromatic scale | cut from film | dissonant bass | fragmentation | opening title sequence | oscillation |
Caged (1950) | Signature | 0:00:00 - WB logo | added-note chord | bold | chromatic mediant | chromatic scale | dissonant bass | fanfare | fragmentation | opening title sequence | oscillation | WB shield |
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) | Marie 2 (Not in Film) | NIF - not in film | added-note chord | conversing | cut from film | establish character | gentle | leading lady | office | pregnancy | prison | prisoner | 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) | Mrs. Benton | 0:44:07 - Mrs. Benton on the phone | added-note chord | advance plot | calling | cards | conversing | gentle | phone call | prison | telephone | warden |
Caged (1950) | Nursery | 0:49:22 - Marie goes to see her newborn baby | added-note chord | advance plot | baby | gentle | hopeful | leading lady | nurse | nursery | optimistic | prison | prisoner | walking |
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) | Prison (Tragic) | 0:52:48 - Marie calls after her mother | added-note chord | augmented sixth chord | chromatic sequence | despair | dramatic | leading lady | mother | nurse | pleading | prison | prisoner | sigh gesture | tragic | turning point |
Caged (1950) | She Runs | NIF - not in film | added-note chord | agitated | chromatic scale | cut from film | cut scene | dissonant bass | sequence | tritone oscillation |
| City for Conquest (1940) | Tone Poem A (Main Title) | 0:00:36 - Credits over a city skyline | 13th chord | added-note chord | bold | cast list | chromatic sequence | city | Gershwinesque | opening title sequence | skyline |
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) | Train | 0:01:09 - An elevated train approaches | added-note chord | bridge | busy | city | hurried | mickey-mousing | old man | ostinato | police | pump-up modulation | train | transition | traveling |
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 (Montage) | 0:02:18 - A montage of New York City scenes | added-note chord | boat | bridge | car | chromatic parallelism | city | conversing | Dutch angle | establish setting | excited | fragmentation | montage | old man | panning shot | police | pump-up modulation | soliloquy | train |
City for Conquest (1940) | Shadow Waltz (Ethereal) | 0:24:48 - Peggy peeks out of her door | added-note chord | advance plot | arriving | chromatic parallelism | chromatic wedge | common-tone diminished 7th | entering | gentle | leading lady | mysterious | parallelism | room | sneaking | source to score |
City for Conquest (1940) | I'm Just Wild About Harry (Delicato) | 0:25:06 - Peggy calls Murray | 11th chord | added-note chord | advance plot | altered dominant | calling | common-tone diminished 7th | conversing | leading lady | mode mixture | pleasant | room | source to score | telephone | upbeat |
City for Conquest (1940) | Jalousie | 0:29:51 - Peggy dances with Murray | added-note chord | applause | crowd | dance hall | dancer | dancing | double exposure | leading lady | montage | source music | tango | upbeat |
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) | 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 Transition 1 (Short) | 0:34:25 - A rushing train | added-note chord | hurried | montage | ostinato | rushing | train | train | traveling |
City for Conquest (1940) | Tone Poem Train Whistle | 0:34:28 - Danny on the train | added-note chord | blaring | hurried | leading man | mickey-mousing | montage | ostinato | pc set | rushing | train | train | traveling |
City for Conquest (1940) | Shadow Waltz (Dancing) | 0:38:57 - Montage of dancing scenes | added-note chord | altered dominant | augmented triad | dancing | double exposure | gentle | montage | shadow | stage | transcribed by ear |
City for Conquest (1940) | Burns and Company | 0:39:06 - Montage of dancing scenes | added-note chord | dance band | dancing | double exposure | headline | montage | newspaper | shadow | stage | transcribed by ear | upbeat |
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 (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 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 Train Whistle | 1:33:40 - The wind section plays | added-note chord | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | dissonant bass | excited | fragmentation | Gershwinesque | musician | on-screen music | orchestra | pc set | 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 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 Transition 1 (Abbreviated) | 1:35:34 - Harp playing in the orchestra | added-note chord | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | dramatic | Gershwinesque | musician | on-screen music | orchestra | playing | source music |
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 Train Whistle | 1:35:50 - Danny listens to the radio | added-note chord | bold | concert | concert scene | dissonant bass | excited | fragmentation | Gershwinesque | leading man | listening | on-screen music | pc set | pump-up modulation | radio | source music | street |
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 Introduction (Abbreviated 2) | 1:37:08 - The conductor leading the orchestra | added-note chord | audience | bold | Carnegie Hall | common-tone dominant 7th | concert | concert hall | concert scene | conducting | conductor | Gershwinesque | listening | musician | on-screen music | orchestra | playing | source music | watching |
City for Conquest (1940) | Tone Poem A (Coda) | 1:37:16 - The conductor leading the orchestra | added-note chord | audience | bold | Carnegie Hall | chromatic mediant | concert | concert hall | concert scene | conducting | conductor | diminution | dramatic | Gershwinesque | listening | musician | on-screen music | orchestra | playing | source music | watching |
City for Conquest (1940) | Tone Poem Alternate Ending 1 | NIF - not in film | added-note chord | alternate music |
City for Conquest (1940) | Tone Poem Alternate Ending 2 | NIF - not in film | added-note chord | alternate music | chromatic mediant | diminution |
City for Conquest (1940) | Tone Poem Alternate Ending 3 | NIF - not in film | added-note chord | alternate music |
| 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 (Ethereal) | 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 |
| Her Kind of Man (1946) | Signature | 0:00:00 - WB shield | added-note chord | bold | chromatic mediant | fanfare | foreign key modulation | main title | opening title sequence | transcribed by ear | WB shield |
Her Kind of Man (1946) | It Had to Be You (The End) | 1:18:02 - The End | added-note chord | criminal | dark | death | dramatic | end title sequence | gambler | henchman | leading lady | leading man | mode mixture | murderer | police | reporter | singer | street | The End | tragic | wife |
| I Was a Communist for the FBI (1951) | Signature | 0:00:00 - WB shield | added-note chord | bold | chromatic mediant | fanfare | metric dissonance | opening title sequence | oscillation | WB shield |
I Was a Communist for the FBI (1951) | Signature (Alternate) | NIF - not in film | added-note chord | alternate music | chromatic mediant | fanfare | metric dissonance | opening title sequence | oscillation | WB shield |
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) | Signature | 0:00:00 - WB shield | added-note chord | bold | chromatic mediant | fanfare | main title | opening title sequence | oscillation | WB shield |
In This Our Life (1942) | Asa | 0:02:02 - The Timberlake crest | 64 chord | added-note chord | common-chord modulation | establish character | noble | plagal cadence | street | worker | working |
In This Our Life (1942) | Roy (Dolce) | 0:12:06 - Roy talks with Stanley | added-note chord | altered dominant | conversing | establish character | gentle | half-diminished 7th chord | leading lady | room | sequence | sister | sweet |
In This Our Life (1942) | Roy (Morendo) | 0:15:43 - Roy responds to Peter | added-note chord | advance plot | augmented sixth chord | conversing | embracing | leading lady | leading man | room | serious | somber |
In This Our Life (1942) | Asa (Molto Expressivo) | 0:23:49 - Roy leaves | 64 chord | added-note chord | conflict | dark | father | leading lady | leaving | mode mixture | pedal tone | reverse picardy | room | somber |
In This Our Life (1942) | Stanley (Shimmery) | 0:32:33 - Stanley smiles | added-note chord | car | kissing | leading lady | leading man | magical | polychord | wedding | wedding |
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) | Roy (Morendo 2) | 0:49:54 - Roy reacts to the bad news | added-note chord | appoggiatura | augmented sixth chord | conversing | father | leading lady | leading man | mode change | room | serious | somber | suicide | turning point | uncle |
In This Our Life (1942) | Underscoring (Gentle) | 0:50:58 - Roy talks with Betty | added-note chord | advance plot | chromatic parallelism | conversing | friend | gentle | leading lady | parallelism | room | tender | underscoring | whole-tone chord |
In This Our Life (1942) | Roy (Molto Moderato) | 1:15:51 - Roy leaves | added-note chord | angry | conflict | half-diminished 7th chord | lawyer | leading lady | leading man | leaving | office |
In This Our Life (1942) | Expressivo (Extended) | 1:27:04 - Lavinia rises | added-note chord | arguing | chromatic scale | climax | criminal | emotional | father | lawyer | leading lady | leading man | mother | pleading | retardation | room | suspect |
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 |
| 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 |
| Lightning Strikes Twice (1951) | Signature | 0:00:00 - WB shield | added-note chord | bold | chromatic mediant | fanfare | opening title sequence | oscillation | WB shield |
Lightning Strikes Twice (1951) | Shelly 2 (Misterioso) | 0:19:14 - Shelly gets ready for bed | actor | added-note chord | candle | concerned | establish character | leading lady | leading man | oscillation | pedal tone | preparing | room | suspect | thinking | thoughtful | worried |
Lightning Strikes Twice (1951) | Shelly (Traveling) + Shelly 2 (Allegretto) | 0:23:40 - Shelly travels to Tumblewood Ranch | actor | added-note chord | arriving | bright | car | cheerful | combination of themes | countryside | cut from film | desert | driving | horse | leading lady | leading man | ostinato | ranch | sequential modulation | suspect | transition | traveling | walking |
| Mildred Pierce (1945) | Signature | 0:00:00 - WB shield and wave effect | added-note chord | bold | common-tone dominant 7th | dissonant bass | fanfare | opening title sequence | starring list | water | wave | WB shield |
Mildred Pierce (1945) | Mildred (Somber) | 0:01:37 - A house on the beach | added-note chord | beach | establish setting | mickey-mousing | mode mixture | optimistic | pedal tone | somber | water | wave |
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) | Kay and Veda | 0:25:03 - Kay plays football in the street | 11th chord | added-note chord | child | establish character | football | mickey-mousing | playing | street | upbeat |
Mildred Pierce (1945) | Kay and Veda (Skipping) | 0:25:25 - Kay skips on her way home | added-note chord | child | establish character | graceful | playing | skipping | street |
Mildred Pierce (1945) | Kay and Veda (Dolce) | 0:32:13 - Mildred and Veda talk about Kay | added-note chord | advance plot | child | conversing | heroine | leading lady | mode mixture | room | sleeping | sweet |
Mildred Pierce (1945) | Kay and Veda (Dolce Foxtrot) | 0:33:37 - Mildred puts Veda to bed | 64 chord | added-note chord | advance plot | child | chromatic parallelism | dark | heroine | leading lady | mode mixture | optimistic | promising | room | tragic |
Mildred Pierce (1945) | Work | 0:36:12 - Mildred works as a waitress | 64 chord | added-note chord | altered dominant | chromatic mediant | chromatic sequence | common-chord modulation | foreign key modulation | hectic | heroine | leading lady | montage | restaurant | rushing | self-borrowing | sequential modulation | serving | upbeat | voice-over | waitress | working |
Mildred Pierce (1945) | Work (Singing Lesson) | 0:37:17 - Veda sings | added-note chord | child | double exposure | heroine | leading lady | montage | on-screen music | room | scored source music | self-borrowing | singing | upbeat | voice-over | working |
Mildred Pierce (1945) | Mildred (Not in Film) | NIF - not in film | added-note chord | chromatic parallelism | cut from film | tender |
Mildred Pierce (1945) | Mazurka in B-Flat Major + Mildred | NIF - not in film | added-note chord | classical music | combination of themes | cut from film | familiar tune | on-screen music | scored source music | source music | three-phrase period |
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) | Walking | 0:42:58 - Mildred and Wally walk to the house | added-note chord | arriving | beach house | excited | friend | heroine | leading lady | mickey-mousing | ocean | parallelism | transition | walking |
Mildred Pierce (1945) | Kay and Veda (Tenderly) | 0:56:34 - Veda and Mildred mourn for Kay | added-note chord | calm | child | death | death scene | ex-husband | heroine | hopeful | leading lady | mode mixture | mourning | plagal cadence | room | somber | turning point |
Mildred Pierce (1945) | Work (Grand Opening) | 0:57:26 - View of Mildred's restaurant | added-note chord | advance plot | foreign key modulation | restaurant | self-borrowing | tritone | upbeat | voice-over | working |
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) | Work | 1:08:00 - Montage of restaurants | added-note chord | altered dominant | common-chord modulation | guest | montage | restaurant | self-borrowing | upbeat | voice-over | working |
Mildred Pierce (1945) | French One-Step | 1:08:14 - Veda at a polo match | added-note chord | antagonist | cheering | common-tone diminished 7th | daughter | field | heroine | leading lady | love interest | montage | playing | polo | secondary dominant | sports | upbeat | voice-over | watching |
Mildred Pierce (1945) | Kay and Veda (Excited) | 1:13:21 - Veda drives away in her new car | added-note chord | advance plot | altered dominant | car | child | deceptive resolution | driving | excited | happy | heroine | kissing | leading lady | love interest | room | running |
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) | Work (Montage) | 1:34:44 - Montage of Mildred and Monte's marriage | added-note chord | cheerful | deceptive resolution | ex-husband | glass | heroine | leading lady | love interest | mickey-mousing | mode mixture | montage | newspaper | self-borrowing | shadow |
Mildred Pierce (1945) | Mildred (Happy Homecoming) | 1:38:50 - Mildred and her daughter embrace | added-note chord | advance plot | apologizing | chromatic mediant | daughter | embracing | foreign key modulation | forgiveness | happy | heroine | leading lady | loving | mode mixture | mother | returning | reuniting | room | warm |
Mildred Pierce (1945) | Kay and Veda (Allegretto Grazioso) | 1:39:47 - Monte is happy to see Veda | added-note chord | advance plot | antagonist | cheerful | conversing | daughter | deceptive resolution | reuniting | room | welcoming |
Mildred Pierce (1945) | Mildred (The End) | 1:50:07 - Mildred leaves with Bert | added-note chord | ex-husband | heroine | leading lady | leaving | pedal tone | police station | resolution | triumphant |
| 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 | opening title sequence | oscillation | WB shield |
Out of the Fog (1941) | Russian Barcarolle | 0:00:14 - Title of the film | added-note chord | augmented sixth chord | cast list | folk-like | harbor | opening title sequence | peaceful | pedal tone | title of film |
| 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) | Signature | 0:00:00 - WB shield | added-note chord | chromatic mediant | fanfare | main title | opening title sequence | WB shield |
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 |
| 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 |
| Sing and Like It (1934) | Introduction | 0:00:10 - Title of the film | added-note chord | foreign key modulation | introduction | jazz | opening title sequence | starring list | title of film | transcribed by ear | upbeat |
Sing and Like It (1934) | Your Mother (Opening Title) | 0:00:21 - Cast list | AABA structure | added-note chord | augmented sixth chord | cast list | jazz | mode mixture | opening title sequence | radio | room | secondary dominant | source music | transcribed by ear | upbeat |
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 |
Sing and Like It (1934) | Your Mother (End Title) | 1:11:36 - The End | added-note chord | end title sequence | secondary dominant | sentimental | The End | transcribed by ear |
| 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 |
| Don’t Turn ‘em Loose (1936) | Gimpy Walk | 0:26:12 - Bob walks | added-note chord | advance plot | gangster | imposter | leading man | oscillation | pacing | room | street | tense | walking |
Don’t Turn ‘em Loose (1936) | Gimpy Walk | 0:26:17 - Bob walks | added-note chord | advance plot | calm | gangster | imposter | leading man | mode mixture | oscillation | pacing | reverse picardy | room | waiting | walking |
Don’t Turn ‘em Loose (1936) | Gimpy Walk | 0:26:34 - Bob walks | added-note chord | advance plot | calm | double exposure | gangster | imposter | leading man | oscillation | pacing | room | waiting | walking |
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 |
| 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 |
| Caged (1950) | Harper's Death | 1:27:19 - Kitty stabs Harper with a fork | added-note chord | dark | death | dying | dying | falling | falling | fork | killing | minor-major 7th chord | murder | murdering | murder scene | prison | screaming | stabbing | stabbing | stinger | walking | walking |
Caged (1950) | Molto Expressivo (Quasi Blues) | 1:35:01 - Marie leaves the prison | added-note chord | bluesy | bluesy | car | climax | ex-convict | freedom | leading lady | leaving | prison | smoking | street | warden | watching |
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