| All This, and Heaven Too (1940) | The Murder | 1:51:56 - The Duke advances towards the Duchess | approaching | blur | climax | dark | duchess | duke | leading lady | leading man | menacing | murder | murdering | murder scene | ominous | room |
| 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 |
Angels With Dirty Faces (1938) | Jerry (Upset) | 1:31:40 - Jerry follows Rocky out of his cell | agitated | climax | conversing | gangster | leading man | police | priest | prison |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:31:44 - Rocky punches a guard | agitated | chromatic parallelism | chromatic scale | chromatic wedge | climax | fighting | gangster | half-diminished 7th chord | leading man | police | priest | prison | punching | tense | underscoring |
Angels With Dirty Faces (1938) | The Gangster (Funebre) | 1:31:55 - Rocky is taken away | 64 chord | climax | gangster | leading man | police | priest | prison | pushing | somber |
Angels With Dirty Faces (1938) | Funebre | 1:32:03 - Jerry and Rocky walk down the hall | climax | dirge | execution chamber | gangster | leading man | marching | police | priest | prison | somber | tense | walking |
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) | Underscoring (Tense) | 1:33:36 - Rocky pleads for his life | begging | climax | cowardice | crowd | crying | death | execution | execution chamber | gangster | leading man | pleading | police | priest | prison | shadow | tense | tone cluster | underscoring | wailing |
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) | Dreams (Eddie’s Prayer) | 1:22:14 - Eddie behind bars | added-note chord | climax | crying | dramatic | jail | leading man | murderer | praying | prisoner | religious | sacred |
| Arsenic and Old Lace (1944) | Bugle Call | 1:49:14 - Mortimer blows the bugle | bugle | bugle call | climax | dramatic | leading man | on-screen music | playing | room | source music |
Arsenic and Old Lace (1944) | Happy Land | 1:50:41 - Mortimer sings | bugle call | climax | leading man | on-screen music | room | singing | source music | upbeat |
| The Big Sleep (1946) | Hangs up phone | 1:47:07 - Marlowe hangs up the phone | climax | hanging up | leading lady | leading man | love interest | mickey-mousing | mysterious | private eye | room |
The Big Sleep (1946) | Hurrying | 1:47:07 - Marlowe and Vivian make a plan | climax | hurrying | leading lady | leading man | love interest | planning | private eye | room | tense |
The Big Sleep (1946) | Marlowe (Misterioso) | 1:47:26 - Marlowe drops a bullet | climax | fear | leading lady | leading man | love interest | mysterious | private eye | room | shaking | tense |
The Big Sleep (1946) | Marlowe 2 | 1:47:31 - Car pulls up outside | climax | fear | leading lady | leading man | love interest | mysterious | private eye | room | shaking | tense | tritone |
The Big Sleep (1946) | Carmen (Drugged) | 1:48:08 - Marlowe watches men outside | climax | criminal | fear | leading lady | leading man | love interest | mysterious | ominous | planning | private eye | room | tense | waiting |
The Big Sleep (1946) | Underscoring (Tense) | 1:48:32 - Men approach the house | climax | fear | leading man | mysterious | ominous | planning | private eye | room | tense | underscoring | waiting |
The Big Sleep (1946) | Marlowe (Conceals Himself) | 1:48:43 - Marlowe hides behind the curtain | climax | fear | hiding | leading man | mysterious | private eye | room | tense |
The Big Sleep (1946) | Marlowe (Misterioso) | 1:48:55 - Marlowe sneaks up behind Mars | climax | criminal | fear | hiding | leading man | mysterious | private eye | room | sneaking | tense |
The Big Sleep (1946) | Marlowe 2 | 1:49:05 - Marlowe holds a gun on Mars | climax | criminal | fear | leading man | mysterious | ominous | private eye | room | sneaking | tense |
| They Made Me a Criminal (1939) | Peggy (Waiting) | 1:24:39 - The detective talks to Johnnie | chromatic scale | climax | dark | detective | diminished 7th chord | dissonant | dissonant bass | leading lady | leading man | lying | ominous | room | waiting |
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 (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 (Appassionatissimo) | 1:13:14 - Joe makes a run for it | chromatic parallelism | chromatic scale | climax | conflict | diminished 7th chord | dissonant bass | escaping | hospital | intervallic expansion | leading lady | leading man | runaway | sequence | tense |
| Flamingo Road (1949) | The Girl With the Spanish Drawl | 1:29:10 - Lane arrives at Lute Mae's | arriving | climax | club | dancer | dancing | leady lady | musician | on-screen music | playing | source and scoring overlap | source music | upbeat |
Flamingo Road (1949) | Titus (Fragmented) + Titus 2 (Fragmented) | 1:29:47 - Lane confronts Titus | arguing | climax | club | combination of themes | dark | fragmentation | inversion | leading lady | motivic transformation | mysterious | ominous | retrograde | self-borrowing | sheriff |
Flamingo Road (1949) | Titus (Rising Tension) | 1:30:09 - Lane confronts Titus | arguing | climax | club | dark | half-diminished 7th chord | leading lady | ominous | self-borrowing | sequence | sheriff |
Flamingo Road (1949) | Underscoring (Dramatic) | 1:30:24 - Lane pulls a gun on Titus | arguing | climax | club | dark | demanding | dramatic | gun | leading lady | ominous | sheriff | stinger | threatening |
Flamingo Road (1949) | Titus (Slowly) | 1:30:42 - Lane holds Titus at gunpoint | arguing | climax | club | dark | demanding | dramatic | gun | leading lady | ominous | self-borrowing | sheriff | telephone | threatening |
Flamingo Road (1949) | Titus 2 (Ominous) | 1:30:55 - Titus pretends to make a phone call | calling | chromatic parallelism | climax | club | dark | deceiving | gun | leading lady | mysterious | self-borrowing | sheriff | telephone |
Flamingo Road (1949) | Underscoring (Dramatic) | 1:31:15 - Titus attacks Lane | attacking | breaking | chromatic parallelism | climax | club | dramatic | dropping | gun | leading lady | linear chromaticism | oscillation | sheriff | staggering | stinger | telephone | tense | throwing | underscoring |
Flamingo Road (1949) | Breaking door | 1:31:19 - Titus throws the phone at Lane | chromatic parallelism | climax | club | dramatic | gun | leading lady | mickey-mousing | sheriff | telephone | throwing |
Flamingo Road (1949) | Lane staggers | 1:31:22 - Lane staggers after being hit | climax | club | dramatic | leading lady | mickey-mousing | oscillation | sheriff | staggering |
Flamingo Road (1949) | Titus (Ostinato 3) | 1:31:25 - Titus holds a gun on Lane | climax | club | dramatic | fighting | gun | gunshot | leading lady | menacing | ostinato | self-borrowing | sequence | sheriff | struggling | tense | threatening |
Flamingo Road (1949) | Titus (Climax) | 1:31:43 - Lane struggles with Titus | chromatic parallelism | chromatic wedge | climax | club | dramatic | fighting | gun | gunshot | leading lady | major 7th chord | self-borrowing | sequence | sheriff | struggling | tense |
Flamingo Road (1949) | Struggling | 1:31:47 - Close-up on the gun | climax | close up | club | dramatic | fighting | gun | gunshot | leading lady | major 7th chord | mickey-mousing | oscillation | sheriff | struggling | tense |
Flamingo Road (1949) | Titus 2 (Sinks) | 1:31:50 - Titus collapses to the floor | climax | club | death | dying | falling | gun | gunshot | leading lady | self-borrowing | sequence | sheriff | sinking | tragic |
| In This Our Life (1942) | Stanley (Agitato) | 1:25:21 - Craig talks to Stanley | agitated | climax | conversing | criminal | father | lawyer | leading lady | leading man | mother | room | suspect |
In This Our Life (1942) | Underscoring (Tense) + South American Way | 1:25:34 - Stanley reacts | accusing | climax | criminal | father | lawyer | leading lady | leading man | lying | mother | mysterious | ominous | remembered source music | remembering | room | source and scoring overlap | source music | suspect | tense | underscoring |
In This Our Life (1942) | Stanley (Valse Triste) | 1:26:23 - Stanley confesses | arguing | climax | confessing | confession | criminal | crying | dramatic | father | lawyer | leading lady | leading man | mother | room | suspect |
In This Our Life (1942) | Stanley B (Slowly Extended) | 1:26:39 - Stanley confesses | agitated | arguing | climax | confessing | confession | criminal | crying | father | lawyer | leading lady | leading man | lying | mother | room | suspect |
In This Our Life (1942) | Expressivo (Extended 2) | 1:27:04 - Lavinia rises | arguing | climax | criminal | emotional | father | lawyer | leading lady | leading man | mother | pleading | room | suspect |
In This Our Life (1942) | Underscoring (Tense) | 1:27:23 - Stanley reacts | climax | conversing | criminal | father | lawyer | leading lady | leading man | mother | plotting | room | suspect | tense | underscoring |
In This Our Life (1942) | Stanley (Extended) | 1:27:33 - Stanley goes upstairs | climax | conversing | criminal | crying | father | lawyer | leading lady | leading man | mother | room | somber | suspect | uneasy |
In This Our Life (1942) | Love Theme (Gentle) | 1:27:58 - Roy talks to Craig | accusing | climax | conversing | criminal | crying | embracing | gentle | lawyer | leading lady | leading man | room | sneaking | tender |
In This Our Life (1942) | Underscoring (Dramatic) | 1:28:57 - Stanley escapes | climax | criminal | dramatic | driving | escaping | lawyer | leading lady | leading man | room | underscoring | watching |
In This Our Life (1942) | Stanley (Driving Away) | 1:29:06 - Craig goes to the phone | agitated | calling | climax | lawyer | leading man | room | telephone | walking |
In This Our Life (1942) | Stanley (Chase) | 1:32:59 - The police chase after Stanley | chase scene | chasing | climax | criminal | desperate | dramatic | driving | fleeing | leading lady | police | street | tense |
In This Our Life (1942) | Stanley (Fleeing) | 1:33:12 - The police chase after Stanley | chase scene | chasing | climax | criminal | desperate | dramatic | driving | fleeing | leading lady | police | street | tense |
In This Our Life (1942) | Underscoring (Dramatic) | 1:33:29 - Two other policeman see Stanley | chase scene | chasing | climax | criminal | dark | dramatic | driving | fleeing | leading lady | police | street | tense | underscoring | watching |
In This Our Life (1942) | Stanley (Crying) | 1:33:37 - Stanley crying in her car | chase scene | chasing | climax | criminal | crying | dark | dramatic | driving | fleeing | leading lady | police | somber | street | tense |
In This Our Life (1942) | Stanley B (Rising Tension) | 1:33:49 - The police in hot pursuit | chase scene | chasing | climax | criminal | desperate | dramatic | driving | fleeing | leading lady | police | street | tense |
In This Our Life (1942) | Stanley (Desperate) | 1:34:02 - The police in hot pursuit | chase scene | chasing | climax | criminal | crying | desperate | dramatic | driving | fleeing | leading lady | police | street | tense |
In This Our Life (1942) | Underscoring (Dramatic) | 1:34:09 - Stanley's eyes in the rear-view mirror | chase scene | chasing | climax | criminal | crying | desperate | dramatic | driving | fleeing | leading lady | police | street | tense | underscoring |
In This Our Life (1942) | Car crash 2 | 1:34:17 - Stanley's car crashes | brash | car | car crash | chase scene | climax | crashing | criminal | dramatic | driving | dying | falling | fire | leading lady | mickey-mousing | police | street | tense |
In This Our Life (1942) | Stanley (Tragic) | 1:34:28 - Police run to Stanley's car | brash | car | car crash | chase scene | climax | criminal | dramatic | dying | fire | helping | leading lady | mournful | police | reporting | rescuing | rushing | somber | street | tragic |
| The Informer (1935) | Katie (Despair) | 1:16:18 - Gypo confesses and cries | antagonist | climax | confessing | confession | courtroom | courtroom scene | crying | dissonant bass | guilt | headquarters | leading man | remorseful | room | sequence | traitor |
The Informer (1935) | The Informer (Tranquillo) | 1:16:35 - Gypo is taken away | antagonist | arresting | authentic cadence | climax | confessing | confession | courtroom | courtroom scene | crying | guilt | headquarters | hero | leading man | leaving | love interest | pleading | remorseful | room | traitor |
The Informer (1935) | Blood Money (Ostinato) | 1:27:32 - Rebels come to capture Gypo | antagonist | climax | leading man | mysterious | ostinato | rebel | room | sneaking | tense | traitor | whispering |
The Informer (1935) | The Escape (The Fight) | 1:28:25 - Rebels shoot through the door | antagonist | augmented triad | chromatic parallelism | chromatic scale | climax | down | dramatic | escaping | falling | fighting | leading man | linear chromaticism | mickey-mousing | rebel | room | running | tense | traitor | whole-tone |
The Informer (1935) | Blood Money (Tuttissimo) | 1:28:53 - Gypo stumbles into a church | antagonist | church | climax | dirge | dissonant bass | dominant pedal | dying | half-diminished 7th chord | leading man | mysterious | street | stumbling | tense | traitor | walking | whole-tone | whole-tone chord |
The Informer (1935) | The Informer (Pathetic) | 1:29:48 - Gypo stumbles toward Frankie's mother | antagonist | church | climax | diminished 7th chord | dying | gentle | leading man | main theme | pedal tone | somber | stumbling | traitor | walking |
The Informer (1935) | Sancta Maria | 1:30:27 - Frankie's mother forgives Gypo | antagonist | church | climax | confessing | dying | gentle | leading man | mother | sacred | somber | suspension | traitor |
| The Letter (1940) | Hammond A (Tragic) | 0:37:21 - Howard talks to Leslie | anxious | climax | conversing | fearful | lawyer | leading lady | letter | oscillation | pivotal scene | prison | sequence | tense |
The Letter (1940) | Hammond A (Foxtrot No.3) | 1:25:08 - Leslie leaves the party, stares at the moon, and is worried | climax | combination of themes | dance music | foxtrot | home | lacework | leading lady | obsession | obsessive | oscillation | sequence | source music | tense | thinking |
The Letter (1940) | Hammond A (Distraught) | 1:25:39 - Leslie cries | climax | crying | dramatic | emotional | home | leading lady | oscillation | sequence |
The Letter (1940) | Underscoring (Mysterious) | 1:26:07 - Leslie talks to Robert | climax | conversing | home | husband | leading lady | mysterious | staring | underscoring |
The Letter (1940) | Hammond A (Ethereal) | 1:26:36 - Leslie and Robert look at each other | climax | home | husband | leading lady | oscillation | staring | tense |
The Letter (1940) | Underscoring (Tense) | 1:26:52 - Leslie talks to Robert | climax | conversing | home | husband | leading lady | staring | tense | underscoring |
The Letter (1940) | Letter 2 (Tense) | 1:27:06 - Leslie talks to Robert | climax | conversing | gentle | home | husband | leading lady | pedal tone | tender | tense |
The Letter (1940) | Deception (Lohengreenish) | 1:28:04 - Robert asks for Leslie's love and devotion | climax | conversing | home | husband | kissing | leading lady | romantic | sequence | tense |
The Letter (1940) | Hammond A (Very Slow) | 1:29:01 - Leslie says she loves the man she killed then cries | climax | home | leading lady | oscillation | sequence | somber | stern | weeping |
The Letter (1940) | Mrs. Hammond (Dirge) | 1:29:32 - Leslie heads towards the door | Chinese | climax | dark | dirge | home | leading lady | somber | walking |
The Letter (1940) | Mrs. Hammond (Missing Dagger) | 1:29:49 - Leslie opens the door | Chinese | climax | dagger | door | gentle | home | leading lady | mysterious | opening | pentatonic |
The Letter (1940) | Hammond A (Climactic) | 1:30:02 - Leslie finds that the knife is gone | climax | dagger | door | home | leading lady | looking | passionate |
The Letter (1940) | Shadow | 1:30:30 - Leslie leaves the house | chromatic parallelism | climax | leading lady | mysterious | plantation | shadow | walking |
The Letter (1940) | Native (Climactic) | 1:30:42 - Leslie wanders through her garden | climax | crying | exoticism | gamelan | Indonesian music | leading lady | mysterious | panning shot | parallelism | plantation | setting | somber | walking |
The Letter (1940) | Deception (Appassionato) | 1:31:18 - Close-up of Leslie | climax | crying | leading lady | mysterious | plantation | polytonality | somber | walking |
The Letter (1940) | Hammond A (The Moon) | 1:31:36 - Leslie watches the moon go behind a cloud | climax | cloud | crying | dramatic | leading lady | looking | moon | oscillation | plantation | sequence |
The Letter (1940) | Mrs. Hammond (Ambush) | 1:31:55 - Leslie moves through the gate | antagonist | Chinese | climax | dark | leading lady | mysterious | plantation | polytonality | walking |
The Letter (1940) | Hammond A (Deliberate) | 1:32:48 - Mrs. Hammond approaches Leslie with a knife | antagonist | Chinese | climax | dagger | leading lady | plantation | somber | walking |
The Letter (1940) | Mrs. Hammond (Revenge) | 1:33:01 - Mrs. Hammond stabs Leslie | antagonist | Chinese | Chinese | climax | dagger | leading lady | murder | open fifth | parallelism | pentatonic | plantation | somber | walking |
The Letter (1940) | Policeman | 1:33:31 - A policeman comes to investigate but does nothing | antagonist | Chinese | climax | investigating | plantation | policeman | tense |
The Letter (1940) | Hammond A (Reckoning) | 1:33:42 - Mrs. Hammond walks away and we see Leslie's dead body | antagonist | augmentation | body | Chinese | climax | death | leading lady | moon | oscillation | plantation | policeman | somber |
The Letter (1940) | Letter 2 (The Body) | NIF - not in film | body | climax | death | pedal tone | plantation | somber |
| Mildred Pierce (1945) | Mildred B (Twist) | 1:45:20 - Mildred walks into the beach house | arriving | climax | dark | flashback | heroine | leading lady | room |
Mildred Pierce (1945) | Mildred (Ominous) | 1:45:25 - Mildred walks downstairs | arriving | climax | dark | heroine | leading lady | ominous | room |
Mildred Pierce (1945) | Secret Revealed | 1:45:37 - Mildred finds Veda and Monte together | antagonist | climax | dark | daughter | discovering | kissing | reveal | room | stinger | tense |
Mildred Pierce (1945) | Kay and Veda (Agitato) | 1:46:05 - Veda reveals that she is in love with Monte | antagonist | betrayal | betraying | climax | dark | daughter | heroine | leading lady | revealing | room | tense |
Mildred Pierce (1945) | Kay and Veda (Very Slow) | 1:46:22 - Mildred reacts to Veda's betrayal | antagonist | betrayal | climax | contemplating | dark | daughter | gun | heroine | leading lady | ominous | room |
Mildred Pierce (1945) | Mildred (Tragic) | 1:46:43 - Mildred runs away | antagonist | arguing | betrayal | climax | daughter | dramatic | emotional | heroine | leading lady | room | running |
Mildred Pierce (1945) | Mildred (Breakdown) | 1:47:11 - Mildred tries to start her car | climax | crying | dramatic | emotional | heroine | leading lady | leaving | street |
| Kid Galahad (1937) | Kid Galahad (Montage 2) | 1:18:47 - Newspaper headline montage | 64 chord | chromatic mediant | climax | fanfare | foreign key modulation | heroic | hurrying | manager | montage | newspaper | pedal tone | room | syncopation |
Kid Galahad (1937) | Underscoring (Tender) | 1:38:49 - Nick lies dying on a table | climax | dying | linear chromaticism | manager | pedal tone | room | somber | tender |
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 |
| The Unfaithful (1947) | Unfaithful (Not in Film) | NIF - not in film | arguing | climax | cut from film | husband | ostinato | room | sequential modulation | tense | wife |
The Unfaithful (1947) | Tanner (Headlines) | 1:24:17 - Chris is suspected of murder | climax | friend | hurrying | montage | newspaper | newspaper boy | ostinato | panicked | police station | polytonality | radio | reporter | room | rushing | street | surprise | widow |
The Unfaithful (1947) | Unfaithful (Scandal) | 1:24:55 - Newspaper headlines about the murder | climax | courtroom | crowd | dramatic | hurrying | montage | newspaper | ostinato | radio | rushing | sequential modulation |
The Unfaithful (1947) | Unfaithful (The Trial) | 1:25:17 - Chris on trial | climax | courtroom | crowd | dramatic | hurrying | knife | lawyer | mirroring | montage | ostinato | polytonality | prosecuting | prosecutor | rushing | witness |
The Unfaithful (1947) | Clocking out | 1:25:41 - Time card | climax | comical | mickey-mousing | montage | office | saleswoman | time card | working |
The Unfaithful (1947) | Tanner | 1:25:44 - Mrs. Tanner testifies | altered dominant | climax | courtroom | dramatic | hurrying | montage | prosecuting | quartal chord | rushing | testifying | witness |
The Unfaithful (1947) | Underscoring (Dramatic) | 1:25:51 - Art shop owner testifies | climax | courtroom | dramatic | hurrying | montage | prosecuting | rushing | testifying | tritone | underscoring | witness |
The Unfaithful (1947) | Unfaithful (Heavy) | 1:26:02 - Newspaper of Chris testifying | climax | courtroom | crowd | dramatic | hurrying | montage | newspaper | rushing |
| Thirteen Women (1932) | Ursula (The End) | 0:59:03 - Ursula jumps to her death | chromatic scale | climax | dark | dramatic | dying | jumping | leading lady | murderer | The End | train | transcribed by ear |
| The Breaking Point (1950) | The Breaking Point (Ethereal) | 1:34:41 - Harry recognizes Lucy | boat | climax | comforting | conversing | crying | ethereal | leading lady | leading man | mixed meter | sailor | sweet | wife |
The Breaking Point (1950) | The Breaking Point (Cellos) | 1:35:14 - Harry talks with Lucy | boat | climax | comforting | conversing | crying | ethereal | leading lady | leading man | mixed meter | sailor | sweet | wife |
The Breaking Point (1950) | Calm | 1:35:38 - Lucy leaves | boat | climax | comforting | conversing | crying | ethereal | leading lady | leading man | sailor | sweet | wife |
The Breaking Point (1950) | The Breaking Point (Triste) | 1:35:50 - Harry is carried out on a stretcher | carrying | child | climax | crowd | crying | doctor | harbor | leading lady | leading man | sailor | somber | watching | wife |
The Breaking Point (1950) | Leona | 1:36:26 - Leona watches | child | climax | crowd | crying | doctor | harbor | leading lady | leading man | sailor | somber | watching | wife |
The Breaking Point (1950) | Sad Boy | 1:36:44 - Sad orphaned boy looks on | child | climax | crowd | crying | harbor | leaving | somber | spiritual-like | triumphant | watching |
