| All This, and Heaven Too (1940) | Henriette | 0:00:28 - Cast list | 64 chord | added-note chord | cast list | chromatic mediant | countermelody | deceptive resolution | diminished third chord | foreign key modulation | mode mixture | opening title sequence | pedal tone | pleasant | romantic | sentence form | suspension |
All This, and Heaven Too (1940) | The Duke (Maestoso) | 0:14:03 - Henriette enters the palace | arriving | butler | calm | chromatic mediant | chromatic sequence | countermelody | establish place | establish setting | foreign key modulation | gentle | leading lady | noble | palace | sequential modulation | walking |
All This, and Heaven Too (1940) | Henriette (Fairy Tale) | 0:23:50 - Henriette reads a fairy tale | book | calm | child | countermelody | delicate | duke | establish character | fairy tale | governess | leading lady | leading man | magical | pleasant | room | storytelling |
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) | 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) | 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) | Isabelle 2 | 1:08:44 - Isabelle talks to Henriette | advance plot | child | comforting | countermelody | crying | governess | leading lady | room | serious | somber |
All This, and Heaven Too (1940) | The Duke (Maestoso) | 2:10:50 - Henriette enters the Duke's palace | arriving | countermelody | dark | hearing voices | leading lady | mode change | palace | prisoner | soldier | spooky | suspect | transition | uneasy |
| Arsenic and Old Lace (1944) | Happy Land (The End) | 1:57:05 - Mortimer carries Elaine away | altered dominant | bride | countermelody | driver | end title sequence | familiar tune | groom | kissing | leading lady | leading man | resolution | street | The End | upbeat |
Arsenic and Old Lace (1944) | Happy Land (March) | 1:57:20 - Cast list | cast list | countermelody | end title sequence | transcribed by ear | upbeat |
| City for Conquest (1940) | Tone Poem D (Main Title) | 0:01:00 - Credits over a city skyline | 9th chord | 64 chord | added-note chord | blue note | bluesy | cast list | city | countermelody | mode mixture | opening title sequence | sentimental | skyline |
City for Conquest (1940) | Tone Poem B + Train | 0:01:19 - Sign for the Williamsburg Bridge | 9th chord | added-note chord | bridge | busy | chromatic parallelism | city | combination of themes | countermelody | hurried | Mixolydian mode | old man | police | train | transition | traveling |
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) | Tone Poem A (Molto Expressivo) | 0:48:44 - Danny talks with Peggy | 9th chord | 64 chord | appoggiatura | boxer | countermelody | dancer | embracing | kissing | leading lady | leading man | love scene | plagal cadence | romantic | sequence | street |
City for Conquest (1940) | Tone Poem C | NIF - not in film | 9th chord | bluesy | concert scene | countermelody | cut from film | enharmonic modulation | enharmonic respelling | mode mixture | sus chord |
City for Conquest (1940) | Tone Poem D | NIF - not in film | 9th chord | AABA structure | added-note chord | altered dominant | blue note | bluesy | chromatic parallelism | chromatic sequence | concert scene | countermelody | cut from film | mode mixture | parallelism |
City for Conquest (1940) | Sidewalks of New York (Soliloquy) | 1:42:56 - Old timer talks to himself | altered dominant | chromatic parallelism | conversing | countermelody | old man | resolution | sentimental | soliloquy |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Appassionato) | 1:12:09 - Mabel and Joe hide from the reporters | conflict | countermelody | hero | hiding | hospital | leading lady | leading man | passionate | underscoring |
| Each Dawn I Die (1939) | Each Dawn B (Augmented) | 0:00:36 - Cast list | augmentation | bleak | cast list | countermelody | dark | diminished 7th chord | main title | opening title sequence | prison |
| Flamingo Road (1949) | Lute Mae | 0:01:26 - Lute Mae's Roadhouse | 13th chord | added-note chord | altered dominant | bluesy | club | countermelody | dancing | eating | establish setting | musician | on-screen music | playing | self-borrowing | simulated source music | voice-over |
Flamingo Road (1949) | Lute Mae (A Reminiscence) | 0:42:04 - A female prisoner talks about Lute Mae's | 13th chord | added-note chord | advance plot | altered dominant | bluesy | conversing | countermelody | Gershwinesque | leading lady | prison | prisoner | self-borrowing |
Flamingo Road (1949) | Lute Mae (Not in Film) | NIF - not in film | 13th chord | added-note chord | altered dominant | common-chord modulation | countermelody | cut from film | cut from film | deceptive resolution | lovers meet | self-borrowing |
Flamingo Road (1949) | 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) | 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 |
| 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) | Roy (Triste) | 0:12:54 - Roy walks up the stairs | 9th chord | altered dominant | countermelody | establish character | foreign key modulation | gentle | leading lady | room | somber | walking |
In This Our Life (1942) | Roy (Grazioso) | 0:23:08 - Roy looks in the mirror | 9th chord | conflict | conversing | countermelody | father | foreign key modulation | leading lady | mysterious | room |
| The Informer (1935) | The Informer (Walking) | 0:01:44 - Gypo walks down the street | countermelody | establish character | leading man | mickey-mousing | mysterious | poster | Scotch snap | street | walking |
| Lightning Strikes Twice (1951) | Shelly 2 (Worried) | 0:18:41 - Shelly walks to her room | actor | candle | concerned | countermelody | establish character | leading lady | room | walking | worried |
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 |
| 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 |
| Kid Galahad (1937) | The Moon Is In Tears Tonight (The Kid) | 0:50:05 - Louise looks at her Kid Galahad scrapbook | advance plot | cheerful | countermelody | not by Steiner | organizing | parallelism | room | scrapbook | sister | transcribed by ear |
Kid Galahad (1937) | Heart's Affair (Arriving) | 0:58:30 - A newspaper headline | arriving | countermelody | farm | leading man | love scene | mode mixture | newspaper | playful | reading | sister | transcribed by ear |
| Traveling Husbands (1931) | There's a Sob in My Heart (Dixieland) | 0:34:27 - Music is played in a night club | banjo | countermelody | dancing | Dixieland | double exposure | drums | improvisation | jazz | leading lady | montage | night club | popular song | salesman | source music | taxi | transcribed by ear | trombone | upbeat |
Traveling Husbands (1931) | There's a Sob in My Heart (Sentimental) | 1:10:39 - People are sad as the radio plays | AABA structure | altered dominant | augmented sixth chord | countermelody | crying | leading lady | leading man | popular song | radio | resolution | room | salesman | sentimental | somber | transcribed by ear |
| We Are Not Alone (1939) | Surprise Symphony (Calm) | 0:12:01 - David's treatment is successful | calm | classical music | countermelody | deceptive resolution | doctor | establish character | familiar tune | Haydn | hero | heroine | quotation | room |
| Hold ‘Em Jail (1932) | Bide-More Alma Mater | 0:00:46 - Cast list and prison sign | cast list | cheerful | common-chord modulation | common-tone diminished 7th | countermelody | establish place | opening title sequence | transcribed by ear | upbeat |
| Is My Face Red? (1932) | Sidewalks of New York (Harbor) | 0:20:07 - New York City skyline | calm | countermelody | New York | parallelism | popular music | setting | transcribed by ear | transition | traveling |
| Gridiron Flash (1934) | Gridiron Flash | 0:00:24 - Cast list | added-note chord | cast list | countermelody | march | opening title sequence | starring list | title of film | upbeat |
Gridiron Flash (1934) | Gridiron Flash | 0:33:51 - Sports montage | countermelody | fanfare | football | football game | headline | montage | newspaper | playing | upbeat |
Gridiron Flash (1934) | Gridiron Flash | 0:45:19 - Eddie in his room | added-note chord | advance plot | cheering | countermelody | leading man | march | room | upbeat |
Gridiron Flash (1934) | Gridiron Flash | 1:02:36 - The scoreboard | added-note chord | athlete | celebrating | countermelody | crowd | football | football game | leading lady | leading man | march | resolution | The End | upbeat |
| Star of Midnight (1935) | Midnight in Manhattan (Tango) | 0:08:56 - Dancers in a Broadway show | advance plot | countermelody | dancer | dancing | energetic | mode mixture | Neapolitan | on-screen music | pit orchestra | score to source | source music | syncopation | tango | theater |
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 |
| All This, and Heaven Too (1940) | Henriette (The End) | 2:22:31 - The End | countermelody | deceptive resolution | end title sequence | grand | leading lady | looking | minister | mode mixture | plagal cadence | school | snow | teacher | The End |
| Half Shot at Sunrise (1930) | Whistling the Blues Away (Waltz) | 0:27:06 - Tommy, Annette, and Gilbert dance | car | countermelody | dancing | dramatic | leading lady | leading man | love interest | park | soldier | song and dance scene | source to score | waltz |
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