| All This, and Heaven Too (1940) | Ascending | 0:13:37 - Henriette meets the caretaker | altered dominant | caretaker | conversing | half-diminished 7th chord | leading lady | mysterious | street | transition | underscoring |
All This, and Heaven Too (1940) | Fairy Godmother | 0:23:28 - Henriette reads a fairy tale | 9th chord | altered dominant | book | calm | child | delicate | establish character | fairy tale | foreign key modulation | governess | leading lady | magical | pleasant | room | storytelling |
All This, and Heaven Too (1940) | Desperation (Very Dramatic) | NIF - not in film | advance plot | altered dominant | arguing | child | cut from film | duchess | governess | leading lady | room | tense |
All This, and Heaven Too (1940) | Desperation (Dark) | 1:13:56 - Henriette watches the Duke leaving | 9th chord | advance plot | altered dominant | dark | dissonant bass | duke | leading man | leaving | parallelism | point-of-view shot | room | watching |
All This, and Heaven Too (1940) | Henriette (Very Romantic) | 1:29:07 - Henriette talks with the Duke | 9th chord | altered dominant | augmented triad | conversing | duke | falling in love scene | gentle | governess | leading lady | leading man | pedal tone | romantic | room | sweet |
| The Amazing Dr. Clitterhouse (1938) | Underscoring (Tense) | 0:45:45 - Criminals talk about the professor | 64 chord | altered dominant | conversing | crime | criminal | gangster | robbery | rooftop | tense | thief | underscoring |
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 |
| Angels With Dirty Faces (1938) | Night Club Music | 0:07:05 - Rocky gambles in a nightclub | altered dominant | club | dancing | double exposure | drinking | establish character | frantic | gambling | gangster | leading man | mickey-mousing | montage | pouring |
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 | 0:41:37 - Laury pushes her way through the crowd | altered dominant | arriving | close-up | conflict | heartbroken | leading lady | love interest | rushing | sentimental | shop |
Angels With Dirty Faces (1938) | Underscoring (Romantic) | 1:01:43 - Rocky and Laury talk | altered dominant | conversing | dissonant bass | gangster | leading lady | leading man | linear chromaticism | love scene | romantic | room | underscoring |
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) | Underscoring (Dramatic) | NIF - not in film | advance plot | altered dominant | chromatic scale | cut from film |
Angels With Dirty Faces (1938) | Jerry (Somber) | 1:31:04 - Rocky leaves his cell for his execution | altered dominant | climax | conversing | gangster | gentle | leading man | pc set | priest | prison | reverse picardy | stinger | tone cluster |
| 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) | 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) | Hey! Hey! | 0:50:14 - Eddie and Flo dance | 9th chord | AABA structure | altered dominant | augmented sixth chord | cheerful | dance hall | dance scene | dancing | friend | leading man | love interest | murderer | on-screen music | source music |
Are These Our Children? (1931) | Dreams (Transition 9) | NIF - not in film | 9th chord | altered dominant | cut from film | dark | mysterious | pc set | tragic | whole-tone | whole-tone chord |
Are These Our Children? (1931) | 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) | 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 (Expressivo) + Scar | 0:41:42 - Abby talks to Jonathan | altered dominant | augmented triad | aunt | brother | combination of themes | conversing | convincing | crazy person | criminal | distortion | doctor | establish character | expressive | familiar tune | leading lady | leading man | murderer | mysterious | 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 |
Arsenic and Old Lace (1944) | Underscoring (Tense) | 0:49:45 - Jonathan follows Dr. Einstein | advance plot | altered dominant | brother | conversing | crazy person | criminal | digging | dissonant bass | doctor | familiar tune | leading man | march | murderer | on-screen music | patriotic tune | pc set | plotting | room | source and scoring overlap | tense | tone cluster | whistling |
Arsenic and Old Lace (1944) | Happy Land (The End) | 1:57:05 - Mortimer carries Elaine away | altered dominant | bride | countermelody | driver | end title sequence | familiar tune | groom | kissing | leading lady | leading man | resolution | street | The End | upbeat |
| The Big Sleep (1946) | Sternwood | 0:02:31 - Carmen walks away | 9th chord | added-note chord | altered dominant | bluesy | daughter | establish character | femme fatale | leading man | Neapolitan | private eye | retardation | room | seductive | walking |
The Big Sleep (1946) | Underscoring (Tense) | 0:02:45 - Marlowe goes to meet Sternwood | 9th chord | altered dominant | butler | chromatic scale | establish character | leading man | private eye | room | tense | underscoring | walking |
The Big Sleep (1946) | 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 (Augmented) | 0:23:56 - Marlowe investigates the crime scene | altered dominant | augmentation | investigating | investigation scene | leading man | mickey-mousing | mysterious | private eye | room | snapping | thinking |
The Big Sleep (1946) | Marlowe (Augmented) | 0:48:55 - Joe pulls a gun on Marlowe | altered dominant | augmentation | blackmailer | conversing | criminal | gun | investigation scene | leading man | mysterious | private eye | room | suspect |
The Big Sleep (1946) | Sternwood (Extended) | 0:52:29 - Carmen asks for her picture back | 9th chord | altered dominant | blackmail | chromatic parallelism | conflict | diminished 7th chord | evidence | femme fatale | flirting | leading lady | leading man | mysterious | pc set | private eye | room | seductive | whole-tone chord |
The Big Sleep (1946) | Vivian + Marlowe (Ear Business) | NIF - not in film | advance plot | altered dominant | combination of themes | conversing | cut from film | deleted scene | deleted scene | leading lady | leading man | love interest | mysterious | private eye | romantic | room | thinking | whole-tone |
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) | Wrong Address | 1:30:46 - Marlowe ends the phone call | 9th chord | altered dominant | chromatic parallelism | conversing | death | death scene | half-diminished 7th chord | leading man | phone call | private eye | room | somber | victim |
The Big Sleep (1946) | Marlowe (Dramatic) | 1:33:37 - Marlowe looks at sign | 9th chord | altered dominant | car | dramatic | investigating | leading man | private eye | street | tense | traveling scene |
The Big Sleep (1946) | Vivian | 1:40:03 - Marlowe and Vivian kiss | 9th chord | 13th chord | AABA structure | added-note chord | altered dominant | captive | chromatic mediant | chromatic parallelism | common-tone dominant 7th | foreign key modulation | freeing | kissing | leading lady | leading man | love interest | love scene | Neapolitan | private eye | romantic | room | suspension |
| 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) | Mrs. Benton (Not in Film 3) | NIF - not in film | altered dominant | chromatic mediant | conversing | cut from film | establish character | gentle | guard | leading lady | mode mixture | office | pregnancy | prison | prisoner | reading | room | sigh gesture | warden |
Caged (1950) | Lullaby | 0:49:51 - Marie holds her new baby | 9th chord | added-note chord | advance plot | altered dominant | baby | conversing | gentle | leading lady | nurse | nursery | prison | prisoner | sequential modulation |
Caged (1950) | Marie (Dramatic) | 0:52:43 - Marie pleads with her mother to take the baby | 9th chord | altered dominant | chromatic scale | chromatic wedge | despair | dramatic | leading lady | mother | nurse | pleading | prison | prisoner | tragic | turning point |
| City for Conquest (1940) | Sidewalks of New York (Snake) | 0:02:35 - A montage of New York City scenes | 13th chord | 64 chord | altered dominant | bridge | chromatic sequence | city | conversing | countermelody | double exposure | Dutch angle | establish setting | foreign key modulation | fragmentation | grand | montage | old man | police | snake effect | soliloquy |
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) | Tone Poem A (Grazioso) | 0:30:04 - Danny shaves | altered dominant | common-chord modulation | conversing | delicate | fragmentation | gentle | leading lady | leading man | love scene | room | shaving |
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) | Where Were You When the Moon Came Out (Sad) | 1:20:48 - Eddie plays the piano | advance plot | altered dominant | blur | brother | composer | leading man | musician | on-screen music | playing | room | sentimental | source music | victim | watching |
City for Conquest (1940) | Tone Poem A (Lento 2) | 1:28:11 - Peggy cries | 9th chord | advance plot | altered dominant | conversing | crying | foreign key modulation | friend | leading lady | room | sequence | somber |
City for Conquest (1940) | Tone Poem D | 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 A (Grandioso) | 1:36:11 - Audience enjoying the performance | 9th chord | 13th chord | altered dominant | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | double exposure | dramatic | Gershwinesque | leading lady | leading man | listening | musician | on-screen music | orchestra | playing | romantic | sentimental | smiling | source music | watching |
City for Conquest (1940) | Sidewalks of New York (Soliloquy) | 1:42:56 - Old timer talks to himself | altered dominant | chromatic parallelism | conversing | countermelody | old man | resolution | sentimental | soliloquy |
| 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) | The Drunken Doctor | 0:36:35 - Drunk doctor comes in | advance plot | alcohol | altered dominant | comical | doctor | drinking | drunk | drunk | hospital | parallel period | reformatory |
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) | Underscoring (Dramatic) | 0:56:50 - Mark goes to rescue Squirt | action scene | altered dominant | boiler room | chromatic parallelism | dissonant bass | dramatic | hero | leading man | linear chromaticism | reformatory | rushing | saving | teenager | tense | underscoring |
Crime School (1938) | Temperature rising 2 | 0:57:12 - The temperature gauge rises | action scene | altered dominant | boiler room | chromatic parallelism | danger | dramatic | gauge | heat | hero | leading man | mickey-mousing | reformatory | rising | teenager | temperature | tense |
| They Made Me a Criminal (1939) | Traveling | 0:22:25 - Johnnie becomes a fugitive | 9th chord | added-note chord | altered dominant | countryside | double exposure | dramatic | leading man | map | mickey-mousing | money | montage | montage | purchasing | street | traveling | walking |
They Made Me a Criminal (1939) | The Fugitive | 0:24:29 - Johnnie walks | 9th chord | advance plot | altered dominant | desert | foreign key modulation | leading man | Neapolitan | tired | traveling | walking | wandering |
They Made Me a Criminal (1939) | The Fugitive (Relieved) | 0:29:25 - Johnnie listens to the sheriff | altered dominant | conflict | conversing | leading man | peaceful | room | tranquil |
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) | Marcia Grotesque | 1:01:48 - Johnnie talks to another boxer | advance plot | altered dominant | comical | conversing | hero | leading man | march | mode mixture | room |
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) | On the Make (Tenderly) | 1:07:57 - Tommy talks to Johnnie | 9th chord | ABAB structure | altered dominant | arguing | chromatic mediant | conversing | direct modulation | foreign key modulation | hero | leading man | room | tender | turning point |
They Made Me a Criminal (1939) | On the Make (Appassionato) | 1:25:51 - Peggy wants to go with Johnnie | 9th chord | altered dominant | climax | detective | embracing | kissing | leading lady | leading man | leaving | linear chromaticism | mode mixture | pedal tone | romantic | room | sentimental | sigh gesture | tender |
| Dust Be My Destiny (1939) | Dust Be My Destiny (A Hotel) | 0:28:47 - Joe mentions going to a hotel | advance plot | altered dominant | concerned | leading lady | leading man | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Parting Ways) | 0:38:56 - Joe and Mabel part | altered dominant | common-tone diminished 7th | conflict | dark | leading lady | leading man | leaving | mode mixture | pedal tone | runaway | somber | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Reunited) | 0:40:03 - Joe runs to Mabel | 64 chord | altered dominant | foreign key modulation | joyful | leading lady | leading man | mickey-mousing | pump-up modulation | resolution | runaway | running | street |
Dust Be My Destiny (1939) | My Wild Irish Rose | 0:40:51 - Joe and Mabel in Nick's Diner | accompanied source music | altered dominant | common-chord modulation | diner | establish character | familiar tune | friend | happy | leading lady | leading man | mode mixture | parallel double period | popular song | radio | shopkeeper | singing | source music | ternary form |
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 (End Credits) | 1:26:54 - End credits | altered dominant | closing credits | common-tone diminished 7th | end title sequence | upbeat |
| Each Dawn I Die (1939) | Frank (Released) | 1:28:49 - Frank is released | 9th chord | altered dominant | artwork in score | conclusion | embracing | friend | gentle | goodbye | leading lady | leading man | Neapolitan | passionate | peaceful |
Each Dawn I Die (1939) | On the Make | 1:31:02 - Closing credits | 9th chord | 11th chord | ABAB structure | added-note chord | altered dominant | closing credits | end title sequence | jaunty | linear chromaticism | self-borrowing |
| Flamingo Road (1949) | Titus | 0:01:22 - The Palmer House | altered dominant | dark | establish setting | ominous | politician | self-borrowing | sheriff | street | voice-over |
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) | Underscoring (Lyrical) | NIF - not in film | 9th chord | altered dominant | conversing | cut from film | cut from film | leading lady | leading man | lovers meet | police | room | underscoring |
Flamingo Road (1949) | If I Could Be With You (Lightly) | NIF - not in film | altered dominant | common-tone diminished 7th | cut from film | cut from film | flirting | leading lady | leading man | lovers meet | pedal tone | police | room |
Flamingo Road (1949) | If I Could Be With You (Tenderly) | 0:29:32 - Lane and Field prepare to leave | 11th chord | 13th chord | altered dominant | common-tone diminished 7th | kissing | lake | leading lady | leading man | love interest | love scene | romance | romantic | secondary dominant | source to score |
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) | Flamingo Road (Bluesy) | 0:55:00 - Dan buys some cold drinks | 9th chord | altered dominant | bluesy | flirting | foreshadowing | leading lady | leading man | love interest | love scene | mode mixture | parallelism | politician | porch | self-borrowing |
Flamingo Road (1949) | Flamingo Road (Expressivo) | NIF - not in film | altered dominant | cut from film | cut from film | self-borrowing | transition |
Flamingo Road (1949) | Flamingo Road (Triste) | 1:19:43 - Lane watches Dan leave | altered dominant | conflict | husband | leading lady | leading man | politician | room | self-borrowing | somber | waiting | wife |
Flamingo Road (1949) | Flamingo Road (Andante) | 1:24:05 - Lane goes to get a drink for Field | altered dominant | chromatic parallelism | dark | death scene | gentle | gunshot | hopeful | leading lady | leading man | love interest | mode mixture | room | self-borrowing | suicide | walking | warm |
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 |
| 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) | Big Sweep | 0:12:41 - Stanley leaves | altered dominant | dramatic | establish character | leading lady | pc set | room | sister | stinger | tense | watching |
In This Our Life (1942) | Roy (Triste) | 0:12:54 - Roy walks up the stairs | 9th chord | altered dominant | countermelody | establish character | foreign key modulation | gentle | leading lady | room | somber | walking |
In This Our Life (1942) | Discussion | 0:13:57 - Roy talks with Peter | 9th chord | advance plot | altered dominant | conversing | leading lady | leading man | passionate | reverse picardy | room | serious | somber |
In This Our Life (1942) | Pleadingly | 0:14:53 - Roy looks at Peter | advance plot | altered dominant | common-tone dominant 7th | conversing | leading lady | leading man | room | yearning |
In This Our Life (1942) | Stanley (Valse Triste) | 0:16:22 - Roy looks out the window | 9th chord | advance plot | altered dominant | appoggiatura | circle of fifths | dark | leading lady | leading man | leaving | room | somber | waltz | watching | window |
In This Our Life (1942) | Expressivo | 0:22:51 - Roy talks to Asa | altered dominant | chromatic scale | conflict | conversing | expressive | father | leading lady | plagal cadence | retardation | room |
In This Our Life (1942) | Big Sweep (Turn) | 0:23:03 - Roy looks in the mirror | altered dominant | conflict | conversing | expressive | father | leading lady | room |
In This Our Life (1942) | Stanley (Gloomy) | 0:28:32 - Roy walking in the park | 9th chord | advance plot | altered dominant | appoggiatura | chromatic parallelism | dark | depressed | leading lady | leading man | park | sigh gesture | sitting | tritone substitution |
In This Our Life (1942) | Pleadingly | 0:29:23 - Roy talks to Craig | advance plot | altered dominant | common-tone dominant 7th | conversing | leading lady | leading man | park | uneasy |
In This Our Life (1942) | Driving + Love Theme | 0:39:07 - Roy and Craig in a car | 9th chord | altered dominant | calm | car | combination of themes | conversing | driving | iii chord | leading lady | leading man | love interest | love scene | oscillation | pedal tone | romantic | suspension |
In This Our Life (1942) | Love Theme | 0:40:44 - Roy and Craig sit on the ground | 9th chord | altered dominant | artwork in score | calm | conversing | fire | iii chord | leading lady | leading man | love interest | love scene | outdoors | romantic | suspension |
In This Our Life (1942) | Love Theme (Valse Sentimentale) | 0:44:06 - Roy and Craig embrace | 9th chord | altered dominant | calm | conversing | iii chord | leading lady | leading man | love scene | office | romantic | waltz |
In This Our Life (1942) | Love Theme (Valse Sentimentale) | 0:46:31 - Roy talks with her uncle | 9th chord | altered dominant | conversing | iii chord | leading lady | leading man | love scene | pleasant | proposal | room | tender | uncle | waltz |
In This Our Life (1942) | Stanley B (Agitato) | 0:49:32 - Uncle Fitzroy asks about Stanley | agitated | altered dominant | arguing | chromatic scale | chromatic sequence | dissonant bass | father | leading lady | leading man | room | suicide | tense | turning point | uncle | whole-tone chord |
In This Our Life (1942) | Stanley (Valse Triste) | 0:52:42 - Stanley talks to Roy | 9th chord | advance plot | agitated | altered dominant | appoggiatura | circle of fifths | conversing | leading lady | room | sister | widow |
In This Our Life (1942) | Discussion | 0:53:04 - Stanley talks to Roy | 9th chord | advance plot | agitated | altered dominant | conversing | leading lady | room | sister | whole-tone chord | widow |
In This Our Life (1942) | Stanley (Slowly) | 1:16:07 - Craig reads a note | 9th chord | altered dominant | conflict | lawyer | leading man | note | office | sentimental | thinking | whole-tone chord |
In This Our Life (1942) | Stanley (Valse Triste) | 1:26:23 - Stanley confesses | 9th chord | altered dominant | appoggiatura | arguing | circle of fifths | climax | confessing | confession | criminal | crying | dramatic | father | lawyer | leading lady | leading man | mother | room | suspect | whole-tone chord |
In This Our Life (1942) | Love Theme (Gentle) | 1:27:58 - Roy talks to Craig | 9th chord | accusing | altered dominant | climax | conversing | criminal | crying | embracing | gentle | iii chord | lawyer | leading lady | leading man | room | sneaking | tender |
In This Our Life (1942) | Big Sweep | 1:28:57 - Stanley escapes | 11th chord | altered dominant | climax | criminal | dramatic | driving | escaping | lawyer | leading lady | leading man | pc set | room | underscoring | watching |
In This Our Life (1942) | Underscoring (Tense) | 1:35:22 - Policemen on the radio | altered dominant | calling | police | police station | reporting | resolution | room | solemn | somber | tense | underscoring |
| The Informer (1935) | The Informer (Confession) | 1:16:00 - Gypo confesses and cries | 9th chord | altered dominant | antagonist | confessing | confession | courtroom | courtroom scene | crying | deceptive resolution | diminished 7th chord | dissonant bass | guilt | half-diminished 7th chord | headquarters | leading man | pedal tone | pedal tone | remorseful | room | traitor |
| The Letter (1940) | Mr. Hammond Has Been Shot | 0:05:45 - Worker runs in | 11th chord | action scene | altered dominant | dark | death | husband | ominous | reacting | servant | warehouse |
The Letter (1940) | Leslie (Tense) | 0:34:20 - Howard tells Leslie about the letter | 9th chord | altered dominant | chromatic parallelism | conversing | lawyer | leading lady | letter | pivotal scene | prison | sequence | suspenseful | tense |
The Letter (1940) | Leslie (Rising) + Deception | 0:34:47 - Howard gives Leslie the letter | altered dominant | augmented triad | chromatic parallelism | combination of themes | deception | denying | lawyer | leading lady | letter | lying | oscillation | ostinato | pc set | pivotal scene | prison | reading | sequence | tense |
The Letter (1940) | Lento Mysterioso | 0:50:37 - Leslie and Howard alone | advance plot | altered dominant | home | lawyer | leading lady | mysterious | planning | sad | upper pedal tone | whole-tone chord |
The Letter (1940) | Underscoring (Tense) | 0:51:14 - Leslie talks to Howard | advance plot | altered dominant | dark | foreign key modulation | home | lawyer | leading lady | planning |
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. 2 | 1:22:12 - Leslie joins the party | 9th chord | AABA structure | altered dominant | conversing | dance music | dancing | foxtrot | friend | happy | husband | leading lady | party | party | pump-up modulation | secondary dominant | source music |
| Mildred Pierce (1945) | Mildred (Tragic) | 0:02:42 - Mildred walks out onto the dock | altered dominant | dock | establish character | half-diminished 7th chord | heroine | leading lady | mickey-mousing | pondering | sequence | somber | suicide | tragic | water | wave |
Mildred Pierce (1945) | Underscoring (Tense) | 0:11:13 - Policemen investigate the scene | action scene | altered dominant | beach | conversing | dissonant bass | friend | mysterious | police | searching | sequence | tense | underscoring | victim |
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) | Kay and Veda (Troubled) | NIF - not in film | altered dominant | chromatic mediant | chromatic scale | common-chord modulation | cut from film | dissonant | dramatic | foreign key modulation | fragmentation | hopeful | mode mixture | sequence | tender | tense | tragic | turbulent | whole-tone chord | whole-tone scale |
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) | 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) | Mildred (Tragic) | 1:24:04 - Veda watches her daughter leave | altered dominant | angry | ascending | conflict | heroine | leading lady | leaving | mickey-mousing | octatonic scale | room | stern |
Mildred Pierce (1945) | Mildred (Tragic) | 1:46:43 - Mildred runs away | altered dominant | antagonist | arguing | betrayal | chromatic scale | climax | daughter | dramatic | emotional | half-diminished 7th chord | heroine | leading lady | room | running | sequence |
| The Life of Vergie Winters (1934) | Funeral March | 0:01:12 - A funeral march | altered dominant | brass band | classical music | crowd | establish place | funeral | funeral march | marching | mode change | on-screen music | parallel 63s | pedal tone | performer | secondary dominant | somber | source music | street | watching |
The Life of Vergie Winters (1934) | Everybody's Doing It Now | 0:03:48 - Horses and buggies in a small town street | altered dominant | buggy | common-tone diminished 7th | deceptive resolution | driving | establish setting | establish time | horse | playful | popular song | riding | street |
The Life of Vergie Winters (1934) | La Marseillaise | 0:28:48 - Montage of newspaper headlines | 9th chord | altered dominant | dark | headline | montage | newspaper | patriotic | patriotic tune |
The Life of Vergie Winters (1934) | Underscoring (Gentle) | 0:51:06 - Joan talks with Vergie | 9th chord | advance plot | altered dominant | augmented sixth chord | child | chromatic parallelism | conversing | daughter | foreign key modulation | gentle | half-diminished 7th chord | leading lady | mother | reunion | secret | shop | timid |
The Life of Vergie Winters (1934) | Lullaby (Flowing) | 0:53:59 - John talks with Vergie by the lake | altered dominant | conversing | diminished 7th chord | happy | leading lady | leading man | love scene | outside | pedal tone | reassuring | secret love | secret lover |
The Life of Vergie Winters (1934) | Lullaby (Somber) | 0:54:14 - Vergie listens to John | altered dominant | conversing | leading lady | leading man | love scene | outside | secret love | secret lover | somber |
The Life of Vergie Winters (1934) | Lullaby (Poco Con Moto) | 0:54:53 - Joan and Vergie talk about the future | 13th chord | altered dominant | conversing | dissonant bass | gentle | leading lady | leading man | longing | love scene | outside | pedal tone | secret love | secret lover | sigh gesture |
The Life of Vergie Winters (1934) | Old Lavender | 1:00:07 - Joan and Ranny talk | 9th chord | added-note chord | altered dominant | common-chord modulation | conversing | daughter | direct modulation | harmonic sequence | light | love interest | love scene | optimistic | proposal | proposing | room | transcribed by ear |
The Life of Vergie Winters (1934) | Old Lavender | 1:02:11 - Joan and Ranny enter | 9th chord | added-note chord | altered dominant | arguing | common-chord modulation | conflict | conversing | daughter | direct modulation | harmonic sequence | leading man | light | love interest | optimistic | room | surprise | wife |
The Life of Vergie Winters (1934) | Old Lavender (Gentle) | 1:04:45 - Ranny takes the ring back from Joan | 64 chord | altered dominant | conflict | daughter | leading man | love interest | peaceful | pedal tone | proposal | proposing | room | wife |
The Life of Vergie Winters (1934) | A Boy and a Girl | 1:07:00 - John and Vergie listen to the radio | advance plot | altered dominant | common-chord modulation | conversing | leading lady | leading man | listening | room | secret lover | sentimental | simulated source music | source to score | transcribed by ear |
The Life of Vergie Winters (1934) | Funeral March | 1:17:18 - John's funeral procession | altered dominant | brass band | classical music | crowd | establish place | funeral | funeral march | marching | on-screen music | parallel 63s | somber | source music | street | watching |
| Kid Galahad (1937) | Heart's Affair (Yearning) | 0:44:11 - Ward and Nick leave the farm | advance plot | altered dominant | car | deceptive resolution | driving | farm | leading man | leaving | manager | mother | not by Steiner | parting | sentimental | sister | transcribed by ear | yearning gesture |
Kid Galahad (1937) | Heart's Affair | 0:49:16 - Marie speaks with her mother | advance plot | altered dominant | conversing | harmonic sequence | home | mode mixture | mother | newspaper | romantic | sister | transcribed by ear | yearning |
Kid Galahad (1937) | Heart's Affair (Kiss) | 0:58:47 - Ward talks to Marie | AABA structure | altered dominant | cheerful | conversing | deceptive resolution | farm | happy | kissing | leading man | love scene | mode mixture | sister | transcribed by ear |
| Traveling Husbands (1931) | There's a Sob in My Heart (Radio Jazz) | 0:32:29 - Music is played on the radio | altered dominant | comedy | comment on score | dancing | popular song | radio | room | salesman | source music | transcribed by ear | upbeat |
Traveling Husbands (1931) | There's a Sob in My Heart (Sentimental) | 1:10:39 - People are sad as the radio plays | AABA structure | altered dominant | augmented sixth chord | countermelody | crying | leading lady | leading man | popular song | radio | resolution | room | salesman | sentimental | somber | transcribed by ear |
| The Unfaithful (1947) | Unfaithful | 0:00:07 - Title of the film | altered dominant | Beverly Hills | cast list | common-chord modulation | house | main title | mode mixture | Neapolitan | opening title sequence | ostinato | pedal tone | serious | starring list | title of film |
The Unfaithful (1947) | Tanner | 0:23:46 - Mrs. Tanner boards a trolley | advance plot | altered dominant | antagonist | fragmentation | irregular meter | newspaper | pc set | quartal chord | reading | street | tense | traveling | trolley | widow |
The Unfaithful (1947) | Attorney | 0:42:51 - Close up of sign on the lawyer's door | 64 chord | altered dominant | deceptive resolution | door | glorious | heroic | law office | office | parallel 63s | sign | transition |
The Unfaithful (1947) | Unfaithful (Somber 2) | 1:00:01 - Chris thinks | 9th chord | advance plot | altered dominant | augmented sixth chord | chromatic mediant | common-chord modulation | conversing | foreign key modulation | husband | leading lady | mode mixture | ostinato | room | somber | tender |
The Unfaithful (1947) | Tanner | 1:10:47 - Men get out of the car | altered dominant | antagonist | arriving | foreshadowing | fragmentation | husband | irregular meter | pc set | quartal chord | street | tense | transition | walking |
The Unfaithful (1947) | Tanner (Headlines) | 1:24:17 - Chris is suspected of murder | altered dominant | chromatic scale | climax | fragmentation | friend | hurrying | montage | newspaper | newspaper boy | panicked | police station | polychord | polytonality | quartal chord | radio | reporter | room | rushing | street | surprise | tritone oscillation | widow |
The Unfaithful (1947) | Tanner | 1:25:44 - Mrs. Tanner testifies | altered dominant | climax | courtroom | dramatic | fragmentation | hurrying | irregular meter | montage | prosecuting | quartal chord | rushing | testifying | witness |
The Unfaithful (1947) | Unfaithful (Dolce) | 1:46:08 - Bob talks with Chris | altered dominant | chromatic mediant | common-chord modulation | conversing | foreign key modulation | fragmentation | hopeful | husband | lawyer | mode mixture | ostinato | peaceful | pedal tone | plagal cadence | resolution | resolution | romantic | room | triumphant | wife |
| We Are Not Alone (1939) | Frohe Botschaft (Grandioso) | 0:00:26 - Book pages showing main cast | altered dominant | cast list | familiar tune | folk song | German | hopeful | main title | mode mixture | opening title sequence | parallel period | quotation | suspension |
We Are Not Alone (1939) | Boy runs downstairs | 0:03:07 - Gerald runs down the stairs | 9th chord | altered dominant | antagonist | boy | child | chromatic mediant | down | downstairs | establish character | foreign key modulation | gentle | home | mickey-mousing | mother | pedal tone | playful | running |
We Are Not Alone (1939) | Frohe Botschaft (Drifting) | 0:38:09 - Jessica tells Leni to leave | altered dominant | antagonist | chromatic parallelism | conflict | conversing | familiar tune | folk song | gentle | German | heroine | home | quotation | sinister | tense | whole-tone chord |
We Are Not Alone (1939) | Surprise Symphony (Dolcissimo) | NIF - not in film | altered dominant | classical music | cut from film | familiar tune | foreign key modulation | Haydn | playful | quotation |
We Are Not Alone (1939) | Frohe Botschaft (Drifting) | 1:14:30 - David gives Leni money for her travels | altered dominant | arrest | arresting | chromatic parallelism | conflict | conversing | dark | death | familiar tune | folk song | gentle | German | happy | hero | heroine | mode mixture | murder | police | quotation | sad | sweet | tense | train station | whole-tone chord |
| Transgression (1931) | Main Title | 0:00:15 - Title of film, starring list, cast list | AABA structure | altered dominant | cast list | gentle | happy | harmonic sequence | leading lady | mode mixture | opening title sequence | plagal cadence | pleasant | running | starring list | title of film | transcribed by ear |
| Hold ‘Em Jail (1932) | The Prisoner's Song | 0:00:15 - Title of film, starring list, cast list | altered dominant | cast list | cheerful | common-tone diminished 7th | establish place | opening title sequence | starring list | title of film | transcribed by ear | upbeat |
Hold ‘Em Jail (1932) | The Prisoner's Song | 0:01:11 - Prisoners in a prison yard | altered dominant | augmented sixth chord | cheerful | establish place | establish setting | mode mixture | prison | somber | transcribed by ear | upbeat |
| Is My Face Red? (1932) | Cute! | 0:01:58 - Gossip column about a gambler | altered dominant | bluesy | conversing | establish setting | gossip | newspaper | parallelism | sultry | transcribed by ear | whole-tone |
Is My Face Red? (1932) | Close to Me | 0:13:53 - William and Peggy talk in a dressing room | advance plot | altered dominant | augmented sixth chord | Broadway | common-tone diminished 7th | conversing | dancer | Gypsy major scale | leading man | popular music | romantic | room | source music | transcribed by ear |
Is My Face Red? (1932) | Mildred Waltz | 0:19:03 - Mildred talks with William | ABA structure | altered dominant | augmented sixth chord | boat | calm | conversing | diminished 7th chord | leading lady | leading man | lovers meet | transcribed by ear |
Is My Face Red? (1932) | Mildred Waltz | 0:20:18 - Mildred has a drink with William | ABA structure | advance plot | altered dominant | augmented sixth chord | boat | calm | diminished 7th chord | drinking | leading lady | leading man | transcribed by ear |
Is My Face Red? (1932) | Mildred Waltz (Tipsy) | 0:21:09 - Mildred is drunk | advance plot | altered dominant | augmented triad | boat | drinking | drunk | leading lady | leading man | transcribed by ear |
| Penguin Pool Murder (1932) | Run Around | 1:01:51 - The End | 9th chord | altered dominant | end title sequence | mode mixture | self-borrowing | The End | transcribed by ear | upbeat |
| State’s Attorney (1932) | Blues | 0:00:29 - Title and starring list, cast list | altered dominant | blue note | blues | bluesy | cast list | Gershwinesque | opening title sequence | starring list | title of film | transcribed by ear |
| Dangerous Corner (1934) | Finishing School | 0:00:17 - Title of the film | altered dominant | cast list | common-tone diminished 7th | mode mixture | opening title sequence | parallel double period | pedal tone | romantic | transcribed by ear |
| 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 |
| Murder on the Blackboard (1934) | Blackboard Murder | 0:00:31 - Title of the film and cast list | altered dominant | blackboard | dark | mysterious | opening title sequence | ostinato | 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 (Exotic) | 0:09:14 - Clay and Donna in the audience | advance plot | altered dominant | conversing | countermelody | exotic | exotic | leading lady | leading man | mode mixture | on-screen music | score to source | source music | theater |
Star of Midnight (1935) | Midnight in Manhattan (Warm) | 0:09:35 - Clay in the theater lobby | advance plot | altered dominant | conversing | leading man | mode mixture | Neapolitan | score to source | sentimental | source music | theater |
| Don’t Turn ‘em Loose (1936) | Mildred Waltz | 0:24:13 - Bob and Letty go for a walk | ABA structure | advance plot | altered dominant | augmented sixth chord | calm | conversing | diminished 7th chord | gangster | imposter | leading man | love interest | street | transcribed by ear | walking | waltz |
| We're Only Human (1935) | Old Lavender (Gentle) | 0:22:34 - A man scoops up some pasta | 64 chord | advance plot | altered dominant | buying | detective | food | leading lady | leading man | love interest | ordering | peaceful | pedal tone | reporter | store | worker | working |
We're Only Human (1935) | Old Lavender | 0:22:44 - Packaged-up food | 9th chord | added-note chord | advance plot | altered dominant | buying | common-chord modulation | detective | direct modulation | food | harmonic sequence | leading lady | leading man | light | love interest | optimistic | ordering | reporter | store | worker | working |
We're Only Human (1935) | Midnight in Manhattan (Warm) | 0:36:50 - Mary and Pete in a restaurant | advance plot | altered dominant | arguing | conversing | detective | leading lady | leading man | mode mixture | Neapolitan | reporter | restaurant | sentimental | source music |
We're Only Human (1935) | Mildred Waltz | 0:46:46 - Pete looks at police sketches | ABA structure | advance plot | altered dominant | augmented sixth chord | calm | conversing | detective | diminished 7th chord | leading lady | leading man | reporter | room |
We're Only Human (1935) | Isn't This a Night For Love (The End) | 1:08:36 - Pete kisses Sally | 9th chord | altered dominant | car | detective | end title sequence | kissing | leading lady | leading man | love interest | mode mixture | reporter | resolution | romantic | The End | transcribed by ear |
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