Tag Search

1247 results for "conversing" in 63 films — see also reciting

Film	Theme name	Instance	Tags
All This, and Heaven Too (1940)	Molto Agitato	0:07:21 - Henriette talks to Miss Haines	agitated \| conversing \| dissonant bass \| distressed \| establish character \| foreign key modulation \| leading lady \| minister \| principal \| school \| suspension \| teacher
All This, and Heaven Too (1940)	Underscoring (Agitated)	0:07:52 - Henriette talks to Henry Field	agitated \| chromatic parallelism \| chromatic sequence \| conversing \| distressed \| establish character \| leading lady \| minister \| principal \| school \| teacher
All This, and Heaven Too (1940)	Henriette (Moderato)	0:08:03 - Henriette talks to Henry Field	agitated \| conversing \| distressed \| establish character \| leading lady \| minister \| principal \| school \| secondary dominant \| teacher
All This, and Heaven Too (1940)	Henriette (Dolce)	0:12:43 - Henriette talks to Henry	64 chord \| boat \| chromatic mediant \| conversing \| deceptive resolution \| gentle \| leading lady \| leaving \| minister \| peaceful \| transition
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)	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)	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)	Underscoring (Tense)	NIF - not in film	advance plot \| child \| chromatic wedge \| conversing \| cut from film \| duchess \| governess \| leading lady \| room \| tense \| underscoring
All This, and Heaven Too (1940)	Henriette (Andante)	0:31:04 - The Duke apologizes to Henriette	9th chord \| 64 chord \| advance plot \| apologizing \| child \| conversing \| duke \| foreign key modulation \| governess \| illness \| leading lady \| leading man \| romantic \| room
All This, and Heaven Too (1940)	The Duke (Tranquillo)	0:31:41 - The doctor treats Raynald	advance plot \| caring \| child \| conversing \| doctor \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| room \| somber
All This, and Heaven Too (1940)	The Sick Room	0:32:12 - The doctor talks to the Duke	64 chord \| advance plot \| child \| chromatic sequence \| conversing \| doctor \| duke \| fragmentation \| gentle \| governess \| illness \| leading lady \| leading man \| pedal tone \| room
All This, and Heaven Too (1940)	Raynald	0:32:53 - Henriette helps Raynald	advance plot \| caring \| child \| common-chord modulation \| conversing \| delicate \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| room \| sweet
All This, and Heaven Too (1940)	Counting	0:33:30 - Henriette counts tangerine slices	advance plot \| calm \| child \| chromatic sequence \| conversing \| counting \| distracting \| duke \| governess \| illness \| leading lady \| leading man \| pc set \| room \| tense \| wedge \| zoom in
All This, and Heaven Too (1940)	Henriette (Molto Tranquillo 2)	0:34:17 - Henriette comforts Raynald	advance plot \| augmented sixth chord \| child \| comforting \| common-chord modulation \| conversing \| dark \| delicate \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| mode mixture \| parallel 63s \| room \| suspension
All This, and Heaven Too (1940)	Raynald (Dark)	0:34:52 - Raynald talks with Henriette	advance plot \| child \| comforting \| conversing \| dark \| death \| duke \| foreign key modulation \| governess \| illness \| leading lady \| leading man \| room
All This, and Heaven Too (1940)	Raynald (Lullaby)	0:35:24 - Henriette talks to the Duke	advance plot \| calm \| caring \| child \| conversing \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| lullaby \| mode mixture \| room
All This, and Heaven Too (1940)	Henriette (Very Emotional)	0:35:57 - The Duke thanks Henriette	advance plot \| calm \| child \| common-chord modulation \| conversing \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| mode mixture \| parallel 63s \| room
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)	Raynald (Adagio)	0:38:26 - The doctor takes Raynald's pulse	9th chord \| advance plot \| caring \| child \| chromatic scale \| conversing \| doctor \| duke \| governess \| governess \| illness \| leading lady \| leading man \| room \| solemn
All This, and Heaven Too (1940)	Raynald (Triste)	0:39:16 - The Duke talks to Henriette	64 chord \| advance plot \| child \| conversing \| duke \| governess \| illness \| leading lady \| leading man \| room \| somber
All This, and Heaven Too (1940)	Raynald (Andante)	0:41:36 - Henriette and the Duke by Raynald's bedside	9th chord \| 64 chord \| augmented sixth chord \| child \| chromatic sequence \| conversing \| duke \| governess \| hopeful \| illness \| illness scene \| leading lady \| leading man \| parallelism \| room \| solemn \| somber
All This, and Heaven Too (1940)	Henriette (Ethereal)	0:42:36 - Henriette asks to open the window	9th chord \| bright \| child \| conversing \| duke \| foreign key modulation \| governess \| half-diminished 7th chord \| hopeful \| illness \| illness scene \| leading lady \| leading man \| room \| sequence \| timid
All This, and Heaven Too (1940)	Raynald (Ethereal)	0:43:04 - Raynald by the window	64 chord \| child \| conversing \| duke \| governess \| hopeful \| illness \| illness scene \| leading lady \| leading man \| pedal tone \| room
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)	Raynald (Mysterioso)	0:44:22 - Raynald talks with Henriette	advance plot \| child \| conversing \| courtyard \| deceptive resolution \| duke \| governess \| happy \| leading lady \| leading man \| mysterious
All This, and Heaven Too (1940)	Underscoring (Mysterious)	0:46:43 - The Duchess stares at Henriette	chromatic wedge \| conversing \| duchess \| governess \| leading lady \| linear chromaticism \| mysterious \| pc set \| room \| transition \| underscoring
All This, and Heaven Too (1940)	Raynald (Carriage)	0:46:53 - Horses pulling a carriage	64 chord \| carriage \| child \| chromatic mediant \| common-chord modulation \| conversing \| countermelody \| foreign key modulation \| governess \| horse \| leading lady \| mickey-mousing \| mode mixture \| pleasant \| riding \| street \| traveling scene \| trotting \| upbeat
All This, and Heaven Too (1940)	Henriette (Very Emotional)	0:49:01 - The Duke looks at Henriette	advance plot \| child \| chromatic scale \| common-chord modulation \| common-tone diminished 7th \| conversing \| delicate \| duke \| gentle \| governess \| leading lady \| leading man \| looking \| romance \| romantic \| room
All This, and Heaven Too (1940)	Armide	0:49:21 - The opera house	arriving \| audience \| child \| concert scene \| conversing \| duke \| governess \| leading lady \| leading man \| opera \| regal \| source music \| theater \| upbeat \| watching
All This, and Heaven Too (1940)	Plainte de Cloris	0:51:08 - They listen to the musical prologue	audience \| calm \| child \| classical music \| concert scene \| conversing \| duke \| governess \| leading lady \| leading man \| listening \| passionate \| source music \| theater
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 Duke (Lohengrin)	0:52:53 - The Duke gives Louise his rose	advance plot \| calm \| child \| conversing \| countermelody \| duke \| fragmentation \| governess \| hugging \| kind \| leading lady \| leading man \| room \| sequence
All This, and Heaven Too (1940)	Louise (Poco Animato)	0:53:39 - Louise talks to Henriette	advance plot \| child \| conversing \| excited \| governess \| happy \| leading lady \| room \| sequential modulation
All This, and Heaven Too (1940)	Henriette (Poco Animato)	0:53:44 - Henriette puts out the lights	advance plot \| child \| conversing \| excited \| fragmentation \| governess \| happy \| leading lady \| room \| sequential modulation
All This, and Heaven Too (1940)	Henriette (Music Box)	0:54:04 - Henriette puts Louise to bed	advance plot \| augmented sixth chord \| calm \| child \| common-tone diminished 7th \| conversing \| goodnight \| governess \| happy \| leading lady \| lullaby \| mode mixture \| music box \| room
All This, and Heaven Too (1940)	Underscoring (Mysterious)	0:56:57 - The Duchess enters	advance plot \| child \| conversing \| governess \| half-diminished 7th chord \| leading lady \| maid \| mysterious \| room \| tense \| trouble \| underscoring
All This, and Heaven Too (1940)	Henriette (Emotional)	1:02:28 - The Duke talks to Henriette	chromatic sequence \| conflict \| conversing \| duke \| governess \| leading lady \| leading man \| mode mixture \| romance \| romantic \| room
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)	Henriette (Transition)	1:10:55 - The Duke talks to Henriette	advance plot \| calm \| common-tone diminished 7th \| conversing \| duke \| enharmonic modulation \| governess \| leading lady \| leading man \| room
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)	Henriette + Falling Snow	1:12:16 - The Duke talks to Henriette	advance plot \| augmented triad \| chromatic parallelism \| combination of themes \| conversing \| duke \| governess \| leading lady \| leading man \| mickey-mousing \| mode mixture \| room \| snow \| snow globe \| snowing \| uneasy
All This, and Heaven Too (1940)	Falling Snow	1:12:39 - Henriette watches the falling snow	64 chord \| advance plot \| chromatic parallelism \| chromatic scale \| chromatic sequence \| conversing \| dissonant bass \| duke \| governess \| leading lady \| leading man \| mickey-mousing \| pedal tone \| point-of-view shot \| room \| snow \| snow globe \| snowing \| uneasy
All This, and Heaven Too (1940)	Underscoring (Somber)	1:21:26 - The Duke descends the stairs	child \| chromatic scale \| conflict \| conversing \| crying gesture \| descending \| governess \| leading lady \| room \| somber \| tense
All This, and Heaven Too (1940)	The Duchess (Calm)	1:22:05 - Henriette asks about the Duchess	calm \| conflict \| conversing \| dissonant bass \| duchess \| duke \| foreign key modulation \| leading lady \| leading man \| room
All This, and Heaven Too (1940)	Henriette (Slowly)	1:22:19 - The Duke bids farewell to Henriette	64 chord \| calm \| conflict \| conversing \| deceptive resolution \| duchess \| duke \| gentle \| leading lady \| leading man \| mode mixture \| room \| sigh gesture
All This, and Heaven Too (1940)	All Hallows Eve	1:23:22 - A forest scene at night	augmented triad \| child \| chromatic parallelism \| chromatic scale \| conversing \| create suspense \| dissonant bass \| forest \| governess \| Halloween \| hiding \| leading lady \| ombra topic \| on-screen text \| pc set \| pedal tone \| scaring \| scary \| spooky \| walking \| whole-tone chord
All This, and Heaven Too (1940)	Spring Time	1:24:18 - The children laugh	cheerful \| child \| chromatic sequence \| conversing \| create suspense \| forest \| governess \| leading lady \| walking
All This, and Heaven Too (1940)	Underscoring (Gentle)	1:25:28 - Henriette smiles at the Duke	advance plot \| child \| chromatic sequence \| conversing \| duke \| foreign key modulation \| forest \| gentle \| governess \| leading lady \| leading man \| Neapolitan \| tender \| underscoring
All This, and Heaven Too (1940)	Henriette (All Hallows Eve)	1:25:46 - The Duke talks with Henriette	64 chord \| advance plot \| conversing \| deceptive resolution \| duke \| forest \| gentle \| governess \| leading lady \| leading man \| mode mixture \| spooky \| sweet \| tender \| whole-tone chord
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)	Raynald	1:27:35 - Madame Gauthier talks about Raynald	64 chord \| advance plot \| cheerful \| chromatic sequence \| conversing \| deceptive resolution \| duke \| governess \| leading lady \| leading man \| room \| servant
All This, and Heaven Too (1940)	Underscoring (Gentle)	1:27:58 - The Duke talks to Henriette by the fireplace	advance plot \| conversing \| duke \| gentle \| governess \| leading lady \| leading man \| pedal tone \| room
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
All This, and Heaven Too (1940)	Spring Time	1:30:41 - The children get out of the carriage	64 chord \| bright \| cheerful \| child \| chromatic sequence \| conversing \| duke \| governess \| happy \| leading lady \| leading man \| Neapolitan \| palace \| pentatonic \| transition
All This, and Heaven Too (1940)	Raynald (Mysterioso 3)	1:30:51 - The children talk to Henriette	9th chord \| bright \| child \| chromatic parallelism \| conversing \| duke \| governess \| leading lady \| leading man \| palace \| surprise \| tense \| transition
All This, and Heaven Too (1940)	Spring Time (Ominous)	1:31:04 - The children enter the palace	9th chord \| 64 chord \| augmented sixth chord \| bright \| cheerful \| child \| common-chord modulation \| conversing \| deceptive resolution \| diminished third chord \| duke \| governess \| leading lady \| leading man \| mode mixture \| ominous \| palace \| surprise \| transition
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)	Henriette (Molto Expressivo)	1:31:48 - The Duke talks to Henriette	chromatic mediant \| chromatic parallelism \| conversing \| duke \| governess \| leading lady \| leading man \| love scene \| mode mixture \| Neapolitan \| palace \| pedal tone \| reassuring \| romantic \| sigh gesture \| stinger \| tender
All This, and Heaven Too (1940)	The Duchess (Agitato)	1:34:41 - Henriette rushes away from the Duchess	chattering \| child \| chromatic sequence \| common-chord modulation \| conflict \| conversing \| duchess \| governess \| leading lady \| mode mixture \| room \| somber \| worried
All This, and Heaven Too (1940)	Underscoring (Agitated)	1:35:05 - Henriette with the children	advance plot \| agitated \| child \| chromatic parallelism \| chromatic scale \| chromatic sequence \| conversing \| governess \| leading lady \| room \| worried
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)	The Duchess (Distracted)	1:35:21 - Henriette opens a gift	advance plot \| agitated \| child \| conversing \| gift \| governess \| leading lady \| opening \| room \| worried
All This, and Heaven Too (1940)	Henriette (Dolschissimo)	1:36:07 - Henriette reads the locket inscription	64 chord \| advance plot \| calm \| child \| chromatic mediant \| conversing \| crying \| dissonant bass \| foreign key modulation \| gift \| governess \| leading lady \| locket \| mode mixture \| room \| stinger \| tender \| tense
All This, and Heaven Too (1940)	Underscoring (Somber)	1:37:35 - Henriette talks with the Duke	chromatic scale \| conversing \| duke \| governess \| leading lady \| leading man \| love scene \| room \| somber \| underscoring
All This, and Heaven Too (1940)	Expressivo	1:38:15 - Henriette talks with the Duke	chromatic mediant \| conversing \| desperate \| duke \| foreign key modulation \| governess \| leading lady \| leading man \| love scene \| romantic \| room \| sequential modulation
All This, and Heaven Too (1940)	The Duchess (Tender)	1:38:39 - Henriette talks with the Duke	chromatic mediant \| conversing \| duke \| foreign key modulation \| gentle \| governess \| leading lady \| leading man \| love scene \| room \| sequential modulation \| tender
All This, and Heaven Too (1940)	Desperation (Ethereal)	1:38:54 - Henriette talks with the Duke	conversing \| duke \| ethereal \| governess \| leading lady \| leading man \| love scene \| parallelism \| room
All This, and Heaven Too (1940)	Henriette (Sehr Delicatessen)	1:39:12 - Henriette talks with the Duke	calm \| conversing \| duke \| gentle \| governess \| leading lady \| leading man \| love scene \| room \| sweet \| tender
All This, and Heaven Too (1940)	Henriette (Romantic)	1:39:53 - The Duke reads the locket inscription	9th chord \| chromatic mediant \| conversing \| crying \| crying gesture \| duke \| foreign key modulation \| gentle \| governess \| leading lady \| leading man \| love scene \| mode mixture \| romantic \| room \| sigh gesture \| tender
All This, and Heaven Too (1940)	Underscoring (Gentle)	1:41:02 - Henriette talks with the children	9th chord \| child \| conversing \| farewell scene \| gentle \| governess \| leading lady \| parallelism \| pedal tone \| room \| tender \| underscoring
All This, and Heaven Too (1940)	Raynald	1:41:25 - Henriette says goodbye to the children	child \| common-chord modulation \| conversing \| crying \| farewell scene \| foreign key modulation \| gentle \| governess \| leading lady \| room \| tender
All This, and Heaven Too (1940)	Raynald (Dark)	1:41:54 - Raynald talks with Henriette	child \| chromatic sequence \| conversing \| crying \| deceptive resolution \| farewell scene \| governess \| leading lady \| room \| somber
All This, and Heaven Too (1940)	Lullaby (Tender)	1:42:13 - Henriette says goodbye to the children	child \| conversing \| deceptive resolution \| farewell scene \| governess \| leading lady \| room \| somber
All This, and Heaven Too (1940)	Henriette (Calm)	1:46:38 - Henriette talks with the Duke	calm \| child \| conversing \| duke \| gentle \| leading lady \| leading man \| reunion scene \| room \| uneasy
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)	Desperation (Tense)	1:48:14 - The Duke talks with Henriette	chromatic parallelism \| chromatic sequence \| conflict \| conversing \| dissonant bass \| duke \| leading lady \| leading man \| room \| tense
All This, and Heaven Too (1940)	Screwissimo	1:48:47 - The Duke goes mad	chromatic scale \| conflict \| conversing \| creepy \| disturbing \| duke \| leading lady \| leading man \| madness \| ominous \| room \| whole-tone chord
All This, and Heaven Too (1940)	Henriette (Grandioso) + Desperation (Grandioso)	1:53:13 - The police wagon leaves	arresting \| bold \| carriage \| conflict \| conversing \| crowd \| crying \| dark \| dissonant bass \| fragmentation \| landlady \| leading lady \| ominous \| soldier \| street \| suspect \| tense \| testifying
All This, and Heaven Too (1940)	Heaven Theme (Expressivo)	2:05:06 - Henry talks to Henriette	advance plot \| calm \| conversing \| gentle \| leading lady \| minister \| pleasant \| prison \| prisoner \| suspect \| suspension
All This, and Heaven Too (1940)	Dolce	2:05:51 - Henriette talks to Henry	9th chord \| 11th chord \| advance plot \| calm \| common-chord modulation \| conversing \| gentle \| leading lady \| minister \| pleasant \| prison \| prisoner \| suspect
All This, and Heaven Too (1940)	Heaven Theme (Delicato)	2:06:34 - Henry talks to Henriette	advance plot \| calm \| conversing \| gentle \| leading lady \| minister \| pleasant \| prison \| prisoner \| suspect
All This, and Heaven Too (1940)	Raynald (Delicato)	2:06:46 - Henry talks to Henriette	advance plot \| conversing \| delicate \| leading lady \| minister \| mode change \| prison \| prisoner \| suspect \| tender \| tense \| worrying
All This, and Heaven Too (1940)	Heaven Theme (Dolce)	2:06:58 - Henry talks to Henriette	advance plot \| conversing \| gentle \| leading lady \| minister \| prison \| prisoner \| suspect
All This, and Heaven Too (1940)	Henriette (The Truth)	2:07:07 - Henry talks to Henriette	advance plot \| calm \| conversing \| deceptive resolution \| leading lady \| minister \| prison \| prisoner \| suspect
All This, and Heaven Too (1940)	Dying	2:13:46 - The Duke in his death bed	chromatic scale \| conversing \| death bed \| death scene \| detective \| dissonant bass \| duke \| dying \| leading lady \| leading man \| prisoner \| questioning \| room \| sad \| soldier \| suspect
All This, and Heaven Too (1940)	Henriette (Duet)	2:14:06 - A close-up on Henriette	appoggiatura \| chromatic parallelism \| conversing \| death bed \| death scene \| deceptive resolution \| detective \| duke \| dying \| leading lady \| leading man \| mode mixture \| prisoner \| questioning \| room \| sad \| soldier \| suspect \| tender
All This, and Heaven Too (1940)	Henriette (Funereal)	2:14:27 - Henriette leaves the Duke	conversing \| death bed \| death scene \| detective \| duke \| dying \| funeral march \| leading lady \| leading man \| Neapolitan \| parallelism \| pedal tone \| prisoner \| questioning \| room \| sad \| sigh gesture \| soldier \| suspect
All This, and Heaven Too (1940)	Dying (Molto Expressivo)	2:14:46 - The Duke talks to Pierre	caretaker \| chromatic parallelism \| confessing \| conversing \| death bed \| death scene \| diminished 7th chord \| duke \| dying \| leading man \| love \| pedal tone \| room \| sigh gesture \| somber
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
All This, and Heaven Too (1940)	Henriette (Dolschissimo)	2:21:00 - Henriette kisses a child on the cheek	9th chord \| 64 chord \| child \| chromatic mediant \| conversing \| foreign key modulation \| gentle \| leading lady \| leaving \| minister \| mode mixture \| resolution \| school \| student \| sweet \| teacher
The Amazing Dr. Clitterhouse (1938)	The Amazing Doctor (Meeting)	0:21:30 - Dr. Clitterhouse is taken upstairs	64 chord \| advance plot \| chromatic parallelism \| conversing \| doctor \| fragmentation \| gangster \| leading man \| lobby \| mysterious \| pedal tone \| sequence \| thief
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)	How Dry I Am (Nervous)	0:47:20 - Criminals talking	64 chord \| conversing \| criminal \| doctor \| gangster \| leading man \| nervous \| parallelism \| pedal tone \| robbery \| rooftop \| source music \| thief
The Amazing Dr. Clitterhouse (1938)	I Wanna Go Back to Bali	0:53:48 - Gangsters meet in an apartment	advance plot \| conversing \| criminal \| dance music \| doctor \| gangster \| hero \| leading man \| lying \| playful \| radio \| room \| thief
The Amazing Dr. Clitterhouse (1938)	Underscoring (Mysterious)	0:57:58 - Dr. Clitterhouse talks with Jo	conversing \| doctor \| gangster \| leading lady \| leading man \| love scene \| mysterious \| room \| tense
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)	Sidewalks of New York	0:00:58 - Organ grinder on the streets of New York	cheerful \| conversing \| establish place \| establish setting \| source music \| street \| teenager \| walking
Angels With Dirty Faces (1938)	Underscoring (Mysterious)	0:07:26 - Rocky talks with his lawyer	advance plot \| conversing \| dark \| dissonant bass \| gangster \| lawyer \| leading man \| mysterious \| prison \| prisoner \| underscoring
Angels With Dirty Faces (1938)	When a Prince of a Fella Meets a Cinderella	0:16:49 - Rocky goes to a night club	advance plot \| cheerful \| conversing \| gambling \| gangster \| lawyer \| leading man \| night club \| parallel double period \| popular music \| source music
Angels With Dirty Faces (1938)	Monday Morning	0:18:15 - Rocky talks to Frazier in his office	advance plot \| cheerful \| conversing \| gangster \| lawyer \| leading man \| popular music \| room \| source music
Angels With Dirty Faces (1938)	So Help Me (If I Don't Love You)	0:19:36 - Rocky leaves the nightclub	advance plot \| conversing \| gangster \| lawyer \| leading man \| popular music \| room \| sentimental \| source music
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)	Underscoring (Tense)	0:39:58 - Rocky in the drug store	conflict \| conversing \| gangster \| leading man \| ominous \| setup \| shop \| telephone \| tritone \| underscoring
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)	The Cook	1:05:06 - The cook hands a package to Jerry	advance plot \| comical \| conversing \| cook \| Irish \| leading man \| parallel fifths \| priest \| room
Angels With Dirty Faces (1938)	Underscoring (Dramatic)	1:09:49 - Jerry talks to newspaper editor	conversing \| diminution \| leading man \| montage \| montage \| newspaper editor \| newspaper office \| parallelism \| priest \| sign \| tense
Angels With Dirty Faces (1938)	Newspaper Editor	1:10:09 - A newspaper editor accepts Jerry's story	accepting \| conversing \| heroic \| leading man \| montage \| montage \| newspaper editor \| newspaper office \| priest \| secondary dominant
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)	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)	Jerry (Triste)	1:35:23 - Jerry visits the boys	conversing \| death \| foreign key modulation \| leading man \| pedal tone \| picardy third \| priest \| resolution \| room \| somber \| teenager
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)	Hold That Tiger	0:13:15 - Young people dancing	advance plot \| cheerful \| conversing \| dance hall \| friend \| leading man \| on-screen music \| source music
Are These Our Children? (1931)	Makes You Forget Your Troubles	0:17:38 - Young people talking at a dance	advance plot \| cheerful \| conversing \| dance hall \| leading man \| love interest \| on-screen music \| seductive \| singing \| source music
Are These Our Children? (1931)	Introduction	0:24:14 - Boys in the washroom	advance plot \| conversing \| dance hall \| friend \| leading man \| mysterious \| transcribed by ear
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)	St. James Infirmary	0:42:08 - Young people talking	advance plot \| conversing \| Dixieland \| friend \| lazy \| leading man \| love interest \| murderer \| radio \| room \| source music
Are These Our Children? (1931)	Dreams (Minor) + Makes You Forget Your Troubles (Minor)	1:15:51 - Newspaper headlines	combination of themes \| conversing \| double exposure \| headline \| minor-major 7th chord \| montage \| newspaper \| police \| preaching \| priest \| source to score \| spinning \| tense
Arsenic and Old Lace (1944)	Here Comes the Bride (Marriage License Bureau)	0:01:59 - "Marriage License Bureau" sign	64 chord \| arriving \| calm \| conversing \| crowd \| direct modulation \| establish character \| familiar tune \| marriage \| office \| parallelism \| reporter \| romantic \| sequence \| spouse
Arsenic and Old Lace (1944)	Here Comes the Bride (Wow Wow Trumpet)	0:02:42 - Reporters talk	64 chord \| chromatic mediant \| comical \| conversing \| establish character \| familiar tune \| foreign key modulation \| marriage \| office \| reporter
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)	Rondo Alla Turca	0:06:25 - Teddy plays the harpsichord	aunt \| brother \| classical music \| conversing \| crazy person \| establish character \| harpsichord \| leading lady \| old man \| on-screen music \| playing \| room \| source music \| upbeat \| victim
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)	The Aunts	0:12:26 - Reverend leaves	advance plot \| aunt \| cheerful \| conversing \| crazy person \| delicate \| foreign key modulation \| gentle \| harmonic sequence \| leading lady \| street
Arsenic and Old Lace (1944)	Happy Land (Lento)	0:12:31 - The aunts talk	advance plot \| aunt \| brother \| conversing \| crazy person \| familiar tune \| foreign key modulation \| gentle \| leading lady \| mysterious \| plotting \| room \| sequence \| tender \| whole-tone chord \| whole-tone scale
Arsenic and Old Lace (1944)	The Aunts (Grazioso Con Moto)	0:13:16 - The aunts talk	advance plot \| aunt \| brother \| cheerful \| conversing \| crazy person \| delicate \| foreign key modulation \| gentle \| harmonic sequence \| leading lady \| plotting \| room
Arsenic and Old Lace (1944)	Happy Land (Grazioso)	0:13:34 - The aunts talk	advance plot \| aunt \| conversing \| leading lady \| magical \| plotting \| room \| whole-tone chord
Arsenic and Old Lace (1944)	Here Comes the Bride (Full)	0:14:00 - Elaine appears in the window	aunt \| bride \| cheerful \| chromatic mediant \| common-chord modulation \| conversing \| crazy person \| familiar tune \| greeting \| groom \| leading lady \| leading man \| love \| love scene \| on-screen music \| pleasant \| room \| score to source \| source music \| street \| whistling
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 (Religioso)	0:14:41 - Mortimer and Elaine in the cemetery	64 chord \| bride \| calm \| cemetery \| conversing \| familiar tune \| flirting \| groom \| hymn-like \| leading lady \| leading man \| love \| love scene \| religious \| suspension
Arsenic and Old Lace (1944)	Underscoring (Mysterious)	0:14:51 - Mortimer flirts with Elaine	bride \| cemetery \| conversing \| flirting \| groom \| leading lady \| leading man \| love \| love scene \| mysterious \| underscoring \| whole-tone chord
Arsenic and Old Lace (1944)	Here Comes the Bride (Appassionato)	0:15:02 - The aunts peek out of the window	64 chord \| aunt \| bride \| cemetery \| chromatic mediant \| conversing \| familiar tune \| flirting \| groom \| inversion \| kissing \| leading lady \| leading man \| love \| love scene \| peeking \| romantic
Arsenic and Old Lace (1944)	Here Comes the Bride (Church Bells)	0:15:17 - Mortimer follows Elaine	64 chord \| bride \| cemetery \| chromatic mediant \| conversing \| familiar tune \| flirting \| foreign key modulation \| groom \| leading lady \| leading man \| love \| love scene \| parallelism \| romantic
Arsenic and Old Lace (1944)	Here Comes the Bride (Appassionato)	0:15:25 - Mortimer and Elaine kiss	64 chord \| bride \| cemetery \| conversing \| familiar tune \| groom \| inversion \| kissing \| leading lady \| leading man \| love \| love scene \| romantic
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 (Church Bells)	0:16:22 - Mortimer and Elaine talk	64 chord \| bride \| cemetery \| chromatic mediant \| conversing \| familiar tune \| flirting \| foreign key modulation \| groom \| leading lady \| leading man \| love \| love scene \| parallelism \| romantic
Arsenic and Old Lace (1944)	Jonathan	0:18:54 - Jonathan Brewster's picture is shown	advance plot \| aunt \| conversing \| diminished 7th chord \| groom \| leading lady \| leading man \| ominous \| pc set \| picture \| room \| sinister \| stinger
Arsenic and Old Lace (1944)	Jonathan	0:23:14 - Mortimer reacts to the reveal	calling \| conversing \| dialing \| diminished 7th chord \| groom \| leading man \| ominous \| pc set \| quartal chord \| reveal \| room \| sinister \| stinger \| telephone effect \| thinking \| turning point
Arsenic and Old Lace (1944)	The Aunts	0:39:01 - The aunts talk	advance plot \| aunt \| cleaning \| conversing \| crazy person \| foreign key modulation \| harmonic sequence \| leading lady \| murderer \| room \| 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)	Happy Land (String Quartet)	0:39:28 - The aunts set the table	advance plot \| aunt \| cleaning \| conversing \| crazy person \| direct modulation \| evaded cadence \| familiar tune \| hymn-like \| leading lady \| murderer \| peaceful \| room
Arsenic and Old Lace (1944)	The Aunts (Frightened)	0:39:58 - The aunts see shadows at the door	augmentation \| aunt \| conversing \| crazy person \| dark \| establish character \| fear \| foreign key modulation \| fragmentation \| knocking \| leading lady \| murderer \| mysterious \| Neapolitan \| ominous \| parallel 63s \| pedal tone \| room \| shadow \| whispering
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)	Scar (Misterioso)	0:41:31 - They see the food	brother \| conversing \| crazy person \| criminal \| doctor \| establish character \| leading man \| mysterious \| observing \| pc set \| polychord \| room
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)	Underscoring (Tense)	0:42:08 - Jonathan talks to the aunts	aunt \| brother \| conversing \| crazy person \| criminal \| doctor \| establish character \| leading lady \| leading man \| murderer \| mysterious \| parallelism \| room \| tense \| underscoring
Arsenic and Old Lace (1944)	Scar (Face)	0:42:29 - Jonathan talks about his scar	augmented triad \| aunt \| brother \| chromatic parallelism \| conversing \| crazy person \| criminal \| doctor \| establish character \| fragmentation \| leading lady \| leading man \| murderer \| mysterious \| pc set \| polychord \| room \| scar \| tense
Arsenic and Old Lace (1944)	Mysterioso Pizzicato	0:42:41 - Martha talks about scary movies	aunt \| brother \| conversing \| crazy person \| criminal \| dissonant bass \| doctor \| establish character \| familiar tune \| leading lady \| leading man \| murderer \| mysterious \| room \| scar \| silent film music
Arsenic and Old Lace (1944)	Underscoring (Tense)	0:42:56 - Jonathan glares at Dr. Einstein	aunt \| brother \| conversing \| crazy person \| criminal \| diminished 7th chord \| doctor \| establish character \| leading lady \| leading man \| murderer \| oscillation \| room \| scar \| tense
Arsenic and Old Lace (1944)	Scar	0:43:20 - Dr. Einstein talks to the aunts	aunt \| brother \| conversing \| crazy person \| criminal \| dark \| doctor \| establish character \| leading lady \| leading man \| murderer \| ominous \| pc set \| polychord \| 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)	Home Sweet Home (Tranquillo)	0:43:40 - Jonathan sits down	augmented triad \| aunt \| brother \| calm \| chromatic parallelism \| conversing \| crazy person \| criminal \| direct modulation \| distortion \| doctor \| establish character \| familiar tune \| leading lady \| leading man \| murderer \| pedal tone \| room
Arsenic and Old Lace (1944)	The Aunts (Frightened)	0:44:00 - The aunts go into the kitchen	augmentation \| aunt \| brother \| conversing \| crazy person \| criminal \| doctor \| establish character \| fear \| foreign key modulation \| fragmentation \| leading lady \| leading man \| murderer \| mysterious \| Neapolitan \| ominous \| parallel 63s \| pedal tone \| room \| walking \| watching
Arsenic and Old Lace (1944)	The Aunts (Frightened)	0:45:22 - The aunts peek through the kitchen window	aunt \| brother \| conversing \| crazy person \| criminal \| doctor \| establish character \| face \| fear \| leading lady \| leading man \| murderer \| mysterious \| Neapolitan \| ominous \| parallel 63s \| pedal tone \| room \| snooping \| watching
Arsenic and Old Lace (1944)	Scar	0:45:29 - Dr. Einstein describes how he will fix Jonathan's face	aunt \| brother \| conversing \| crazy person \| criminal \| dark \| doctor \| establish character \| face \| leading lady \| leading man \| murderer \| ominous \| pc set \| planning \| polychord \| room \| wipe
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)	Scar (Dark)	0:50:14 - Jonathan and Dr. Einstein watch Teddy dig	advance plot \| brother \| conversing \| crazy person \| criminal \| dark \| digging \| dissonant bass \| doctor \| familiar tune \| leading man \| march \| murderer \| on-screen music \| patriotic tune \| room \| source and scoring overlap \| watching \| whistling
Arsenic and Old Lace (1944)	The Aunts (Grazioso Con Moto)	0:52:20 - The aunts move through the kitchen	advance plot \| aunt \| calm \| conversing \| crazy person \| foreign key modulation \| harmonic sequence \| leading lady \| murderer \| pleasant \| room
Arsenic and Old Lace (1944)	Jonathan (Fragmented)	0:53:35 - Jonathan and the doctor go up the stairs	advance plot \| aunt \| brother \| conversing \| crazy person \| dark \| darkness \| doctor \| fragmentation \| intimidating \| leading lady \| leading man \| murderer \| ominous \| pc set \| room \| tense
Arsenic and Old Lace (1944)	Jonathan 2 (Dark)	0:57:04 - Jonathan exits	advance plot \| brother \| chromatic scale \| chromatic wedge \| conversing \| crazy person \| dark \| darkness \| dissonant bass \| doctor \| falling \| leading man \| murderer \| mysterious \| pc set \| polychord \| room \| stinger
Arsenic and Old Lace (1944)	Underscoring (Tense)	0:58:10 - Someone knocks at the door	advance plot \| brother \| chromatic scale \| conversing \| corpse \| crazy person \| darkness \| doctor \| knocking \| leading man \| murderer \| pc set \| room \| sequence \| sneaking \| tense \| underscoring
Arsenic and Old Lace (1944)	Jonathan 2	0:58:55 - Jonathan emerges from the shadows	advance plot \| bride \| brother \| chromatic scale \| chromatic wedge \| conversing \| crazy person \| darkness \| dissonant bass \| doctor \| fear \| leading lady \| leading man \| murderer \| pc set \| questioning \| room \| sinister
Arsenic and Old Lace (1944)	Happy Land	1:19:56 - Mortimer with the taxi driver	aunt \| brother \| calm \| conversing \| crazy person \| doctor \| driver \| funeral \| groom \| hymn \| leading lady \| leading man \| murderer \| on-screen music \| score to source \| singing \| source music \| street
Arsenic and Old Lace (1944)	Happy Land	1:22:17 - Mortimer talks with Elaine through her window	aunt \| bride \| calm \| conversing \| crazy person \| doctor \| funeral \| groom \| hymn \| leading lady \| leading man \| murderer \| singing \| street
Beyond the Forest (1949)	Moose	0:11:22 - Moose enters the house	cabin \| conversing \| establish character \| exotic \| friend \| leading lady \| liquor \| wife \| working
Beyond the Forest (1949)	Chicago (Mink Coat)	0:29:01 - Rosa sees Carol's mink coat	advance plot \| conversing \| familiar tune \| jealousy \| leading lady \| popular tune \| sentimental \| train station
Beyond the Forest (1949)	Chicago (Carol)	0:29:17 - Rosa meets Carol	advance plot \| conversing \| familiar tune \| gentle \| jealousy \| leading lady \| popular tune \| train station
Beyond the Forest (1949)	Chicago (Jealous)	0:29:33 - Rosa glares at Carol	advance plot \| conversing \| dark \| familiar tune \| jealousy \| leading lady \| popular tune \| sentimental \| train station
Beyond the Forest (1949)	Lewis (Moderato Quasi Rubato)	0:42:23 - Lewis talks to some men	advance plot \| calm \| conversing \| doctor \| leading man \| room \| somber \| source and scoring overlap \| street \| townsfolk \| walking \| warm
Beyond the Forest (1949)	Underscoring (Tense)	0:49:07 - Rosa gets up	advance plot \| cafe \| conversing \| hurrying \| leading lady \| tense \| underscoring \| waitress
Beyond the Forest (1949)	Hurrying (Phone Call)	0:49:32 - Rosa talks on the phone	advance plot \| cafe \| conversing \| leading lady \| optimistic \| telephone
Beyond the Forest (1949)	Lewis (Tender)	0:58:28 - Lewis takes care of Rosa	calm \| conversing \| doctor \| kissing \| leading lady \| leading man \| reunion scene \| room \| tender \| wife
Beyond the Forest (1949)	Whisper While You’re Waltzing	1:01:34 - People at a party	conversing \| crowd \| dance scene \| doctor \| eating \| folk music \| gentle \| leading lady \| leading man \| on-screen music \| party \| playing \| room \| source music \| waltz \| wife
Beyond the Forest (1949)	For He’s a Jolly Good Fellow	1:02:12 - Folk musicians	arriving \| cake \| cheerful \| conversing \| crowd \| dance scene \| doctor \| familiar tune \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| tuning \| wife \| wind
Beyond the Forest (1949)	Varsovienne	1:04:52 - Moose talks with Mr. Latimer	conversing \| dance scene \| folk music \| friend \| friend \| leading lady \| leading man \| love interest \| on-screen music \| party \| plotting \| proposal \| room \| sneaking \| source music \| square dance music \| upbeat
Beyond the Forest (1949)	Chicago (Con Moto)	1:11:06 - Rosa is relieved at the verdict	calm \| conversing \| courtroom \| courtroom scene \| expressive \| familiar tune \| hope \| hopeful \| husband \| leading lady \| leading man \| love interest \| murderer \| popular tune \| smiling \| verdict
Beyond the Forest (1949)	Lewis (Crescendo)	1:13:15 - Rosa and Lewis at home	arriving \| calm \| conversing \| dark \| dramatic \| husband \| leading lady \| leading man \| murderer \| room \| transition \| victim \| yelling
Beyond the Forest (1949)	Rosa (Sombre)	1:17:53 - Lewis talks to a patient	advance plot \| conversing \| doctor \| leading man \| mysterious \| office \| patient \| working
Beyond the Forest (1949)	Chicago (Dark)	1:19:25 - Rosa sitting in a car	action scene \| car \| car \| cliff \| conversing \| descending \| driving \| familiar tune \| leading lady \| leading man \| murderer \| ominous \| popular tune
Beyond the Forest (1949)	The Cliff (Car Stops)	1:19:36 - Rosa sitting in a car	action scene \| car \| car \| cliff \| conversing \| descending \| driving \| leading lady \| leading man \| murderer \| tense
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 (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 (Grazioso)	0:32:29 - Marlowe talks with Vivian	advance plot \| conversing \| half-diminished 7th chord \| leading lady \| leading man \| mysterious \| private eye \| room
The Big Sleep (1946)	Underscoring (Mysterious)	0:48:15 - Marlowe talks to Joe Brody	blackmailer \| chromatic parallelism \| conversing \| criminal \| gun \| investigation scene \| leading man \| mysterious \| private eye \| room \| suspect \| underscoring
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)	Underscoring (Tense)	0:51:31 - Joe reacts to the doorbell ringing	blackmailer \| chromatic parallelism \| conflict \| conversing \| criminal \| doorbell \| gun \| leading lady \| leading man \| mysterious \| pc set \| private eye \| room \| suspect \| tense \| tone cluster \| underscoring \| whole-tone chord
The Big Sleep (1946)	Carmen (Misterioso)	0:52:18 - Joe gives the picture to Marlowe	blackmail \| blackmailer \| conflict \| conversing \| criminal \| evidence \| femme fatale \| half-diminished 7th chord \| leading lady \| leading man \| mysterious \| private eye \| room \| suspect \| 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)	I Guess I'll Have to Change My Plan	1:00:50 - Vivian enters a restaurant	ABACA structure \| arriving \| club \| conversing \| falling in love scene \| leading lady \| leading man \| love interest \| pleasant \| private eye \| source music
The Big Sleep (1946)	The Blue Room	1:02:15 - Vivan pays Marlowe	AABA structure \| club \| conversing \| falling in love scene \| leading lady \| leading man \| love interest \| pleasant \| private eye \| source music
The Big Sleep (1946)	You Go to My Head	1:04:25 - Vivian and Marlowe talk in a restaurant	club \| conversing \| falling in love scene \| leading lady \| leading man \| love interest \| pleasant \| private eye \| source music
The Big Sleep (1946)	What Are You Doin' the Rest of Your Life	1:14:35 - Marlowe and Vivian leave	conflict \| conversing \| leading lady \| leading man \| love interest \| parallel double period \| private eye \| source music \| street \| upbeat
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)	Questions	1:16:16 - Marlowe and Vivian argue	angry \| car \| chromatic parallelism \| chromatic scale \| conversing \| leading lady \| leading man \| love interest \| love scene \| private eye \| tense
The Big Sleep (1946)	Marlowe (Not in Film)	NIF - not in film	9th chord \| 11th chord \| advance plot \| conversing \| cut from film \| femme fatale \| leading man \| private eye \| room
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)	Underscoring (Tense)	NIF - not in film	advance plot \| chromatic parallelism \| conversing \| cut from film \| diminished 7th chord \| femme fatale \| leading man \| oscillation \| private eye \| room \| tritone \| underscoring \| whole-tone chord
The Big Sleep (1946)	You!	NIF - not in film	advance plot \| chromatic scale \| conversing \| cut from film \| femme fatale \| fragmentation \| leading man \| private eye \| room \| tone cluster
The Big Sleep (1946)	Marlowe (Major)	NIF - not in film	advance plot \| chromatic parallelism \| conversing \| cut from film \| femme fatale \| leading man \| mode mixture \| pc set \| private eye \| room
The Big Sleep (1946)	Carmen (Not in Film)	NIF - not in film	advance plot \| conversing \| cut from film \| femme fatale \| leading man \| oscillation \| private eye \| room \| whole-tone chord
The Big Sleep (1946)	Underscoring (Mysterious)	1:21:19 - Marlowe speaks on the phone	advance plot \| café \| chromatic scale \| conversing \| leading man \| mysterious \| pc set \| phone call \| private eye \| tense \| underscoring
The Big Sleep (1946)	Marlowe (Mysterious Organ)	1:21:42 - Marlowe speaks to waitress	advance plot \| café \| conversing \| leading lady \| leading man \| love interest \| mysterious \| pc set \| phone call \| private eye \| tense
The Big Sleep (1946)	Underscoring (Mysterious)	1:21:57 - Marlowe speaks with Vivian on the phone	advance plot \| café \| chromatic parallelism \| conversing \| leading lady \| leading man \| linear chromaticism \| love interest \| mysterious \| phone call \| private eye \| stinger \| tense \| underscoring
The Big Sleep (1946)	Marlowe (Dazed)	1:23:48 - Marlowe recovers	advance plot \| conversing \| dazed \| leading man \| pain \| private eye \| street \| whole-tone chord
The Big Sleep (1946)	Recovering	1:24:06 - Jones helps Marlowe up	advance plot \| augmented triad \| conversing \| impressionism \| leading man \| mysterious \| pain \| private eye \| street \| whole-tone chord \| whole-tone scale
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)	Underscoring (Tense)	1:30:24 - Marlowe makes a phone call	conversing \| death scene \| leading man \| pc set \| phone call \| private eye \| room \| tense \| underscoring \| victim \| 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 (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)	Underscoring (Tense)	1:31:48 - Marlowe talks to Agnes on the phone	conversing \| death scene \| informer \| leading man \| pc set \| phone call \| private eye \| room \| tense \| underscoring
The Big Sleep (1946)	Marlowe (Whole Tone)	1:39:25 - Marlowe talks to Vivian	captive \| conversing \| leading lady \| leading man \| love interest \| love scene \| mysterious \| private eye \| room \| tense \| whole-tone \| whole-tone chord \| whole-tone scale
The Big Sleep (1946)	Marlowe (Phone Call)	1:39:39 - Marlowe talks to Vivian	captive \| conversing \| leading lady \| leading man \| love interest \| love scene \| mysterious \| private eye \| room \| sequence \| tense \| whole-tone chord
The Big Sleep (1946)	Carmen	1:39:52 - Marlowe talks to Vivian	captive \| conversing \| half-diminished 7th chord \| leading lady \| leading man \| love interest \| love scene \| musical clue \| music reveals thoughts \| mysterious \| private eye \| room \| whole-tone chord
The Big Sleep (1946)	Driving 2	1:43:54 - Marlowe and Vivian drive away	car \| conversing \| driving \| leading lady \| leading man \| love interest \| love scene \| ostinato \| pc set \| private eye \| sequence \| tense
The Big Sleep (1946)	Driving 2 + Vivian	1:44:16 - Vivian tells Marlowe she loves him	9th chord \| 13th chord \| car \| chromatic parallelism \| conversing \| driving \| leading lady \| leading man \| love \| love interest \| love scene \| ostinato \| private eye \| romantic \| suspension \| tense
The Big Sleep (1946)	Driving 2	1:44:32 - Vivian and Marlowe talk in the car	car \| conversing \| driving \| leading lady \| leading man \| love interest \| love scene \| ostinato \| private eye \| sequence \| tense
The Big Sleep (1946)	Driving 2 + Vivian	1:44:44 - Vivian and Marlowe talk in the car	car \| conversing \| driving \| leading lady \| leading man \| love \| love interest \| love scene \| ostinato \| private eye \| romantic \| tense \| whole-tone chord
The Big Sleep (1946)	Driving 2	1:44:51 - Vivian and Marlowe talk in the car	car \| conversing \| driving \| leading lady \| leading man \| love interest \| love scene \| ostinato \| pc set \| private eye \| tense \| whole-tone chord
The Big Sleep (1946)	Driving 2 + Carmen	1:45:06 - Marlowe talks about Carmen	car \| conversing \| driving \| leading lady \| leading man \| love interest \| love scene \| ostinato \| private eye \| tense \| whole-tone chord
The Big Sleep (1946)	Driving 2 + Vivian	1:45:21 - Marlowe tells Vivian he loves her	9th chord \| 13th chord \| arriving \| car \| chromatic parallelism \| conversing \| driving \| leading lady \| leading man \| love \| love interest \| love scene \| ostinato \| private eye \| romantic \| suspension \| tense
The Big Sleep (1946)	Carmen (Tense)	1:52:28 - Marlowe talks on the phone	conversing \| leading lady \| leading man \| love interest \| lying \| mysterious \| oscillation \| pedal tone \| phone call \| private eye \| resolution \| room \| tense \| uneasy \| whole-tone chord
The Big Sleep (1946)	Vivian	1:52:48 - Marlowe talks to Vivian	9th chord \| 13th chord \| chromatic parallelism \| conversing \| leading lady \| leading man \| love \| love interest \| Neapolitan \| private eye \| resolution \| romantic \| room
The Big Sleep (1946)	Vivian (Expressivo)	1:53:20 - Marlowe pulls Vivian close	9th chord \| 13th chord \| chromatic parallelism \| conversing \| foreign key modulation \| leading lady \| leading man \| love \| love interest \| private eye \| resolution \| romantic \| room \| suspension
The Breaking Point (1950)	Flor de Lis	0:08:17 - A ship sailing	art song \| boat \| boat \| boating \| conversing \| establish setting \| flirting \| floozy \| leading lady \| leading man \| not by Steiner \| sailor \| upbeat \| working
The Breaking Point (1950)	En Mi Canto de Amor	0:08:57 - A dock at night	arriving \| art song \| boat \| conversing \| docking \| establish setting \| flirting \| floozy \| harbor \| leading lady \| leading man \| not by Steiner \| sailor \| source music \| upbeat \| working
The Breaking Point (1950)	La Adelita	0:09:56 - A Mexican village at night	arriving \| bar \| bartender \| conversing \| establish setting \| folk music \| leading man \| musician \| on-screen music \| performing \| sailor \| salesperson \| selling \| source music \| street \| upbeat \| working
The Breaking Point (1950)	Carmen, Carmela	0:11:11 - Harry talks to Duncan in a bar	AABA structure \| bar \| conversing \| criminal \| establish setting \| floozy \| folk music \| gambling \| leading lady \| leading man \| musician \| on-screen music \| performing \| pleasant \| sailor \| serenading \| singing \| source music
The Breaking Point (1950)	La Golondrina	0:12:21 - Harry sits down with Leona in the bar	advance plot \| bar \| calm \| conversing \| fisherman \| flirting \| floozy \| folk music \| leading lady \| leading man \| sailor \| source music
The Breaking Point (1950)	Mi Mariposa	0:15:21 - Harry talks to the bartender	advance plot \| arguing \| art song \| bar \| bartender \| calm \| conversing \| leading man \| on-screen music \| sailor \| source music
The Breaking Point (1950)	Eres Mujer	0:15:56 - Harry talks to Duncan	AABA structure \| advance plot \| bar \| calm \| conversing \| criminal \| leading man \| on-screen music \| performing \| sailor \| source music \| tango \| whispering
The Breaking Point (1950)	En Mi Canto de Amor	0:21:43 - Harry talks to Duncan	advance plot \| bar \| conversing \| criminal \| leading man \| planning \| pleasant \| sailor \| source music
The Breaking Point (1950)	Make Love With a Guitar	0:33:28 - Harry arrives home	advance plot \| arriving \| calm \| child \| conversing \| leading man \| musician \| neighbor \| on-screen music \| room \| sailor \| source music \| street \| wife \| yard
The Breaking Point (1950)	Ask Me No Questions	0:40:46 - Harry talks to Duncan	advance plot \| arguing \| bar \| bartender \| conversing \| criminal \| floozy \| jukebox \| leading lady \| leading man \| mellow \| sailor \| source music
The Breaking Point (1950)	On an Ordinary Morning	0:43:33 - Leona and Harry sit together in a bar	advance plot \| bar \| conversing \| floozy \| jukebox \| leading lady \| leading man \| mellow \| sailor \| source music \| wife
The Breaking Point (1950)	Make Love With a Guitar	0:46:27 - A boy plays the accordion	advance plot \| calm \| child \| conversing \| drunk \| leading lady \| leading man \| neighbor \| on-screen music \| sailor \| source music \| street \| walking \| wife
The Breaking Point (1950)	I Guess I'll Have to Change My Plan	1:00:26 - Harry in a restaurant	ABACA structure \| advance plot \| bartender \| conversing \| floozy \| leading lady \| leading man \| mellow \| restaurant \| sailor \| source music
The Breaking Point (1950)	You Missed the Boat	1:02:56 - Duncan talks to Harry in the restaurant	advance plot \| conversing \| criminal \| floozy \| leading lady \| leading man \| mellow \| restaurant \| sailor \| source music
The Breaking Point (1950)	Don't Take Your Love From Me	1:05:42 - Harry arrives at Leona's apartment	ABAC structure \| advance plot \| conversing \| floozy \| leading lady \| leading man \| mellow \| room \| sailor \| source music
The Breaking Point (1950)	The Breaking Point (Ethereal)	1:34:41 - Harry recognizes Lucy	9th chord \| boat \| climax \| comforting \| conversing \| crying \| ethereal \| leading lady \| leading man \| mixed meter \| mode mixture \| sailor \| sweet \| wife
The Breaking Point (1950)	The Breaking Point (Cellos)	1:35:14 - Harry talks with Lucy	boat \| climax \| comforting \| conversing \| crying \| ethereal \| foreign key modulation \| leading lady \| leading man \| mixed meter \| sailor \| sweet \| wife
The Breaking Point (1950)	Calm	1:35:38 - Lucy leaves	augmented triad \| boat \| climax \| comforting \| conversing \| crying \| ethereal \| leading lady \| leading man \| pedal tone \| sailor \| sweet \| wife
Caged (1950)	Prison	NIF - not in film	9th chord \| augmented sixth chord \| conversing \| cut from film \| dark \| exiting \| guard \| leading lady \| opening title sequence \| police car \| prison \| prisoner \| suspension \| underscoring
Caged (1950)	Isolation Ward	0:08:54 - Edna lying in a bed	9th chord \| conversing \| dark \| dissonant bass \| establish character \| illness \| isolation \| leading lady \| mysterious \| ominous \| oscillation \| prison \| prisoner \| rain \| uneasy
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 (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)	Marie (Slowly)	0:35:14 - Marie talks to Kitty	advance plot \| augmented sixth chord \| chromatic mediant \| conversing \| foreign key modulation \| friend \| leading lady \| oscillation \| pc set \| prison \| prisoner \| sickness \| sigh gesture \| solemn \| uneasy
Caged (1950)	June and Marie	0:37:06 - June and Marie talk	conversing \| establish character \| foreign key modulation \| friend \| hopeful \| leading lady \| noble \| prison \| prisoner
Caged (1950)	June	0:37:27 - June and Marie talk	11th chord \| 13th chord \| conversing \| establish character \| foreign key modulation \| friend \| hopeful \| leading lady \| melancholy \| prison \| prisoner \| sequence \| somber
Caged (1950)	June (Triste)	0:38:14 - June and Marie talk	common-tone diminished 7th \| conversing \| cut from film \| establish character \| friend \| leading lady \| melancholy \| prison \| prisoner \| somber
Caged (1950)	June (Slowly)	0:38:39 - Marie looks for June	arriving \| chromatic mediant \| conversing \| deceptive resolution \| establish character \| friend \| guard \| leading lady \| melancholy \| minor-major 7th chord \| prison \| prisoner \| somber
Caged (1950)	June (Adagio)	0:39:34 - Inmates play cards	cards \| chromatic mediant \| chromatic scale \| close-up \| conversing \| establish character \| foreign key modulation \| friend \| leading lady \| melancholy \| playing \| prison \| prisoner \| somber \| underscoring \| uneasy
Caged (1950)	Swimmy (Poco Agitato)	0:43:53 - Mrs. Benton on the phone	advance plot \| calling \| cards \| chromatic parallelism \| conversing \| dissonant bass \| phone call \| playing \| prison \| telephone \| tense \| 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)	Crying (Poco Agitato)	0:44:27 - Mrs. Benton paces	baby \| childbirth \| conversing \| crying \| doctor \| infirmary \| leading lady \| mickey-mousing \| operation scene \| oscillation \| pacing \| prison \| prisoner \| tense \| triadic transformation \| uneasy \| walking \| warden
Caged (1950)	Marie	0:44:54 - The doctor washes up	baby \| childbirth \| cleaning \| conversing \| doctor \| infirmary \| leading lady \| operation scene \| prison \| prisoner \| sigh gesture \| solemn \| 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 2	0:50:22 - Marie holds her new baby	advance plot \| baby \| conversing \| gentle \| happy \| leading lady \| mode mixture \| nurse \| nursery \| prison \| prisoner \| sigh gesture
His Greatest Gamble (1934)	Morning Glory Waltz (Tender)	0:02:35 - Philip in the casino	casino \| child \| conversing \| establish character \| gentle \| leading man \| leaving \| transcribed by ear \| waltz
His Greatest Gamble (1934)	Nocturne in E-flat Major	0:36:29 - Philip looks for Alice	advance plot \| calm \| conversing \| daughter \| fugitive \| leading lady \| leading man \| mansion \| nocturne \| pleasant \| searching \| source music \| wandering
His Greatest Gamble (1934)	Waltz in C-sharp Minor	0:40:28 - Philip talks with Alice and Florence	advance plot \| conversing \| daughter \| ex-wife \| fugitive \| leading lady \| leading man \| mansion \| serious \| source music \| waltz
His Greatest Gamble (1934)	Blue Ridge Moon	0:53:16 - Philip talks with Alice	advance plot \| conversing \| daughter \| gentle \| leading lady \| love interest \| mansion \| popular music \| radio \| sentimental \| source music \| waltz
His Greatest Gamble (1934)	Morning Glory Waltz (Radio)	0:57:06 - Philip talks with Alice	9th chord \| advance plot \| conversing \| daughter \| fugitive \| gentle \| leading lady \| leading man \| mansion \| mode mixture \| radio \| score to source \| sentimental \| source music \| transcribed by ear \| walking
City for Conquest (1940)	Sidewalks of New York (Soliloquy)	0:01:33 - A cop tells a man to keep moving	9th chord \| 13th chord \| bridge \| chromatic parallelism \| city \| conversing \| establish place \| establish setting \| old man \| police \| soliloquy \| uneasy
City for Conquest (1940)	Sidewalks of New York (City Struck)	0:02:03 - Old-timer talks with cop	9th chord \| bridge \| chromatic scale \| city \| conversing \| establish setting \| excited \| old man \| police \| soliloquy
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)	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)	Sidewalks of New York	0:03:10 - A New York street corner	AABA structure \| child \| conversing \| crowd \| dancing \| old man \| on-screen music \| organ grinder \| playing \| pleasant \| score to source \| source music \| street \| street organ \| thief \| transition \| upbeat \| walking
City for Conquest (1940)	The Bowery	0:05:00 - People on a New York street	child \| conversing \| crowd \| establish character \| on-screen music \| playing \| pleasant \| source music \| street \| street organ \| upbeat
City for Conquest (1940)	Sidewalks of New York (Soliloquy 2)	0:05:44 - Old-timer talks to a stone carver	9th chord \| 13th chord \| bluesy \| child \| chromatic parallelism \| conversing \| establish character \| fragmentation \| love \| old man \| romantic \| sentimental \| soliloquy \| street \| worker
City for Conquest (1940)	Sidewalks of New York (Waltz Grazioso)	0:06:09 - Two children playing	9th chord \| child \| conversing \| establish character \| foreign key modulation \| love \| Neapolitan \| old man \| romantic \| sentimental \| soliloquy \| street \| waltz
City for Conquest (1940)	Scales	0:09:16 - Danny and Peggy go upstairs	arguing \| conversing \| establish character \| leading lady \| leading man \| mother \| on-screen music \| piano \| room \| source music \| tedious \| transcribed by ear
City for Conquest (1940)	Tone Poem A	0:10:50 - Eddie plays the piano	brother \| composer \| conversing \| establish character \| leading man \| musician \| piano \| playing \| romantic \| room \| score to source \| source music \| transcribed by ear
City for Conquest (1940)	Tone Poem A (Very Broad)	0:12:16 - Eddie plays the piano	13th chord \| brother \| chromatic parallelism \| chromatic scale \| composer \| conversing \| describing \| dissonant bass \| establish character \| explaining \| leading man \| musician \| name of film \| pentatonic \| piano \| playing \| romantic \| room \| source music \| transcribed by ear
City for Conquest (1940)	Tone Poem A (Unattainable Stars)	0:12:37 - Eddie plays the piano	brother \| chromatic parallelism \| composer \| conversing \| describing \| establish character \| explaining \| leading man \| musician \| piano \| playing \| romantic \| room \| somber \| source music \| transcribed by ear
City for Conquest (1940)	Tone Poem A	0:13:03 - Eddie plays the piano	9th chord \| 11th chord \| 13th chord \| brother \| common-chord modulation \| composer \| conversing \| deceptive resolution \| establish character \| leading man \| musician \| piano \| playing \| romantic \| room \| source music \| transcribed by ear
City for Conquest (1940)	My Old Kentucky Home	0:16:04 - Mickey sings to himself	advance plot \| boxer \| calm \| conversing \| folk music \| leading man \| locker room \| manager \| singing \| source music
City for Conquest (1940)	Lullaby of Broadway	0:17:00 - A sign for Rose Gardens Casino	boxer \| conversing \| crowd \| dance band \| dance hall \| dancer \| dance scene \| dancing \| leading lady \| leading man \| on-screen music \| playing \| popular music \| source music \| upbeat
City for Conquest (1940)	Latin For Manhattan	0:18:29 - Peggy and Danny sit down	AABA structure \| blue note \| boxer \| conversing \| crowd \| dance band \| dance hall \| dancer \| dance scene \| dancing \| leading lady \| leading man \| on-screen music \| playing \| popular music \| source music \| upbeat
City for Conquest (1940)	The Continental	0:19:53 - Peggy dances with Murray	AABA structure \| boxer \| conversing \| crowd \| dance band \| dance hall \| dancer \| dance scene \| dancing \| friend \| leading lady \| leading man \| on-screen music \| phrase extension \| playing \| popular music \| source music \| upbeat
City for Conquest (1940)	Shadow Waltz	0:21:46 - Peggy dances with Murray	ABAC structure \| conversing \| crowd \| dance band \| dance hall \| dancer \| dance scene \| dancing \| leading lady \| on-screen music \| playing \| popular music \| source music \| upbeat
City for Conquest (1940)	I'm Just Wild About Harry	0:23:07 - Close-up of Lily	ABAC structure \| award \| boxer \| conversing \| crowd \| dance band \| dance hall \| dancer \| dance scene \| friend \| leading lady \| leading man \| on-screen music \| popular music \| source music \| upbeat
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)	Tone Poem A (Dolce)	0:30:28 - Peggy talks to Danny	9th chord \| 11th chord \| arguing \| chromatic parallelism \| common-chord modulation \| conversing \| flirting \| gentle \| leading lady \| leading man \| love scene \| playful \| room \| shaving
City for Conquest (1940)	Only Fooling	0:30:54 - Peggy cleans Danny's face	arguing \| common-tone modulation \| conversing \| diminished 7th chord \| flirting \| leading lady \| leading man \| love scene \| parallelism \| playful \| room \| shaving
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)	Tranquillo	0:31:35 - Peggy and Danny on a boat	9th chord \| boat \| conversing \| delicate \| gentle \| leading lady \| leading man \| love scene
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)	Shadow Waltz (Dark)	0:33:22 - Peggy talks with Danny	boat \| chromatic sequence \| conversing \| dark \| leading lady \| leading man \| love scene \| major 7th chord \| octatonic \| somber
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)	Liberty Day	0:39:41 - Old timer talks to worker	boxer \| boxing ring \| celebrating \| contrasting double period \| conversing \| crowd \| fanfare \| leading man \| manager \| montage \| parallel double period \| source music \| upbeat
City for Conquest (1940)	Tone Poem A	0:42:10 - Eddie plays the piano	9th chord \| 11th chord \| 13th chord \| advance plot \| boxer \| brother \| common-chord modulation \| composer \| conversing \| crowd \| deceptive resolution \| leading man \| musician \| on-screen music \| party \| piano \| playing \| romantic \| source music \| transcribed by ear
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)	In the Evening	0:45:08 - Peggy in her dressing room	arguing \| boxer \| conflict \| conversing \| crying \| dancer \| dressing room \| leading lady \| leading man \| parallel double period \| punching \| source music \| upbeat
City for Conquest (1940)	Tone Poem A (Romantic)	0:47:41 - Peggy talks with Danny	boxer \| conversing \| dancer \| leading lady \| leading man \| love scene \| street \| tense
City for Conquest (1940)	Tone Poem A (Walking)	0:48:32 - Danny and Peggy walk down the street	11th chord \| boxer \| chromatic sequence \| conversing \| dancer \| leading lady \| leading man \| love scene \| romantic \| street \| walking
City for Conquest (1940)	Adios Muchachos	0:50:27 - Peggy arrives home	advance plot \| arriving \| cheerful \| conversing \| dancer \| leading lady \| parallel double period \| record player \| room \| source music \| tango
City for Conquest (1940)	Adios Muchachos	0:51:19 - Peggy talks with Murray	advance plot \| arriving \| cheerful \| conversing \| dancer \| leading lady \| parallel double period \| record player \| room \| source music \| tango
City for Conquest (1940)	Tone Poem A (Farewell)	0:55:31 - Peggy bids farewell to Danny	9th chord \| appoggiatura \| augmented sixth chord \| conversing \| crying \| embracing \| enharmonic respelling \| farewell scene \| leading lady \| leading man \| leaving \| mode mixture \| plagal cadence \| romantic \| sentimental \| street
City for Conquest (1940)	Garden of the Moon	1:00:04 - Backstage at the Club Madrid	AABA structure \| advance plot \| conversing \| dancer \| dressing room \| leading lady \| preparing \| source music \| upbeat
City for Conquest (1940)	Miramar	1:00:44 - Danny prepares for a fight	advance plot \| boxer \| conversing \| leading man \| locker room \| manager \| march \| parallel double period \| preparing \| source music \| upbeat
City for Conquest (1940)	Piggy Wiggy Woo	1:10:52 - Peggy cries	advance plot \| conversing \| crying \| dancer \| dressing room \| leading lady \| source music \| upbeat
City for Conquest (1940)	Googi (The Car)	1:13:38 - Googi in the car	car \| car \| conversing \| criminal \| diminished 7th chord \| dissonant bass \| driving \| gangster \| manager \| murder scene \| ominous \| tense \| trill
City for Conquest (1940)	Googi (Dead Man)	1:15:09 - They pull out the dead man	car \| chromatic scale \| conversing \| corpse \| criminal \| disposing \| dock \| gangster \| manager \| murderer \| murder scene \| ominous \| ostinato \| tense \| whole-tone chord \| working
City for Conquest (1940)	Googi (Molto Mysterioso e Screwyoso)	1:15:19 - Cobb sees the gun	car \| chromatic parallelism \| conversing \| corpse \| criminal \| disposing \| dissonant bass \| dock \| fragmentation \| gangster \| half-diminished 7th chord \| manager \| murderer \| murder scene \| ominous \| ostinato \| tense \| tritone oscillation \| working
City for Conquest (1940)	Powder My Back	1:23:34 - A burlesque marquee	advance plot \| conversing \| dancer \| dancing \| leading lady \| manager \| on-screen music \| phrase extension \| singer \| singing \| source music \| stage \| upbeat
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 (Dolce)	1:28:33 - Gladys talks to Peggy	9th chord \| 11th chord \| advance plot \| blue note \| chromatic sequence \| comforting \| common-tone diminished 7th \| conversing \| crying \| friend \| gentle \| leading lady \| mode mixture \| newspaper \| parallel fifths \| room \| sweet
City for Conquest (1940)	Tone Poem A (Beoootiful)	1:40:11 - Danny working at his newsstand	9th chord \| 11th chord \| blur \| conversing \| dissonant bass \| ethereal \| gentle \| into focus \| leading lady \| leading man \| love scene \| reunion \| reuniting \| shimmery \| squinting \| street \| tone cluster \| victim \| whole-tone chord
City for Conquest (1940)	Tone Poem A (Chorus)	1:41:14 - Danny talks with Peggy	9th chord \| 11th chord \| 13th chord \| chromatic sequence \| conversing \| crying \| ethereal \| foreign key modulation \| gentle \| leading lady \| leading man \| love interest \| love scene \| optimistic \| reunion \| reuniting \| romantic \| shimmery \| street \| suspension \| victim
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
City for Conquest (1940)	Sidewalks of New York (Snake)	1:43:16 - Old timer talks to himself	64 chord \| conversing \| gentle \| old man \| resolution \| romantic \| soliloquy
City for Conquest (1940)	Sidewalks of New York (The End)	1:43:24 - The End	64 chord \| bold \| conversing \| end title sequence \| grand \| old man \| plagal cadence \| soliloquy \| The End
Crime School (1938)	Underscoring (Mysterious)	0:09:53 - Frankie sneaks in the house	concern \| conversing \| dissonant bass \| establish character \| heroine \| leading lady \| mysterious \| pedal tone \| room \| sister \| sneaking \| sneaky \| teenager \| underscoring \| whole-tone chord \| whole-tone scale
Crime School (1938)	Sue (Quasi Blues)	0:11:08 - Sue talks to Frankie	bluesy \| chromatic parallelism \| common-chord modulation \| conversing \| crying \| establish character \| foreign key modulation \| Gershwinesque \| heroine \| leading lady \| room \| somber
Crime School (1938)	Underscoring (Mysterious)	0:24:12 - Gang settles into their room	advance plot \| conversing \| dissonant bass \| gang \| mysterious \| pedal tone \| reformatory \| teenager \| underscoring
Crime School (1938)	Underscoring (Gentle)	0:35:46 - Mark visits Frankie in the sick room	advance plot \| caring \| conversing \| dark \| hospital \| leading man \| reformatory \| teenager \| tender \| underscoring \| warden
Crime School (1938)	The Warden (Punishment)	0:36:22 - Warden defends his punishment	advance plot \| chromatic wedge \| conversing \| dark \| evil \| hospital \| leading man \| reformatory \| teenager \| warden \| whole-tone chord
Crime School (1938)	Underscoring (Subtle)	0:37:09 - Transition to cafeteria	advance plot \| conversing \| hospital \| leading man \| reformatory \| somber \| teenager \| underscoring \| warden
Crime School (1938)	Underscoring (Gentle)	0:49:10 - Mark comes into the room	comedy \| conversing \| gang \| gentle \| hero \| leading man \| paint \| parallelism \| reformatory \| teenager \| underscoring
Crime School (1938)	Spots	0:49:20 - Squirt has spots on his pajamas	9th chord \| chromatic parallelism \| comedy \| comical \| conversing \| gang \| hero \| leading man \| mickey-mousing \| paint \| reformatory \| spots \| teenager \| tense
Crime School (1938)	Sue (Hospital)	0:57:38 - The doctor takes care of Squirt in the hospital	advance plot \| calm \| conversing \| doctor \| hero \| hospital \| leading man \| nurse \| peaceful \| reformatory \| teenager \| treating
Crime School (1938)	Sue (Troubled)	1:07:37 - Frankie is troubled about his sister	advance plot \| chromatic parallelism \| chromatic sequence \| conversing \| gang \| reformatory \| teenager \| thinking \| troubled \| worried
Crime School (1938)	Sue (Grazioso)	1:13:10 - Sue and Mark talk in the kitchen	cheerful \| conflict \| conversing \| cooking \| happy \| hero \| heroine \| kitchen \| leading lady \| leading man \| mode mixture \| secondary dominant
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
Crime School (1938)	Resolution	1:22:31 - Sue enters the room	42 chord \| antagonist \| calm \| chromatic parallelism \| chromatic scale \| comical \| conversing \| hero \| leading man \| reformatory \| resolution \| resolution \| tense \| tritone
Crime School (1938)	Sue (Allegretto)	1:24:18 - Boys talk about Sue	9th chord \| chromatic parallelism \| conversing \| courthouse \| fragmentation \| gang \| optimistic \| resolution \| sequence \| teenager
They Made Me a Criminal (1939)	Saving Myself For You (I've Been)	0:08:02 - Johnnie at a party	AABA structure \| attacking \| conversing \| drinking \| fighting \| floozy \| jaunty \| leading man \| murder \| murdering \| murder scene \| partying \| radio \| room \| source music \| violence
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)	The Fugitive (Apology)	0:48:31 - Johnnie and Peggy talk	9th chord \| conversing \| hero \| leading lady \| leading man \| love scene \| romantic \| room \| secondary dominant \| tender
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)	Marche Funebre	1:02:45 - Boys look at poster of a boxer	64 chord \| advance plot \| Chopin \| classical music \| conversing \| dark \| death \| poster \| room \| teenager
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)	World's Record	1:13:45 - Boxers prepare for the fight	arena \| boxer \| cheerful \| conversing \| excited \| hero \| leading man \| march \| parallel double period \| source music \| sport scene
Deep Valley (1947)	Squirrel	0:09:26 - Libby feeds a squirrel	cheerful \| conversing \| establish character \| forest \| leading lady \| squirrel \| upbeat
Deep Valley (1947)	Homestead (Sordini)	0:16:14 - Ellie talks with Libby	advance plot \| calm \| conversing \| delicate \| leading lady \| memory \| mother \| past \| room \| sentimental
Deep Valley (1947)	Underscoring (Tense)	0:17:06 - Ellie talks with Libby	advance plot \| conversing \| dark \| leading lady \| mother \| room \| stinger \| tense \| underscoring
Deep Valley (1947)	Homestead (Triste)	0:17:34 - Ellie talks with Libby	advance plot \| conversing \| dark \| leading lady \| mother \| room \| tense
Deep Valley (1947)	Underscoring (Somber)	0:17:55 - Libby talks with Ellie	advance plot \| conversing \| dark \| leading lady \| mother \| room \| somber \| underscoring
Deep Valley (1947)	Homestead (Somber)	0:18:26 - Ellie talks with Libby	advance plot \| conversing \| dark \| leading lady \| mother \| room \| somber
Deep Valley (1947)	Joe (Running)	0:19:24 - Libby arrives at the farm	conversing \| leading lady \| lovers meet \| running \| rushed \| street \| upbeat
Deep Valley (1947)	Barry (Misterioso)	0:28:31 - Libby talks with Jeff	advance plot \| boss \| conversing \| dark \| leading lady \| leading man \| mysterious \| room \| somber
Deep Valley (1947)	Homestead (Morendo)	0:29:17 - Jeff talks with Libby	advance plot \| boss \| conversing \| leading lady \| leading man \| room \| somber
Deep Valley (1947)	Libby 3	0:29:40 - Close-up on Libby	advance plot \| boss \| conversing \| dance-like \| hesitant \| leading lady \| leading man \| room
Deep Valley (1947)	Libby (Dark)	0:33:17 - Libby walks to her mother's room	conflict \| conversing \| dark \| leading lady \| lightning \| mother \| room \| somber \| storm \| thunder \| walking
Deep Valley (1947)	Love Theme (Full)	0:46:30 - Barry and Libby by the lake	calm \| conversing \| convict \| falling in love scene \| forest \| fugitive \| laughing \| leading lady \| leading man \| working
Deep Valley (1947)	Love Theme (Memory)	0:46:53 - Barry and Libby by the lake	conversing \| convict \| falling in love scene \| forest \| fugitive \| leading lady \| leading man \| memory \| uneasy
Deep Valley (1947)	Breeze	0:48:03 - Libby talks to Barry	conversing \| convict \| ethereal \| falling in love scene \| forest \| fugitive \| leading lady \| leading man \| listening \| magical \| wind \| wind effect
Deep Valley (1947)	Breeze + Love Theme	0:48:14 - Barry talks to Libby	combination of themes \| conversing \| convict \| ethereal \| falling in love scene \| forest \| fugitive \| leading lady \| leading man \| listening \| magical \| wind \| wind effect
Deep Valley (1947)	Deep Valley (Misterioso)	0:54:57 - Libby starts to leave	cabin \| calm \| conversing \| convict \| dog \| fugitive \| leading lady \| leading man \| love interest \| love scene \| planning
Deep Valley (1947)	Libby 3	1:03:21 - Ellie talks with LIbby	advance plot \| conversing \| hesitant \| leading lady \| lying \| mother \| room
Deep Valley (1947)	Libby (Stormy)	1:03:40 - Ellie talks with Libby	advance plot \| conversing \| hesitant \| leading lady \| lying \| mother \| room \| tense
Deep Valley (1947)	Homestead (Lento)	1:07:51 - Ellie and Cliff play cards	advance plot \| calm \| cards \| conversing \| father \| leading lady \| mother \| playing \| room
Deep Valley (1947)	Homestead (Morendo)	1:08:13 - Libby talks with her parents	advance plot \| conversing \| father \| leading lady \| mother \| room \| somber
Deep Valley (1947)	Libby 3	1:08:56 - Jeff talks with Libby	advance plot \| conversing \| hesitant \| leading lady \| leading man \| room
Deep Valley (1947)	Libby (Stormy)	1:09:20 - Jeff talks with Libby	advance plot \| conversing \| hesitant \| leading lady \| leading man \| room \| tense
Deep Valley (1947)	Underscoring (Tense)	1:09:40 - Jeff talks with Libby	advance plot \| conversing \| leading lady \| leading man \| room \| stinger \| tense \| underscoring
Deep Valley (1947)	Barry (Tense 2)	1:15:38 - Barry drops his gun	advance plot \| barn \| conversing \| convict \| fugitive \| leading lady \| leading man \| love interest \| tense
Deep Valley (1947)	Deep Valley (Sostenuto)	1:16:37 - Libby talks with Barry	advance plot \| barn \| calm \| conversing \| convict \| fugitive \| hopeful \| leading lady \| leading man \| love interest
Deep Valley (1947)	Underscoring (Tense)	1:17:04 - Barry picks up the gun	advance plot \| barn \| conversing \| convict \| fugitive \| leading lady \| leading man \| love interest \| tense \| underscoring
Deep Valley (1947)	Deep Valley (Dolce)	1:17:25 - Barry talks with Libby	advance plot \| barn \| conversing \| convict \| fugitive \| gentle \| leading lady \| leading man \| love interest \| tender
Deep Valley (1947)	Joe (Running)	1:23:58 - Barry talks to Libby	advance plot \| barn \| calm \| conversing \| convict \| fugitive \| leading lady \| leading man \| love interest
Deep Valley (1947)	Libby 3 (Tense)	1:28:28 - Libby comes down the ladder	barn \| conflict \| conversing \| convict \| father \| fugitive \| leading lady \| leading man \| love interest \| tense \| uneasy \| walking
Deep Valley (1947)	Barry (Drunk)	1:31:10 - Barry talks to Libby	advance plot \| anxious \| anxious effect \| barn \| conversing \| convict \| fugitive \| leading lady \| leading man \| love interest \| worried \| worrying
Deep Valley (1947)	Underscoring (Tense)	1:33:08 - The Sheriff talks with Ellie	advance plot \| conversing \| evidence \| mother \| ominous \| porch \| sheriff \| stinger \| tense
Deep Valley (1947)	Libby 3 + Law	1:44:32 - Jeff talks to Libby	calm \| combination of themes \| conversing \| dog \| forest \| leading lady \| leading man \| peaceful \| resolution
Dust Be My Destiny (1939)	Mysterioso	0:02:00 - Warden talks to Joe	conversing \| drone \| establish character \| leading man \| mysterious \| parallelism \| polytonality \| prison \| prisoner \| warden
Dust Be My Destiny (1939)	Dust Be My Destiny (Injustice)	0:02:29 - Joe reacts to the warden	9th chord \| 64 chord \| agitated \| chromatic parallelism \| conversing \| dramatic \| establish character \| injustice \| leading man \| prison \| prisoner \| warden
Dust Be My Destiny (1939)	Charlie	0:10:58 - Charlie talks to inmates	conversing \| dark \| drunk \| establish character \| leading man \| polychord \| prison \| prisoner \| warden
Dust Be My Destiny (1939)	Underscoring (Humorous)	0:13:13 - Joe talks to the cow	barn \| chromatic parallelism \| comical \| conversing \| cow \| diminished triad \| dissonant bass \| leading man \| lovers meet \| prisoner \| underscoring
Flamingo Road (1949)	If I Could Be With You	0:07:53 - Field hears music playing	carny \| conversing \| establish character \| leading lady \| leading man \| on-screen music \| parallel period \| police \| radio \| room \| sentimental \| singer \| singing \| source music
Flamingo Road (1949)	Lane (Moderato Grazioso)	NIF - not in film	conversing \| cut from film \| cut from film \| leading lady \| leading man \| lovers meet \| picardy third \| police \| room
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)	Lane (Poco Con Moto)	NIF - not in film	conversing \| cut from film \| cut from film \| deceptive resolution \| leading lady \| leading man \| lovers meet \| parallelism \| police \| room
Flamingo Road (1949)	Arabian Riff (Not in Film)	NIF - not in film	conversing \| cut from film \| cut from film \| deceptive resolution \| leading lady \| leading man \| lovers meet \| pedal tone \| police \| room \| source to score
Flamingo Road (1949)	Underscoring (Lyrical)	NIF - not in film	chromatic parallelism \| conversing \| cut from film \| cut from film \| leading lady \| leading man \| lovers meet \| police \| room \| underscoring
Flamingo Road (1949)	Lane	NIF - not in film	conversing \| cut from film \| cut from film \| leading lady \| leading man \| lovers meet \| mode mixture \| police \| room
Flamingo Road (1949)	If I Could Be With You (Timidly)	NIF - not in film	chromatic parallelism \| conversing \| cut from film \| cut from film \| leading lady \| leading man \| lovers meet \| police \| room \| source to score
Flamingo Road (1949)	Lane (Not in Film)	NIF - not in film	conversing \| cut from film \| cut from film \| foreign key modulation \| leading lady \| leading man \| lovers meet \| mode mixture \| police \| room
Flamingo Road (1949)	Put 'Em in a Box, Tie 'Em with a Ribbon, and Throw 'Em in the Deep Blue Sea	0:12:05 - The Eagle Cafe	AABA structure \| advance plot \| conversing \| leading lady \| leading man \| police \| popular music \| restaurant \| source music \| upbeat
Flamingo Road (1949)	Can't We Be Friends	0:13:38 - Lane and Field at the cafe	AABA structure \| advance plot \| conversing \| leading lady \| leading man \| police \| popular music \| restaurant \| sentimental \| source music
Flamingo Road (1949)	Lane (Sentimentale)	NIF - not in film	9th chord \| chromatic parallelism \| conversing \| cut from film \| cut from film \| falling in love scene \| leading lady \| leading man \| police
Flamingo Road (1949)	Lane (Molto Expressivo)	NIF - not in film	11th chord \| conversing \| cut from film \| cut from film \| falling in love scene \| leading lady \| leading man \| police
Flamingo Road (1949)	If I Could Be With You (Dolce)	0:17:22 - Lane and Field talk	conversing \| falling in love scene \| leading lady \| leading man \| love interest \| pedal tone \| police \| porch \| sentimental \| source to score
Flamingo Road (1949)	Goodnight	0:17:45 - Lane and Field talk	blue note \| conversing \| falling in love scene \| leading lady \| leading man \| love interest \| peaceful \| pedal tone \| police \| porch
Flamingo Road (1949)	Tranquillo	0:29:07 - Lane and Field talk at the lakeside	appoggiatura \| conversing \| lake \| leading lady \| leading man \| love interest \| love scene \| romance \| yearning
Flamingo Road (1949)	Titus 2	0:33:41 - Field sits down	breakup \| café \| conversing \| dark \| leading lady \| leading man \| mysterious \| self-borrowing \| waitress
Flamingo Road (1949)	Lane (Not in Film 2)	NIF - not in film	9th chord \| advance plot \| chromatic parallelism \| conversing \| cut from film \| cut from film \| leading lady \| newspaper editor \| office \| whole-tone chord
Flamingo Road (1949)	Titus 2 (Not in Film)	NIF - not in film	advance plot \| chromatic parallelism \| conversing \| cut from film \| cut from film \| leading lady \| newspaper editor \| office \| self-borrowing
Flamingo Road (1949)	Titus 2 (Pete Lies)	0:40:11 - Field asks why Lane was fired	advance plot \| café \| conversing \| employer \| leading man \| mysterious \| politician \| self-borrowing
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 \| conversing \| coworker \| deceptive resolution \| diminished 7th chord \| leading man \| linear chromaticism \| politician \| reverse picardy \| sigh gesture \| somber
Flamingo Road (1949)	Lane (Lonely)	0:41:27 - Lane talks to a fellow prisoner	advance plot \| conversing \| foreign key modulation \| leading lady \| lonely \| prison \| prisoner \| reverse picardy \| somber
Flamingo Road (1949)	Lane (Grazioso)	0:41:46 - Lane talks to a fellow prisoner	advance plot \| conversing \| foreign key modulation \| hopeful \| leading lady \| prison \| prisoner \| upbeat
Flamingo Road (1949)	Lane (Hopeful)	0:41:58 - Lane talks to a fellow prisoner	advance plot \| conversing \| deceptive resolution \| gentle \| hopeful \| leading lady \| pedal tone \| prison \| prisoner
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)	Lane (Fragmented)	0:42:21 - Lane talks to a fellow prisoner	advance plot \| conversing \| fragmentation \| leading lady \| prison \| prisoner \| somber
Flamingo Road (1949)	You Must Have Been a Beautiful Baby	0:43:13 - A woman sings and plays the piano	advance plot \| conversing \| employer \| leading lady \| on-screen music \| room \| sentimental \| singer \| singing \| source music
Flamingo Road (1949)	The Blue Room	0:44:58 - Lane dresses for work	AABA structure \| advance plot \| club \| conversing \| leading lady \| politician \| sheriff \| source music \| upbeat \| waitress
Flamingo Road (1949)	Jalousie	0:46:06 - Woman dances	club \| conversing \| dance scene \| dancing \| employer \| leading lady \| on-screen music \| playing \| sheriff \| source music \| upbeat \| waitress
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)	Lane (Chromatic)	0:50:24 - Lane ties Dan's tie	9th chord \| chromatic parallelism \| conversing \| dark \| gentle \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room
Flamingo Road (1949)	Titus 2 (Agitato)	0:50:41 - Lane ties Dan's tie	chromatic parallelism \| conversing \| leading lady \| leading man \| love interest \| lovers meet \| mysterious \| politician \| room \| self-borrowing
Flamingo Road (1949)	Lane	0:50:59 - Lane gives Dan his money	conversing \| delicate \| gentle \| leading lady \| leading man \| love interest \| lovers meet \| mode mixture \| pleasant \| politician \| room
Flamingo Road (1949)	If I Could Be With You (Misterioso)	0:51:15 - Lane asks Dan about Field	chromatic parallelism \| conversing \| diminished 7th chord \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room \| uneasy
Flamingo Road (1949)	Molto Grazioso	0:51:40 - Dan notices Lane	conversing \| delicate \| flirting \| 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)	Through a Thousand Dreams	0:56:41 - The Olympic City hotel	club \| conversing \| dance scene \| dancing \| dining \| leading lady \| leading man \| love interest \| on-screen music \| politician \| sentimental \| sheriff \| source music \| wife
Flamingo Road (1949)	Don't Take Your Love From Me	0:58:50 - Dan and Lane sit at a table	ABAC structure \| club \| conversing \| dance scene \| leading lady \| leading man \| love interest \| on-screen music \| politician \| sentimental \| sheriff \| source music \| wife
Flamingo Road (1949)	If I Could Be With You	0:59:52 - A woman sings with the dance band	club \| conversing \| dance scene \| dancing \| dining \| leading lady \| leading man \| love interest \| on-screen music \| politician \| sentimental \| sheriff \| singer \| singing \| source music \| wife
Flamingo Road (1949)	I Guess I'll Have to Change My Plan	1:01:40 - Lane and Dan talk at their table	club \| conversing \| dance scene \| leading lady \| leading man \| love interest \| politician \| sentimental \| sheriff \| source music \| wife
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)	Flamingo Road (Tenderly)	1:03:58 - Dan and Lane have tea	advance plot \| conversing \| gentle \| husband \| leading lady \| leading man \| mode mixture \| room \| self-borrowing \| serving \| tea \| wife
Flamingo Road (1949)	Flamingo Road (Tense)	1:04:16 - Titus enters the room	advance plot \| combination of themes \| conversing \| leading lady \| leading man \| politician \| room \| self-borrowing \| sheriff \| tense \| whole-tone scale
Flamingo Road (1949)	Flamingo Road (Misterioso)	1:04:33 - Titus talks to Dan	advance plot \| combination of themes \| conversing \| distortion \| fragmentation \| leading lady \| leading man \| mysterious \| politician \| room \| self-borrowing \| sequence \| sheriff
Flamingo Road (1949)	Titus	1:11:01 - Annabelle leaves Titus	advance plot \| conversing \| dark \| ominous \| porch \| self-borrowing \| sheriff \| wife
Flamingo Road (1949)	Lane (Tragic)	1:18:10 - Lane talks to Dan about Titus	angry \| anxious \| conflict \| conversing \| husband \| leading lady \| leading man \| ostinato \| politician \| room \| tragic \| wife
Flamingo Road (1949)	Underscoring (Somber)	1:22:33 - Field stumbles through the house	chromatic parallelism \| conversing \| death scene \| drunk \| drunk \| leading lady \| leading man \| love interest \| room \| somber \| underscoring
Flamingo Road (1949)	Titus	1:28:52 - Lane says Titus's name	advance plot \| conversing \| dark \| friend \| leading lady \| mob \| ominous \| room \| self-borrowing \| zoom in
Hell on Frisco Bay (1955)	Underscoring (Dark)	0:02:12 - Steve mentions a divorce and leaves	conductor score \| conversing \| dark \| establish character \| friend \| investigator \| leading man \| street \| underscoring
Hell on Frisco Bay (1955)	Amato	0:13:04 - Steve talks to man	advance plot \| brash \| conductor score \| conversing \| dark \| investigator \| leading man \| ominous \| porch
Hell on Frisco Bay (1955)	Spring Song	0:14:56 - Amato talks to Mario	antagonist \| conductor score \| conversing \| dark \| establish character \| gangster \| menacing \| office \| tritone
Hell on Frisco Bay (1955)	Underscoring (Mysterious)	0:15:33 - Amato talks to Lye	antagonist \| conductor score \| conversing \| establish character \| gangster \| mysterious \| office \| underscoring
Hell on Frisco Bay (1955)	Amato	0:15:44 - Amato talks to Lye	antagonist \| conductor score \| conversing \| establish character \| gangster \| harsh \| office
Hell on Frisco Bay (1955)	Lye	0:16:52 - Amato talks to Lye	antagonist \| conductor score \| conversing \| establish character \| gangster \| gentle \| office
Hell on Frisco Bay (1955)	Menace	0:17:13 - Gangsters talk	antagonist \| conductor score \| conversing \| establish character \| gangster \| office \| ominous
Hell on Frisco Bay (1955)	Amato	0:17:47 - Gangsters talk	antagonist \| conductor score \| conversing \| establish character \| gangster \| harsh \| office
Hell on Frisco Bay (1955)	Underscoring (Dark)	0:19:33 - Amato slaps old man	antagonist \| conductor score \| conversing \| dark \| establish character \| gangster \| office \| slapping \| stinger \| underscoring
Hell on Frisco Bay (1955)	Menace	0:20:30 - Amato talks to Lye	antagonist \| conductor score \| conversing \| dark \| establish character \| gangster \| office
Hell on Frisco Bay (1955)	Amato	0:20:40 - Amato leaves	antagonist \| conductor score \| conversing \| establish character \| gangster \| office \| ominous
Hell on Frisco Bay (1955)	Kay	0:20:48 - Lye goes to see Kay	antagonist \| conductor score \| conversing \| establish character \| gangster \| kissing \| love interest \| lyrical \| romantic \| street
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:23:26 - Marcia talks to Steve	club \| conductor score \| conversing \| establish character \| investigator \| leading lady \| leading man \| on-screen music \| pianist \| playing \| popular music \| sentimental \| source music \| source score
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:25:27 - Marcia and Steve talk	advance plot \| agitated \| conductor score \| conversing \| leading lady \| leading man \| room
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:25:56 - Marcia and Steve talk	advance plot \| conductor score \| conversing \| leading lady \| leading man \| room \| somber
Hell on Frisco Bay (1955)	Underscoring (Tense)	0:28:03 - The gangsters leave	action scene \| conductor score \| conversing \| gangster \| leading lady \| leading man \| leaving \| room \| tense \| underscoring
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:28:43 - Marcia talks to Steve	action scene \| conductor score \| conversing \| leading lady \| leading man \| leaving \| room \| somber
Hell on Frisco Bay (1955)	Menace 2	0:28:55 - Marcia reacts to Steve's comment	action scene \| conductor score \| conversing \| leading lady \| leading man \| leaving \| room \| upset
Hell on Frisco Bay (1955)	Menace	0:31:38 - Steve talks with the detective	advance plot \| conductor score \| conversing \| dark \| detective \| investigator \| leading man \| ominous \| room
Hell on Frisco Bay (1955)	Menace 2	0:32:00 - Steve talks with the detective	advance plot \| conductor score \| conversing \| dark \| detective \| investigator \| leading man \| ominous \| room
Hell on Frisco Bay (1955)	Adoramus te Christe	0:38:32 - A funeral	church \| conversing \| friend \| funeral \| investigator \| leading man \| somber \| source music
Hell on Frisco Bay (1955)	Put 'Em in a Box, Tie 'Em with a Ribbon, and Throw 'Em in the Deep Blue Sea	0:40:24 - A dance hall	advance plot \| club \| conversing \| dancer \| dancing \| investigator \| jazz \| jazz band \| leading man \| on screen music \| source music \| upbeat
Hell on Frisco Bay (1955)	How Many Hearts Have You Broken	0:40:22 - A dance hall	advance plot \| club \| conversing \| drowning \| fighting \| gangster \| interrogating \| investigator \| jazz \| leading man \| mellow \| source music
Hell on Frisco Bay (1955)	Anna	0:46:05 - Anna talks with Amato	antagonist \| conductor score \| conversing \| establish character \| gangster \| gentle \| leading man \| room \| sentimental \| warning \| wife \| worrying
Hell on Frisco Bay (1955)	Amato	0:47:01 - Amato talks with Lye	advance plot \| antagonist \| brash \| conductor score \| conversing \| gangster \| harsh \| leading man \| room
Hell on Frisco Bay (1955)	Face twitching	0:47:44 - Amato talks with Lye	advance plot \| antagonist \| conductor score \| conversing \| gangster \| leading man \| room \| uneasy
Hell on Frisco Bay (1955)	Steve	0:52:23 - Steve arrives	advance plot \| conductor score \| conversing \| friend \| gangster \| investigator \| leading man \| neutral \| street
Hell on Frisco Bay (1955)	Menace	0:53:06 - Steve talks with Dan	advance plot \| conductor score \| conversing \| dark \| gangster \| investigator \| leading man \| sinister \| street
Hell on Frisco Bay (1955)	Steve	1:01:01 - Steve talks to Marcia	conductor score \| conversing \| entering \| gentle \| leading lady \| leading man \| love scene \| room
Hell on Frisco Bay (1955)	Underscoring (Subtle)	1:01:30 - Marcia talks to Steve	conductor score \| conversing \| gentle \| leading lady \| leading man \| love scene \| room \| underscoring
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:01:41 - Steve talks to Marcia	conductor score \| conversing \| leading lady \| leading man \| love scene \| room \| tense \| underscoring
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:01:53 - Marcia talks to Steve	conductor score \| conversing \| leading lady \| leading man \| love scene \| room \| somber
Hell on Frisco Bay (1955)	Menace	1:02:28 - Steve talks to Marcia	conductor score \| conversing \| dark \| leading lady \| leading man \| love scene \| room
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:02:45 - Marcia talks to Steve	conductor score \| conversing \| leading lady \| leading man \| love scene \| romantic \| room \| tender
Hell on Frisco Bay (1955)	Pleading	1:03:30 - Marcia talks to Steve	conductor score \| conversing \| leading lady \| leading man \| love scene \| room \| tender
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:03:46 - Marcia talks to Steve	conductor score \| conversing \| dark \| leading lady \| leading man \| love scene \| room \| tender
Hell on Frisco Bay (1955)	Anna	1:04:54 - Anna talks to Amato	advance plot \| antagonist \| conductor score \| conversing \| dark \| gangster \| gentle \| leading man \| room \| wife
Hell on Frisco Bay (1955)	Lye	1:09:00 - Amato calls Lye	advance plot \| antagonist \| calling \| conductor score \| conversing \| gangster \| leading man \| stinger \| street \| uneasy
Hell on Frisco Bay (1955)	It Can't Be Wrong	1:09:26 - Amato talks to Lye	advance plot \| antagonist \| calm \| conversing \| gangster \| leading man \| room \| source music
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:17:47 - Marcia and Steve talk	advance plot \| calm \| club \| conductor score \| conversing \| leading lady \| leading man \| on-screen music \| popular music \| source music \| source score
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:18:13 - Marcia and Steve talk	calm \| club \| conductor score \| conversing \| leading lady \| leading man \| love scene \| source to score
Hell on Frisco Bay (1955)	Underscoring (Dark)	1:19:09 - Marcia and Steve talk	club \| conductor score \| conversing \| dark \| leading lady \| leading man \| love scene \| ominous \| underscoring
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:19:28 - Marcia talks to Steve	club \| conductor score \| conversing \| gentle \| grand \| leading lady \| leading man \| love scene
Hell on Frisco Bay (1955)	Anna	1:20:28 - Anna mourns Mario's death	conversing \| crying \| dark \| funeral \| funeral \| gangster \| leading man \| wife
Hell on Frisco Bay (1955)	Anna	1:24:31 - Amato calls detective	advance plot \| conversing \| gangster \| leading man \| mysterious \| religious \| religious \| room
Hell on Frisco Bay (1955)	Underscoring (Tense)	1:29:55 - Marcia talks to Kay	conversing \| leading lady \| love interest \| room \| tense \| turning point \| witness
Hell on Frisco Bay (1955)	Underscoring (Dramatic)	1:30:27 - Steve tells Anna that Mario was murdered	advance plot \| conversing \| dark \| investigator \| leading man \| murder \| ominous \| priest \| room \| shock \| wife
Hell on Frisco Bay (1955)	Anna	1:30:35 - Anna tells Steve where to find Amato	advance plot \| betraying \| conversing \| dark \| investigator \| leading man \| ominous \| priest \| room \| somber \| wife
Hell on Frisco Bay (1955)	Menace	1:31:32 - Amato picks up his gun	action scene \| conversing \| dramatic \| gangster \| leading man \| packing \| room
Hell on Frisco Bay (1955)	Lye	1:32:01 - Lye confronts Amato	action scene \| conversing \| gangster \| gun \| leading man \| lying \| room \| uneasy
Hell on Frisco Bay (1955)	Underscoring (Tense)	1:35:05 - The police arrive	action scene \| arriving \| conversing \| dock \| leading lady \| police \| tense \| underscoring
Her Kind of Man (1946)	You Do Something to Me	0:02:52 - A night club	AABA structure \| celebrating \| club \| conversing \| dancing \| establish character \| flashback \| mickey-mousing \| on-screen music \| playing \| popular music \| ripple effect \| source music \| upbeat \| working
Her Kind of Man (1946)	April in Paris	0:12:48 - Steve enters Georgia's dressing room	AABA structure \| conversing \| establish character \| gambler \| kissing \| leading lady \| leading man \| love interest \| love scene \| popular music \| room \| sentimental \| singer \| source music
Her Kind of Man (1946)	Underscoring (Dark [Waxman])	0:17:02 - Steve fights Felix	action scene \| arguing \| conversing \| criminal \| dark \| death \| dramatic \| gambler \| gun \| gunshot \| leading lady \| leading man \| love interest \| owner \| punching \| room \| self-defense \| shooting \| singer \| stinger \| tense \| underscoring
Her Kind of Man (1946)	Underscoring (Dark [Waxman])	0:18:32 - Candy enters	action scene \| conversing \| criminal \| dark \| gambler \| henchman \| leading man \| owner \| room \| stinger \| tense \| underscoring
Her Kind of Man (1946)	Gambling	0:18:58 - Miami	beach \| casino \| conversing \| croupier \| crowd \| excited \| gambler \| gambling \| gentle \| grand \| jockey \| leading man \| montage \| montage \| racetrack \| racing \| riding
Her Kind of Man (1946)	Gay White Way	0:19:54 - Georgia looks at her jewelry	advance plot \| cheery \| conversing \| crew \| dancer \| jewelry \| leading lady \| love interest \| manager \| on-screen music \| piano \| source music \| stage
Her Kind of Man (1946)	Just Make Believe	0:20:58 - Don talks to a man	advance plot \| conversing \| gentle \| leading man \| manager \| on-screen music \| piano \| reporter \| source music \| stage
Her Kind of Man (1946)	Speak to Me of Love	0:28:06 - City skyline at night	balcony \| conversing \| leading lady \| leading man \| love interest \| love scene \| on-screen music \| record player \| reporter \| romantic \| singing \| source music
Her Kind of Man (1946)	It Had to Be You	0:29:37 - Georgia and Don	balcony \| cheery \| conversing \| gambler \| leading lady \| leading man \| love interest \| love scene \| on-screen music \| reporter \| room \| source music \| whistling
Her Kind of Man (1946)	Bulletin Board	0:32:45 - Don leaves	bluesy \| conversing \| crew \| departing \| gambler \| leading man \| reporter \| room \| source and scoring overlap \| stage \| transition \| upbeat
Her Kind of Man (1946)	Gay White Way	0:33:01 - Don talks to some men	advance plot \| cheery \| conversing \| crew \| leading man \| manager \| on-screen music \| playing \| reporter \| source music \| theater
Her Kind of Man (1946)	Too Many Tears	0:41:11 - Saratoga Casino	AABA structure \| advance plot \| club \| conversing \| crowd \| gambler \| leading lady \| leading man \| love interest \| manager \| on-screen music \| source music \| upbeat
Her Kind of Man (1946)	My Darling	0:45:05 - Georgia and Don in a restaurant	conversing \| crowd \| leading lady \| leading man \| love interest \| love scene \| photograph \| photographer \| reporter \| restaurant \| romantic \| source music \| waiter
Her Kind of Man (1946)	Can't We Talk It Over	0:45:42 - Georgia and Don in a photograph	advance plot \| club \| conversing \| crowd \| dancing \| husband \| leading lady \| newspaper \| on-screen music \| photograph \| playing \| source music \| upbeat \| waiter
Her Kind of Man (1946)	Please Don't Talk About Me When I'm Gone	0:46:03 - Steve dances with a girl	AABA structure \| advance plot \| club \| conversing \| criminal \| dancing \| floozy \| gambler \| henchman \| leading man \| on-screen music \| source music \| upbeat
Her Kind of Man (1946)	It Had to Be You (Passionate)	0:47:50 - Georgia talks with Steve	arguing \| conversing \| dark \| gambler \| kissing \| leading lady \| leading man \| love interest \| love scene \| passionate \| romantic \| room \| sequence \| source to score \| turbulent
Her Kind of Man (1946)	Flashback	0:53:57 - A man sweeping	conversing \| flashback \| flashback \| leading man \| mysterious \| reporter \| reporting \| room \| storytelling \| tense \| waiter \| witness
Her Kind of Man (1946)	Love Is Sweeping the Country	0:58:02 - The crowd applauds	advance plot \| club \| conversing \| criminal \| crowd \| gambler \| henchman \| husband \| leading lady \| leading man \| on-screen music \| owner \| performing \| reporter \| singer \| sister \| source music \| upbeat \| wife
Her Kind of Man (1946)	Shanty in Old Shanty Town	0:59:36 - A cop waits	advance plot \| arguing \| club \| conversing \| leading man \| observing \| on-screen music \| police \| reporter \| source music \| upbeat \| waiting
Her Kind of Man (1946)	Underscoring (Mysterious)	1:05:01 - A dark door	advance plot \| arriving \| conversing \| husband \| leading man \| mysterious \| reporter \| room \| underscoring \| widow
Her Kind of Man (1946)	It Had to Be You (Secret Rendezvous)	1:09:09 - Georgia enters the warehouse	advance plot \| arriving \| conversing \| embracing \| familiar tune \| gambler \| kissing \| leading lady \| leading man \| murderer \| popular music \| romantic \| singer \| source to score \| uneasy \| warehouse \| wife
Her Kind of Man (1946)	It Had to Be You (Tense)	1:11:43 - Steve talks to Candy	advance plot \| conversing \| criminal \| familiar tune \| gambler \| henchman \| leading man \| murderer \| popular music \| tense \| warehouse
Her Kind of Man (1946)	It Had to Be You (Tempo di Foxtrot)	1:11:50 - Steve talks to Candy	advance plot \| common-tone diminished 7th \| conversing \| criminal \| familiar tune \| gambler \| henchman \| leading man \| murderer \| popular music \| remembered source music \| reminiscing \| upbeat \| warehouse
Her Kind of Man (1946)	Underscoring (Tense [Steiner])	1:12:07 - Steve talks to Candy	advance plot \| arguing \| chromatic parallelism \| conversing \| criminal \| gambler \| henchman \| leading man \| murderer \| pedal tone \| slapping \| tense \| underscoring \| warehouse
Her Kind of Man (1946)	Underscoring (Dark [Steiner])	1:12:32 - Candy reacts	9th chord \| advance plot \| arguing \| conversing \| criminal \| dark \| gambler \| half-diminished 7th chord \| henchman \| leading man \| murderer \| ominous \| ostinato \| underscoring \| warehouse
Her Kind of Man (1946)	Candy (Dark)	1:12:58 - Candy leaves	bar \| calling \| conversing \| criminal \| dark \| double-cross \| gambler \| henchman \| husband \| leading man \| murderer \| ominous \| pc set \| stinger \| telephone \| turning point \| warehouse
Her Kind of Man (1946)	Underscoring (Dramatic [Steiner])	1:14:17 - Cop looks at his watch	climax \| conversing \| criminal \| double-cross \| dramatic \| henchman \| leading lady \| leading man \| parallelism \| police \| reporter \| room \| singer \| stinger \| telephone \| tense \| underscoring \| watch \| wife
Her Kind of Man (1946)	Candy (Tragic)	1:15:28 - Candy in the shadows	chromatic scale \| climax \| conversing \| criminal \| double-cross \| gambler \| henchman \| hiding \| husband \| leading man \| murderer \| revenge \| sequence \| street \| tense \| tragic \| walking \| widow
Her Kind of Man (1946)	Candy (Mr. Candy)	1:16:09 - Candy bends over Steve's body	chromatic scale \| climax \| conversing \| criminal \| dark \| double-cross \| dying \| gambler \| heavy \| henchman \| leading man \| murder \| murderer \| revenge \| street
Her Kind of Man (1946)	It Had to Be You (Tragic)	1:17:10 - Georgia holds Steve	9th chord \| augmented triad \| climax \| comforting \| conversing \| corpse \| cradling \| criminal \| crying \| death \| dying \| familiar tune \| gambler \| henchman \| leading lady \| leading man \| murderer \| police \| popular music \| reporter \| singer \| street \| tense \| tragic \| wife
I Was a Communist for the FBI (1951)	Undercover Agent (Marcia Misterioso)	0:01:17 - Agent walks to the phone	agent \| airport \| arriving \| calling \| conversing \| dialing \| establish setting \| march \| mysterious \| ostinato \| polychord \| sequence \| telephone \| tense \| tone cluster \| tritone oscillation \| typewriter \| typing \| walking
I Was a Communist for the FBI (1951)	FBI	0:02:10 - FBI building	agent \| chromatic mediant \| conversing \| establish setting \| noble \| office \| oscillation \| secretary \| tense \| triadic transformation \| typing \| working
I Was a Communist for the FBI (1951)	FBI (Extended)	0:02:33 - Pittsburgh FBI office sign	agent \| chromatic mediant \| conversing \| establish setting \| noble \| office \| oscillation \| tense \| triadic transformation \| typing \| working
I Was a Communist for the FBI (1951)	Undercover Agent (Molto Misterioso)	0:02:57 - Mason gets his assignment	agent \| conversing \| establish setting \| map \| march \| mysterious \| office \| ostinato \| planning \| polychord \| sequence \| tense \| tone cluster \| tritone oscillation \| working
I Was a Communist for the FBI (1951)	I'm in a Jam with Baby	0:15:20 - Matt enters a bar	ABAB structure \| advance plot \| agent \| arriving \| bar \| calling \| conversing \| customer \| dialing \| jazz \| jukebox \| leading man \| source music \| sultry \| telephone \| undercover agent \| walking
I Was a Communist for the FBI (1951)	(I'm Gonna Wait) A Little Bit Longer (For That Never-on-Time Baby of Mine)	0:39:06 - Matt goes to a record shop	advance plot \| agent \| arguing \| arriving \| conversing \| jazz \| leading man \| record player \| record shop \| shopkeeper \| source music \| undercover agent \| upbeat \| walking
I Was a Communist for the FBI (1951)	Don'cha Go 'Way Mad	0:42:08 - Matt talks to agents in a back room	advance plot \| agent \| conversing \| jazz \| planning \| record player \| record shop \| sentimental \| source music
I Was a Communist for the FBI (1951)	Undercover Agent (Newspaper)	1:04:11 - FBI agents talk	agent \| conversing \| dark \| leading man \| newspaper \| ominous \| planning \| polychord \| room \| transition \| tritone oscillation \| undercover agent
I Was a Communist for the FBI (1951)	Family	1:21:44 - Matt is reunited with his son and brother	brother \| conversing \| gentle \| leading man \| love \| mode mixture \| resolution \| reuniting \| self-borrowing \| son \| tender \| undercover agent
I Was a Communist for the FBI (1951)	Family (Con Moto)	1:22:03 - Matt talks to his son	brother \| conversing \| gentle \| leading man \| love \| peaceful \| resolution \| reuniting \| self-borrowing \| son \| tender \| undercover agent
I Was a Communist for the FBI (1951)	Battle Hymn of the Republic (The End)	1:22:16 - Dick looks at his dad	brother \| conversing \| countermelody \| end title sequence \| leading man \| love \| patriotic \| patriotic tune \| plagal cadence \| resolution \| reuniting \| son \| The End \| undercover agent
In This Our Life (1942)	Asa (Expressivo)	0:02:33 - Asa walks	conversing \| deceptive resolution \| establish character \| gentle \| mode mixture \| noble \| pedal tone \| street \| walking \| worker
In This Our Life (1942)	Roy	0:02:59 - Roy descends a staircase	64 chord \| conversing \| daughter \| delicate \| establish character \| father \| foreign key modulation \| gentle \| greeting \| leading lady \| maid \| room
In This Our Life (1942)	Stanley Introduction	0:06:35 - A car arrives	9th chord \| arriving \| car \| chromatic scale \| conversing \| establish character \| leading lady \| leading man \| love interest \| stinger \| tense
In This Our Life (1942)	Stanley	0:06:56 - Stanley talks with Peter	9th chord \| appoggiatura \| car \| circle of fifths \| conversing \| establish character \| leading lady \| leading man \| love interest \| sultry
In This Our Life (1942)	Stanley B	0:07:06 - Stanley talks with Peter	car \| chromatic scale \| chromatic sequence \| conversing \| dissonant bass \| establish character \| fragmentation \| leading lady \| leading man \| love interest \| sultry
In This Our Life (1942)	Stanley	0:07:23 - Stanley drives away	9th chord \| appoggiatura \| car \| circle of fifths \| conversing \| establish character \| leading lady \| leading man \| love interest \| sultry
In This Our Life (1942)	Stanley (Rubato)	0:11:58 - Stanley talks with Roy	conversing \| establish character \| leading lady \| mysterious \| pc set \| room \| sister \| stinger
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)	Expressivo	0:12:28 - Stanley talks with Roy	chromatic scale \| conversing \| establish character \| expressive \| leading lady \| plagal cadence \| retardation \| room \| sister
In This Our Life (1942)	Caring	0:13:08 - Roy talks to Peter	9th chord \| advance plot \| chromatic parallelism \| conversing \| leading lady \| leading man \| packing \| parallelism \| passionate \| room \| tender
In This Our Life (1942)	Stanley (Peter Lies)	0:13:28 - Peter talks about his trip	9th chord \| advance plot \| appoggiatura \| conversing \| leading lady \| leading man \| lying \| musical clue \| packing \| room \| serious \| somber
In This Our Life (1942)	Roy (In Love)	0:13:39 - Roy is relieved	64 chord \| advance plot \| calm \| chromatic sequence \| conversing \| dissonant bass \| leading lady \| leading man \| room \| sequential modulation \| whole-tone chord
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)	Roy (Rubato)	0:14:34 - Roy talks with Peter	9th chord \| advance plot \| chromatic parallelism \| conversing \| dark \| fragmentation \| leading lady \| leading man \| major 7th chord \| playful \| room
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)	Roy (Lento)	0:14:59 - Roy talks about their future	64 chord \| advance plot \| common-chord modulation \| conversing \| dark \| deceptive resolution \| dissonant bass \| embracing \| leading lady \| leading man \| room \| 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)	Stanley Introduction	0:16:56 - Craig talks with Asa	9th chord \| advance plot \| chromatic scale \| conversing \| father \| fiancé \| leading lady \| room \| tense \| underscoring
In This Our Life (1942)	Stanley	0:17:11 - Stanley comes down the stairs	9th chord \| advance plot \| appoggiatura \| circle of fifths \| conversing \| fiancé \| kissing \| leading lady \| room \| sultry
In This Our Life (1942)	Stanley B (Slowly)	0:17:20 - Stanley talks with Craig	advance plot \| conversing \| dramatic \| fiancé \| half-diminished 7th chord \| kissing \| leading lady \| lying \| room \| sultry
In This Our Life (1942)	Stanley (Con Moto)	0:22:19 - Roy talks about Stanley's letter	13th chord \| angry \| bitter \| chromatic scale \| conflict \| conversing \| father \| half-diminished 7th chord \| leading lady \| letter \| parallelism \| pc set \| room
In This Our Life (1942)	Roy (Risoluto)	0:22:40 - Roy talks to Asa	64 chord \| chromatic parallelism \| conflict \| conversing \| deceptive resolution \| father \| gentle \| leading lady \| room
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)	Roy (Grazioso)	0:23:08 - Roy looks in the mirror	9th chord \| conflict \| conversing \| countermelody \| father \| foreign key modulation \| leading lady \| mysterious \| room
In This Our Life (1942)	Caring	0:23:19 - Asa talks to Roy	9th chord \| chromatic parallelism \| conflict \| conversing \| father \| leading lady \| room \| sentimental \| underscoring
In This Our Life (1942)	Asa (Ostinato)	0:23:26 - Asa talks to Roy	chromatic parallelism \| conflict \| conversing \| dark \| father \| leading lady \| ostinato \| room \| sequential modulation \| serious \| whole-tone chord
In This Our Life (1942)	South American Way	0:24:06 - A spinning record	AABA structure \| advance plot \| conversing \| dancing \| Latin-American \| leading lady \| leading man \| love interest \| popular music \| record player \| room \| source music \| upbeat
In This Our Life (1942)	Roy (Rubato)	0:29:00 - Roy talks to Craig	9th chord \| advance plot \| chromatic parallelism \| conversing \| fragmentation \| leading lady \| leading man \| major 7th chord \| park \| uneasy
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)	Stanley (Morendo)	0:29:32 - Craig talks with Roy	9th chord \| advance plot \| appoggiatura \| chromatic parallelism \| conversing \| harmonic sequence \| leading lady \| leading man \| park \| somber
In This Our Life (1942)	Roy (Encouragement)	0:29:56 - Roy tries to cheer Craig up	9th chord \| advance plot \| common-chord modulation \| conversing \| encouraging \| leading lady \| leading man \| park \| sequential modulation \| uplifting
In This Our Life (1942)	Roy (Tender)	0:30:21 - Craig talks to Roy	64 chord \| advance plot \| conversing \| deceptive resolution \| gentle \| leading lady \| leading man \| mode mixture \| park \| sweet
In This Our Life (1942)	Stanley (Stringy)	0:32:14 - Stanley and Peter in the car	9th chord \| appoggiatura \| car \| circle of fifths \| conversing \| leading lady \| leading man \| sultry \| wedding \| wedding
In This Our Life (1942)	Stanley (She Runs)	0:32:24 - Stanley talks to Peter	car \| chromatic parallelism \| chromatic sequence \| conversing \| diminution \| leading lady \| leading man \| playful \| sequence \| wedding \| wedding
In This Our Life (1942)	This Time the Dream's on Me	0:33:03 - Stanley and Peter sit at a table	AABA structure \| conversing \| dance hall \| dance scene \| dancing \| leading lady \| leading man \| on-screen music \| popular music \| source music \| upbeat
In This Our Life (1942)	Flirting	0:37:31 - Peter goes to Stanley	9th chord \| 64 chord \| conversing \| flirting \| happy \| leading lady \| leading man \| love scene \| mode mixture \| room
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)	Driving	0:38:19 - Roy and Craig in a car	9th chord \| calm \| car \| conversing \| driving \| leading lady \| leading man \| love interest \| love scene \| oscillation
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)	Danger	0:39:54 - A forest ranger	conversing \| danger \| fire \| forest ranger \| leading lady \| leading man \| love interest \| love scene \| minor-major 7th chord \| outdoors \| tense
In This Our Life (1942)	Forest Fire	0:40:10 - A forest fire	conversing \| dangerous \| diminished 7th chord \| eerie \| fire \| leading lady \| leading man \| love interest \| love scene \| outdoors \| pc set \| polychord
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)	Roy (Expressivo)	0:43:43 - Roy talks with Parry	64 chord \| assistant \| calm \| conversing \| deceptive resolution \| friend \| leading lady \| love scene \| office \| pleasant
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)	Phone Call	0:47:29 - Asa answers the phone	bad news \| conversing \| dark \| eerie \| father \| mysterious \| pc set \| phone call \| room \| telephone \| tense \| tone cluster \| turning point
In This Our Life (1942)	Funereal	0:48:25 - Asa calls for the others	bad news \| conversing \| father \| leading lady \| leading man \| room \| solemn \| stinger \| turning point \| uncle
In This Our Life (1942)	Underscoring (Somber)	0:48:46 - Asa relates the bad news	9th chord \| bad news \| conversing \| deceptive resolution \| father \| leading lady \| leading man \| room \| sigh gesture \| somber \| turning point \| uncle \| underscoring
In This Our Life (1942)	Underscoring (Dark)	0:49:21 - Asa tells them Peter committed suicide	conversing \| dark \| father \| leading lady \| leading man \| room \| stinger \| suicide \| triadic transformation \| turning point \| uncle \| underscoring
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)	Stanley (Peter Lies)	0:51:55 - Roy at Stanley's bedside	9th chord \| advance plot \| appoggiatura \| conversing \| gentle \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Stanley B (Slowly)	0:52:05 - Roy at Stanley's bedside	9th chord \| advance plot \| agitated \| chromatic scale \| chromatic sequence \| conversing \| dissonant bass \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Stanley (Packing)	0:52:23 - Roy at Stanley's bedside	9th chord \| advance plot \| appoggiatura \| conversing \| gentle \| leading lady \| room \| sister \| tense \| widow
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)	Stanley B (Valse Triste)	0:52:48 - Stanley talks to Roy	9th chord \| advance plot \| agitated \| conversing \| dissonant bass \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Stanley	0:52:56 - Stanley talks to Roy	9th chord \| advance plot \| agitated \| 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 B (Valse Triste)	0:53:17 - Stanley cries	9th chord \| advance plot \| agitated \| chromatic scale \| chromatic sequence \| conversing \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Roy (Tender)	0:54:15 - Roy tucks Stanley in	64 chord \| advance plot \| augmented sixth chord \| conversing \| foreign key modulation \| gentle \| leading lady \| room \| sister \| widow
In This Our Life (1942)	How Do I Know It's Sunday	0:57:12 - Stanley starts a record playing	AABA structure \| advance plot \| conversing \| crying \| dancing \| father \| flirting \| leading lady \| leading man \| popular music \| record player \| room \| sister \| source music \| upbeat \| widow
In This Our Life (1942)	Uncle Fitzroy	1:04:26 - Uncle Fitzroy talks to Stanley	augmented sixth chord \| conflict \| conversing \| crying \| dancing \| flirting \| leading lady \| room \| solemn \| uncle \| whole-tone chord \| widow
In This Our Life (1942)	Stanley Introduction (Extended 2)	1:05:31 - Stanley in Craig's office	9th chord \| advance plot \| chromatic scale \| conversing \| lawyer \| leading lady \| leading man \| office \| reading \| uneasy \| whole-tone chord
In This Our Life (1942)	Stanley (Extended)	1:05:53 - Stanley talks to Craig	9th chord \| advance plot \| appoggiatura \| circle of fifths \| conversing \| lawyer \| leading lady \| leading man \| office \| solemn \| uneasy
In This Our Life (1942)	Stanley B (Slowly)	1:06:13 - Stanley talks to Craig	9th chord \| advance plot \| chromatic parallelism \| chromatic scale \| conversing \| dissonant bass \| lawyer \| leading lady \| leading man \| office \| uneasy
In This Our Life (1942)	Stanley (Triste)	1:06:29 - Stanley talks to Craig	9th chord \| advance plot \| appoggiatura \| circle of fifths \| conversing \| lawyer \| leading lady \| leading man \| office \| uneasy
In This Our Life (1942)	Underscoring (Tense)	1:09:25 - Policemen approach the house	arriving \| chromatic parallelism \| conversing \| criminal \| investigation scene \| leading lady \| mysterious \| pedal tone \| police \| room \| tense \| walking \| watching
In This Our Life (1942)	Stanley (Descending Staircase)	1:09:49 - Policemen enter the house	arriving \| conversing \| criminal \| investigating \| investigation scene \| leading lady \| mysterious \| pc set \| police \| room \| sneaking \| tense \| walking \| watching
In This Our Life (1942)	Stanley Introduction (Extended 3)	1:12:42 - Stanley talks with Roy	9th chord \| advance plot \| conversing \| criminal \| leading lady \| lying \| room \| tense
In This Our Life (1942)	Stanley (Molto Expressivo)	1:12:57 - Stanley talks with Roy	13th chord \| advance plot \| augmented sixth chord \| calm \| chromatic parallelism \| conversing \| criminal \| leading lady \| lying \| room
In This Our Life (1942)	Roy (Triste 2)	1:13:12 - Roy talks with Minerva	advance plot \| conversing \| leading lady \| maid \| mother \| questioning \| room \| solemn \| somber
In This Our Life (1942)	Minerva and Parry	1:13:29 - Minerva talks with Roy	9th chord \| 11th chord \| advance plot \| blue note \| calm \| chromatic mediant \| common-tone diminished 7th \| conversing \| foreign key modulation \| leading lady \| maid \| mellow \| mother \| questioning \| room \| sentimental \| solemn \| spiritual
In This Our Life (1942)	Stanley (Packing)	1:14:36 - Newspaper headline about the accident	9th chord \| appoggiatura \| arriving \| circle of fifths \| conflict \| conversing \| headline \| lawyer \| leading lady \| leading man \| mysterious \| newspaper \| office
In This Our Life (1942)	Underscoring (Tense)	1:15:04 - Craig refuses Parry's case	conflict \| conversing \| denying \| lawyer \| leading lady \| leading man \| office \| ominous \| refusing \| tritone oscillation \| underscoring
In This Our Life (1942)	Stanley (Molto Accell)	1:15:15 - Craig talks about Stanley	anxious \| conflict \| conversing \| defending \| denying \| half-diminished 7th chord \| lawyer \| leading lady \| leading man \| office \| pc set \| refusing \| sigh gesture \| tense
In This Our Life (1942)	You're a Lucky Guy	1:16:20 - Stanley dances	AABA structure \| advance plot \| arriving \| conversing \| criminal \| dancing \| drinking \| leading lady \| popular music \| record player \| room \| source music \| upbeat
In This Our Life (1942)	Fast Driving (Tense)	1:20:10 - Craig's car pulls up to the jail	arriving \| car \| car \| conflict \| conversing \| criminal \| lawyer \| leading lady \| leading man \| oscillation \| pc set \| street \| tense \| underscoring \| uneasy
In This Our Life (1942)	Underscoring (Somber)	1:21:07 - Parry in his jail cell	9th chord \| conflict \| conversing \| criminal \| diminished 7th chord \| lawyer \| leading lady \| leading man \| prison \| prisoner \| sigh gesture \| somber \| suspect \| underscoring \| victim
In This Our Life (1942)	Minerva and Parry	1:21:28 - Parry in his jail cell	9th chord \| 11th chord \| blue note \| chromatic mediant \| common-tone diminished 7th \| conflict \| conversing \| criminal \| foreign key modulation \| lawyer \| leading lady \| leading man \| lying \| prison \| prisoner \| somber \| suspect \| tender \| testifying \| victim
In This Our Life (1942)	Minerva and Parry (Triste)	1:22:39 - Parry talks to Stanley	64 chord \| conflict \| conversing \| criminal \| lawyer \| leading lady \| leading man \| lying \| mode change \| prison \| prisoner \| solemn \| somber \| suspect \| testifying \| victim
In This Our Life (1942)	London Bridge is Falling Down (Molto Expressivo)	1:23:33 - Craig talks to Stanley	car \| children's song \| conflict \| conversing \| criminal \| familiar tune \| lawyer \| leading lady \| leading man \| somber
In This Our Life (1942)	London Bridge is Falling Down (Mysterious)	1:23:45 - Craig and Stanley argue	9th chord \| car \| children's song \| conflict \| conversing \| criminal \| familiar tune \| lawyer \| leading lady \| leading man \| lying \| mysterious \| ominous
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 \| pc set \| room \| suspect
In This Our Life (1942)	Big Sweep (Subtle)	1:27:23 - Stanley reacts	9th chord \| climax \| conversing \| criminal \| father \| lawyer \| leading lady \| leading man \| mother \| pc set \| plotting \| room \| suspect \| tense \| underscoring
In This Our Life (1942)	Stanley (Extended)	1:27:33 - Stanley goes upstairs	9th chord \| appoggiatura \| circle of fifths \| 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	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)	Love Theme (Slowly)	1:35:39 - Craig answers a phone call	comforting \| conversing \| leading lady \| leading man \| resolution \| room \| solemn \| somber \| tender \| The End
The Informer (1935)	Katie Calls Gypo	0:05:38 - Katie says Gypo's name	conversing \| diminished 7th chord \| dissonant bass \| establish character \| leading lady \| leading man \| mickey-mousing \| somber \| staring \| street
The Informer (1935)	Katie (Tired and Sad)	0:05:49 - Katie talks to Gypo	conversing \| crying \| diminished 7th chord \| establish character \| leading lady \| leading man \| parallelism \| Scotch snap \| sobbing gesture \| somber \| street
The Informer (1935)	Yankee Doodle (Octatonic)	0:06:21 - Katie looks at the poster about a trip to America	American \| comical \| conversing \| dark \| diminished 7th chord \| establish character \| leading lady \| leading man \| octatonic \| parallelism \| patriotic tune \| source music \| street
The Informer (1935)	Katie (Triste)	0:22:38 - Katie appears at the window	64 chord \| advance plot \| antagonist \| conversing \| foreign key modulation \| leading lady \| leading man \| parallelism \| pub \| sultry \| watching
The Informer (1935)	The Informer (Lying)	0:23:40 - Gypo lies about where he got the money	advance plot \| antagonist \| chromatic sequence \| conversing \| diminished 7th chord \| dissonant bass \| half-diminished 7th chord \| leading lady \| leading man \| lying \| octatonic \| pub \| Scotch snap \| tense
The Informer (1935)	The Informer (Accused)	0:38:40 - Rebel accuses Gypo of being the informer	64 chord \| advance plot \| conversing \| headquarters \| parallelism \| rebel \| room \| suspicion \| tense
The Informer (1935)	Mary	0:38:47 - Rebels talk about Frankie's sister Mary	64 chord \| advance plot \| augmented sixth chord \| conversing \| deceptive resolution \| headquarters \| love \| mode mixture \| rebel \| romantic \| room \| Scotch snap
The Informer (1935)	Underscoring (Tense)	0:39:05 - Rebels talk about Gypo	advance plot \| conversing \| half-diminished 7th chord \| headquarters \| rebel \| room \| tense \| underscoring
The Informer (1935)	The Wearin' o' the Green (Bugle Call)	0:39:25 - Rebels plan to watch Gypo	advance plot \| conversing \| familiar tune \| folk song \| headquarters \| Irish \| parallelism \| rebel \| room \| tense
The Informer (1935)	Blood money (Thinking)	0:48:58 - Gypo pulls out and counts his money	advance plot \| antagonist \| conversing \| leading man \| money \| mysterious \| ostinato \| pondering \| street
The Informer (1935)	My Man	0:50:19 - Gypo talks with his friend	AB structure \| advance plot \| antagonist \| cheerful \| conversing \| leading man \| party \| source music \| street
The Informer (1935)	The Informer (Dan Talking)	0:56:57 - Dan and Mary talk about an informer	conversing \| hero \| love interest \| love scene \| mysterious \| room \| walking bass
The Informer (1935)	The Wearin' o' the Green (Somber)	0:57:08 - Dan and Mary talk about the rebel organization	64 chord \| conversing \| diminished 7th chord \| familiar tune \| folk song \| hero \| heroic \| love interest \| love scene \| room \| tense
The Informer (1935)	The Informer (Pedal Tone)	0:57:34 - Dan and Mary talk about Gypo	conversing \| hero \| love interest \| love scene \| mysterious \| room
The Informer (1935)	The Wearin' o' the Green (Fragment)	0:57:42 - Dan and Mary talk about a rebel meeting	conversing \| familiar tune \| folk song \| hero \| love interest \| love scene \| room \| sentimental
The Informer (1935)	The Informer (Molto Agitato)	1:03:45 - Katie worries for Gypo	advance plot \| antagonist \| chromatic parallelism \| conversing \| drunk \| half-diminished 7th chord \| leading lady \| leading man \| rebel \| street
The Informer (1935)	The Wearin' o' the Green (Fighting)	1:03:51 - Gypo struggles with the rebels	64 chord \| advance plot \| antagonist \| chromatic parallelism \| conversing \| dominant 7th chord \| drunk \| familiar tune \| fighting \| folk song \| fragmentation \| leading lady \| leading man \| reassuring \| rebel \| sequence \| street \| struggling \| syncopation
The Informer (1935)	Blood Money (Ostinato)	1:04:10 - The rebels overhear Gypo talking about the money	advance plot \| antagonist \| conversing \| drunk \| leading lady \| leading man \| money \| mysterious \| ostinato \| rebel \| street \| whole-tone chord
The Informer (1935)	Dan and Mary	1:24:05 - Dan and Mary talk	conversing \| love \| love interest \| love scene \| rebel \| romantic \| room
The Informer (1935)	Ireland	1:24:14 - Dan and Mary talk about the rebel movement	conversing \| folk-like \| love \| love interest \| love scene \| rebel \| romantic \| room
Key Largo (1948)	I Gotta Right to Sing the Blues	0:04:21 - Frank speaks with people in the bar	conversing \| establish character \| gangster \| hotel \| jazz \| leading man \| moll \| radio \| sentimental \| source music
Key Largo (1948)	Largo Hotel (Quasi Misterioso)	0:11:00 - Frank and Nora talk in the hotel	conversing \| establish character \| hotel \| leading lady \| leading man \| mysterious \| tense
Key Largo (1948)	Rocco 2	0:11:30 - Frank and Nora talk about Rocco	conversing \| establish character \| harsh \| hotel \| leading lady \| leading man
Key Largo (1948)	McCloud	0:11:41 - Nora talks about her husband George	conversing \| establish character \| heroic \| hotel \| leading lady \| leading man \| memorializing \| noble
Key Largo (1948)	Underscoring (Somber)	0:13:51 - Frank talks with Mr. Temple	advance plot \| conversing \| father \| hotel \| leading lady \| leading man \| prelude \| somber \| underscoring
Key Largo (1948)	Nora	0:17:32 - Nora and Frank walk to the boat	conversing \| dock \| falling in love scene \| leading lady \| leading man \| romantic \| triadic \| wind
Key Largo (1948)	Nora (Nervous)	0:17:53 - Nora sees the gangsters	conversing \| dock \| falling in love scene \| gangster \| leading lady \| leading man \| nervous \| wind
Key Largo (1948)	Wind	0:18:21 - Frank helps prepare for the storm	conversing \| dock \| falling in love scene \| gangster \| leading lady \| leading man \| storm \| tense \| wind
Key Largo (1948)	Seminoles	0:19:11 - Seminole Indians arrive	advance plot \| arriving \| boat \| conversing \| dock \| Indian \| Indian \| leading lady \| leading man \| rowing \| serious
Key Largo (1948)	Seminoles (Grandma)	0:19:46 - Elderly Indian woman talks to Nora	advance plot \| arriving \| boat \| conversing \| dock \| grandmother \| Indian \| Indian \| leading lady \| leading man \| old woman \| serious \| smoking
Key Largo (1948)	Seminoles (Brothers)	0:20:29 - Nora talks with Seminole Indians	advance plot \| arriving \| boat \| conversing \| dock \| Indian \| Indian \| leading lady \| leading man \| serious
Key Largo (1948)	Rocco (Tense)	0:26:13 - Curly talks with Rocco	boss \| conversing \| dressing \| establish character \| gangster \| hotel \| tense \| tremolo
Key Largo (1948)	Rocco (Cut From Film)	NIF - not in film	boss \| conversing \| cut from film \| cut from film \| father \| gangster \| hostage \| hotel \| leading lady \| leading man
Key Largo (1948)	Rocco 2 (Cut From Film)	NIF - not in film	boss \| conversing \| cut from film \| cut from film \| father \| gangster \| hostage \| hotel \| leading lady \| leading man
Key Largo (1948)	Rocco 3 (Cut from Film)	NIF - not in film	boss \| conversing \| cut from film \| cut from film \| father \| gangster \| hostage \| hotel \| leading lady \| leading man
Key Largo (1948)	Tension	NIF - not in film	boss \| conversing \| cut from film \| cut from film \| father \| gangster \| hostage \| hotel \| leading lady \| leading man
Key Largo (1948)	Rocco (Tense 2)	NIF - not in film	boss \| conversing \| cut from film \| cut from film \| father \| gangster \| hostage \| hotel \| leading lady \| leading man
Key Largo (1948)	Rocco 2 (Misterioso)	NIF - not in film	boss \| conversing \| cut from film \| cut from film \| father \| gangster \| hostage \| hotel \| leading lady \| leading man
Key Largo (1948)	Rocco 3 (Cut From Film 2)	NIF - not in film	boss \| conversing \| cut from film \| cut from film \| father \| gangster \| hostage \| hotel \| leading lady \| leading man
Key Largo (1948)	McCloud (Cut From Film)	NIF - not in film	boss \| conversing \| cut from film \| cut from film \| father \| gangster \| hostage \| hotel \| leading lady \| leading man
Key Largo (1948)	Rocco 2 (Slowly) + McCloud (Tritone)	0:32:57 - McCloud quotes FDR	angry \| boss \| combination of themes \| conflict \| conversing \| father \| gangster \| hostage \| hotel \| leading lady \| leading man \| mysterious \| quoting \| stinger
Key Largo (1948)	Underscoring (Tense)	0:46:30 - Rocco tells McCloud to shoot him	boss \| conflict \| conversing \| father \| gangster \| hostage \| hotel \| leading lady \| leading man \| moll \| tense \| underscoring
Key Largo (1948)	McCloud (Triste)	0:47:23 - Rocco mocks McCloud	boss \| conflict \| conversing \| father \| gangster \| gun \| hostage \| hotel \| leading lady \| leading man \| mode change \| moll \| serious \| somber
Key Largo (1948)	Ominous	0:51:32 - Lights begin to go out in the hotel	boss \| conversing \| dark \| develop character \| father \| gangster \| hostage \| hotel \| leading lady \| leading man \| menacing \| moll \| ominous \| preparing \| storm \| tense
Key Largo (1948)	McCloud (Molto Expressivo)	1:07:31 - McCloud wakes Nora after the storm	conversing \| gentle \| hotel \| leading lady \| leading man \| love interest \| love scene \| resting \| romance \| waking \| warm
Key Largo (1948)	McCloud (Delicato)	1:08:14 - McCloud talks with Nora	conversing \| delicate \| father \| gentle \| hotel \| leading lady \| leading man \| love interest \| love scene \| warm
Key Largo (1948)	Rocco (Tense)	1:19:02 - Rocco welcomes new gangsters	boss \| conversing \| friend \| gangster \| greeting \| hotel \| investigation scene \| laughing \| tense \| underscoring
Key Largo (1948)	Rocco 3	1:24:03 - Rocco approaches Nora	advance plot \| boss \| conversing \| father \| gangster \| hotel \| tense \| violent
Key Largo (1948)	Underscoring (Somber)	1:27:42 - Nora and Gaye enter the hotel	advance plot \| conversing \| hotel \| leading lady \| moll \| somber \| underscoring \| walking
Key Largo (1948)	McCloud (Tense)	1:27:56 - Mr. Temple tries to make a phone call	advance plot \| conversing \| father \| hotel \| leading lady \| moll \| somber
The Letter (1940)	Leslie (Revolver)	0:03:43 - A pistol lies on the steps	changing meter \| conversing \| foreign key modulation \| fragmentation \| gun \| harmonic sequence \| home \| leading lady \| murderer \| murder scene \| oscillation \| sequential modulation \| servant \| tense
The Letter (1940)	Native 2	0:04:12 - Leslie talks to the workers	conversing \| home \| leading lady \| murderer \| murder scene \| open fifth \| pentatonic \| servant \| stinger \| tense \| underscoring
The Letter (1940)	Underscoring (Dramatic)	0:06:04 - Robert leaves	action scene \| conversing \| death \| dramatic \| husband \| murder \| servant \| underscoring \| warehouse
The Letter (1940)	Letter (Sarcastic)	0:15:10 - Robert comforts Leslie	advance plot \| chromatic sequence \| conversing \| dissonant bass \| home \| leading lady \| mysterious \| sequence
The Letter (1940)	Leslie (Delicato)	0:21:46 - Men admire needlepoint	advance plot \| changing meter \| conversing \| delicate \| foreign key modulation \| gentle \| home \| lacework \| lawyer \| leading lady \| minor-major 7th chord \| oscillation \| polychord \| sequence
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 (Tragic)	0:37:21 - Howard talks to Leslie	anxious \| changing meter \| climax \| conversing \| fearful \| lawyer \| leading lady \| letter \| oscillation \| pivotal scene \| prison \| sequence \| sequential modulation \| suspension \| tense
The Letter (1940)	Leslie B (Screwyoso)	0:37:34 - Howard talks to Leslie	anxious \| chromatic sequence \| conversing \| fearful \| lawyer \| leading lady \| letter \| pivotal scene \| prison \| sequence \| tense
The Letter (1940)	Leslie (Shimmery 3)	0:37:54 - Howard talks to Leslie	anxious \| conversing \| fearful \| lawyer \| leading lady \| letter \| oscillation \| pivotal scene \| prison \| sequence \| sequential modulation \| stinger \| suspension \| tense
The Letter (1940)	Leslie (Triste)	0:38:57 - Howard helps Leslie recover	advance plot \| calm \| conversing \| hospital \| lawyer \| leading lady \| oscillation \| sequence \| sequential modulation \| suspension
The Letter (1940)	Leslie B (Con Moto)	0:39:25 - Leslie asks Howard about the letter	advance plot \| conversing \| hospital \| lawyer \| leading lady \| letter \| sequence \| tense
The Letter (1940)	Law Office (The Plea)	0:40:00 - Howard asks Leslie to be honest	9th chord \| advance plot \| anxious \| artwork in score \| chromatic sequence \| conversing \| hospital \| lawyer \| leading lady \| letter \| refusing \| tense
The Letter (1940)	Leslie (Despair)	0:40:33 - Leslie despairs	advance plot \| anxious \| changing meter \| conversing \| despair \| dissonant bass \| hospital \| lawyer \| leading lady \| letter \| oscillation \| sequence \| tense
The Letter (1940)	Leslie (Rising) + Deception	0:40:57 - Leslie talks to Howard	advance plot \| angry \| augmented triad \| chromatic parallelism \| combination of themes \| conversing \| deception \| hospital \| lawyer \| leading lady \| letter \| sequence \| staring \| tense
The Letter (1940)	Sociable	0:48:42 - People having dinner	ABA structure \| cheerful \| conversing \| deceptive resolution \| dinner \| Dorian mode \| foreign key modulation \| happy \| home \| husband \| lacework \| lawyer \| leading lady \| party \| whole-tone chord
The Letter (1940)	Sociable (Ending)	0:49:58 - Pleasant conversation	cheerful \| conversing \| dinner \| foreign key modulation \| happy \| home \| husband \| lawyer \| leading lady \| reverse picardy
The Letter (1940)	Leslie (Lacework 2)	0:52:07 - Leslie does her lacework	advance plot \| changing meter \| conversing \| foreign key modulation \| home \| lacework \| lawyer \| leading lady \| mysterious \| oscillation \| sequence
The Letter (1940)	Leslie B (Ethereal)	0:52:33 - Howard and Leslie talk	advance plot \| chromatic sequence \| conversing \| home \| lawyer \| leading lady \| sequence \| tense
The Letter (1940)	Leslie (Tragic)	0:52:55 - Howard and Leslie talk	advance plot \| changing meter \| conversing \| home \| lawyer \| leading lady \| oscillation \| sequence \| sequential modulation \| suspension \| tense
The Letter (1940)	Leslie B	0:53:10 - Howard and Leslie talk	advance plot \| conversing \| home \| lawyer \| leading lady \| sequence \| tense
The Letter (1940)	Mrs. Hammond + Glass Curtains	1:00:13 - Leslie faces Mrs. Hammond	antagonist \| Chinatown \| Chinese \| Chinese \| chromatic scale \| combination of themes \| conflict \| conversing \| curtain \| glass \| lawyer \| layering \| leading lady \| mirroring \| mysterious \| ostinato \| parallelism \| paying \| pc set \| pentatonic \| polyrhythm \| shop \| staring \| tense \| tinkling \| tone cluster \| waiting \| whole-tone \| whole-tone chord
The Letter (1940)	Leslie + Glass Curtains	1:01:27 - Leslie removes her shawl	antagonist \| Chinatown \| Chinese \| Chinese \| chromatic scale \| combination of themes \| conflict \| conversing \| curtain \| glass \| lawyer \| layering \| leading lady \| mirroring \| mysterious \| oscillation \| ostinato \| parallelism \| pc set \| polyrhythm \| sequence \| shop \| staring \| tense \| tinkling \| tone cluster \| waiting \| whole-tone \| whole-tone chord
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
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)	Underscoring (Mysterious)	1:26:07 - Leslie talks to Robert	climax \| conversing \| home \| husband \| leading lady \| mysterious \| open fifth \| oscillation \| pedal tone \| staring \| underscoring
The Letter (1940)	Underscoring (Tense)	1:26:52 - Leslie talks to Robert	climax \| conversing \| home \| husband \| leading lady \| staring \| tense \| underscoring
The Letter (1940)	Robert and Leslie (Tense)	1:27:06 - Leslie talks to Robert	chromatic mediant \| climax \| conversing \| gentle \| home \| husband \| leading lady \| love theme \| Neapolitan \| suspension \| tender \| tense
The Letter (1940)	Deception (Lohengreenish)	1:28:01 - Leslie reacts to Robert's forgiveness	chromatic mediant \| climax \| conversing \| diminished 7th chord \| dissonant bass \| home \| husband \| kissing \| leading lady \| ostinato \| retardation \| romantic \| sequence \| suspension \| tense
Lightning Strikes Twice (1951)	Lightning 3	0:01:02 - Title card, cast list and prison	cast list \| common-tone diminished 7th \| conversing \| dark \| guard \| opening title sequence \| priest \| prison \| somber \| warden
Lightning Strikes Twice (1951)	Menace	0:01:23 - Priest in a prison	arriving \| conversing \| dark \| establish character \| funeral march \| funereal \| guard \| leading man \| priest \| prison \| prisoner \| solemn \| somber \| walking \| warden
Lightning Strikes Twice (1951)	Liza	0:02:55 - Trev is released from death row	calm \| conversing \| deceptive resolution \| establish character \| guard \| hopeful \| leading man \| priest \| prison \| prisoner \| relief \| reprieve \| Scotch snap \| walking \| warden \| whole-tone chord
Lightning Strikes Twice (1951)	News Office	0:03:08 - Newspaper headlines about the trial	augmented sixth chord \| conversing \| diminished third chord \| frantic \| headline \| newspaper \| newspaper editor \| office \| telephone \| transition
Lightning Strikes Twice (1951)	Menace (Expressivo)	0:03:24 - Newspaper editor on the phone	9th chord \| bus \| conversing \| dissonant bass \| headline \| newspaper \| newspaper editor \| office \| telephone \| transition \| uneasy \| worker
Lightning Strikes Twice (1951)	Trev	0:07:18 - Myra talks about finding Trev	actor \| conversing \| establish character \| father \| foreign key modulation \| gentle \| hotel \| leading lady \| mode mixture \| mother \| Neapolitan \| owner
Lightning Strikes Twice (1951)	Menace (Ominous)	0:17:50 - Newspaper headline about Trev	9th chord \| 64 chord \| actor \| conversing \| dark \| establish character \| headline \| leading lady \| leading man \| newspaper \| ominous \| room \| suspect
Lightning Strikes Twice (1951)	Trev (Screwy)	0:18:19 - Trev hands a candle to Shelly	actor \| candle \| chromatic scale \| conversing \| establish character \| leading lady \| leading man \| mysterious \| room \| suspect \| tense \| uneasy \| whole-tone chord
Lightning Strikes Twice (1951)	Shelly (Concerned)	0:18:30 - Shelly looks at Trev	actor \| candle \| concerned \| conversing \| establish character \| leading lady \| leading man \| room \| sigh gesture \| suspect \| tense \| thinking
Lightning Strikes Twice (1951)	Shelly and Trev (Molto Expressivo)	0:23:31 - Shelly makes a promise	actor \| conversing \| countryside \| departing \| horse \| leading lady \| leading man \| promise \| somber \| suspect \| transition
Lightning Strikes Twice (1951)	Shelly 2 (Dolce)	0:24:34 - Shelly walks around the ranch	9th chord \| actor \| arriving \| brother \| calm \| conversing \| countermelody \| leading lady \| ranch \| rancher \| transition \| walking
Lightning Strikes Twice (1951)	Shelly 3 (Dolce)	0:24:43 - Shelly sees Liza	actor \| arriving \| brother \| calm \| common-chord modulation \| conversing \| enharmonic respelling \| feeding \| goat \| leading lady \| Neapolitan \| ranch \| rancher \| transition \| watching
Lightning Strikes Twice (1951)	Chiapanecas	0:33:40 - People dancing outside	actor \| advance plot \| congregation \| conversing \| dancer \| dancing \| leading lady \| Mexican \| on-screen music \| performer \| playing \| priest \| ranch \| source music \| upbeat
Lightning Strikes Twice (1951)	Trev (Misterioso)	0:40:30 - Shelly and Liza talk	actor \| advance plot \| conversing \| glass \| leading lady \| mysterious \| rancher \| street \| underscoring \| uneasy \| walking
Lightning Strikes Twice (1951)	Shelly and Trev (Tenderly)	0:41:54 - Pedro tells Shelly where Trev is	actor \| advance plot \| conversing \| friend \| gentle \| leading lady \| ranch \| tender \| worker
Lightning Strikes Twice (1951)	Fear (Vertigo)	0:42:57 - Shelly talks with Trev	actor \| cliff \| conversing \| countryside \| danger \| falling in love scene \| fear \| heights \| leading lady \| leading man \| love interest \| suspect \| tense \| underscoring
Lightning Strikes Twice (1951)	Shelly (Expressivo) + Shelly 2 (Expressivo)	0:43:13 - Shelly talks with Trev	actor \| calm \| cliff \| combination of themes \| conversing \| countryside \| falling in love scene \| leading lady \| leading man \| love interest \| romance \| suspect \| tense
Lightning Strikes Twice (1951)	Shelly 2 (Dolce)	0:43:38 - Shelly talks with Trev	actor \| cliff \| conversing \| countryside \| falling in love scene \| leading lady \| leading man \| love interest \| romance \| romantic \| suspect
Lightning Strikes Twice (1951)	Shelly 3 (Appassionato)	0:43:47 - Shelly talks with Trev	actor \| cliff \| conversing \| countryside \| falling in love scene \| leading lady \| leading man \| love interest \| romance \| romantic \| suspect
Lightning Strikes Twice (1951)	Shelly 2 (Dolcissimo)	0:44:07 - Shelly looks at Trev	actor \| cliff \| conversing \| countryside \| falling in love scene \| gentle \| leading lady \| leading man \| love interest \| romance \| romantic \| suspect
Lightning Strikes Twice (1951)	Underscoring (Tense)	0:44:51 - Shelly talks with Trev	actor \| cliff \| conversing \| countryside \| falling in love scene \| leading lady \| leading man \| love interest \| suspect \| suspenseful \| tense \| underscoring
Lightning Strikes Twice (1951)	Shelly 2 (Romantic)	0:45:51 - Shelly talks with Trev	actor \| cliff \| conversing \| countryside \| departing \| falling in love scene \| gentle \| leading lady \| leading man \| love interest \| romantic \| suspect \| underscoring
Lightning Strikes Twice (1951)	Shelly 3 (Dolce)	0:51:45 - Shelly walks to the ranch house	actor \| arriving \| butler \| calm \| conversing \| leading lady \| ranch \| stinger \| transition \| waiting \| walking
Lightning Strikes Twice (1951)	Underneath a Western Sky	0:56:48 - A chuckwagon dinner	actor \| advance plot \| calm \| campfire \| chuckwagon \| conversing \| cowboy song \| crowd \| drinking \| eating \| father \| flirting \| food \| friend \| leading lady \| love interest \| mother \| on-screen music \| owner \| playing \| ranch \| source music
Lightning Strikes Twice (1951)	Too Much Love	0:59:02 - Shelly looks at Trev's portrait	actor \| advance plot \| calm \| conversing \| flirting \| friend \| leading lady \| love interest \| party \| popular music \| portrait \| ranch \| source music
Lightning Strikes Twice (1951)	Shelly (Worried)	1:03:05 - Harvey gets out of the car	actor \| arriving \| car \| concerned \| conflict \| conversing \| dark \| friend \| leading lady \| love interest \| ranch \| tense \| worried
Lightning Strikes Twice (1951)	Emotion	1:05:10 - Shelly cries	actor \| comforting \| conversing \| crying \| leading lady \| leading man \| love interest \| love scene \| ranch \| somber \| suspect
Lightning Strikes Twice (1951)	Menace (Nightmare)	1:05:38 - Trev tells Shelly of a recurring dream	actor \| comforting \| conversing \| crying \| dark \| leading lady \| leading man \| love interest \| love scene \| ranch \| solemn \| suspect \| tense
Lightning Strikes Twice (1951)	Shelly and Trev (Tenderly)	1:06:50 - Trev and Shelly embrace	actor \| conversing \| embracing \| kissing \| leading lady \| leading man \| love interest \| love scene \| marriage \| proposal \| ranch \| romantic \| suspect
Lightning Strikes Twice (1951)	Shelly and Trev (Molto Tranquillo)	1:07:22 - Trev and Shelly get out of the car	actor \| calm \| conversing \| embracing \| leading lady \| leading man \| love interest \| love scene \| ranch \| romantic \| suspect
Lightning Strikes Twice (1951)	Shelly (Peaceful) + Shelly 2 (Peaceful)	1:07:58 - Trev and Shelly embrace	actor \| calm \| combination of themes \| conversing \| embracing \| kissing \| leading lady \| leading man \| love interest \| love scene \| mother \| owner \| ranch \| romantic \| room \| suspect
Lightning Strikes Twice (1951)	Shelly and Trev (Misterioso)	1:09:40 - Shelly and Myra talk	actor \| advance plot \| conversing \| leading lady \| mother \| mysterious \| owner \| room \| tense
Lightning Strikes Twice (1951)	Allargando	1:10:03 - Shelly learns that Liza loves Trev	actor \| advance plot \| concerned \| conversing \| dark \| leading lady \| mother \| owner \| room \| tense
Lightning Strikes Twice (1951)	Mournful (Quasi Misterioso)	1:16:09 - Trev talks with Shelly	actor \| calm \| conversing \| fear \| husband \| leading lady \| leading man \| love scene \| room \| suspect \| suspicion \| worrying
Lightning Strikes Twice (1951)	Shelly and Trev (Dolce)	1:16:52 - Trev embraces Shelly	actor \| calm \| conversing \| embracing \| happy \| husband \| leading lady \| leading man \| love scene \| relief \| room \| suspect
Lightning Strikes Twice (1951)	Shelly (Molto Grazioso) + Shelly 2	1:17:01 - Shelly smiles at Trev	actor \| calm \| conversing \| embracing \| happy \| husband \| leading lady \| leading man \| love scene \| room \| suspect
Lightning Strikes Twice (1951)	Shelly and Trev (Tenderly)	1:17:31 - Trev and Shelly embrace	actor \| conversing \| embracing \| husband \| kissing \| leading lady \| leading man \| love scene \| romantic \| room \| solemn \| suspect
Lightning Strikes Twice (1951)	Menace (Misterioso)	1:19:48 - Trev calls Harvey	arguing \| conversing \| husband \| leading man \| mad scene \| mysterious \| room \| suspect \| suspense \| telephone
Lightning Strikes Twice (1951)	Menace (Poco Meno)	1:21:41 - String calms down	brother \| conversing \| danger \| murderer \| rancher \| room \| tense \| thematic transference \| turning point
Lightning Strikes Twice (1951)	Anger (Extended)	1:21:51 - String plans to leave	brother \| conversing \| murderer \| plotting \| rancher \| room \| tense \| turning point \| underscoring
Mildred Pierce (1945)	Waves rumbling	0:03:15 - Policeman convinces Mildred not to jump	conversing \| dock \| establish character \| heroine \| leading lady \| mickey-mousing \| police \| somber \| suicide \| water \| wave
Mildred Pierce (1945)	You Must Have Been a Beautiful Baby	0:03:59 - Wally sees Mildred from the window	conversing \| establish character \| familiar tune \| friend \| heroine \| jazz \| leading lady \| on-screen music \| restaurant \| source music \| upbeat
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)	Mildred (Ominous)	0:12:43 - The detectives talk to Mildred	advance plot \| chromatic sequence \| conversing \| dark \| detective \| fragmentation \| heroine \| imitation \| leading lady \| ominous \| room
Mildred Pierce (1945)	Underscoring (Tense)	0:13:03 - Mildred leaves with the detectives	advance plot \| conversing \| detective \| foreign key modulation \| heroine \| leading lady \| murder \| street \| tense \| underscoring
Mildred Pierce (1945)	Waltz Brillante	0:26:39 - Veda plays the piano	advance plot \| child \| classical music \| conversing \| dancing \| familiar tune \| gentle \| heroine \| leading lady \| on-screen music \| parallel period \| playing \| room \| source music \| waltz
Mildred Pierce (1945)	Waltz Brillante	0:27:21 - Veda plays the piano	advance plot \| child \| classical music \| conversing \| familiar tune \| gentle \| heroine \| leading lady \| on-screen music \| playing \| room \| source music \| waltz
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 (Coy)	0:32:32 - Veda talks to her mother	advance plot \| child \| chromatic parallelism \| conversing \| heroine \| leading lady \| parallelism \| room \| sleeping \| uneasy
Mildred Pierce (1945)	The Maid	0:36:57 - Mildred's maid in the kitchen	9th chord \| advance plot \| comical \| conversing \| cooking \| heroine \| kitchen \| leading lady \| maid \| sequence \| working
Mildred Pierce (1945)	It Can't Be Wrong	0:51:16 - Monte plays a record for Mildred	AABA structure \| conversing \| heroine \| kissing \| leading lady \| love interest \| love scene \| popular music \| record \| record player \| romantic \| room \| score to source borrowing \| source music
Mildred Pierce (1945)	Kay and Veda (Misterioso)	0:54:01 - Bert tells Mildred that Kay is sick	bad news \| conversing \| dark \| death scene \| distress \| ex-husband \| heroine \| leading lady \| mysterious \| ominous \| stinger \| street \| turning point \| whole-tone scale
Mildred Pierce (1945)	Bert (Dark)	0:54:14 - Bert and Mildred rush off to see Kay	bad news \| conversing \| dark \| death scene \| distress \| ex-husband \| heroine \| leading lady \| leaving \| street \| turning point
Mildred Pierce (1945)	T'Ain't No Good	0:57:37 - Mildred at the opening of her restaurant	advance plot \| antagonist \| busy \| conversing \| daughter \| dining \| friend \| guest \| heroine \| leading lady \| popular music \| restaurant \| serving \| source music \| upbeat \| working
Mildred Pierce (1945)	While You're Away	0:59:47 - Monte arrives at the restaurant	ABAC structure \| advance plot \| antagonist \| busy \| conversing \| daughter \| dining \| friend \| guest \| heroine \| leading lady \| love interest \| parallel double period \| popular music \| restaurant \| serving \| source music \| upbeat \| working
Mildred Pierce (1945)	Mildred (Sorrow)	1:03:41 - Monte asks about Kay	advance plot \| conversing \| heroine \| leading lady \| love interest \| minor-major 7th chord \| mode mixture \| restaurant \| somber
Mildred Pierce (1945)	It Can't Be Wrong (Troubled)	1:04:30 - Bert interrupts Mildred and Monte's kiss	advance plot \| conversing \| dark \| ex-husband \| familiar tune \| heroine \| leading lady \| love interest \| popular music \| restaurant \| source to score \| suspension \| tense \| troubled
Mildred Pierce (1945)	Bert (Regretful)	1:04:43 - Bert tells Mildred about the divorce	9th chord \| advance plot \| chromatic mediant \| common-chord modulation \| conversing \| divorce \| ex-husband \| heroine \| leading lady \| love interest \| regretting \| restaurant \| somber
Mildred Pierce (1945)	How Sweet You Are	1:08:28 - Veda dances at a club	ABAB structure \| advance plot \| club \| conversing \| dance music \| dancing \| heroine \| leading lady \| love interest \| on-screen music \| relaxed \| source music
Mildred Pierce (1945)	Kay and Veda (Subtle)	1:09:27 - bill; photograph; gun	advance plot \| augmented sixth chord \| conversing \| friend \| heroine \| leading lady \| mode mixture \| room \| subtle \| voice-over
Mildred Pierce (1945)	You Must Have Been a Beautiful Baby	1:16:01 - Wally and Veda in a restaurant	advance plot \| antagonist \| cheerful \| conversing \| daughter \| drinking \| friend \| popular music \| restaurant \| source music \| toasting
Mildred Pierce (1945)	Underscoring (Tense)	1:18:34 - Veda tells her mother she is married	antagonist \| chromatic parallelism \| chromatic wedge \| conflict \| conversing \| daughter \| diminished 7th chord \| friend \| heroine \| leading lady \| oscillation \| reverse stinger \| room \| tense \| underscoring
Mildred Pierce (1945)	Secret Revealed	1:18:59 - Veda talks to her mother	antagonist \| chromatic parallelism \| chromatic scale \| chromatic wedge \| conflict \| conversing \| daughter \| fear \| friend \| heroine \| leading lady \| linear chromaticism \| octatonic chord \| room \| surprise \| tense
Mildred Pierce (1945)	Mildred (Tenderly)	1:19:37 - Wally talks about a settlement	antagonist \| chromatic parallelism \| conflict \| conversing \| daughter \| fragmentation \| friend \| heroine \| leading lady \| pedal tone \| room \| tender
Mildred Pierce (1945)	Sweet Georgia Brown	1:29:05 - Mildred confronts Wally	ABAC structure \| advance plot \| antagonist \| club \| conversing \| daughter \| heroine \| jazz \| leading lady \| on-screen music \| popular music \| source music \| upbeat
Mildred Pierce (1945)	It Had to Be You	1:30:25 - Mildred and Veda talk	ABAC structure \| advance plot \| antagonist \| club \| conversing \| daughter \| heroine \| jazz \| leading lady \| on-screen music \| popular music \| source music \| upbeat
Mildred Pierce (1945)	Bert (Somber)	1:37:06 - Bert talks with Mildred in her new house	advance plot \| augmented sixth chord \| conversing \| ex-husband \| heroine \| leading lady \| pedal tone \| room \| somber
Mildred Pierce (1945)	Kay and Veda (Returning Home)	1:38:10 - Mildred looks at Veda through the window	advance plot \| chromatic mediant \| conversing \| daughter \| deceptive resolution \| emotional \| foreign key modulation \| happy \| heroine \| leading lady \| loving \| mode mixture \| mother \| room \| warm \| watching
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)	Kay and Veda (Triste)	1:49:37 - Veda is led out by the police	antagonist \| conversing \| daughter \| defeat \| detective \| heroine \| leading lady \| leaving \| mother \| murderer \| police station \| resigned \| resolution \| sigh gesture \| somber
The Life of Vergie Winters (1934)	There'll Be a Hot Time in the Old Town Tonight	0:12:17 - People rallying for John Shadwell	advance plot \| conversing \| crowd \| on-screen music \| popular song \| rally \| source music \| upbeat
The Life of Vergie Winters (1934)	For He's a Jolly Good Fellow	0:13:48 - Political rally for John Shadwell	advance plot \| conversing \| crowd \| folk song \| on-screen music \| politician \| rally \| source music \| spouse \| upbeat
The Life of Vergie Winters (1934)	Oh! You Beautiful Doll	0:17:47 - People in a bar	advance plot \| bar \| business man \| conversing \| mode mixture \| ragtime \| source music \| upbeat
The Life of Vergie Winters (1934)	Lullaby (Hospital Scene)	0:27:51 - The sign for a hospital	advance plot \| calm \| child \| childbirth \| conversing \| fragmentation \| hospital \| leading lady \| lullaby \| peaceful \| plagal cadence
The Life of Vergie Winters (1934)	Ida (Sweet As Apple Cider)	0:28:55 - People in a bar	advance plot \| bar \| business man \| conversing \| parallel double period \| ragtime \| source music \| upbeat
The Life of Vergie Winters (1934)	Semper Fidelis	0:30:32 - A march is played outside	advance plot \| celebrating \| cheering \| child \| common-chord modulation \| conversing \| crowd \| gossiper \| leading lady \| leading man \| march \| patriotic tune \| politician \| source music \| spouse \| street \| upbeat
The Life of Vergie Winters (1934)	Lullaby (Not in Score)	0:32:18 - Vergie and John look at a baby picture	AABA structure \| calm \| common-chord modulation \| conversing \| cuddling \| leading lady \| leading man \| love interest \| love scene \| lullaby \| peaceful \| room \| score to source \| secret love \| transcribed by ear
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)	Darktown Strutters' Ball	0:40:06 - Sadie and Mike in a bar	advance plot \| business man \| club \| common-chord modulation \| conversing \| friend \| love interest \| plotting \| ragtime \| source music \| upbeat
The Life of Vergie Winters (1934)	Lullaby (Joan)	0:50:31 - Joan enters Vergie's shop	advance plot \| child \| conversing \| daughter \| distortion \| entering \| foreign key modulation \| fragmentation \| gentle \| harmonic sequence \| leading lady \| meeting \| mother \| octatonic scale \| reunion \| secret \| shop \| timid
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 (Delicato)	0:51:39 - Joan talks with Vergie	9th chord \| advance plot \| child \| conversing \| daughter \| gentle \| leading lady \| mother \| parallel 63s \| reunion \| secret \| shop
The Life of Vergie Winters (1934)	Underscoring (Gentle)	0:51:52 - Vergie gives Joan a fan	9th chord \| advance plot \| child \| conversing \| daughter \| gentle \| leading lady \| mother \| reunion \| secret \| shop
The Life of Vergie Winters (1934)	Lullaby (Solo Violin)	0:52:06 - Vergie gets a ribbon for Joan	advance plot \| child \| common-chord modulation \| conversing \| daughter \| fragmentation \| gentle \| leading lady \| mother \| reunion \| secret \| shop
The Life of Vergie Winters (1934)	Lullaby (Strings)	0:52:30 - Vergie puts a ribbon in Joan's hair	advance plot \| child \| chromatic mediant \| conversing \| countermelody \| daughter \| direct modulation \| gentle \| leading lady \| mode mixture \| mother \| pedal tone \| reunion \| secret \| shop
The Life of Vergie Winters (1934)	Lullaby (Sentimental)	0:53:43 - Vergie talks with John by the lake	conversing \| leading lady \| leading man \| love scene \| outside \| pedal tone \| secret love \| secret lover \| tender
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 (Quasi Appassionato)	0:54:24 - John expresses his love for Vergie	conversing \| direct modulation \| dissonant bass \| fragmentation \| half-diminished 7th chord \| leading lady \| leading man \| love scene \| outside \| passionate \| secret love \| secret lover
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)	Here Comes the Bride	1:00:46 - Joan and Ranny talk about marriage	common-chord modulation \| conversing \| daughter \| familiar tune \| gentle \| love interest \| love scene \| peaceful \| proposal \| proposing \| romantic \| 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 (Allegretto)	1:04:31 - Ranny reacts to the revelation	chromatic mediant \| conflict \| conversing \| daughter \| foreign key modulation \| fragmentation \| leading man \| light \| love interest \| mode mixture \| optimistic \| pedal tone \| room \| 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)	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)	Lullaby (Dolce)	1:08:00 - Vergie talks with John	9th chord \| advance plot \| common-chord modulation \| conversing \| leading lady \| leading man \| room \| score to source \| secret lover \| tender
The Life of Vergie Winters (1934)	Lullaby (Allegro)	1:18:34 - Newspaper headline	bold \| conversing \| daughter \| dissonant bass \| fragmentation \| husband \| montage \| pedal tone \| prison \| waiting
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
Rockabye (1932)	Out of the Blue	0:33:38 - People at a party	advance plot \| calm \| club \| conversing \| friend \| leading lady \| on-screen music \| pianist \| playing \| playwright \| singer \| singing \| source music
Rockabye (1932)	Till the Real Thing Comes My Way	0:33:55 - Judy at the party	advance plot \| club \| conversing \| dancing \| friend \| leading lady \| love interest \| on-screen music \| pianist \| playing \| playwright \| source music \| upbeat
Rockabye (1932)	Improvisation (in Rockabye)	0:35:35 - People at a party	advance plot \| club \| conversing \| drinking \| friend \| on-screen music \| playing \| source music \| upbeat
Rockabye (1932)	Out of the Blue (Piano Improvisation)	0:35:57 - Judy and Jacobs talk	AABA structure \| advance plot \| calm \| club \| conversing \| leading lady \| love interest \| on-screen music \| playwright \| score to source borrowing \| source music
Rockabye (1932)	You've Got What Gets Me	0:53:27 - People at a party	ABAB structure \| advance plot \| cheerful \| conversing \| manager \| mother \| party \| source music
Rockabye (1932)	Rockin' Chair	0:59:16 - Judy talks to her manager	AABA structure \| advance plot \| conversing \| drinking \| leading lady \| manager \| party \| somber \| source music
Out of the Fog (1941)	Concert in the Park	0:01:57 - Goff walks along the dock	arriving \| conversing \| criminal \| dock \| establish character \| gambling \| leading man \| popular music \| restaurant \| source and scoring overlap \| source music \| upbeat \| worker
Out of the Fog (1941)	Stella and George	0:11:54 - George talks to Stella	AABA structure \| arguing \| boyfriend \| conversing \| dock \| establish character \| leading lady \| romantic \| transcribed by ear
Out of the Fog (1941)	Underscoring (Subtle)	0:13:05 - A boy runs in	arguing \| boyfriend \| conversing \| dock \| establish character \| leading lady \| underscoring \| uneasy
Out of the Fog (1941)	Stella and George (Tender)	0:13:24 - George talks to Stella	boyfriend \| conversing \| crying \| departing \| dock \| establish character \| evaded cadence \| leading lady \| tender \| transcribed by ear
Out of the Fog (1941)	Fishing	0:13:46 - Catching a fish	advance plot \| boat \| boat \| chef \| comical \| conversing \| fish \| fishing \| friend \| mickey-mousing \| transcribed by ear
Out of the Fog (1941)	Russian Barcarolle (Dark)	0:19:34 - Goff walks	boat \| chef \| conflict \| conversing \| criminal \| dark \| dock \| extortion \| father \| fisherman \| friend \| leading man \| threatening \| walking
Out of the Fog (1941)	Underscoring (Dark)	0:20:11 - Jonah reacts	arguing \| boat \| chef \| conflict \| conversing \| criminal \| dark \| dock \| extortion \| father \| fisherman \| friend \| leading man \| stinger \| tense \| threatening \| underscoring
Out of the Fog (1941)	Russian Barcarolle (Threatening)	0:20:40 - Goff threatens Jonah	arguing \| boat \| breaking \| chef \| conflict \| conversing \| criminal \| dark \| dock \| extortion \| father \| fisherman \| friend \| leading man \| tense \| threatening \| violence
Out of the Fog (1941)	Russian Barcarolle (Fear)	0:21:18 - Officer Magruder arrives	boat \| chef \| conflict \| conversing \| criminal \| dock \| extortion \| father \| fear \| fisherman \| friend \| leading man \| police \| sandwich \| solemn \| somber
Out of the Fog (1941)	Concert in the Park	0:25:09 - Jonah and Olaf walk down the street	advance plot \| arriving \| conversing \| dock \| father \| fisherman \| friend \| popular music \| source music \| upbeat \| walking
Out of the Fog (1941)	Underscoring (Gentle)	0:26:51 - Jonah helps Olaf	chef \| conflict \| conversing \| criminal \| dock \| extortion \| father \| fisherman \| friend \| gentle \| helping \| leading man \| mickey-mousing \| reacting \| solemn \| tender \| threatening \| underscoring
Out of the Fog (1941)	Russian Barcarolle (Dark 2)	0:27:12 - Jonah and Olaf react	arguing \| chef \| conflict \| conversing \| criminal \| dark \| dock \| extortion \| father \| fisherman \| friend \| gun \| leading man \| stinger \| tense \| threatening
Out of the Fog (1941)	Animato	0:27:43 - Goff pulls out a gun	chef \| conflict \| conversing \| criminal \| dock \| extortion \| father \| fisherman \| foreign key modulation \| friend \| gun \| leading man \| tense \| threatening
Out of the Fog (1941)	Russian Barcarolle (Distorted)	0:28:02 - Jonah and Olaf pay Goff	chef \| conflict \| conversing \| criminal \| dark \| dock \| extortion \| father \| fisherman \| friend \| leading man \| money \| threatening
Out of the Fog (1941)	Underscoring (Tense)	0:28:20 - Jonah and Olaf react	chef \| conflict \| conversing \| criminal \| dock \| extortion \| father \| fisherman \| friend \| leading man \| tense \| threatening \| underscoring
Out of the Fog (1941)	Trade Winds	0:28:40 - Stella enters a drugstore	AABA structure \| advance plot \| child \| conversing \| criminal \| leading lady \| leading man \| popular music \| shopping \| source music \| store \| upbeat \| worker
Out of the Fog (1941)	South American Way	0:30:00 - Stella listens to the radio	advance plot \| conversing \| leading lady \| mother \| popular music \| radio \| room \| source music \| upbeat
Out of the Fog (1941)	Father and Daughter	0:33:12 - Jonah talks to Stella	advance plot \| conversing \| crying \| father \| gentle \| hugging \| leading lady \| mode mixture \| room \| tender
Out of the Fog (1941)	Comparsa Negra No.1	0:35:38 - People dancing in a conga line	ABAC structure \| bartender \| club \| conversing \| criminal \| crowd \| dancer \| dance scene \| dancing \| eating \| Latin music \| leading lady \| leading man \| musician \| on-screen music \| parallel double period \| playing \| source music \| upbeat
Out of the Fog (1941)	No Digas	0:37:46 - Cuban dancers and musicians	AABA structure \| bartender \| club \| conversing \| criminal \| crowd \| dancer \| dance scene \| dancing \| Latin music \| leading lady \| leading man \| musician \| on-screen music \| playing \| source music \| upbeat
Out of the Fog (1941)	Gangster	0:39:07 - Stella and Goff at the harbor	AABA structure \| blue note \| bluesy \| conversing \| criminal \| dock \| leading lady \| leading man \| love scene \| sultry
Out of the Fog (1941)	Russian Barcarolle (Ominous)	0:40:09 - Stella talks to Goff	conversing \| criminal \| dock \| leading lady \| leading man \| love scene \| ominous
Out of the Fog (1941)	Gangster	0:40:37 - Goff calls after Stella	blue note \| bluesy \| conversing \| criminal \| dock \| leading lady \| leading man \| love scene \| sultry
Out of the Fog (1941)	Russian Barcarolle (Tense)	0:40:54 - Goff talks to Stella	conversing \| criminal \| dark \| dock \| leading lady \| leading man \| love scene
Out of the Fog (1941)	Stella and George (Extended)	0:41:45 - George talks to Stella	arguing \| boyfriend \| conversing \| foreign key modulation \| leading lady \| love scene \| room \| tender
Out of the Fog (1941)	Whistle While You Work	0:43:46 - Eddie sets the table	AABA structure \| advance plot \| arguing \| boss \| conversing \| dock \| popular music \| restaurant \| source music \| upbeat \| worker
Out of the Fog (1941)	Underscoring (Dramatic)	0:45:13 - Goff enters	arriving \| conflict \| conversing \| criminal \| dock \| dramatic \| father \| fisherman \| friend \| leading man \| tense
Out of the Fog (1941)	Russian Barcarolle (Solemn)	0:45:25 - Goff asks for money	arguing \| conflict \| conversing \| criminal \| dock \| extortion \| father \| fisherman \| foreign key modulation \| friend \| leading man \| sequence \| solemn
Out of the Fog (1941)	Underscoring (Tense)	0:46:34 - Jonah accuses Goff	arguing \| conflict \| conversing \| criminal \| dock \| extortion \| father \| fisherman \| friend \| leading man \| police \| tense \| underscoring
Out of the Fog (1941)	Russian Barcarolle (Fragmented)	0:46:50 - Olaf accuses Goff	conflict \| conversing \| criminal \| departing \| dock \| extortion \| father \| fisherman \| fragmentation \| friend \| leading man \| police \| tense
Out of the Fog (1941)	The Merry-Go-Round Broke Down	0:49:00 - Olaf and Jonah walk to the restaurant	AABA structure \| advance plot \| conversing \| crowd \| dancing \| dock \| father \| fisherman \| friend \| popular music \| source music \| upbeat
Out of the Fog (1941)	Underscoring (Dramatic)	0:49:39 - Goff stops Jonah	conflict \| conversing \| criminal \| dark \| dramatic \| extortion \| father \| fisherman \| leading man \| mickey-mousing \| panning shot \| stinger \| street \| threatening \| underscoring \| violence \| walking \| weapon
Out of the Fog (1941)	Father and Daughter (Tender)	0:51:32 - Maps of Cuba	advance plot \| arriving \| conversing \| father \| fisherman \| leading lady \| mirror shot \| packing \| room \| tender \| tense
Out of the Fog (1941)	Drab (Extended)	0:51:50 - Stella talks with her father	advance plot \| conversing \| father \| fisherman \| foreign key modulation \| leading lady \| packing \| room \| sequence \| somber \| uneasy
Out of the Fog (1941)	Russian Barcarolle (Dark)	0:52:49 - Jonah reacts	advance plot \| conversing \| dark \| father \| fisherman \| leading lady \| room
Out of the Fog (1941)	Drab	0:53:05 - Stella talks with her father	advance plot \| conversing \| father \| fisherman \| leading lady \| room \| sequence \| somber \| uneasy
Out of the Fog (1941)	Russian Barcarolle (Troubled)	0:53:43 - Stella talks with her father	advance plot \| bold \| conversing \| dark \| father \| fisherman \| leading lady \| ominous \| room
Out of the Fog (1941)	Father and Daughter (Short)	0:54:23 - Stella and Jonah embrace	advance plot \| conversing \| departing \| father \| fisherman \| leading lady \| room \| tender
Out of the Fog (1941)	Underscoring (Dark)	1:12:05 - Police ring the bell	action scene \| arguing \| conversing \| dark \| fisherman \| friend \| police \| ringing \| room \| street \| underscoring
Out of the Fog (1941)	Morgue	1:12:37 - The morgue	action scene \| arriving \| conversing \| corpse \| death \| fear \| leading lady \| morgue \| ominous \| police \| tense
Out of the Fog (1941)	Russian Barcarolle (Ethereal)	1:23:47 - Jonah talks to Stella	conversing \| dock \| ethereal \| father \| fisherman \| leading lady \| peaceful \| resolution \| walking
Out of the Fog (1941)	Russian Barcarolle (Tango)	1:24:07 - Stella and Jonah walk away	chromatic mediant \| conversing \| dock \| exotic \| father \| fisherman \| foreign key modulation \| leading lady \| peaceful \| pedal tone \| resolution \| street \| tango \| walking
Out of the Fog (1941)	Russian Barcarolle (The End)	1:24:24 - The dock at night	conversing \| dock \| end title sequence \| father \| fisherman \| grand \| leading lady \| peaceful \| perfect authentic cadence \| resolution \| street \| The End \| walking
Kid Galahad (1937)	Yearning	0:48:47 - Marie speaks with her mother	advance plot \| chromatic mediant \| conversing \| deceptive resolution \| foreign key modulation \| home \| mother \| nervous \| newspaper \| not by Steiner \| sister \| transcribed by ear \| yearning
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)	The Moon Is In Tears Tonight (Love's Sorrow)	0:53:05 - Ward professes his love for Marie	conversing \| heartbroken \| leading lady \| leading man \| love scene \| newspaper \| not by Steiner \| romantic \| room \| transcribed by ear
Kid Galahad (1937)	The Split Up	0:56:59 - Louise and Nick break up	appoggiatura \| conversing \| heartbroken \| leading lady \| love scene \| manager \| not by Steiner \| romantic \| room \| transcribed by ear
Kid Galahad (1937)	The Moon Is In Tears Tonight (Tender)	0:57:14 - Louise thinks of Ward	conversing \| leading lady \| love scene \| manager \| not by Steiner \| room \| tender \| transcribed by ear
Kid Galahad (1937)	The Split Up	0:57:45 - Louise says goodbye to Nick	appoggiatura \| conversing \| heartbroken \| leading lady \| love scene \| manager \| not by Steiner \| romantic \| room \| transcribed by ear
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
Kid Galahad (1937)	Sand In My Shoes	1:10:15 - Ward, Marie, and Louise talk in the club	advance plot \| cheerful \| conversing \| dancing \| leading lady \| leading man \| night club \| on-screen music \| sister \| source music \| transcribed by ear
Traveling Husbands (1931)	Bicycle Built for Two	0:20:51 - Music is played in a bar room	AABC structure \| advance plot \| bar \| calm \| conversing \| eating \| leading lady \| popular song \| source music \| transcribed by ear
Traveling Husbands (1931)	Sidewalks of New York	0:21:01 - Music is played in a bar room	advance plot \| bar \| calm \| conversing \| eating \| leading lady \| popular song \| source music \| transcribed by ear
The Unfaithful (1947)	Oh But I Do	0:32:27 - Ladies talk at a restaurant	AABA structure \| advance plot \| calm \| conversing \| husband \| lawyer \| leading lady \| on-screen music \| restaurant \| sister \| source music \| transition \| victim
The Unfaithful (1947)	Deep Night	0:35:15 - Larry, Chris, and Bob at a restaurant	AABA structure \| advance plot \| calm \| conversing \| husband \| lawyer \| leading lady \| on-screen music \| restaurant \| source music \| transition \| victim
The Unfaithful (1947)	Underscoring (Tense)	0:43:21 - Lady talks to Larry	advance plot \| conversing \| law office \| lawyer \| office \| pedal tone \| tense \| underscoring
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)	Ask Anyone Who Knows	1:34:08 - Paula reads the paper	ABA structure \| calm \| conversing \| friend \| husband \| radio \| reading \| resolution \| room \| source music
The Unfaithful (1947)	Would You Believe Me	1:36:54 - Paula talks with Bob	ABAC structure \| calm \| conversing \| friend \| husband \| radio \| reading \| resolution \| room \| source music
The Unfaithful (1947)	Unfaithful (Distressed)	1:41:24 - Larry talks with Bob	9th chord \| conversing \| foreign key modulation \| husband \| lawyer \| ostinato \| pc set \| resolution \| room \| somber \| wife
The Unfaithful (1947)	Unfaithful (Leaving)	1:42:32 - Chris prepares to leave	9th chord \| conversing \| husband \| lawyer \| mode mixture \| ostinato \| pedal tone \| resolution \| room \| somber \| wife
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)	Surprise Symphony (Better)	0:23:55 - David puts his son in bed	9th chord \| advance plot \| boy \| calm \| child \| classical music \| conversing \| dark \| familiar tune \| father \| foreign key modulation \| Haydn \| hero \| home \| playing \| quotation \| warm
We Are Not Alone (1939)	Surprise Symphony (Death Bed)	0:24:11 - David discusses death with his son	advance plot \| augmentation \| boy \| child \| classical music \| conversing \| dark \| death \| familiar tune \| father \| Haydn \| hero \| home \| quotation
We Are Not Alone (1939)	Jessica (Upset)	0:24:32 - Jessica enters and stops the conversation	advance plot \| antagonist \| chromatic scale \| conversing \| dark \| home \| parallelism \| upset \| wife
We Are Not Alone (1939)	Surprise Symphony (Dolce)	0:25:02 - Gerald asks to go with his father on a trip	advance plot \| boy \| child \| classical music \| conversing \| familiar tune \| father \| Haydn \| hero \| home \| mode mixture \| quotation \| sweet \| warm
We Are Not Alone (1939)	Frohe Botschaft (Ethereal)	0:25:12 - David tells his son about his patient, Leni	9th chord \| 64 chord \| advance plot \| boy \| child \| conversing \| familiar tune \| father \| folk song \| German \| hero \| home \| mode mixture \| pedal tone \| quotation \| sweet
We Are Not Alone (1939)	Surprise Symphony (Lullaby)	0:25:36 - David asks his son to help Leni	advance plot \| boy \| child \| classical music \| conversing \| familiar tune \| father \| Haydn \| hero \| home \| pedal tone \| quotation \| sweet
We Are Not Alone (1939)	It's Easy to Be a Lady if You Try	0:25:50 - Gerald and Leni ride a carousel	ABAC structure \| advance plot \| amusement park \| boy \| bright \| carnival \| carousel \| child \| conversing \| familiar tune \| father \| hero \| heroine \| playing \| source music
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)	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)	Frohe Botschaft (Somber)	0:38:52 - Leni reacts	9th chord \| antagonist \| common-chord modulation \| conflict \| conversing \| evaded cadence \| familiar tune \| folk song \| garden \| German \| heroine \| mode mixture \| quotation \| sentimental \| sigh gesture \| somber
We Are Not Alone (1939)	Frohe Botschaft (Like a Sigh)	0:44:30 - Leni tells Gerald to not be afraid	advance plot \| conversing \| heroine \| home \| kindness \| promise \| room \| sad \| sigh gesture
We Are Not Alone (1939)	Jessica	0:45:10 - Jessica enters the room	9th chord \| advance plot \| antagonist \| chromatic parallelism \| chromatic scale \| conversing \| half-diminished 7th chord \| home \| mother \| room \| sour
We Are Not Alone (1939)	Tragico	0:46:40 - Gerald faces his mother	advance plot \| antagonist \| appoggiatura \| boy \| child \| conversing \| dark \| home \| mother \| pedal tone \| room \| sad \| stinger \| tragic
We Are Not Alone (1939)	Surprise Symphony (Tragico)	0:47:06 - Jessica gathers clothes for Gerald	advance plot \| antagonist \| boy \| child \| classical music \| conversing \| dark \| familiar tune \| Haydn \| home \| mother \| quotation \| room \| sad \| tragic
We Are Not Alone (1939)	Triste	0:50:45 - David talks to Leni	advance plot \| common-chord modulation \| conversing \| gentle \| hero \| heroine \| home \| room \| sad
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)	Die Krähe	0:52:36 - Leni asks David about his work	advance plot \| antagonist \| calm \| classical music \| concert \| conversing \| cook \| familiar tune \| hero \| heroine \| home \| room \| Schubert \| source music
We Are Not Alone (1939)	Celebre Romance	0:54:24 - Leni asks David for a reference	ABAC structure \| advance plot \| antagonist \| calm \| classical music \| concert \| conversing \| cook \| familiar tune \| hero \| heroine \| home \| room \| Rubinstein \| source music
We Are Not Alone (1939)	Agitato	1:02:31 - Crowd presses forward	11th chord \| chaotic \| classical music \| conflict \| conversing \| crowd \| dissonant bass \| dissonant bass \| dramatic \| familiar tune \| riot \| Rubinstein \| street
We Are Not Alone (1939)	Underscoring (Tense)	1:05:17 - David scolds Susan	64 chord \| antagonist \| chromatic scale \| conflict \| conversing \| foreign key modulation \| hero \| street \| tense \| underscoring
We Are Not Alone (1939)	Surprise Symphony (Allegretto)	1:14:16 - David helps Leni buy a ticket	advance plot \| classical music \| conversing \| familiar tune \| fragmentation \| gentle \| Haydn \| hero \| heroine \| optimistic \| pedal tone \| quotation \| sequence \| sweet \| train station
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
We Are Not Alone (1939)	Celebre Romance (Love)	1:37:12 - David and Leni express their love for each other	classical music \| conversing \| familiar tune \| fragmentation \| guard \| hero \| heroine \| love scene \| prison \| quotation \| romantic \| Rubinstein
We Are Not Alone (1939)	Underscoring (Somber)	1:37:44 - David and Leni talk	conversing \| harmonic sequence \| hero \| heroine \| love scene \| prison \| somber \| triadic transformation \| underscoring
We Are Not Alone (1939)	Execution	1:38:10 - Leni talks to David	comforting \| conversing \| drone \| execution \| hero \| heroine \| love scene \| name of film \| prison \| somber
We Are Not Alone (1939)	Frohe Botschaft (Hopeful)	1:38:41 - David comforts Leni	9th chord \| comforting \| conversing \| familiar tune \| folk song \| German \| hero \| heroine \| love scene \| mode mixture \| pedal tone \| plagal cadence \| prison \| quotation \| somber
We Are Not Alone (1939)	Underscoring (Romantic)	1:39:42 - David comforts Leni	9th chord \| 13th chord \| comforting \| conversing \| hero \| heroine \| love scene \| prison \| romantic \| underscoring
We Are Not Alone (1939)	Surprise Symphony (Someday)	1:39:55 - David is hopeful	64 chord \| classical music \| comforting \| conversing \| deceptive resolution \| dream-like \| familiar tune \| foreign key modulation \| gentle \| Haydn \| hero \| heroine \| imagining \| love scene \| prison \| quotation \| sweet
We Are Not Alone (1939)	Underscoring (Subtle)	1:40:57 - David helps Leni	9th chord \| advance plot \| conversing \| delicate \| helping \| hero \| heroine \| octatonic scale \| prison \| underscoring
We Are Not Alone (1939)	Surprise Symphony (Semplice)	1:41:10 - Guards help Leni	advance plot \| augmented triad \| classical music \| conversing \| delicate \| familiar tune \| fragmentation \| Haydn \| helping \| hero \| heroine \| lullaby \| prison \| quotation
We Are Not Alone (1939)	Underscoring (Subtle)	1:41:29 - David walks down the prison corridor	advance plot \| augmented triad \| conversing \| delicate \| diminished 7th chord \| helping \| hero \| pedal tone \| prison \| underscoring \| whole-tone chord
White Heat (1949)	Cody	0:05:35 - Gangsters listen to the radio	announcer \| car \| conversing \| establish character \| gangster \| radio \| street \| tense
White Heat (1949)	Agitato	0:05:43 - Big Ed plots against Cody	agitated \| conversing \| establish character \| gangster \| plotting \| street \| tense \| walking
White Heat (1949)	Plotting	0:11:21 - Cody packs up money in a suitcase	conversing \| dark \| gangster \| leading lady \| leading man \| love scene \| moll \| money \| murderer \| packing \| room \| tense \| transition
White Heat (1949)	Verna (Molto Expressivo)	0:11:38 - Verna embraces Cody	bluesy \| conversing \| dark \| embracing \| flirting \| gangster \| kissing \| leading lady \| leading man \| love scene \| moll \| money \| mother \| murderer \| room \| victim \| waltz
White Heat (1949)	Underscoring (Dark)	0:12:14 - Zuckie pleads with Cody	conversing \| dark \| death \| funereal \| gangster \| leading lady \| leading man \| moll \| mother \| murderer \| murder scene \| pleading \| room \| underscoring \| victim
White Heat (1949)	Morgue	0:14:17 - Tahoe County Morgue sign	conversing \| corpse \| dark \| detective \| investigation scene \| menacing \| morgue \| mortician \| police \| self-borrowing \| transition
White Heat (1949)	Agents (Planning)	0:19:32 - Agents talk on the car phone	advance plot \| agent \| car \| conversing \| dark \| following \| mysterious \| observing \| planning \| street \| telephone
White Heat (1949)	Prison	0:35:40 - The prison walls	conversing \| dark \| leading man \| ominous \| prison \| prisoner \| transition \| undercover agent
White Heat (1949)	T-Men (Expressivo)	0:40:26 - Hank looks at the photograph	advance plot \| conversing \| gangster \| leading man \| murderer \| photograph \| prison \| prisoner \| undercover agent \| uneasy
White Heat (1949)	Misterioso (Ominous)	0:40:51 - The prisoners talk	advance plot \| conversing \| gangster \| leading man \| murderer \| mysterious \| ominous \| prison \| prisoner \| tense \| undercover agent \| underscoring
White Heat (1949)	Thinking	0:41:34 - Prisoners talk about money	advance plot \| conversing \| gangster \| leading man \| murderer \| mysterious \| prison \| prisoner \| tense \| thinking \| undercover agent
White Heat (1949)	Underscoring (Tense)	0:42:03 - Ma talks to the gangsters	advance plot \| conversing \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense \| underscoring
White Heat (1949)	Cody (Expressivo)	0:42:17 - Ma talks to Big Ed	advance plot \| conversing \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense
White Heat (1949)	Agitato	0:42:32 - Verna leaves the room	advance plot \| agitated \| conversing \| departing \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense \| underscoring
White Heat (1949)	Misterioso (Straitjacket)	1:04:07 - The warden talks with Cody	conversing \| doctor \| gangster \| guard \| leading man \| murderer \| mysterious \| prison \| prison break \| prisoner \| straitjacket \| tense \| underscoring \| warden
White Heat (1949)	Gathering	1:05:39 - Inmates playing cards	conversing \| doctor \| dramatic \| gangster \| guard \| leading man \| murderer \| prison \| prison break \| prisoner \| self-borrowing \| tense \| walking
White Heat (1949)	Five O'Clock Whistle	1:11:01 - Verna watches Ed	advance plot \| conversing \| gangster \| leading lady \| love interest \| moll \| popular music \| radio \| room \| source music \| upbeat
White Heat (1949)	T-Men (Misterioso)	1:27:39 - Hank talks to Cody	advance plot \| arguing \| conversing \| fugitive \| gangster \| leading man \| murderer \| mysterious \| stinger \| undercover agent \| yard
White Heat (1949)	Underscoring (Tense)	1:27:53 - Hank talks to Cody	advance plot \| arguing \| conversing \| fugitive \| gangster \| leading man \| murderer \| tense \| undercover agent \| underscoring \| yard
White Heat (1949)	Verna (Cello Solo)	1:28:30 - Cody talks about Verna	advance plot \| character mention \| conversing \| fugitive \| gangster \| leading man \| memory \| murderer \| somber \| undercover agent \| yard
White Heat (1949)	Ma (Molto Expressivo)	1:28:38 - Cody talks about his mother	advance plot \| character mention \| conversing \| fugitive \| gangster \| leading man \| memory \| murderer \| tense \| undercover agent \| uneasy \| yard
White Heat (1949)	Plotting (Agitato)	1:29:03 - Cody talks about his family	advance plot \| conversing \| fugitive \| gangster \| insanity \| leading man \| memory \| murderer \| tense \| undercover agent \| uneasy \| yard
White Heat (1949)	Cody (Climbing)	1:29:15 - Cody talks about his past	advance plot \| conversing \| fugitive \| gangster \| leading man \| memory \| murderer \| tense \| undercover agent \| uneasy \| yard
White Heat (1949)	Ma (Triste)	1:29:29 - Cody talks about his mother	advance plot \| character mention \| conversing \| fugitive \| gangster \| leading man \| memory \| murderer \| tense \| undercover agent \| uneasy \| yard
White Heat (1949)	Cody 3 (Tense)	1:32:12 - Cody approaches the truck	advance plot \| conversing \| fugitive \| gangster \| leading lady \| leading man \| lying \| moll \| murderer \| tense \| transmitter \| truck \| undercover agent \| yard
White Heat (1949)	Underscoring (Tense)	1:33:58 - Hank talks to the gas station attendant	advance plot \| conversing \| fugitive \| gangster \| gas station \| leading man \| murderer \| tense \| truck \| undercover agent \| underscoring \| worker \| working
White Heat (1949)	Underscoring (Tense)	1:34:25 - Attendant fixes the truck	advance plot \| conversing \| fugitive \| gangster \| gas station \| leading man \| murderer \| tense \| underscoring \| waiting \| worker \| working
White Heat (1949)	Bo Creel	1:35:51 - Bo Creel comes outside	advance plot \| conversing \| dark \| fugitive \| gangster \| leading man \| murderer \| ominous \| preparing \| stinger \| tense \| truck \| undercover agent \| worker \| working \| yard
White Heat (1949)	Verna (Gum)	1:36:15 - Verna spits out her gum	advance plot \| conversing \| fugitive \| gangster \| gum \| kissing \| leading lady \| leading man \| moll \| murderer \| preparing \| spitting \| tense \| undercover agent \| uneasy \| worker \| yard
White Heat (1949)	Agents (Message)	1:37:03 - Gas station attendant goes to washroom	conversing \| gas station \| message \| mirror \| police \| radio \| tense \| transition \| worker
White Heat (1949)	Agents + Pursuit (Antenna)	1:37:59 -	agent \| chase scene \| combination of themes \| conversing \| cut from film \| police station \| radio \| tense
The Woman in White (1948)	The Spring is Coming	0:01:37 - A train station	cheerful \| conversing \| establish setting \| folk music \| leading man \| light \| train \| train station \| voice-over \| waiting \| worker
The Woman in White (1948)	Ann	0:03:00 - The woman in white talks to Walter	calling \| conversing \| establish character \| forest \| leading lady \| leading man \| mysterious
The Woman in White (1948)	Ann 2	0:03:15 - The woman in white talks to Walter	calm \| conversing \| establish character \| forest \| leading lady \| leading man
The Woman in White (1948)	The Carman's Whistle (Rubato)	0:03:23 - Walter talks to the woman in white	calm \| conversing \| establish character \| forest \| leading lady \| leading man
The Woman in White (1948)	The Carman's Whistle (Accompaniment)	0:03:29 - Walter talks to the woman in white	calm \| conversing \| establish character \| forest \| leading lady \| leading man
The Woman in White (1948)	Ann (Quasi Misterioso)	0:03:36 - Walter talks to the woman in white	conversing \| establish character \| forest \| leading lady \| leading man \| mysterious
The Woman in White (1948)	Ann (Poco Agitato)	0:03:55 - The woman in white talks to Walter	agitated \| conversing \| establish character \| forest \| leading lady \| leading man
The Woman in White (1948)	Ann 2	0:04:13 - The woman in white talks to Walter	conversing \| establish character \| forest \| gentle \| leading lady \| leading man \| warm
The Woman in White (1948)	The Carman's Whistle (Accompaniment)	0:04:26 - The woman in white talks to Walter	conversing \| establish character \| forest \| leading lady \| leading man \| mysterious
The Woman in White (1948)	Fosco	0:04:40 - Walter hears a carriage approaching	arriving \| bold \| carriage \| conversing \| establish character \| fanfare \| forest \| leading man \| tense
The Woman in White (1948)	The Carman's Whistle (Accompaniment)	0:05:23 - Walter talks to a man in the carriage	carriage \| conversing \| establish character \| forest \| leading man \| tense
The Woman in White (1948)	Ann (Molto Misterioso)	0:05:30 - Closeup on Count Fosco	carriage \| conversing \| establish character \| forest \| leading man \| mysterious
The Woman in White (1948)	Underscoring (Tense)	0:05:38 - Walter talks to a man in the carriage	carriage \| conversing \| establish character \| forest \| leading man \| stinger \| tense \| underscoring
The Woman in White (1948)	The Carman's Whistle (Sordini)	0:11:18 - Count Fosco talks with Walter	advance plot \| conversing \| gentle \| leading man \| mansion
The Woman in White (1948)	Ann	0:11:38 - Walter talks with Count Fosco	advance plot \| butler \| conversing \| leading man \| mansion \| mysterious
The Woman in White (1948)	Fairlie	0:11:53 - The butler takes Walter to see Mr. Fairlie	butler \| conversing \| establish character \| grand \| leading man \| mansion \| noble
The Woman in White (1948)	Ann (Poco Agitato)	0:20:03 - Walter sees Laura	conversing \| establish character \| garden \| leading lady \| leading man \| mansion \| tense \| walking
The Woman in White (1948)	Laura	0:21:27 - Walter talks with Laura	butler \| conversing \| establish character \| family \| gentle \| leading lady \| leading man \| refined \| room \| walking
The Woman in White (1948)	Laura (Harp Countermelody)	0:22:03 - The Fairlies sit at the table	butler \| conversing \| establish character \| family \| gentle \| leading lady \| leading man \| refined \| room \| walking
The Woman in White (1948)	Ann (Poco Agitato)	0:22:39 - Laura talks about a mysterious woman	butler \| conversing \| establish character \| family \| leading lady \| leading man \| mysterious \| room \| tense \| walking
The Woman in White (1948)	Fosco	0:22:53 - Closeup on Fosco's face	butler \| conversing \| establish character \| family \| leading lady \| leading man \| room \| tense \| walking
The Woman in White (1948)	The Carman's Whistle	0:23:04 - Walter talks about the woman in white	butler \| conversing \| establish character \| family \| leading lady \| leading man \| room \| tense \| walking
The Woman in White (1948)	Underscoring (Mysterious)	0:23:16 - Fosco gets up to leave	butler \| conversing \| establish character \| family \| leading lady \| leading man \| mysterious \| room \| walking
The Woman in White (1948)	Pavan (Harpsichord)	0:26:05 - Laura plays the harpsichord	advance plot \| butler \| conversing \| family \| gentle \| harpsichord \| leading lady \| leading man \| on-screen music \| playing \| Renaissance music \| room \| source music
The Woman in White (1948)	Improvisation	0:28:47 - A monkey plays the harpsichord	advance plot \| conversing \| harpsichord \| leading lady \| leading man \| monkey \| on-screen music \| playing \| room \| source music \| startled
The Woman in White (1948)	Ann (Misterioso)	0:29:34 - Fosco sees Laura outside	advance plot \| conversing \| leading lady \| leading man \| mysterious \| room \| tense \| watching
The Woman in White (1948)	Limmeridge	0:30:46 - Marian talks to Walter	advance plot \| conversing \| cousin \| leading lady \| leading man \| noble \| refined \| room
The Woman in White (1948)	Fairlie (Expressivo)	0:30:58 - Marian talks to Walter	advance plot \| conversing \| cousin \| gentle \| leading lady \| leading man \| refined \| room
The Woman in White (1948)	Pavan (Garden)	0:33:09 - Marian talks to Fosco	arguing \| conversing \| cousin \| falling in love scene \| garden \| instrument effect \| leading lady \| leading man \| mysterious \| Renaissance music \| somber \| watching
The Woman in White (1948)	Underscoring (Mysterious)	0:36:22 - Laura greets Sir Percival	advance plot \| conversing \| fiancé \| leading lady \| mansion \| mysterious \| underscoring
The Woman in White (1948)	Underscoring (Mysterious)	0:38:37 - Marian talks to Walter	advance plot \| bad news \| conversing \| cousin \| dark \| garden \| leading lady \| leading man \| mysterious \| stinger \| underscoring
The Woman in White (1948)	The Self Banished (Somber)	0:39:27 - Marian talks to Walter	advance plot \| bad news \| conversing \| cousin \| garden \| gentle \| heartbroken \| leading lady \| leading man \| somber
The Woman in White (1948)	Ann 2	0:40:33 - Walter talks to the woman in white	advance plot \| conversing \| crying \| garden \| gentle \| leading lady \| leading man \| remembering \| tender
The Woman in White (1948)	Ann	0:40:45 - The woman in white talks to Walter	advance plot \| conversing \| garden \| leading lady \| leading man \| mysterious \| tense
The Woman in White (1948)	Ann 2	0:41:22 - The woman in white talks to Walter	advance plot \| conversing \| garden \| gentle \| leading lady \| leading man \| tender
The Woman in White (1948)	Ann (Quasi Misterioso)	0:41:28 - The woman in white talks to Walter	advance plot \| conversing \| garden \| leading lady \| leading man \| mysterious
The Woman in White (1948)	Ann 2	0:41:49 - The woman in white talks to Walter	advance plot \| conversing \| garden \| gentle \| leading lady \| leading man \| tender
The Woman in White (1948)	Hypnosis	0:42:04 - The woman in white talks to Walter	advance plot \| conversing \| garden \| leading lady \| leading man \| tense \| underscoring
The Woman in White (1948)	Fosco (Misterioso)	0:42:23 - The woman in white talks about Fosco	advance plot \| conversing \| garden \| leading lady \| leading man \| tense
The Woman in White (1948)	Ann (Molto Misterioso)	0:42:52 - Walter talks to the woman in white	advance plot \| agitated \| conversing \| garden \| leading lady \| leading man \| mysterious
The Woman in White (1948)	Underscoring (Dark)	0:43:00 - The woman in white talks to Walter	advance plot \| conversing \| dark \| garden \| leading lady \| leading man \| ominous \| stinger \| underscoring
The Woman in White (1948)	Ann	0:43:08 - The woman in white talks to Walter	advance plot \| agitated \| conversing \| garden \| leading lady \| leading man \| mysterious
The Woman in White (1948)	Ann 2	0:43:17 - The woman in white talks to Walter	advance plot \| conversing \| garden \| leading lady \| leading man \| tender
The Woman in White (1948)	The Carman's Whistle (Rubato)	0:43:24 - The woman in white talks to Walter	advance plot \| conversing \| garden \| leading lady \| leading man \| tender
The Woman in White (1948)	The Carman's Whistle (Accompaniment)	0:43:31 - The woman in white talks to Walter	advance plot \| conversing \| garden \| gentle \| leading lady \| leading man
The Woman in White (1948)	Underscoring (Mysterious)	0:45:40 - Laura enters the mansion	butler \| conflict \| conversing \| cousin \| fiancé \| leading lady \| mansion \| mysterious \| tense \| underscoring
The Woman in White (1948)	The Self Banished (Tenderly)	0:46:47 - Marion talks to Walter	butler \| conflict \| conversing \| cousin \| fiancé \| gentle \| leading lady \| leading man \| mansion \| tender
The Woman in White (1948)	Pavan B	0:50:44 - A carriage arrives	arriving \| carriage \| conversing \| cousin \| grand \| headline \| leading lady \| mansion \| montage \| montage \| newspaper \| Renaissance music \| servant \| transition
The Woman in White (1948)	Fairlie (Meno)	0:51:08 - Marian looks at Limmeridge House	advance plot \| arriving \| conversing \| cousin \| gentle \| leading lady \| mansion \| servant \| warm
The Woman in White (1948)	Hypnosis	0:51:33 - The servants greet Marian	advance plot \| arriving \| butler \| conversing \| cousin \| leading lady \| mansion \| servant \| tense
The Woman in White (1948)	Fosco (Misterioso 2)	0:51:57 - Marian learns that the countess is in the house	advance plot \| arriving \| butler \| conversing \| cousin \| leading lady \| mansion \| servant \| stinger \| tense
The Woman in White (1948)	Pavan (Garden 2)	0:55:17 - Marian talks to Mr. Fairlie	advance plot \| conversing \| cousin \| father \| leading lady \| room \| somber
The Woman in White (1948)	Laura (At Dinner)	0:55:43 - Sitting at the dining table	advance plot \| antagonist \| butler \| cigarette \| conversing \| cousin \| eating \| happy \| husband \| leading lady \| light \| mansion \| monkey \| servant \| smoking \| somber
The Woman in White (1948)	Underscoring (Mysterious)	0:56:12 - Sir Percival and a monkey	advance plot \| antagonist \| butler \| cigarette \| conversing \| cousin \| husband \| leading lady \| mansion \| monkey \| mysterious \| servant \| smoking \| stinger \| underscoring
The Woman in White (1948)	Ann (Misterioso Rubato)	0:58:22 - The countess excuses herself	advance plot \| antagonist \| butler \| conversing \| cousin \| departing \| husband \| leading lady \| mansion \| mysterious \| servant \| somber
The Woman in White (1948)	Pavan (Agitato 2)	0:58:59 - Laura enters Marian's room	advance plot \| conversing \| cousin \| greeting \| leading lady \| passionate \| room \| tense
The Woman in White (1948)	The Self Banished (Somber)	0:59:47 - Marian talks to Laura	advance plot \| conversing \| cousin \| gentle \| leading lady \| room \| somber
The Woman in White (1948)	The Self Banished (Tenderly)	1:00:22 - Laura talks to Marian	advance plot \| conversing \| cousin \| leading lady \| room \| tender
The Woman in White (1948)	Pavan (Distressed)	1:00:51 - Laura talks to Marian	advance plot \| agitated \| conversing \| cousin \| distressed \| leading lady \| room
The Woman in White (1948)	Pavan (Agitato)	1:01:02 - Laura talks to Marian	advance plot \| agitated \| conversing \| cousin \| leading lady \| room
The Woman in White (1948)	Asylum	1:01:26 - Laura suffers from a headache	aching \| advance plot \| agitated \| conversing \| cousin \| headache \| illness \| illness effect \| leading lady \| pain \| room \| somber \| tense \| victim
The Woman in White (1948)	Asylum (Molto Expressivo)	1:01:37 - Laura talks to Marian	advance plot \| calm \| conversing \| cousin \| headache \| illness \| leading lady \| pain \| recovering \| recovery \| room \| victim
The Woman in White (1948)	Sneaking	1:02:12 - Marian leaves wearing a cloak	advance plot \| antagonist \| conversing \| cousin \| criminal \| eavesdropping \| father \| husband \| leading lady \| leading man \| room \| sneaking \| somber \| tense
The Woman in White (1948)	Fosco (Misterioso Slowly)	1:04:48 - Count Fosco leaves the room	advance plot \| antagonist \| conversing \| cousin \| criminal \| eavesdropping \| father \| husband \| leading lady \| leading man \| lightning \| mysterious \| room \| sneaking \| storm \| tense
The Woman in White (1948)	Fosco (Misterioso Moderato)	1:08:24 - Fosco is startled by a noise	antagonist \| butler \| conflict \| conversing \| cousin \| criminal \| leading lady \| leading man \| mysterious \| room
The Woman in White (1948)	Fosco (Marcato)	1:08:44 - Fosco talks to the servant	antagonist \| arguing \| butler \| confining \| conflict \| conversing \| cousin \| criminal \| dark \| leading lady \| leading man \| mysterious \| prisoner \| room
The Woman in White (1948)	Underscoring (Dramatic)	1:09:11 - Marian is locked in	antagonist \| confining \| conflict \| conversing \| cousin \| criminal \| dark \| dramatic \| husband \| leading lady \| leading man \| prisoner \| room \| underscoring
The Woman in White (1948)	Asylum (Dark)	1:09:26 - Fosco talks to Sir Percival	aching \| antagonist \| conflict \| conversing \| criminal \| dark \| headache \| husband \| illness \| leading lady \| leading man \| pain \| plotting \| prisoner \| room
The Woman in White (1948)	Asylum (Dolce)	1:09:46 - Laura senses someone in the room	advance plot \| appearing \| calm \| conversing \| headache \| illness \| leading lady \| pain \| room \| superimposed shot \| victim
The Woman in White (1948)	Ann (Poco Agitato)	1:09:55 - The woman in white talks to Laura	advance plot \| agitated \| calm \| conversing \| gentle \| headache \| illness \| leading lady \| pain \| room \| superimposed shot \| victim
The Woman in White (1948)	Ann (Poco Agitato)	1:11:46 - Laura mentions the woman in white	agitated \| antagonist \| conflict \| conversing \| criminal \| doctor \| headache \| husband \| illness \| leading lady \| leading man \| pain \| room \| servant \| victim
The Woman in White (1948)	Ann (Accelerando) + Fosco (Dark)	1:12:47 - Fosco leaves	agitated \| anger \| antagonist \| combination of themes \| conflict \| conversing \| criminal \| departing \| doctor \| husband \| leading man \| room \| rushing \| searching \| tense \| walking
The Woman in White (1948)	Hypnosis (Misterioso con moto)	1:16:57 - The countess talks to the woman in white	conversing \| death scene \| leading lady \| mysterious \| room \| tense \| victim \| wife
The Woman in White (1948)	Ann 2	1:17:48 - The woman in white talks to Laura	conversing \| death scene \| gentle \| leading lady \| room \| tender \| victim \| wife
The Woman in White (1948)	Ann	1:17:56 - The woman in white talks to Laura	conversing \| death scene \| leading lady \| mysterious \| room \| victim \| wife
The Woman in White (1948)	Ann (Dead)	1:18:55 - The woman in white lies dead	antagonist \| conversing \| criminal \| dark \| death scene \| dying \| husband \| leading lady \| murderer \| room \| somber \| victim \| wife
The Woman in White (1948)	Ann (Waltz)	1:27:14 - Laura dashes away	antagonist \| asylum \| conversing \| criminal \| husband \| hypnosis \| hypnotist \| leading lady \| leading man \| leaving \| mad scene \| murderer \| nurse \| tender \| victim
The Woman in White (1948)	Ann (Quasi Misterioso)	1:29:00 - Count Fosco talks to Sir Percival	antagonist \| asylum \| conversing \| criminal \| husband \| hypnotist \| leading man \| mad scene \| murderer \| ominous
The Woman in White (1948)	Pavan (Garden)	1:31:13 - Walter talks with Marian	conversing \| criminal \| friend \| husband \| leading lady \| leading man \| love scene \| murderer \| noble \| room \| spy \| spying
The Woman in White (1948)	Underscoring (Dramatic)	1:31:28 - Marian sees Sir Percival spying on them	conversing \| dramatic \| friend \| leading lady \| leading man \| love scene \| lyrical \| room \| stinger \| underscoring
The Woman in White (1948)	The Self Banished	1:31:42 - Walter Kisses Marian	conversing \| embracing \| friend \| gentle \| kissing \| leading lady \| leading man \| leaving \| love interest \| love scene \| romantic \| room \| thematic transference
The Woman in White (1948)	Underscoring (Tense)	1:39:05 - The butler enters	advance plot \| butler \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| room \| tense \| underscoring
The Woman in White (1948)	Fosco (Molto Moderato)	1:39:33 - Fosco talks to Marian	advance plot \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| menacing \| murderer \| room \| somber
The Woman in White (1948)	Underscoring (Tense)	1:44:06 - The countess enters	climax \| conversing \| criminal \| dark \| friend \| leading lady \| leading man \| love interest \| murderer \| necklace \| ominous \| room \| transcribed by ear \| wife
The Woman in White (1948)	Ann (Not in Score)	1:44:24 - Count Fosco talks to the Countess	climax \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| mysterious \| necklace \| room \| transcribed by ear \| wife
The Woman in White (1948)	Adagio	1:45:00 - The Countess picks up a knife	climax \| conversing \| criminal \| friend \| knife \| leading lady \| leading man \| love interest \| murderer \| necklace \| room \| somber \| wife
The Woman in White (1948)	Fosco (Soft)	1:45:18 - The Count talks to Marian	arriving \| climax \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| mysterious \| necklace \| room \| wife
The Woman in White (1948)	Laura	1:46:37 - Walter, Marian, and Laura together	asylum \| conversing \| friend \| happy \| murderer \| necklace \| patient \| resolution \| time lapse \| voice-over \| waltz
The Woman in White (1948)	Laura (Harp Countermelody)	1:46:55 - The camera pans from the asylum	arriving \| butler \| child \| conversing \| father \| happy \| husband \| leading man \| mansion \| resolution \| voice-over \| waltz
The Woman in White (1948)	Pavan (Major)	1:47:33 - Walter with his daughter Ann	child \| conversing \| father \| greeting \| husband \| leading man \| noble \| resolution \| voice-over \| yard
The Woman in White (1948)	The Self Banished (The End)	1:47:51 - Walter with the children	book \| child \| conversing \| embracing \| father \| greeting \| husband \| kissing \| leading lady \| leading man \| mother \| resolution \| tender \| The End \| voice-over \| wife \| yard
High Stakes (1931)	Close to Me	0:01:09 - People at a party	conversing \| establish character \| friend \| on-screen music \| playing \| source music \| upbeat \| waiting \| wedding
The Public Defender (1931)	Beautiful Thing	0:05:58 - Dance music played at a dinner party	advance plot \| banker \| cheerful \| conversing \| crowd \| dance music \| on-screen music \| party \| police \| source music \| transcribed by ear
The Public Defender (1931)	An Armchair With An Armful of You	0:12:46 - Dance music played at a dinner party	ABAC structure \| advance plot \| arguing \| banker \| cheerful \| conversing \| crowd \| dance music \| party \| source music \| transcribed by ear \| waiter
Three Who Loved (1931)	My One Ambition is You	0:14:21 - Phil turns on the radio	AB structure \| advance plot \| cheerful \| conversing \| dancing \| pleasant \| radio \| room \| source music \| upbeat
Three Who Loved (1931)	Dance	0:17:09 - John and Helga talking	AB structure \| advance plot \| conversing \| pleasant \| radio \| room \| source music
Transgression (1931)	Dance	0:08:10 - Elsie and Don Arturo at a club	AB structure \| calm \| club \| conversing \| establish character \| leading lady \| love interest \| sophisticated \| source music \| tango
Transgression (1931)	Igualada	0:23:20 - Elsie and Don Arturo talking	calm \| club \| conversing \| dance scene \| dancing \| leading lady \| love interest \| sophisticated \| source music \| tango
Transgression (1931)	Igualada	0:24:58 - Elsie and Don Arturo dancing	calm \| club \| conversing \| dance scene \| dancing \| leading lady \| love interest \| sophisticated \| source music \| tango
Transgression (1931)	There's a Sob In My Heart (Ballroom)	0:28:18 - Robert arrives at the party	AABA structure \| augmented sixth chord \| calm \| club \| conversing \| dancing \| husband \| leading lady \| party \| self-borrowing \| sophisticated \| source music
Transgression (1931)	Flute Solo	0:43:22 - Don Arturo opens the door	calm \| conversing \| leading lady \| love interest \| love scene \| room \| source music
Transgression (1931)	Serenade	0:44:16 - Elsie and Don Arturo talking	ABAC structure \| calm \| conversing \| embracing \| kissing \| leading lady \| love interest \| love scene \| romantic \| room \| source music
Hold ‘Em Jail (1932)	There's a Sob in My Heart	0:05:14 - People dancing in a night club	AABA structure \| business man \| cheerful \| club \| conversing \| dance scene \| dancing \| dining \| reused recording \| upbeat
Hold ‘Em Jail (1932)	Ain't That the Way it Goes	0:14:53 - Spider and Curley look around	AABA structure \| advance plot \| comic \| conversing \| goofing around \| love interest \| office \| prisoner \| radio \| source music \| upbeat
Hold ‘Em Jail (1932)	I'm Just a Vagabond Lover	0:17:00 - Curley talks to Barbara	ABAC structure \| advance plot \| comic \| conversing \| goofing around \| love interest \| office \| prisoner \| radio \| sentimental \| source music
Hold ‘Em Jail (1932)	I'm Wrapped Up in You	0:18:18 - Spider dances with Violet	advance plot \| comic \| conversing \| dancing \| goofing around \| love interest \| office \| prisoner \| radio \| source music \| upbeat
Hold ‘Em Jail (1932)	Improvisation	0:39:35 - Violet plays the piano and sings	advance plot \| comic \| comical \| conversing \| office \| on-screen music \| playing \| prisoner \| singing \| source music
Hold ‘Em Jail (1932)	Improvisation	0:40:44 - Violet plays the piano and sings	advance plot \| comic \| comical \| conversing \| office \| on-screen music \| playing \| prisoner \| singing \| source music
Hold ‘Em Jail (1932)	Improvisation	0:41:43 - Violet plays the piano and sings	advance plot \| comic \| comical \| conversing \| office \| on-screen music \| playing \| prisoner \| singing \| source music
Hold ‘Em Jail (1932)	Eldorania	0:59:14 - A doctor tends to Spider's leg	advance plot \| athlete \| comic \| conversing \| doctor \| field \| plotting \| prisoner \| referee \| relative key \| source music \| treating \| upbeat
Hold ‘Em Jail (1932)	The Prisoner's Song	1:05:19 - Spider talks to Violet	comic \| conversing \| field \| prisoner \| resolution \| source music \| 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	0:21:43 - Mildred talks with William	advance plot \| augmented sixth chord \| boat \| calm \| conversing \| diminished 7th chord \| leading lady \| leading man \| transcribed by ear
Is My Face Red? (1932)	Trysting Place, The	0:50:25 - William talks to Peggy and Mildred	advance plot \| arguing \| band \| broadcast \| calm \| conversing \| dance music \| leading man \| radio \| sentence form \| source music \| stage \| transcribed by ear
Ladies of the Jury (1932)	El Capitan March	0:28:41 - Jurors deliberate	advance plot \| conversing \| juror \| jury room \| leading lady \| march \| radio \| source music \| upbeat
Ladies of the Jury (1932)	There's a Sob in My Heart (Radio)	0:45:27 - Jurors deliberate	AABA structure \| advance plot \| conversing \| dancing \| juror \| jury room \| leading lady \| radio \| self-borrowing \| sentimental \| source music
Men of America (1932)	Symphony no. 5: IV	0:26:35 - Car radio plays classical music	advance plot \| bold \| car \| conversing \| criminal \| radio \| source music \| tense
Secrets of the French Police (1932)	Valse Lente	0:10:24 - A man and a flower girl talk in a cafe	AB structure \| advance plot \| cheerful \| conversing \| flower \| leading lady \| leading man \| restaurant
Secrets of the French Police (1932)	Berceuse	0:13:09 - The flower girl talks with her father	advance plot \| conversing \| father \| leading lady \| restaurant \| somber \| waltz
State’s Attorney (1932)	Na Moku Eha	0:01:19 - Hula dancer	cheerful \| club \| conversing \| dancer \| dancing \| drinking \| establish character \| gambling \| Hawaiian \| leading man \| on-screen music \| playing \| politician \| singing \| source music
State’s Attorney (1932)	Blues (Piano)	0:18:14 - People talking in a club	advance plot \| blue note \| club \| conversing \| gangster \| leading lady \| leading man \| mistress \| score to source \| source music \| upbeat
State’s Attorney (1932)	Blues (Swinging)	0:43:46 - Jazz musicians playing in a club	club \| conversing \| dancing \| daughter \| jazz \| lawyer \| leading man \| love interest \| music scene \| on-screen music \| source music \| upbeat
The Phantom of Crestwood (1932)	I'm Wrapped Up in You	0:16:39 - People talk at a party	AABA structure \| advance plot \| conversing \| dance music \| jaunty \| party \| popular music \| radio \| source music \| transcribed by ear
The Phantom of Crestwood (1932)	Transgression	0:18:54 - Ms. Wren descends the staircase	9th chord \| AABA structure \| advance plot \| arriving \| common-chord modulation \| conversing \| party \| radio \| romantic \| self-borrowing \| transcribed by ear
The Phantom of Crestwood (1932)	Lady	0:20:17 - People talk at a party	9th chord \| AAB structure \| advance plot \| common-chord modulation \| conversing \| dinner \| party \| peaceful \| radio \| sequence \| transcribed by ear
The Phantom of Crestwood (1932)	Sleeping Rose	0:21:00 - People talk around the dinner table	ABA structure \| advance plot \| conversing \| dinner \| party \| peaceful \| radio \| transcribed by ear
The Phantom of Crestwood (1932)	Cimarron Theme	0:23:24 - Two people look at some portraits	AABC structure \| advance plot \| common-chord modulation \| conversing \| peaceful \| portrait \| room \| self-borrowing \| transcribed by ear
The Roadhouse Murder (1932)	Lady With a Past Fox Trot	0:35:34 - Chick and Mary talking	AABA structure \| cheerful \| conversing \| dancing \| diner \| girlfriend \| leading lady \| leading man \| love scene \| on-screen music \| reporter \| romantic \| self-borrowing \| source music
Thirteen Women (1932)	Blue Streak	0:01:54 - A circus poster	ABA structure \| circus \| circus music \| conversing \| cousin \| establish character \| establish place \| horoscope \| letter \| performer \| reading \| source music \| upbeat
Thirteen Women (1932)	Circus Music	0:03:44 - June talks to Hazel	AB structure \| circus \| circus music \| conversing \| cousin \| establish character \| performer \| source music \| upbeat
Thirteen Women (1932)	The Swami	0:07:16 - The swami	Aeolian mode \| antagonist \| conversing \| establish character \| fortune \| fortune teller \| leading lady \| parallelism \| predicting \| room \| somber \| swami \| transcribed by ear
Thirteen Women (1932)	Thirteen Women (Destiny)	0:07:52 - Ursula talks to the swami	antagonist \| common-chord modulation \| conversing \| destiny \| establish character \| fortune teller \| harmonic sequence \| leading lady \| predicting \| relative key \| room \| somber \| swami \| transcribed by ear
Thirteen Women (1932)	The Swami (Past Life)	0:08:18 - The swami talks to Ursula	antagonist \| chromaticism \| chromatic parallelism \| conversing \| establish character \| fortune teller \| leading lady \| room \| somber \| swami \| transcribed by ear
Thirteen Women (1932)	Ursula (Horoscope)	0:08:56 - The swami talks to Ursula	antagonist \| conversing \| establish character \| fate \| fortune teller \| leading lady \| mysterious \| predicting \| quintal chord \| room \| somber \| swami \| transcribed by ear
Thirteen Women (1932)	Ursula (Fate)	0:09:11 - The swami predicts Ursula's fate	antagonist \| conversing \| dark \| establish character \| fate \| fortune teller \| half-diminished 7th chord \| leading lady \| mickey-mousing \| mysterious \| predicting \| room \| somber \| stinger \| swami \| train whistle \| transcribed by ear
Thirteen Women (1932)	The Swami (Rising Tension)	0:09:53 - The swami shrinks from Ursula's gaze	antagonist \| conversing \| establish character \| fate \| fortune teller \| leading lady \| mysterious \| parallelism \| room \| swami \| tense \| transcribed by ear
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
Thirteen Women (1932)	Ursula (Mysterious Waltz)	0:33:37 - Ursula talks to Burns	64 chord \| advance plot \| chromatic parallelism \| conversing \| half-diminished 7th chord \| leading lady \| love interest \| mode mixture \| romantic \| room \| transcribed by ear \| waltz
Thirteen Women (1932)	Ursula (Exotic 2)	0:33:52 - Ursula talks to Burns	advance plot \| conversing \| dark \| exotic \| exoticism \| Gypsy major scale \| leading lady \| love interest \| mysterious \| ostinato \| room \| transcribed by ear
Blind Adventure (1933)	When You're Far Away	0:26:45 - Rose and Richard crash a party	AABA structure \| advance plot \| conversing \| leading lady \| leading man \| lying \| party \| popular song \| romantic \| source music
Blind Adventure (1933)	Marcellene	0:32:12 - Rose and Richard go downstairs	ABAC structure \| advance plot \| calm \| conversing \| leading lady \| leading man \| lying \| party \| popular song \| source music
Headline Shooter (1933)	He's Not the Marrying Kind	0:02:32 - Radio announcer talking	announcing \| beauty contestant \| conversing \| establish character \| filming \| film staff \| leading man \| modeling \| on-screen music \| pageant \| parallel period \| photographer \| pleasant \| radio announcer \| source music
Headline Shooter (1933)	Ensemble Tuning	0:04:41 - Bill talks to business man	business man \| calm \| conversing \| establish character \| leading man \| pageant \| source music \| tuning
Headline Shooter (1933)	You Can Depend on Me	0:05:21 - Bathing beauties walk past	AABA structure \| announcing \| beauty contestant \| conversing \| drunk \| establish character \| filming \| film staff \| leading lady \| leading man \| modeling \| on-screen music \| pageant \| photographer \| pleasant \| radio announcer \| source music
Headline Shooter (1933)	Tell Me is It Love?	0:21:50 - Bill and Jane at a bar	advance plot \| bar \| conversing \| drunk \| leading lady \| leading man \| parallel double period \| pleasant \| source music
Headline Shooter (1933)	Isn't This a Night For Love	0:22:10 - Bill and Jane talk at a bar	AABA structure \| advance plot \| bar \| conversing \| leading lady \| leading man \| romantic \| source music
Headline Shooter (1933)	Come Easy, Go Easy, Love	0:46:07 - Bill talks to reporters	AABA structure \| advance plot \| calm \| conversing \| fiancé \| leading lady \| leading man \| reporter \| restaurant \| source music
Dangerous Corner (1934)	Chanson	0:22:05 - A man turns on the radio	alternate timeline \| calm \| classical music \| conversing \| pivotal scene \| radio \| room \| source music
Dangerous Corner (1934)	Wedding March	0:23:10 - A woman opens a cigarette case	alternate timeline \| cheerful \| classical music \| conversing \| friend \| music box \| pivotal scene \| room \| source music \| suspect
Dangerous Corner (1934)	Wedding March	0:47:11 - A man opens a cigarette case	alternate timeline \| cheerful \| classical music \| conversing \| friend \| music box \| pivotal scene \| room \| source music \| suspect
Dangerous Corner (1934)	Chanson	1:02:06 - A man turns on the radio	alternate timeline \| calm \| classical music \| conversing \| friend \| radio \| resolution \| room \| source music \| suspect
Dangerous Corner (1934)	Wedding March	1:03:10 - A woman opens a cigarette case	alternate timeline \| cheerful \| classical music \| conversing \| friend \| music box \| resolution \| room \| source music
Dangerous Corner (1934)	Won't You Believe	1:03:30 - A man adjusts the radio	AABA structure \| alternate timeline \| conversing \| dancing \| drinking \| friend \| popular music \| radio \| resolution \| room \| source music \| upbeat
Dangerous Corner (1934)	The Trysting Place	1:04:35 - Charles talks to Ann in the moonlight	alternate timeline \| balcony \| conversing \| friend \| mode mixture \| popular music \| proposal \| proposing \| radio \| resolution \| romantic \| sequence \| source music \| triadic transformation
Sing and Like It (1934)	Indiana	0:01:30 - Ruby changes the radio station	ABAC structure \| boss \| conversing \| establish character \| gangster \| jazz \| leading lady \| leading man \| listening \| moll \| radio \| room \| source music \| upbeat
Sing and Like It (1934)	Dinah	0:02:34 - Ruby and Fenny listen to the radio	AABA structure \| arguing \| boss \| conversing \| establish character \| gangster \| gum \| jazz \| leading lady \| leading man \| listening \| moll \| radio \| room \| source music \| upbeat
Sing and Like It (1934)	It's Sunday Down in Caroline	0:04:11 - Fenny prepares for a meeting	AABA structure \| boss \| conversing \| establish character \| gangster \| jazz \| laughing \| leading lady \| leading man \| moll \| plotting \| radio \| room \| source music \| upbeat
Sing and Like It (1934)	Your Mother	0:23:01 - Call board for a dress rehearsal	AABA structure \| arguing \| ballad \| boss \| conversing \| gangster \| leading lady \| listening \| musician \| music scene \| on-screen music \| piano \| sentimental \| singer \| singing \| source music \| stage
Sing and Like It (1934)	Liebesträume	0:34:46 - Ruby enters the room	advance plot \| calm \| classical music \| conversing \| gangster \| leading lady \| moll \| musician \| on-screen music \| piano \| playing \| room \| secondary dominant \| source music
Sing and Like It (1934)	Liebesträume	0:35:31 - Toots plays the piano	advance plot \| calm \| classical music \| conversing \| gangster \| leading lady \| moll \| musician \| on-screen music \| piano \| playing \| room \| secondary dominant \| source music
Sing and Like It (1934)	Hearts and Flowers	0:36:11 - Toots plays the piano	advance plot \| conversing \| gangster \| leading lady \| moll \| musician \| on-screen music \| parallel period \| piano \| playing \| popular song \| room \| sentimental \| source music
Sing and Like It (1934)	Hi-De-Ho	0:37:46 - Fenny talks with Mr. Frink	AABA structure \| advance plot \| boss \| conversing \| dancing \| gangster \| laughing \| leading man \| on-screen music \| piano \| source music \| theater \| upbeat
Sing and Like It (1934)	Makes You Forget Your Troubles	1:08:27 - A man pours champagne	AABA structure \| announcing \| boss \| celebrating \| common-tone diminished 7th \| conversing \| crowd \| drinking \| gangster \| leading lady \| moll \| party \| party \| room \| singer \| source music \| upbeat
Sing and Like It (1934)	At Sunset	1:09:46 - The crowd leaves the party	boss \| conversing \| gangster \| leading lady \| moll \| parallel double period \| party \| party \| room \| sentimental \| singer \| source music
Gridiron Flash (1934)	Swing it Sister	0:21:09 - Eddie at a party	conversing \| friend \| leading lady \| leading man \| party \| popular music \| room \| upbeat
Hat, Coat, and Glove (1934)	Tonight is Mine	0:11:24 - Dorothea plays the piano	advance plot \| conversing \| leading lady \| leading man \| mode mixture \| on-screen music \| piano \| playing \| pleasant \| room \| source music
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
Hat, Coat, and Glove (1934)	When You're Far Away	0:41:12 - Robert talks to Jerry	AABA structure \| advance plot \| club \| conversing \| lawyer \| leading man \| meeting \| pleasant \| source music \| suspect
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
Star of Midnight (1935)	Swing it Sister	0:10:50 - Clay talks with Jim	AABA structure \| blackmail \| blackmailing \| conversing \| criminal \| detective \| establish character \| leading man \| radio \| room \| source music \| threatening \| upbeat
Star of Midnight (1935)	Pop Goes the Weasel	0:29:44 - Detective sits	advance plot \| cheerful \| conversing \| detective \| inspector \| leading man \| music box \| room \| source music
Star of Midnight (1935)	Pop Goes the Weasel	0:33:40 - Clay talks with Tim	advance plot \| cheerful \| conversing \| detective \| leading man \| music box \| room \| source music \| suspect
Star of Midnight (1935)	What a Night	0:37:08 - Clay in a restaurant	ABAC structure \| advance plot \| conversing \| detective \| leading lady \| leading man \| producer \| restaurant \| sentimental \| source music
Star of Midnight (1935)	If This Isn't Love	0:46:25 - Clay talks with Donna	ABAC structure \| advance plot \| conversing \| detective \| leading lady \| leading man \| restaurant \| sentimental \| source music
Star of Midnight (1935)	Midnight in Manhattan (Restaurant)	0:55:00 - Detective talks on the phone	advance plot \| conversing \| detective \| leading lady \| leading man \| parallel double period \| restaurant \| score to source \| sentimental \| source music
Star of Midnight (1935)	Midnight in Manhattan B	0:55:55 - Clay and Donna talk in a restaurant	advance plot \| conversing \| detective \| leading lady \| leading man \| restaurant \| sentimental \| source music \| suspension
Star of Midnight (1935)	Midnight in Manhattan	0:56:22 - Clay and Donna talk with Mr. Classon	advance plot \| conversing \| parallel double period \| restaurant \| sentimental \| source music
Star of Midnight (1935)	I'm in Love All Over Again	0:58:13 - Clay and Donna talk with Mr. Classon	AABA structure \| advance plot \| conversing \| detective \| leading lady \| leading man \| restaurant \| sentimental \| source music
Star of Midnight (1935)	Midnight in Manhattan (Phonograph)	1:14:27 - Clay plays a record on the phonograph	advance plot \| conversing \| detective \| leading lady \| leading man \| parallel double period \| phonograph \| room \| score to source \| sentimental \| source music
Star of Midnight (1935)	Midnight in Manhattan (Phonograph)	1:19:18 - Clay goes to answer the door	advance plot \| conversing \| detective \| leading lady \| leading man \| phonograph \| room \| score to source \| sentimental \| source music
Star of Midnight (1935)	Midnight in Manhattan (Phonograph)	1:20:25 - Clay goes to answer the door	advance plot \| conversing \| detective \| leading lady \| leading man \| phonograph \| room \| score to source \| sentimental \| source music
Star of Midnight (1935)	Midnight in Manhattan (Phonograph)	1:21:40 - Clay enters the room	advance plot \| conversing \| detective \| leading lady \| leading man \| murderer \| phonograph \| room \| score to source \| sentimental \| source music
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
Don’t Turn ‘em Loose (1936)	Makes You Forget Your Troubles	0:39:42 - Grace turns on the radio	AABA structure \| arriving \| cheerful \| common-tone diminished 7th \| confronting \| conversing \| gangster \| gun \| leading man \| moll \| murderer \| murder scene \| popular music \| room \| source music \| staring \| threatening
Don’t Turn ‘em Loose (1936)	Souvenir No. 16	1:03:53 - John at his daughter's wedding	bride \| calm \| conversing \| father \| guest \| mother \| pedal tone \| pleasant \| resolution \| wedding \| wedding \| wedding
We're Only Human (1935)	Silver Lining	0:13:56 - Pete and Sally in a restaurant	conversing \| date \| detective \| flirting \| gentle \| leading lady \| leading man \| love interest \| love scene \| reporter \| restaurant \| source music
We're Only Human (1935)	Lullaby (Adagio)	0:23:36 - Pete watches the car drive away	conflict \| conversing \| detective \| diminished 7th chord \| direct modulation \| dissonant bass \| food \| leading lady \| leading man \| love interest \| reacting \| reporter \| street \| tense
We're Only Human (1935)	Isn't This a Night For Love (Moonlight)	0:23:59 - Pete and Sally having dinner	AABA structure \| conversing \| date \| detective \| dinner \| leading lady \| leading man \| love interest \| love scene \| reporter \| romantic \| room \| source music
We're Only Human (1935)	Katie (Dolcissimo)	0:30:05 - Danny talks with Pete	action scene \| bank \| chromatic sequence \| conversing \| death \| detective \| dying \| gangster \| leading man \| solemn \| victim
We're Only Human (1935)	Dan and Mary (Adagio)	0:30:44 - Pete says goodbye to Danny	11th chord \| action scene \| bank \| conversing \| death \| detective \| dying \| gangster \| leading man \| solemn \| victim
We're Only Human (1935)	Isn't This a Night For Love (Dance Band)	0:33:11 - Pete walks into a diner	AABA structure \| advance plot \| arguing \| conversing \| detective \| diner \| leading lady \| leading man \| reporter \| sentimental \| source music
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)	Waiting	0:47:49 - Sally leaves	advance plot \| calm \| conversing \| departing \| detective \| leading lady \| leading man \| reporter \| room
Another Face (1935)	Success at any Price Transition	0:00:58 - Times Square in New York City	car \| conversing \| deceptive resolution \| driving \| establish setting \| foreign key modulation \| gangster \| laughing \| mysterious \| street \| sultry
Another Face (1935)	Suicide Transition	0:01:57 - Gangsters arrive at doctor's office	arriving \| conversing \| doctor \| establish setting \| gangster \| mysterious \| office \| parallelism \| pedal tone
Another Face (1935)	Russian Waltz (Meno) + The Iron Door	0:02:11 - Gangsters talk with doctor	chromatic scale \| combination of themes \| conversing \| doctor \| establish character \| gangster \| mysterious \| nurse \| office \| pedal tone \| tense
Another Face (1935)	Underscoring (Tense)	0:02:30 - Gangster talks with nurse	chromatic parallelism \| conversing \| doctor \| establish character \| gangster \| half-diminished 7th chord \| nurse \| office \| tense \| underscoring
Another Face (1935)	Zaroff (Molto Moderato) + The Iron Door	0:02:43 - The gangsters depart	chromatic scale \| combination of themes \| conversing \| departing \| doctor \| establish character \| gangster \| half-diminished 7th chord \| mysterious \| nurse \| office \| tense
Another Face (1935)	Courage (Tone Cluster)	0:04:26 - Gangster all bandaged up	conversing \| departing \| doctor \| gangster \| half-diminished 7th chord \| mysterious \| nurse \| operating room \| operation scene \| patient \| whole-tone chord
Another Face (1935)	You're an Angel	0:25:47 - A man knocks on a door	AABA structure \| actress \| advance plot \| arguing \| conversing \| embracing \| kissing \| maid \| manager \| proposal \| room \| sentimental \| source music
Another Face (1935)	Old Fashioned Love	0:38:13 - People at a pool party	ABAB structure \| actress \| advance plot \| conversing \| crowd \| diving \| maid \| mother \| pool \| room \| source music \| swimmer \| swimming \| upbeat
Another Face (1935)	I Never Saw a Better Night	0:39:50 - Sheila talks with her aunt	AABA structure \| actress \| advance plot \| aunt \| conversing \| criminal \| fiancé \| gangster \| maid \| mellow \| mother \| room \| source music
Another Face (1935)	Boys Will Be Boys	0:41:15 - The maid bakes a cake	AABA structure \| actress \| advance plot \| aunt \| conversing \| criminal \| diving \| fiancée \| gangster \| maid \| manager \| mellow \| mother \| room \| source music \| swimming
Girl of the Rio (1932)	Querida	0:06:40 - Don Jose admires a woman	ABAC structure \| arriving \| celebrity \| conversing \| crowd \| establish character \| laughing \| leading lady \| leading man \| night club \| on-screen music \| performing \| romantic \| singer \| singing \| source music \| Spanish
Girl of the Rio (1932)	Yo Con tu Amor	0:12:26 - Don Jose talks with Dolores	advance plot \| celebrity \| conversing \| flirting \| leading lady \| leading man \| night club \| parallel double period \| romantic \| singer \| source music \| Spanish
Girl of the Rio (1932)	Was it Wrong?	0:15:41 - Johnny rolls a pair of dice	conversing \| crowd \| dancing \| flirting \| leading lady \| leading man \| love interest \| lovers meet \| night club \| on-screen music \| performing \| romantic \| singer \| source music \| syncopation \| terrace \| upbeat
Girl of the Rio (1932)	Baile	0:23:15 - A close-up on Dolores	advance plot \| conversing \| dancing \| departing \| leading lady \| manager \| on-screen music \| performing \| room \| singer \| source music \| upbeat
Girl of the Rio (1932)	Querida	0:38:14 - Dolores sings and plays the guitar	ABAC structure \| advance plot \| conversing \| crowd \| leading lady \| night club \| on-screen music \| plotting \| prison \| romantic \| singer \| singing \| source music \| terrace \| whistling
Girl of the Rio (1932)	Querida	0:48:40 - Dolores sees Johnny	ABAC structure \| conversing \| gentle \| guard \| leading lady \| leading man \| love interest \| love scene \| romantic \| singer \| terrace
Without Honor (1949)	Expressivo	0:03:57 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| love interest \| room \| uneasy
Without Honor (1949)	Ecstatic	0:04:07 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| excited \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Ecstatic (Molto Expressivo)	0:04:21 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| excited \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Appassionato 2	0:04:37 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| love interest \| room \| uneasy
Without Honor (1949)	Molto Misterioso	0:05:03 - Jane walks to the door	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| love interest \| mysterious \| room \| tense
Without Honor (1949)	Dog	0:05:12 - Jane finds the dog	adulterer \| affair \| conversing \| dog \| establish character \| leading lady \| leading man \| light \| love interest \| mysterious \| playful \| room
Without Honor (1949)	Tempo di Gavotte	0:05:30 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| light \| love interest \| playful \| room
Without Honor (1949)	Twilight (Triste)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Appassionato 2 (Molto Agitato)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Twilight (Poco Agitato)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Molto Expressivo	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Twilight (Misterioso)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Fidgeting	0:15:21 -	advance plot \| calling \| conversing \| doorbell \| fidgeting \| leading lady \| room \| telephone \| tense \| underscoring \| walking
Without Honor (1949)	Girl Scouts	0:15:50 - Girl scouts at the door	advance plot \| child \| conversing \| leading lady \| light \| room \| scout
Without Honor (1949)	Girl Scouts (Mysterious)	0:16:31 - The girl scouts offer to help	advance plot \| child \| conversing \| leading lady \| mysterious \| room \| scout
Without Honor (1949)	Fidgeting	0:17:03 - Jane talks to the girl scouts	advance plot \| child \| conversing \| fidgeting \| leading lady \| room \| scout \| tense \| underscoring
Without Honor (1949)	Unidentified dance tune	0:19:04 - Bill turns on the radio	advance plot \| antagonist \| brother \| conversing \| leading lady \| leading man \| popular music \| reacting \| room \| source music \| upbeat
Without Honor (1949)	Twilight (Tense)	0:21:51 - Jane cleans off Bill's sleeve	antagonist \| brother \| cleaning \| conflict \| conversing \| corpse \| door \| kitchen \| leading lady \| leading man \| opening \| tense
Without Honor (1949)	Cleaning	0:21:57 - Jane cleans off Bill's sleeve	antagonist \| brother \| cleaning \| cleaning effect \| conflict \| conversing \| corpse \| door \| kitchen \| leading lady \| leading man \| mickey-mousing \| tense
Without Honor (1949)	Underscoring (Tense)	0:22:07 - Bill tosses the towel	antagonist \| brother \| conflict \| conversing \| corpse \| door \| kitchen \| leading lady \| leading man \| tense \| tossing \| underscoring
Without Honor (1949)	Tunes Radio	0:26:26 - Bill turns on the radio	antagonist \| brother \| conflict \| conversing \| leading lady \| leading man \| radio \| room \| source music \| upbeat
Without Honor (1949)	Andante and Variations	0:29:28 - Bill talks to Jane	antagonist \| arriving \| brother \| calm \| classical music \| conflict \| conversing \| leading lady \| leading man \| radio \| room \| source music \| taunting \| wife \| zoom in
Without Honor (1949)	Prelude in D-Flat Major, Op. 28, No. 15	0:33:17 - Mrs. Williams talks to Jane	antagonist \| brother \| calm \| classical music \| conflict \| conversing \| leading lady \| leading man \| radio \| room \| source music \| wife
Without Honor (1949)	Unidentified dance tune 4	0:34:19 - Bill tunes the radio	antagonist \| brother \| calling \| conflict \| conversing \| dialing \| leading lady \| leading man \| popular music \| radio \| room \| source music \| telephone \| upbeat \| wandering \| wife
Without Honor (1949)	Underscoring (Tense)	0:38:12 - Jane gets sprayed by a hose	action scene \| bus \| conversing \| leading lady \| neighbor \| street \| tense \| underscoring
Without Honor (1949)	Misterioso (Molto Rubato)	0:43:10 - Bill talks with Fred	antagonist \| brother \| conflict \| conversing \| husband \| leading lady \| leading man \| reveal \| room \| secret \| tense \| warning
Without Honor (1949)	Expressivo (Slowly)	0:43:25 - Jane walks slowly past	conflict \| conversing \| leading lady \| reveal \| room \| secret \| solemn \| wife
Without Honor (1949)	Chromatic Clarinet	0:43:47 - Jane walks slowly over	conflict \| conversing \| leading lady \| reveal \| room \| secret \| solemn \| wife
Without Honor (1949)	Triste (Appassionato)	0:47:41 - Mrs. Williams talks to Jane	conflict \| conversing \| leading lady \| reveal \| revealing \| room \| secret \| solemn \| wife \| yelling
Without Honor (1949)	Desperation (Triste)	0:48:15 - Jane sinks down slowly	conflict \| conversing \| descending \| leading lady \| realizing \| reveal \| room \| secret \| sinking \| sitting \| solemn \| wife
Without Honor (1949)	Underscoring (Tense)	0:49:48 - Bill talks to Fred	antagonist \| brother \| conflict \| conversing \| husband \| leading lady \| leading man \| reveal \| room \| secret \| tense \| thinking \| wife
Without Honor (1949)	Tension (Molto Misterioso)	0:50:03 - Bill stares at Jane	anger \| antagonist \| brother \| conflict \| conversing \| demanding \| dramatic \| husband \| leading lady \| leading man \| reveal \| room \| secret \| slapping \| tense \| wife
Without Honor (1949)	Twilight (Resolution)	0:55:26 - Jane walks out of the orchard	antagonist \| brother \| calm \| child \| conversing \| husband \| leading lady \| leading man \| orchard \| resolution \| scout \| street
Without Honor (1949)	Doloroso	0:57:10 - Mrs. Williams talks to Jane	antagonist \| apologizing \| brother \| climax \| conversing \| husband \| leading lady \| leading man \| room \| solemn \| wife
Without Honor (1949)	Tension (Extended)	0:58:12 - Mrs. Williams talks to Fred and Bill	antagonist \| bathroom \| brother \| climax \| conversing \| forgiveness \| husband \| leading lady \| leading man \| razor blade \| room \| tense \| wife
Without Honor (1949)	Valse Triste (Suicide)	0:58:33 - Jane stares in the mirror	antagonist \| attempted suicide \| bathroom \| brother \| climax \| conversing \| husband \| knocking \| leading lady \| leading man \| razor blade \| room \| somber \| suicide \| wife
Without Honor (1949)	Valse Triste (Molto Appassionato)	0:58:58 - Jane stares down	antagonist \| attempted suicide \| bathroom \| brother \| climax \| conversing \| dramatic \| husband \| knocking \| leading lady \| leading man \| razor blade \| room \| suicide \| wife
Without Honor (1949)	Appassionato 2 (Molto Expressivo)	0:59:06 - Jane cuts her wrist	antagonist \| attempted suicide \| bathroom \| breaking \| brother \| climax \| committing suicide \| conversing \| cutting \| dramatic \| entering \| grabbing \| husband \| knocking \| leading lady \| leading man \| razor blade \| room \| running \| suicide \| wife \| yelling
Without Honor (1949)	Valse Triste (Tempo de Beguin)	1:00:38 - Bill watches them leave	antagonist \| brother \| conversing \| convincing \| hopeful \| husband \| leading man \| resolution \| room \| thinking
Without Honor (1949)	Valse Triste (Mexico)	1:02:08 - Fred packs his things	antagonist \| brother \| cheerful \| conversing \| convincing \| husband \| leading man \| Mexican \| resolution \| room \| thinking
Without Honor (1949)	Valse Triste (Tempo de Beguin)	1:02:32 - Bill talks to Fred	antagonist \| brother \| conversing \| convincing \| hopeful \| husband \| leading man \| resolution \| room \| thinking
The Most Dangerous Game (1932)	A Moment In The Dark	0:04:39 - A picture of a hunting trip	boat \| conversing \| establish character \| friend \| hunter \| leading man \| radio \| radio \| source music \| upbeat
The Most Dangerous Game (1932)	Russian Waltz	0:24:22 - Zaroff plays the piano	brother \| castle \| conversing \| count \| dog \| drunk \| establish character \| leading lady \| leading man \| on-screen music \| piano \| playing \| recounting \| score to source \| somber \| source music \| warning
The Most Dangerous Game (1932)	Russian Waltz (Upstairs)	0:26:51 - Eve goes up the stairs	advance plot \| ascending \| brother \| castle \| conversing \| count \| departing \| drunk \| leading lady \| leading man \| mickey-mousing \| mute \| mysterious \| servant \| source to score \| stairs \| tense \| walking
The Most Dangerous Game (1932)	Zaroff (Stinger)	0:27:05 - A closeup on Ivan	advance plot \| brother \| castle \| close-up \| conversing \| count \| drunk \| leading lady \| leading man \| mute \| mysterious \| servant \| stinger \| tense
The Most Dangerous Game (1932)	Russian Waltz (Zoom In)	0:27:16 - Zaroff looks up at Eve	advance plot \| brother \| castle \| close-up \| conversing \| count \| departing \| drunk \| frantic \| leading lady \| leading man \| mute \| ominous \| servant \| stinger \| zoom in
The Most Dangerous Game (1932)	Emotions	0:29:42 - Eve comes in	agitated \| candle \| castle \| conversing \| fear \| leading lady \| leading man \| tense \| turning point
The Most Dangerous Game (1932)	Emotions 2	0:29:59 - Eve talks with Bob	agitated \| candle \| castle \| conversing \| fear \| leading lady \| leading man \| tense \| turning point
The Most Dangerous Game (1932)	The Iron Door (Mysterioso)	0:30:12 - Bob talks with Eve	candle \| castle \| conversing \| foreshadowing \| leading lady \| leading man \| mysterious \| stinger \| turning point
The Most Dangerous Game (1932)	Emotions 2 (Agitato)	0:37:23 - Eve runs to Bob	action scene \| agitated \| arriving \| castle \| conversing \| count \| fear \| leading lady \| leading man \| mute \| prisoner \| servant \| tense \| villain
The Most Dangerous Game (1932)	Russian Waltz (Meno) + The Iron Door	0:37:30 - Zaroff talks about the game	action scene \| castle \| combination of themes \| conversing \| count \| leading lady \| leading man \| mute \| prisoner \| servant \| tense \| villain
The Most Dangerous Game (1932)	Underscoring (Tense)	0:37:49 - Zaroff talks about the game	action scene \| castle \| conversing \| count \| leading lady \| leading man \| mute \| prisoner \| servant \| tense \| underscoring \| villain
The Most Dangerous Game (1932)	Zaroff (Molto Moderato) + The Iron Door	0:38:01 - Zaroff talks about the game	action scene \| castle \| combination of themes \| conversing \| count \| leading lady \| leading man \| mute \| prisoner \| servant \| tense \| villain
The Most Dangerous Game (1932)	Russian Waltz (Maestoso)	0:38:32 - Bob and Eve are taken to the jungle	action scene \| conversing \| fanfare \| jungle \| leading lady \| leading man \| mute \| ominous \| preparing \| prisoner \| releasing \| servant \| walking
The Most Dangerous Game (1932)	Mysterioso Dramatico	0:45:01 - Bob and Eve look for Zaroff	action scene \| conversing \| fanfare \| heroic \| jungle \| leading lady \| leading man \| preparing \| tense \| victim \| watching
The Most Dangerous Game (1932)	Russian Waltz (Low Brass)	0:45:12 - Bob talks with Eve	action scene \| conversing \| jungle \| leading lady \| leading man \| preparing \| tense \| victim \| watching
The Most Dangerous Game (1932)	Underscoring (Dramatic)	0:45:41 - Bob catches Eve	action scene \| agitated \| catching \| conversing \| convincing \| jungle \| leading lady \| leading man \| tense \| underscoring \| victim
The Most Dangerous Game (1932)	Russian Waltz (Tense)	0:48:21 - The Count talks to Bob	action scene \| conversing \| count \| dark \| gun \| jungle \| leading lady \| leading man \| taunting \| tense \| victim \| villain
White Heat (1949)	Struggle	1:52:46 - Explosion	agent \| climax \| conversing \| death \| dramatic \| exploding \| explosion \| factory \| fire \| fugitive \| gangster \| leading man \| murderer \| police \| raid
White Heat (1949)	Cody (The End)	1:53:02 - Explosion	agent \| climax \| conversing \| dark \| death \| dramatic \| exploding \| explosion \| factory \| fire \| fugitive \| gangster \| leading man \| murderer \| police \| raid \| The End
Caged (1950)	Marie 2 (Melancholy)	1:01:25 - Marie returns to her cell	conversing \| guard \| leading lady \| mad scene \| melancholy \| prison \| prisoner \| returning \| solemn
Caged (1950)	Jingle Bells	1:08:01 - Woman plays harmonica	advance plot \| Christmas \| conversing \| guard \| harmonica \| leading lady \| listening \| on-screen music \| playing \| prison \| prisoner \| source music \| upbeat \| warden
Caged (1950)	Bird in a Cage	1:08:07 - Woman plays harmonica	advance plot \| Christmas \| conversing \| dancing \| guard \| harmonica \| leading lady \| listening \| on-screen music \| playing \| prison \| prisoner \| singing \| source music \| upbeat \| warden
Caged (1950)	He Leadeth Me	1:27:53 - Women in prison	advance plot \| calm \| conversing \| crying \| hymn \| leading lady \| prison \| prisoner \| singing \| source music
Caged (1950)	Rock of Ages	1:30:31 - Women in prison	advance plot \| calm \| conversing \| guard \| hymn \| leading lady \| prison \| prisoner \| singing \| source music \| watching
Caged (1950)	Underscoring (Dramatic)	1:32:09 - Superintendent office door	advance plot \| bold \| conversing \| leading lady \| leaving \| mode mixture \| prison \| prisoner \| unpacking \| walking
Caged (1950)	Molto Expressivo (Rubato)	1:32:37 - Marie checks out	advance plot \| chromatic parallelism \| conversing \| guard \| leading lady \| leaving \| prison \| prisoner \| solemn \| underscoring
Caged (1950)	Marie (The End)	1:36:04 - Mrs. Benton and her secretary	augmented sixth chord \| climax \| closing credits \| conversing \| prison \| somber \| warden
All This, and Heaven Too (1940)	Henriette (Resolution) + Falling Snow (Resolution)	2:22:03 - Henry talks to Henriette	9th chord \| chromatic parallelism \| combination of themes \| conversing \| diminished third chord \| gentle \| leading lady \| minister \| mode mixture \| promising \| resolution \| school \| snow \| teacher
Mara Maru (1952)	On Deck	0:02:52 - Gregory steps onto the boat	boat \| boat \| child \| conversing \| diver \| diving suit \| establish character \| heroic \| hopeful \| leading man \| underscoring \| worker \| working
Mara Maru (1952)	Manuelo (Allegretto Giocoso)	0:03:20 - Perol lights a cigar	boat \| boat \| child \| conversing \| diver \| establish character \| leading man \| light \| playful \| reveal \| worker \| working
Mara Maru (1952)	Manuelo 2 (Extended)	0:03:36 - The boys help Gregory	boat \| boat \| child \| conversing \| diver \| establish character \| leading man \| light \| playful \| worker \| working
Mara Maru (1952)	Manuelo (Giocoso)	0:03:58 - The boys help Gregory	boat \| boat \| child \| conversing \| diver \| establish character \| leading man \| light \| playful \| worker \| working
Mara Maru (1952)	Manuelo (Meno)	0:04:10 - Gregory stands up	boat \| boat \| child \| conversing \| diver \| establish character \| gentle \| leading man \| worker \| working
Mara Maru (1952)	Gregory (Con Moto)	0:04:24 - A boat in the harbor	arriving \| boat \| child \| conversing \| diver \| establish character \| gambling \| grand \| harbor \| heroic \| leading man \| ocean \| sailing \| worker
Mara Maru (1952)	Baby Face	0:07:12 - Gregory arrives at a bar	advance plot \| arguing \| bar \| bartender \| conversing \| crowd \| fighting \| leading man \| partner \| sailor \| server \| source music \| upbeat
Mara Maru (1952)	Misterioso	0:12:16 - Gregory talks to Stella	arguing \| conversing \| establish character \| leading lady \| leading man \| mysterious \| room \| stinger \| tense
Mara Maru (1952)	Underscoring (Tense)	0:12:54 - Gregory talks to Stella	arguing \| conversing \| establish character \| leading lady \| leading man \| room \| tense \| underscoring
Mara Maru (1952)	Lovers	0:13:15 - Stella talks to Gregory	conversing \| establish character \| leading lady \| leading man \| room \| sentimental
Mara Maru (1952)	Appassionato	0:13:27 - Stella argues with Gregory	arguing \| conversing \| establish character \| leading lady \| leading man \| passionate \| room
Mara Maru (1952)	Stella (Molto Expressivo)	0:13:53 - Gregory grabs Stella's arm	conversing \| embracing \| establish character \| leading lady \| leading man \| romantic \| room \| waltz
Mara Maru (1952)	Underscoring (Dramatic)	0:15:56 - Gregory picks up the phone	advance plot \| arriving \| conversing \| discovering \| dramatic \| knocking \| leading man \| police \| room \| stinger \| telephone \| underscoring \| worker
Mara Maru (1952)	Nassau	0:27:20 - People in a club	club \| conversing \| crowd \| drinking \| establish character \| exotic \| gentle \| leading man \| private eye \| waitress
Mara Maru (1952)	Gregory (Quasi Misterioso)	0:38:51 - Stella talks to Benedict	\| advance plot \| antagonist \| conversing \| leading lady \| mysterious \| room
Mara Maru (1952)	Lovers	0:39:18 - Stella talks to Benedict	\| advance plot \| antagonist \| conversing \| leading lady \| room \| sentimental
Mara Maru (1952)	Appassionato	0:39:32 - Benedict talks to Stella	\| advance plot \| antagonist \| conversing \| leading lady \| passionate \| room
Mara Maru (1952)	Ortega	0:40:26 - Gregory talks with Ortega	arguing \| brother \| conversing \| distrust \| establish character \| leading man \| mysterious \| room \| tense
Mara Maru (1952)	Underscoring (Somber)	0:47:16 - Manuelo hold Perol in his arms	conversing \| crying \| death scene \| dock \| dying \| leading man \| pain \| somber \| struggling \| worker
Mara Maru (1952)	Manuelo (Molto Expressivo)	0:47:44 - Perol talks to Gregory	conversing \| crying \| death scene \| dock \| dying \| expressive \| leading man \| pain \| struggling \| tender \| worker
Mara Maru (1952)	Manuelo (Perol Dies)	0:48:12 - Perol speaks his last words	angelic \| conversing \| crying \| dark \| death \| death scene \| dock \| dying \| expressive \| leading man \| pain \| stinger \| struggling \| tender \| worker
Mara Maru (1952)	Adoramus te Christe	0:49:05 - A cross and some candles	brother \| church \| conversing \| cross \| crowd \| crying \| embracing \| evidence \| funeral scene \| leading man \| mother \| mourner \| mourning \| police \| praying \| priest \| private eye \| somber \| source music \| worker
Mara Maru (1952)	Morena	0:50:56 - Gregory and Ranier walk down the street	advance plot \| antagonist \| bodyguard \| cafe \| conversing \| hurrying \| leading man \| private eye \| somber \| source music \| stree \| tango \| walking
Mara Maru (1952)	Mara Maru	0:53:22 - A boat in the harbor	antagonist \| arriving \| bodyguard \| captain \| conversing \| dock \| dramatic \| harbor \| leading man \| panning shot \| private eye \| sailing \| sailor \| ship \| tense \| transition
Mara Maru (1952)	Sailing	0:53:34 - Men on the deck of the ship	bodyguard \| captain \| conversing \| dock \| leading man \| preparing \| private eye \| sailing effect \| sailor \| ship \| transition \| uneasy
Mara Maru (1952)	Sailor's Hornpipe (Con Spirito)	0:55:41 - Gregory enters the boat	bodyguard \| conversing \| familiar tune \| leading man \| light \| preparing \| private eye \| sailor \| ship \| ship \| transition
Mara Maru (1952)	Gregory (Tranquillo)	0:56:00 - Gregory steering the ship	advance plot \| calm \| conversing \| distraction \| leading man \| peaceful \| pondering \| sailing \| ship \| ship \| worker
Mara Maru (1952)	Appassionato (Tenderly)	0:56:26 - Gregory looks ahead	advance plot \| calm \| conversing \| distraction \| leading man \| peaceful \| pondering \| sailing \| ship \| ship \| worker
Mara Maru (1952)	Stella	0:56:49 - Stella appears as a reflection in the window	conversing \| leading lady \| leading man \| love interest \| love scene \| reflection shot \| relfection \| romantic \| sailing \| ship \| ship
Mara Maru (1952)	Appassionato (Molto Expressivo)	0:58:03 - Gregory takes Stella's arm	conversing \| leading lady \| leading man \| love interest \| love scene \| passionate \| sailing \| ship \| ship
Mara Maru (1952)	Ortega	0:58:27 - Gregory talks to Stella about Ortega	conversing \| cross \| leading lady \| leading man \| love interest \| love scene \| mysterious \| sailing \| ship \| ship \| tense
Mara Maru (1952)	Grabbing	0:58:53 - Gregory talks to Stella	conversing \| leading lady \| leading man \| love interest \| love scene \| sailing \| ship \| ship \| tense
Mara Maru (1952)	Benedict	0:59:00 - Benedict enters	antagonist \| conversing \| dramatic \| leading lady \| leading man \| love interest \| love scene \| sailing \| ship \| ship \| tense
Mara Maru (1952)	Sailing (Extended)	0:59:29 - The churning sea	antagonist \| conversing \| leading lady \| love interest \| ocean \| panning shot \| sailing \| ship \| ship \| transition \| uneasy
Mara Maru (1952)	Gregory (Heroic)	1:00:31 - Gregory gets ready to dive	action scene \| antagonist \| bodyguard \| captain \| conversing \| diving suit \| heroic \| leading lady \| leading man \| love interest \| preparing \| private eye \| ship \| ship \| tense \| worker \| working
Mara Maru (1952)	Underwater	1:02:28 - Gregory walks on the ocean floor	action scene \| captain \| close-up \| conversing \| dark \| diver \| diving \| leading man \| ocean \| ship \| ship \| suspenseful \| swimming \| underwater
Mara Maru (1952)	Underwater (Dramatic)	1:02:42 - Manuelo talks to Benedict	action scene \| antagonist \| bodyguard \| captain \| conversing \| dark \| diver \| diving \| leading lady \| leading man \| love interest \| ocean \| private eye \| ship \| ship \| suspenseful \| swimming \| traitor \| underwater \| worker \| working
Mara Maru (1952)	Benedict (Misterioso)	1:06:32 - Benedict talks with Stella	antagonist \| conversing \| leading lady \| love interest \| mysterious \| plotting \| reveal character \| ship \| ship \| tense \| turning point
Mara Maru (1952)	Benedict (Bored to Death)	1:07:34 - Benedict threatens to kill Gregory	antagonist \| conversing \| dark \| leading lady \| love interest \| mysterious \| ominous \| plotting \| reveal character \| ship \| ship \| stinger \| tense \| threat \| turning point
Mara Maru (1952)	Appassionato (Tenderly 2)	1:07:51 - Stella approaches	arguing \| captain \| conversing \| leading lady \| leading man \| love interest \| love scene \| rushing \| sailing \| ship \| ship \| uneasy \| walking \| warning
Mara Maru (1952)	Appassionato (Extended)	1:08:25 - Stella talks with Gregory	arguing \| captain \| conversing \| leading lady \| leading man \| love interest \| love scene \| passionate \| sailing \| ship \| ship \| warning
Mara Maru (1952)	Appassionato (Molto Expressivo)	1:11:48 - Crew on deck of the ship	action scene \| antogonist \| arguing \| captain \| conversing \| diver \| diving suit \| leading lady \| leading man \| love interest \| passionate \| preparing \| private eye \| ship \| ship \| worker
Mara Maru (1952)	On Deck	1:18:55 - Gregory emerges from the water	action scene \| antogonist \| assisting \| boat \| captain \| conversing \| diver \| diving suit \| heroic \| hopeful \| leading lady \| leading man \| love interest \| private eye \| rain \| ship \| storm \| treasure \| triumphant \| wind \| worker \| working \| yelling
Mara Maru (1952)	Gregory (Determined)	1:21:45 - Gregory goes to the wheelhouse	action scene \| antogonist \| captain \| conversing \| determined \| diver \| leading lady \| leading man \| love interest \| private eye \| rain \| sailing \| ship \| storm \| walking \| wind \| worker
Mara Maru (1952)	Stella (Appassionato)	1:22:28 - Gregory talks to Stella	captain \| conversing \| leading lady \| leading man \| love interest \| love scene \| rain \| romantic \| ship \| storm \| wind
Mara Maru (1952)	Gregory (Expressivo)	1:36:22 - Stella and Gregory look at each other	catacomb \| cave \| comforting \| conversing \| corpse \| cross \| death \| dying \| leading lady \| leading man \| love interest \| martyr \| resolution \| solemn \| somber \| tunnel \| victim \| worker
Bachelor Apartment (1931)	Waltz no. 2	0:05:36 - People entering a ballroom	advance plot \| arriving \| calm \| conversing \| leading lady \| source music \| telephone \| waltz
Bachelor Apartment (1931)	You're Wonderful	0:44:30 - Lita in a phone booth	advance plot \| bachelor \| conversing \| leading man \| sister \| source music \| telephone \| upbeat
Hook, Line and Sinker (1930)	Whistling the Blues Away	0:47:03 - People dancing at a party	AABA structure \| ballroom \| conversing \| dancing \| jazz \| leading man \| party \| party \| performing \| upbeat
Hook, Line and Sinker (1930)	Three Little Words	0:56:38 - Wilbur and Mary talk	AABA structure \| cash register \| conversing \| dancing \| hotel \| jazz \| leading lady \| leading man \| love scene \| party \| performing \| storm \| upbeat

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