| All This, and Heaven Too (1940) | Underscoring (Tense) | NIF - not in film | advance plot | child | conversing | cut from film | duchess | governess | leading lady | room | tense | underscoring |
All This, and Heaven Too (1940) | Not in film segment | NIF - not in film | advance plot | arguing | child | cut from film | duchess | governess | leading lady | room |
| The Amazing Dr. Clitterhouse (1938) | The Printing Press + Cauldron 1 (Not in Film) + The Amazing Doctor (Not in Film) | NIF - not in film | combination of themes | common-tone diminished 7th | cut from film | layering | ostinato | step modulation |
| Angels With Dirty Faces (1938) | 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 (Dramatic) | NIF - not in film | chromatic parallelism | chromatic scale | chromatic sequence | conflict | cut from film | diminished 7th chord | dissonant bass | evading | following | gangster | leading man | linear chromaticism | setup | shop | street | underscoring | walking |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | NIF - not in film | advance plot | altered dominant | chromatic scale | cut from film |
| Are These Our Children? (1931) | Dreams (Coney Island) | NIF - not in film | chromatic mediant | chromatic parallelism | cut from film | foreign key modulation | joyful |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Alternate Version) | NIF - not in film | 9th chord | AABA structure | cheerful | cut from film | dance hall |
Are These Our Children? (1931) | Dreams + Makes You Forget Your Troubles (Allegro) | NIF - not in film | cut from film | mysterious | octatonic | somber | whole-tone chord | whole-tone scale |
Are These Our Children? (1931) | Dreams (Washroom Sequence Bridge) | NIF - not in film | cut from film |
Are These Our Children? (1931) | Dreams (Washroom Sequence Coda) | NIF - not in film | chromatic parallelism | cut from film |
Are These Our Children? (1931) | Flapper and Eddie Waltz | NIF - not in film | added-note chord | altered dominant | cut from film | linear chromaticism | parallel double period | waltz |
Are These Our Children? (1931) | Dreams (Con Espressione) | NIF - not in film | cut from film | diminished 7th chord | enharmonic modulation | fragmentation | thematic transformation |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Moderato 2) | NIF - not in film | cut from film |
Are These Our Children? (1931) | Dreams (Newspaper Montage 2) | NIF - not in film | cut from film | dissonant bass | fragmentation | sequence | thematic transformation |
Are These Our Children? (1931) | Dreams (Andante) | NIF - not in film | added-note chord | cut from film | mode mixture | parallelism | quartal chord | tense | whole-tone chord |
Are These Our Children? (1931) | Dreams (Transition 8B) | NIF - not in film | added-note chord | altered dominant | augmented triad | chromatic mediant | common-tone diminished 7th | cut from film | foreign key modulation | pedal tone | tense | turbulent |
Are These Our Children? (1931) | Dreams (Transition 9) | NIF - not in film | 9th chord | altered dominant | cut from film | dark | mysterious | pc set | tragic | whole-tone | whole-tone chord |
Are These Our Children? (1931) | Lascia ch'io pianga | NIF - not in film | ABA structure | classical music | common-chord modulation | cut from film | da capo | solemn | ternary form |
Are These Our Children? (1931) | Dreams (Transition 13) + Makes You Forget Your Troubles (Transition 13) | NIF - not in film | 9th chord | added-note chord | chromatic sequence | common-tone diminished 7th | cut from film | dramatic | plagal cadence | somber |
Are These Our Children? (1931) | Dreams (End Title) | NIF - not in film | bold | cut from film | mode mixture | plagal cadence |
Are These Our Children? (1931) | Dreams (Meno) | NIF - not in film | added-note chord | chromatic parallelism | common-tone dominant 7th | cut from film | half-diminished 7th chord | peaceful |
Are These Our Children? (1931) | Dreams (Dark Introduction) | NIF - not in film | added-note chord | cut from film | dark |
Are These Our Children? (1931) | Foxtrot | NIF - not in film | AABA structure | common-chord modulation | cut from film | happy | plagal cadence | sentence form | ternary form |
Are These Our Children? (1931) | Incidental Music | NIF - not in film | ABAC structure | added-note chord | altered dominant | common-tone diminished 7th | cut from film | upbeat |
Are These Our Children? (1931) | Dance Tune | NIF - not in film | augmented triad | bluesy | common-tone diminished 7th | cut from film | mode mixture |
| Arsenic and Old Lace (1944) | Here Comes the Bride (Modulating 2) | NIF - not in film | added-note chord | cut from film | deceptive resolution | familiar tune | fragmentation | love scene | pump-up modulation | sequence |
Arsenic and Old Lace (1944) | The Aunts | NIF - not in film | cut from film | foreign key modulation | harmonic sequence |
Arsenic and Old Lace (1944) | Happy Land (Lento) | NIF - not in film | added-note chord | cut from film | suspension |
| The Big Sleep (1946) | Vivian + Marlowe (Ear Business) | NIF - not in film | advance plot | combination of themes | conversing | cut from film | deleted scene | deleted scene | leading lady | leading man | love interest | mysterious | private eye | romantic | room | thinking |
The Big Sleep (1946) | Marlowe (Phone Call) | NIF - not in film | advance plot | bold | calling | cut from film | deleted scene | deleted scene | dialing | leading man | phone | private eye | room | tense |
The Big Sleep (1946) | Carmen | NIF - not in film | advance plot | burning | calling | cut from film | deleted scene | deleted scene | leading man | mysterious | phone | private eye | room | tense |
The Big Sleep (1946) | Carmen (Clues) | NIF - not in film | advance plot | calling | cut from film | deleted scene | deleted scene | leading man | mysterious | phone | private eye | room | tense |
The Big Sleep (1946) | Marlowe (Not in Film) | NIF - not in film | advance plot | conversing | cut from film | femme fatale | leading man | private eye | room |
The Big Sleep (1946) | Drops hat | NIF - not in film | advance plot | cut from film | dropping | femme fatale | hat | leading man | mickey-mousing | private eye | room |
The Big Sleep (1946) | Sternwood (Extended) | NIF - not in film | advance plot | conversing | cut from film | femme fatale | leading man | private eye | room |
The Big Sleep (1946) | Underscoring (Tense) | NIF - not in film | advance plot | conversing | cut from film | femme fatale | leading man | private eye | room | underscoring |
The Big Sleep (1946) | You! | NIF - not in film | advance plot | conversing | cut from film | femme fatale | leading man | private eye | room |
The Big Sleep (1946) | Marlowe (Major) | NIF - not in film | advance plot | conversing | cut from film | femme fatale | leading man | private eye | room |
The Big Sleep (1946) | Bites hand | NIF - not in film | advance plot | biting | cut from film | femme fatale | leading man | mickey-mousing | private eye | room | stinger |
The Big Sleep (1946) | Carmen (Not in Film) | NIF - not in film | advance plot | conversing | cut from film | femme fatale | leading man | private eye | room |
| City for Conquest (1940) | Tone Poem Alternate Endings (Ending 1) | NIF - not in film | cut from film |
City for Conquest (1940) | Tone Poem A1 (Tag) | NIF - not in film | cut from film |
| Crime School (1938) | Gangster Blues | 0:01:16 - New York City streets | 13th chord | added-note chord | altered dominant | blues | cut from film | establish setting | fun | Gershwinesque | main title | setting | street | upbeat |
Crime School (1938) | The Courthouse | NIF - not in film | cut from film | deceptive resolution | noble | parallelism |
Crime School (1938) | The Patrol Wagon | 0:21:41 - Boys get loaded into the patrol wagon | car | chromatic parallelism | cut from film | dissonant bass | pedal tone | police car | traveling |
Crime School (1938) | Reform School Drill | 0:33:18 - Reform school boys exercise outside | comedy | cut from film | deceptive resolution | exercising | exercising music | foreign key modulation | gang | jogging | leading man | polychord | reformatory | split-third chord | teenager | upbeat | warden |
Crime School (1938) | The Courthouse (Judge) | 1:22:53 - Door to the judge's chambers | courthouse | cut from film | entering | judge | noble | resolution |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Dolceeessimo) | NIF - not in film | barn | cut from film | deceptive resolution | foreign key modulation | intervallic expansion | love scene | pedal tone | sequence | sweet |
Dust Be My Destiny (1939) | Dust Be My Destiny (Not In Film) | NIF - not in film | 9th chord | common-tone diminished 7th | conflict | cut from film | sequence |
| 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) | If I Could Be With You (Lightly) | NIF - not in film | altered dominant | common-tone diminished 7th chord | cut from film | cut from film | flirting | leading lady | leading man | lovers meet | pedal tone | police | room |
Flamingo Road (1949) | 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) | Traveling | NIF - not in film | added-note chord | chromatic mediant | common-tone diminished 7th | cut from film | cut from film | deceptive resolution | leading lady | leading man | lovers meet | pedal tone | police | room |
Flamingo Road (1949) | Lane (Sentimentale) | NIF - not in film | 9th chords | chromatic parallelism | conversing | cut from film | cut from film | falling in love | 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 | leading lady | leading man | police |
Flamingo Road (1949) | Driving | NIF - not in film | car | cut from film | driving | foreign key modulation | leading lady | leading man | love interest | love scene |
Flamingo Road (1949) | Titus (Ostinato) | NIF - not in film | advance plot | arguing | café | cut from film | cut from film | employer | leading lady | lying | ostinato | 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) | 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) | Flamingo Road (Expressivo) | NIF - not in film | altered dominant | cut from film | cut from film | self-borrowing | transition |
Flamingo Road (1949) | Underscoring (Mysterious) | NIF - not in film | added-note chord | cut from film | cut from film | transition | underscoring |
Flamingo Road (1949) | Titus 2 (Triste) | NIF - not in film | cut from film | cut from film | police station | resolution | self-borrowing |
Flamingo Road (1949) | Lane (Not in Film 2) | NIF - not in film | cut from film | cut from film | foreign key modulation | mode mixture | police station | resolution |
| Hell on Frisco Bay (1955) | Hell on Frisco Bay | NIF - not in film | conductor score | cut from film |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | NIF - not in film | conductor score | cut from film |
Hell on Frisco Bay (1955) | Menace | NIF - not in film | conductor score | cut from film |
Hell on Frisco Bay (1955) | Menace | NIF - not in film | conductor score | cut from film |
Hell on Frisco Bay (1955) | I'm Off | NIF - not in film | conductor score | cut from film |
Hell on Frisco Bay (1955) | Steve | NIF - not in film | conductor score | cut from film |
Hell on Frisco Bay (1955) | Amato | 1:20:16 - News of Mario's death | brash | cut from film | death | montage | montage | murder | suicide | typing |
Hell on Frisco Bay (1955) | The Wreath | NIF - not in film | cut from film |
Hell on Frisco Bay (1955) | | NIF - not in film | cut from film |
| In This Our Life (1942) | Stanley (Something Screwey) | NIF - not in film | conflict | cut from film |
In This Our Life (1942) | Stanley (Tenderly) | NIF - not in film | cut from film | resolution |
In This Our Life (1942) | The End | NIF - not in film | cut from film | resolution |
| 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 |
| The Letter (1940) | Native (Uncut) | NIF - not in film | cut from film | Dorian mode | exoticism | melodic cell | ostinato | pentatonic | quintal chord | setting |
The Letter (1940) | Leslie (Not in Film) | NIF - not in film | advance plot | cut from film | deceptive resolution | suspension |
| Mildred Pierce (1945) | Kay and Veda (Troubled) | NIF - not in film | cut from film | dissonant | dramatic | hopeful | tender | tense | tragic | turbulent |
Mildred Pierce (1945) | Mildred (Not in Film) | NIF - not in film | cut from film | tender |
Mildred Pierce (1945) | Mazurka in B-Flat Major + Mildred | NIF - not in film | classical music | combination of themes | cut from film | familiar tune | on-screen music | scored source music | source music |
Mildred Pierce (1945) | Allegretto | NIF - not in film | cut from film | self-borrowing |
Mildred Pierce (1945) | It Can't Be Wrong (Not in Film) | NIF - not in film | cut from film | familiar tune | mickey-mousing | popular music | source to score |
| The Life of Vergie Winters (1934) | Lullaby (Resolution Not in Film) | NIF - not in film | added-note chord | cut from film |
| The Unfaithful (1947) | Unfaithful (Not in Film) | NIF - not in film | arguing | climax | cut from film | husband | ostinato | room | sequential modulation | tense | wife |
| We Are Not Alone (1939) | Surprise Symphony (Not in film) | NIF - not in film | classical music | cut from film | doctor | establish character | familiar tune | Haydn | hero | heroine | pedal tone | quotation | room |
We Are Not Alone (1939) | Birds | NIF - not in film | augmentation | birds | chromatic mediant | cut from film | inversion | layering | pastoral | pentatonic |
We Are Not Alone (1939) | Surprise Symphony (Dolcissimo) | NIF - not in film | altered dominant | classical music | cut from film | familiar tune | foreign key modulation | Haydn | playful | quotation |
We Are Not Alone (1939) | Birds (Extended) | NIF - not in film | augmentation | birds | chromatic mediant | chromatic parallelism | cut from film | inversion | pastoral | pentatonic |
We Are Not Alone (1939) | Birds | NIF - not in film | chromatic parallelism | cut from film | pastoral | pentatonic |
We Are Not Alone (1939) | Frohe Botschaft (6th chime) | NIF - not in film | conclusion | cut from film | eerie | familiar tune | folk song | fragmentation | German | ominous | quotation | tone cluster |
| The Breaking Point (1950) | Waves | NIF - not in film | cut from film |
| Deep Valley (1947) | Libby 2 | NIF - not in film | cut from film | establish character |
Deep Valley (1947) | Joe (Not in Film) | NIF - not in film | cut from film | establish character |
Deep Valley (1947) | Woods | 0:09:57 - Libby walks in the woods | cheerful | cut from film | dog | establish character | forest | leading lady | upbeat | walking |
Deep Valley (1947) | Woods (Misterioso) | NIF - not in film | cut from film | establish character |
Deep Valley (1947) | Joe | NIF - not in film | advance plot | cut from film |
Deep Valley (1947) | Underscoring (Mysterious) | NIF - not in film | cut from film |
Deep Valley (1947) | Joe (Calm) | NIF - not in film | cut from film |
Deep Valley (1947) | Deep Valley | NIF - not in film | cut from film |
Deep Valley (1947) | Barry | NIF - not in film | cut from film |
Deep Valley (1947) | Barry (Broad) | NIF - not in film | cut from film |
Deep Valley (1947) | Molto Expressivo | NIF - not in film | cut from film | underscoring |
Deep Valley (1947) | Barry (Dolce) | NIF - not in film | cut from film |
Deep Valley (1947) | Deep Valley (Delicato) | NIF - not in film | cut from film |
Deep Valley (1947) | Joe (Misterioso) | NIF - not in film | cut from film |
Deep Valley (1947) | Sneaking | NIF - not in film | cut from film |
| The Woman in White (1948) | Signature | NIF - not in film | cut from film | fanfare |
The Woman in White (1948) | Fairlie (Gentle) | NIF - not in film | cut from film |
The Woman in White (1948) | Laura | NIF - not in film | cut from film |
The Woman in White (1948) | Fosco (Cut from Film) | NIF - not in film | cut from film |
| Beyond the Forest (1949) | Rosa (Slowly) | 0:47:08 - Rosa reads a magazine | advance plot | cut from film | leading lady | office | reading | receptionist | solemn | waiting |
Beyond the Forest (1949) | Rosa (Not in Film) | NIF - not in film | advance plot | cut from film |
Beyond the Forest (1949) | Underscoring (Tense) | NIF - not in film | cut from film | cut from film | underscoring |
Beyond the Forest (1949) | Lewis (Dolce) | NIF - not in film | cut from film | cut from film |
Beyond the Forest (1949) | Lewis (Moderato Quasi Rubato) | NIF - not in film | cut from film | cut from film |
Beyond the Forest (1949) | Sawmill + Steam Whistle | 1:30:02 - The maid makes a phone call | agitated | climax | collapsing | combination of themes | cut from film | falling | leading lady | machinery effect | madness | mad scene | maid | murderer | street | stumbling | tense | walking | whistle effect |
Beyond the Forest (1949) | Train | 1:30:52 - A locomotive | agitated | climax | cut from film | leading lady | madness | mad scene | murderer | stumbling | tense | train | train effect | train station | walking |
Beyond the Forest (1949) | Train + Chicago (Shrill) | 1:30:54 - Rosa stumbles towards the train | agitated | climax | combination of themes | cut from film | familiar tune | leading lady | madness | mad scene | murderer | popular tune | shrill | stumbling | tense | train | train effect | train station | walking |
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