| 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) | The Printing Press + Cauldron 1 | 1:21:08 - Newspaper presses rolling | combination of themes | common-tone diminished 7th | headlines | layering | montage | newspaper | obsessive | ostinato | printing press | step modulation |
The Amazing Dr. Clitterhouse (1938) | The Printing Press + Cauldron 1 (Not in Film) + The Amazing Doctor (Not in Film) | NIF - not in film | combination of themes | common-tone diminished 7th | cut from film | layering | ostinato | step modulation |
| Angels With Dirty Faces (1938) | The Gangster (Maestoso) | 0:08:07 - Discharge papers from the penitentiary | common-chord modulation | common-tone diminished 7th | ledger | main title | marching | mickey-mousing | montage | prison | prisoner | serious | solemn | transition | writing |
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 |
| Are These Our Children? (1931) | Dreams B | 0:01:33 - Two young people in love | common-chord modulation | common-tone diminished 7th | conductor score | conversing | establish character | gentle | leading lady | leading man | lovers | love scene | snuggling | street |
Are These Our Children? (1931) | Dreams (Washroom Sequence) | 0:24:25 - Eddie talks with his friends | advance plot | chromatic parallelism | common-tone diminished 7th | conversing | dance hall | friend | leading man | score to source | somber | source music | transcribed by ear |
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 8B) | NIF - not in film | added-note chord | altered dominant | augmented triad | chromatic mediant | common-tone diminished 7th | cut from film | foreign key modulation | pedal tone | tense | turbulent |
Are These Our Children? (1931) | Makes You Forget Your Troubles | 0:50:55 - Young people dancing | AABA structure | arguing | augmented sixth chord | cheerful | common-tone diminished 7th | dance hall | dance scene | dancing | friend | leading man | love interest | murderer | on-screen music | source music |
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) | Incidental Music | NIF - not in film | ABAC structure | added-note chord | altered dominant | common-tone diminished 7th | cut from film | upbeat |
Are These Our Children? (1931) | Dance Tune | NIF - not in film | augmented triad | bluesy | common-tone diminished 7th | cut from film | mode mixture |
| Arsenic and Old Lace (1944) | Here Comes the Bride (Comical) | 0:05:05 - Goofy man turns around | 9th chord | comical | common-tone diminished 7th | establish character | familiar tune | leading lady | leading man | marriage | office | smiling | winking |
Arsenic and Old Lace (1944) | Sidewalks of New York (Quasi Barcarolle) | 0:05:13 - The Brewster home | 64 chord | calm | card | cemetery | chromatic mediant | common-tone diminished 7th | enharmonic modulation | establish setting | familiar tune | gravestone | ominous | stinger | street | wind | wind effect |
| His Greatest Gamble (1934) | Russian Waltz | 0:30:05 - Philip arrives at Florence's home | 9th chord | arriving | calm | chromatic sequence | common-tone diminished 7th | establish setting | fugitive | leading man | mansion | mode mixture | on-screen music | piano | playing | pleasant | source music | waltz | wandering |
| Crime School (1938) | Sue (Grazioso Mysterioso) | 1:13:38 - Frankie confronts Sue and Mark | cheerful | common-tone diminished 7th | conflict | conversing | deceptive resolution | dining | gun | happy | hero | heroine | leading lady | leading man | room | stick up | stinger | teenager | tone cluster | whole-tone chord |
| They Made Me a Criminal (1939) | The Ladder | 0:30:11 - Tommy sitting on a ladder | cheerful | chromatic scale | common-tone diminished 7th | conflict | diminished 7th chord | dissonant bass | fun | ladder | pedal tone | ranch | teenager | working |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Opening A2) | 0:01:04 - Cast list | 9th chord | common-tone diminished 7th | dust | main title | mickey-mousing | opening title sequence | romantic |
Dust Be My Destiny (1939) | Dust Be My Destiny (Playful) | 0:13:38 - Mabel talks to Joe | barn | comical | common-tone diminished 7th | cow | laughing | leading lady | leading man | lovers meet | playful | prisoner | romantic |
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) | Dust Be My Destiny (Ethereal) | 0:24:50 - Joe tells Mabel he loves her | barn | common-tone diminished 7th | deceptive resolution | inversion | kissing | leading lady | leading man | love scene | romantic |
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) | 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 (Fear and Devotion) | 0:35:50 - Joe and Mabel decide to stick together | alley | common-tone diminished 7th | devotion | dramatic | escape | fear | fragmentation | leading lady | leading man | love | mode mixture | obsessive | runaway | street |
Dust Be My Destiny (1939) | Dust Be My Destiny | 0:38:38 - Joe and Mabel part | common-tone diminished 7th | conflict | leading lady | leading man | leaving | runaway | somber | 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 (Delicatessen) | 0:43:38 - Mabel and Nick talk | common-tone diminished 7th | develop character | diner | friend | gentle | leading lady | leading man | secondary dominant | shopkeeper |
Dust Be My Destiny (1939) | Dust Be My Destiny (Delicatessen) | 0:44:01 - Mabel and Nick talk | common-tone diminished 7th | develop character | diner | friend | gentle | leading lady | leading man | secondary dominant | shopkeeper |
Dust Be My Destiny (1939) | Dust Be My Destiny (Not In Film) | NIF - not in film | 9th chord | common-tone diminished 7th | conflict | cut from film | sequence |
Dust Be My Destiny (1939) | Dust Be My Destiny (Religioso) | 1:22:41 - Mabel testifies for Joe | 11th chord | chromatic parallelism | common-tone diminished 7th | courtroom | crowd | diminished 7th chord | gentle | judge | jury | leading lady | leading man | loving | mode mixture | parallel double period | plagal cadence | sincere | suspect | tender | trial |
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) | Each Dawn B (Montage) | 1:03:40 - Newspaper headlines are shown | artwork in score | common-tone diminished 7th | dissonant bass | mickey-mousing | montage | montage | newspaper | panning shot | tragic |
Each Dawn I Die (1939) | Frank (Parole Denied) | 1:07:58 - Frank's parole is denied | 9th chord | common-tone diminished 7th | dark | despair | foreign key modulation | half-diminished 7th chord | hopeful | leading man | letter | prison | prisoner | reading | sigh gesture | solemn | turning point |
| Flamingo Road (1949) | Boldon City | 0:01:13 - Boldon City sign | busy | common-tone diminished 7th | dominant pedal | establish setting | light | pentatonic | street | townsfolk | voice-over | working |
Flamingo Road (1949) | If I Could Be With You (Lightly) | NIF - not in film | altered dominant | common-tone diminished 7th chord | cut from film | cut from film | flirting | leading lady | leading man | lovers meet | pedal tone | police | room |
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) | If I Could Be With You (Ethereal) | 0:18:06 - Lane watches Field drive away | common-tone diminished 7th chord | falling in love scene | leading lady | leading man | leaving | love interest | pedal tone | police | porch | sentimental | source to score |
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 chord | kissing | lake | leading lady | leading man | love interest | love scene | romance | romantic | secondary dominant | source to score |
Flamingo Road (1949) | If I Could Be With You (Somber) | 0:40:31 - Field talks to Lane's co-worker | 9th chord | 11th chord | advance plot | café | common-tone diminished 7th chord | conversing | coworker | deceptive resolution | diminished 7th chord | leading man | linear chromaticism | politician | reverse picardy | sigh gesture | somber |
| The Informer (1935) | Dan and Mary (Dolce) | 0:57:51 - Dan tells Mary: "I'll come back for you" | 11th chord | common-tone diminished 7th | crying | dissonant bass | embracing | hero | love interest | love scene | love theme | mode mixture | romantic | room |
| 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 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) | Lullaby (Agitated) | 1:01:27 - John and Laura argue about Joan | agitated | arguing | common-tone diminished 7th | conflict | diminished 7th chord | direct modulation | fragmentation | harmonic sequence | leading man | octatonic scale | room | tense | transcribed by ear | wife |
| Rockabye (1932) | Sleep, My Sweet (The End) | 1:07:07 - The end | calm | common-tone diminished 7th | end title sequence | lullaby | mode mixture |
| Kid Galahad (1937) | Kid Galahad | 0:00:09 - Title of the film | 9th chord | appoggiatura | cast list | common-tone diminished 7th | fanfare | jaunty | march-like | opening title sequence | parallel period |
Kid Galahad (1937) | Kid Galahad (End Title) | 1:41:09 - End cast | 9th chord | added-note chord | common-tone diminished 7th | end title sequence | fanfare | jaunty | march-like | mode mixture | plagal cadence |
| We Are Not Alone (1939) | Surprise Symphony (Innocent) | 0:06:36 - Gerald runs inside | 9th chord | boy | child | classical music | comforting | common-tone diminished 7th | establish character | familiar tune | father | foreign key modulation | fragmentation | Haydn | hero | home | innocent | mode mixture | nagging | parallel fifths | playful | quotation | step modulation | tritone | Wagner |
We Are Not Alone (1939) | Surprise Symphony (Humbly) | 0:13:10 - David treats Leni's leg | classical music | common-tone diminished 7th | doctor | establish character | familiar tune | fragmentation | gentle | Haydn | hero | heroine | hymn-like | quotation | room | sweet |
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 |
| 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) | Bide-More Alma Mater | 0:00:46 - Cast list and prison sign | cast list | cheerful | common-chord modulation | common-tone diminished 7th | countermelody | establish place | opening title sequence | transcribed by ear | upbeat |
| 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) | Strolling the Deck | 0:16:29 - Camera moves from one window to another | advance plot | boat | cheerful | common-tone diminished 7th | eavesdropping | leading man | mode mixture | searching | transcribed by ear |
Is My Face Red? (1932) | Sailing | 0:19:56 - Boat moves through the water | boat | common-tone diminished 7th | crowd | excited | mode mixture | pedal tone | sailing | transcribed by ear | transition |
| Ladies of the Jury (1932) | Lady | 0:00:15 - Title of film, starring list, cast list | ABA structure | cast list | common-tone diminished 7th | mode mixture | opening title sequence | sentimental | starring list | title of film | transcribed by ear |
| The Roadhouse Murder (1932) | Lady | 1:12:12 - End titles | common-tone diminished 7th | end title sequence | mode mixture | self-borrowing | sentimental | The End |
| Thirteen Women (1932) | Serenade | 0:28:11 - Jo plays the piano | advance plot | calm | common-tone diminished 7th | conversing | friend | gentle | on-screen music | piano | playing | room | secondary dominant | self-borrowing | sentence form | source music | 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 |
| 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 |
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