| Arsenic and Old Lace (1944) | Here Comes the Bride (Appassionato) | 0:16:10 - Mortimer and Elaine kiss | 64 chord | bride | cemetery | embracing | familiar tune | groom | inversion | kissing | leading lady | leading man | love | love scene | romantic |
| City for Conquest (1940) | Tone Poem A1 (Dolce) | 0:48:06 - Danny talks to Peggy | boxer | dancer | embracing | kissing | leading lady | leading man | love scene | romantic | street |
City for Conquest (1940) | Tone Poem A1 (Molto Expressivo) | 0:48:44 - Danny talks with Peggy | boxer | dancer | embracing | kissing | leading lady | leading man | love scene | romantic | street |
City for Conquest (1940) | Tone Poem A1 (Farewell) + Tone Poem A2 | 0:55:31 - Peggy bids farewell to Danny | conversing | crying | embracing | farewell scene | leading lady | leading man | leaving | romantic | sentimental | street |
| They Made Me a Criminal (1939) | On the Make (Appassionato) | 1:25:51 - Peggy wants to go with Johnnie | 9th chord | altered dominant | climax | detective | embracing | kissing | leading lady | leading man | leaving | linear chromaticism | mode mixture | pedal tone | romantic | room | sentimental | sigh gesture | tender |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Reunited) | 0:58:04 - Joe embraces Mabel | 9th chord | 64 chord | added-note chord | embracing | foreign key modulation | leading lady | leading man | love scene | romantic | room | triumphant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Reunited) | 1:11:25 - Mabel embraces Joe after she meets him | 64 chord | advance plot | doctor | embracing | happy | hero | hospital | leading lady | leading man | nurse |
| Each Dawn I Die (1939) | Frank | 0:08:23 - Frank and Joyce embrace | appoggiatura | courtroom | courtroom scene | embracing | girlfriend | handcuffs | hero | leading man | mother | reporter | reverse picardy | tender |
Each Dawn I Die (1939) | Frank (Released) | 1:28:49 - Frank is released | 9th chord | altered dominant | artwork in score | conclusion | embracing | friend | gentle | goodbye | leading lady | leading man | Neapolitan | passionate | peaceful |
| Flamingo Road (1949) | Flamingo Road (Romantic) | 0:55:41 - Dan kisses Lane | embracing | foreign key modulation | foreshadowing | kissing | leading lady | leading man | love interest | love scene | mode mixture | parallelism | politician | porch | romantic | self-borrowing |
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 (Appassionato) | 1:32:54 - Dan visits Lane in prison | crying | embracing | foreign key modulation | husband | joyous | kissing | leading lady | leading man | pedal tone | prison | resolution | reuniting | self-borrowing | wife |
Flamingo Road (1949) | Flamingo Road (Dolce) | 1:33:08 - Dan and Lane embrace | crying | dark | embracing | husband | kissing | leading lady | leading man | mode mixture | peaceful | prison | resolution | reuniting | self-borrowing | wife |
| Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:02:01 - Marcia embraces Steve | conductor score | embracing | establish character | friend | gentle | leading lady | leading man | street |
Hell on Frisco Bay (1955) | Georgie | 0:36:40 - George talks to his son | advance plot | caring | child | conductor score | embracing | father | gentle | room | tender |
| In This Our Life (1942) | Roy (Lento) | 0:14:59 - Roy talks about their future | advance plot | conversing | dark | embracing | leading lady | leading man | room | sweet |
In This Our Life (1942) | Roy (Morendo) | 0:15:43 - Roy responds to Peter | advance plot | conversing | embracing | leading lady | leading man | room | serious | somber |
In This Our Life (1942) | Love Theme (Gentle) | 1:27:58 - Roy talks to Craig | accusing | climax | conversing | criminal | crying | embracing | gentle | lawyer | leading lady | leading man | room | sneaking | tender |
| The Informer (1935) | Dan and Mary | 0:55:53 - Dan and Mary talk alone | ABA structure | chromatic parallelism | deceptive resolution | diminished 7th chord | dissonant bass | embracing | half-diminished 7th chord | hero | love interest | love scene | love theme | mode mixture | passionate | pedal tone | romantic | room |
The Informer (1935) | Dan and Mary (Dolce) | 0:57:51 - Dan tells Mary: "I'll come back for you" | 11th chord | common-tone diminished 7th | crying | dissonant bass | embracing | hero | love interest | love scene | love theme | mode mixture | romantic | room |
| The Letter (1940) | Robert and Leslie | 0:20:07 - Leslie looks in the drawer | appoggiatura | embracing | home | husband | leading lady | love scene | love theme | pedal tone | romantic | sigh gesture | suspension |
| Mildred Pierce (1945) | Mildred (Happy Homecoming) | 1:38:50 - Mildred and her daughter embrace | advance plot | apologizing | daughter | embracing | forgiveness | happy | heroine | leading lady | loving | mother | returning | reuniting | room | warm |
| The Life of Vergie Winters (1934) | Lullaby (Passionate) | 1:09:39 - John and Vergie embrace | 9th chord | advance plot | embracing | leading lady | leading man | pedal tone | romantic | room | secret lover | tense |
| Kid Galahad (1937) | Heart's Affair (Trouble) | 1:15:53 - Ward talks to Marie at the farm | advance plot | deceptive resolution | embracing | farm | kissing | leading man | romantic | sister | transcribed by ear |
| 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 |
Transgression (1931) | Main Title (Ending) | 1:09:15 - The End | embracing | end title sequence | gentle | happy | husband | leading lady | pleasant | The End | transcribed by ear |
| Is My Face Red? (1932) | I Love Thee | 0:16:08 - Two people embrace | advance plot | boat | embrace | embracing | leading man | quotation | romantic | transcribed by ear |
| Thirteen Women (1932) | Ursula (Romance) | 0:08:37 - The swami kisses Ursula | antagonist | embracing | establish character | fortune teller | kissing | leading lady | romantic | room | secondary dominant | swami | transcribed by ear | waltz |
| Another Face (1935) | You're an Angel | 0:25:47 - A man knocks on a door | actress | advance plot | arguing | conversing | embracing | kissing | maid | manager | proposal | room | sentimental | source music |
Another Face (1935) | Transient Love | 1:08:26 - Joe hugs Sheila | actress | embracing | end title sequence | fiancée | Film Title | manager | room | sentimental |
| Deep Valley (1947) | Kiss | 0:51:58 - Barry kisses Libby | convict | dog | embracing | exciting | falling in love scene | forest | fugitive | kissing | leading lady | leading man | love interest | mickey-mousing | staring |
Deep Valley (1947) | Deep Valley | 0:52:10 - Barry kisses Libby again | convict | dog | embracing | falling in love scene | forest | fugitive | gentle | kissing | leading lady | leading man | love interest | romantic | staring |
Deep Valley (1947) | Deep Valley (Appassionato) | 0:55:51 - Barry and Libby embrace | cabin | cheerful | convict | embracing | fugitive | kissing | leading lady | leading man | love interest | love scene | romantic |
Deep Valley (1947) | Barry (Tender) | 1:15:59 - Barry apologizes to Libby | advance plot | apologizing | barn | convict | embracing | fugitive | leading lady | leading man | love interest | tender |
Deep Valley (1947) | Deep Valley (Kiss) | 1:16:19 - Barry kisses Libby | advance plot | barn | convict | crying | embracing | fugitive | kissing | leading lady | leading man | love interest | tender |
Deep Valley (1947) | Deep Valley (Misterioso) | 1:23:23 - Barry looks at Libby | advance plot | barn | calm | convict | embracing | fugitive | kissing | leading lady | leading man | love interest | mysterious |
| The Woman in White (1948) | The Self Banished | 0:34:22 - Walter apologizes to Laura | embracing | falling in love scene | garden | kissing | leading lady | leading man | romance | tender |
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) | Ann (Waltz 2) | 1:46:13 - A close-up on the Countess | criminal | death | embracing | friend | friend | leading lady | leading man | love interest | murder | murderer | necklace | reacting | resolution | revenge | room | tender | victim | waltz | wife |
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 |
| Out of the Fog (1941) | Gangster (Tense) | 0:41:05 - Stella kisses Goff | bluesy | criminal | dock | embracing | kissing | leading lady | leading man | love scene | tense |
| 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 |
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