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 |