| The Amazing Dr. Clitterhouse (1938) | Signature | 0:00:00 - Warner Bros. shield | bold | chromatic mediant | fanfare | fragmentation | main title | metric dissonance | opening title sequence | WB shield |
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) | The Amazing Doctor (Comical) | 0:46:08 - Doctor examines a criminal | 64 chord | chromatic parallelism | comical | criminal | doctor | examining | fragmentation | gangster | leading man | pedal tone | robbery | rooftop | sequence | thief | underscoring |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Giving Orders) | 0:48:32 - Doctor gives orders to the criminals | 64 chord | anger | annoyance | chromatic parallelism | commanding | criminal | doctor | fragmentation | gangster | leading man | ordering | pedal tone | robbery | sequence | store | tense | thief |
| Angels With Dirty Faces (1938) | The Gangster (Triste) | 1:23:57 - Rocky uses Jerry as a hostage | 9th chord | building | chromatic parallelism | conflict | coughing | dark | double-cross | foreign key modulation | fragmentation | gangster | hostage | leading man | linear chromaticism | major 7th chord | menacing | polychord | priest | smoke | somber | street | tear gas | walking |
| Are These Our Children? (1931) | Dreams (Marcia Maestoso) | 0:08:58 - Eddie dreams | applauding | common-chord modulation | double exposure | dreaming | dream sequence | fragmentation | leading man | meter change | montage | reciting | thematic transformation | transcribed by ear | triumphant |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Dream Sequence) | 0:20:51 - Eddie dreams | advance plot | augmented sixth chord | cheerful | double exposure | dreaming | dream sequence | eating | fragmentation | half-diminished 7th chord | humming | leading man | room | scored source music | sequence | source music |
Are These Our Children? (1931) | Dreams (Dream Sequence) | 0:27:44 - Time passes | double exposure | dream sequence | fragmentation | hectic | montage | transcribed by ear |
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) | Dreams (Montage) | 0:29:57 - Eddie drinks | angry | diminished 7th chord | double exposure | dreaming | dream sequence | drinking | fragmentation | gun | hectic | leading man | montage | pedal tone | room | sequence |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Listesso Tempo) | 0:30:13 - Eddie commits a crime | angry | chromatic scale | double exposure | dreaming | dream sequence | fragmentation | hectic | leading man | montage | room |
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 (Risoluto) | 0:48:55 - Newspaper headlines | double exposure | fragmentation | headline | montage | mysterious | newspaper | sequential modulation | spinning | tense | thematic transformation |
Are These Our Children? (1931) | Dreams (Risoluto 2) | 0:53:55 - Newspaper headlines | advance plot | arresting | dark | detective | double exposure | fragmentation | friend | headline | leading man | love interest | murderer | newspaper | ominous | room | sequential modulation | spinning | thematic transformation | underscoring |
| 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) | Sidewalks of New York (Walking) | 0:05:30 - Cops patrol the neighborhood | 64 chord | calm | establish setting | familiar tune | fragmentation | police | street | walking |
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 (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 (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 (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) | 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) | 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) | 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) | The Aunts (Molto Misterioso) | 0:54:12 - Aunt Abby faces Jonathan | advance plot | aunt | brother | crazy person | darkness | foreign key modulation | fragmentation | intimidating | leading lady | leading man | murderer | mysterious | parallel 63s | pedal tone | room | staring | walking |
Arsenic and Old Lace (1944) | Scar (Tense) | 0:58:39 - Close-up on Dr. Einstein's face | advance plot | bride | brother | calling | close-up | crazy person | darkness | doctor | entering | fear | fragmentation | leading lady | leading man | murderer | polychord | room | sneaking | tense |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 1:01:49 - Aunts talk to Jonathan | arguing | aunt | brother | conflict | crazy person | fear | fragmentation | leading lady | leading man | murderer | Neapolitan | parallel 63s | pedal tone | room | tense |
| Crime School (1938) | Sue (Whispering) | 1:10:38 - Frankie hears voices | anxious | fragmentation | gun | hearing voices | insanity | mad scene | mental breakdown | ostinato | pc set | reformatory | sequence | sound mass | teenager | tone cluster | whispering | worrying |
Crime School (1938) | Sue (Sneaky) | 1:13:28 - Frankie sneaks in with his gun | breaking in | conflict | distortion | fragmentation | gun | room | sequence | sneaking | teenager | tense |
Crime School (1938) | Sue (Allegretto) | 1:24:18 - Boys talk about Sue | 9th chord | chromatic parallelism | conversing | courthouse | fragmentation | gang | optimistic | resolution | sequence | teenager |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Agitated) | 0:14:22 - Joe argues with Mabel | agitated | arguing | barn | fragmentation | leading lady | leading man | lovers meet | prisoner | sequence |
Dust Be My Destiny (1939) | Dust Be My Destiny (Fateful Decision) | 0:26:17 - Joe and Mabel decide to run away together | barn | confused | deceptive resolution | fragmentation | hopeful | leading lady | leading man | mode mixture | runaway | turning point |
Dust Be My Destiny (1939) | Here Comes the Bride (Modulating) | 0:29:02 - Joe and Mabel run to the courthouse | added-note chord | deceptive resolution | excited | familiar tune | foreign key modulation | fragmentation | leading lady | leading man | love scene | marriage | pump-up modulation | romance | romantic | running | sequence | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Fear and Devotion) | 0:35:50 - Joe and Mabel decide to stick together | alley | common-tone diminished 7th | devotion | dramatic | escape | fear | fragmentation | leading lady | leading man | love | mode mixture | obsessive | runaway | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Hiding) | 0:47:35 - Nick talks with Joe | 42 chord | advance plot | anxious | diminished 7th chord | diner | fragmentation | friend | hiding | leading man | money | runaway | shopkeeper | suspense |
Dust Be My Destiny (1939) | Dust Be My Destiny (Heroic) | 0:59:42 - Joe takes pictures of the robbery | 42 chord | action scene | bank | chromatic scale | criminal | crowd | dramatic | fragmentation | gangster | leading man | photographer | retrograde | shopkeeper | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Heroic) | 1:10:32 - Joe heroically wrestles away the steering wheel | action scene | chromatic scale | dramatic | fighting | fragmentation | gangster | hero | leading man | newspaper editor | retrograde | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Hiding) | 1:12:42 - Mabel talks with Joe about surrendering | 42 chord | conflict | diminished 7th chord | fragmentation | hero | hospital | leading lady | leading man | tense |
| Each Dawn I Die (1939) | Underscoring (Dramatic) | 0:04:55 - Frank is pushed into a car | car | chromatic scale | conflict | diminished 7th chord | dissonant bass | dramatic | fragmentation | gangster | gun | hero | kidnapping | leading man | pushing | reporter | street | underscoring | violence |
| 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) | Lane (Bell-like) | 0:54:43 - Lane gives Dan some change | fragmentation | gentle | giving | leading lady | leading man | love interest | love scene | politician | porch | receiving | sweet |
Flamingo Road (1949) | Flamingo Road (Misterioso) + Titus | 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) | Flamingo Road (Agitato) | 1:18:50 - Dan gets upset with Lane | 9th chord | accusing | angry | augmented sixth chord | conflict | fragmentation | husband | leading lady | leading man | politician | quartal chord | room | self-borrowing | wife |
Flamingo Road (1949) | Titus (Fragmented) + Titus 2 (Fragmented) | 1:29:47 - Lane confronts Titus | arguing | climax | club | combination of themes | dark | fragmentation | inversion | leading lady | motivic transformation | mysterious | ominous | retrograde | self-borrowing | sheriff |
| In This Our Life (1942) | Signature | 0:00:00 - WB shield | bold | chromatic mediant | fanfare | fragmentation | main title | metric dissonance | opening title sequence | WB shield |
| 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) | The Informer (Up the Stairs) | 1:21:35 - Gypo goes up the stairs | 64 chord | agitated | antagonist | chromatic sequence | fragmentation | hallway | hiding | leading man | mickey-mousing | running | sequence | stairs | tense | traitor | transition | up |
The Informer (1935) | Katie (Furioso) | 1:26:55 - Katie becomes desperate | advance plot | anxiety | begging | chromatic parallelism | despair | dissonant bass | fragmentation | leading lady | love interest | rebel | room | sentence form | sequence | tense | whole-tone chord |
| 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 | murderer | murder scene | oscillation | sequential modulation | servant | tense |
The Letter (1940) | Leslie (Mysterioissimo) | 0:04:42 - A shadow appears | circle of fifths | common-chord modulation | foreign key modulation | fragmentation | home | leading lady | light | looking | murder scene | mysterious | oscillation | parallel fifths | servant | turning on |
The Letter (1940) | Leslie (Risoluto) | 0:14:07 - Leslie continues her story | advance plot | augmented triad | chromatic parallelism | dramatic | fragmentation | home | leading lady | pc set | polychord | recounting | sequence | tense |
The Letter (1940) | Leslie (Walking) | 0:30:58 - Leslie in jail | 64 chord | advance plot | chromatic parallelism | fragmentation | leading lady | mysterious | oscillation | prison | walking |
The Letter (1940) | Leslie (Risoluto) | 0:35:11 - Leslie reacts angrily to the letter | arguing | augmented triad | chromatic parallelism | deception | fragmentation | lawyer | leading lady | letter | lying | oscillation | pc set | pivotal scene | polychord | prison | sequence | tense |
The Letter (1940) | Leslie (Risoluto) | 0:37:07 - Howard reads the letter to Leslie | anxious | augmented triad | buildup | chromatic parallelism | fearful | fragmentation | lawyer | leading lady | letter | oscillation | pc set | pivotal scene | polychord | prison | reading | sequence | tense |
The Letter (1940) | Leslie (Plotting) | 0:39:32 - Howard and Leslie plot their next move | 9th chord | advance plot | buildup | changing meter | chromatic sequence | fragmentation | hospital | lawyer | leading lady | letter | minor-major 7th chord | ominous | oscillation | plotting | tense |
The Letter (1940) | Leslie (Leaving) | 0:53:20 - Howard and Leslie leave the house | added-note chord | fragmentation | lawyer | leading lady | leaving | mysterious | plantation | sequence | sequential modulation | transition |
The Letter (1940) | Leslie (Restless) | 1:14:42 - Robert asks about the letter | arguing | conflict | fragmentation | home | husband | lawyer | leading lady | lying | major 7th chord | sequence | tense |
The Letter (1940) | Leslie (Wild) | 1:14:57 - Robert waits for a response | 9th chord | arguing | augmented major 7th chord | chromatic parallelism | conflict | distress | fragmentation | home | husband | lawyer | leading lady | lying | sequence | tense |
The Letter (1940) | Leslie (Fast) + Foxtrot No. 3 | 1:34:18 - Leslie's lacework | calm | combination of themes | dance music | fragmentation | lacework | oscillation | plantation | pump-up modulation | resolution | sequence | source music |
| 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) | 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) | 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 (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 (Agitated) | 1:01:27 - John and Laura argue about Joan | agitated | arguing | common-tone diminished 7th | conflict | diminished 7th chord | direct modulation | fragmentation | harmonic sequence | leading man | octatonic scale | room | tense | transcribed by ear | 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) | Lullaby (Allegro) | 1:18:34 - Newspaper headline | bold | conversing | daughter | dissonant bass | fragmentation | husband | montage | pedal tone | prison | waiting |
| Kid Galahad (1937) | Kid Galahad (Montage) | 0:46:47 - Montage of newspaper headlines | 64 chord | advance plot | appoggiatura | boxer | boxing | boxing ring | cheering | chromatic parallelism | fanfare | fragmentation | harmonic sequence | heroic | leading man | montage | newspaper |
| We Are Not Alone (1939) | Surprise Symphony (Glissando) | 0:02:20 - David rides his bike home | bicycle | classical music | establish character | familiar tune | fragmentation | glissando | Haydn | hero | playful | quotation | score to source | sequence | source music | street |
We Are Not Alone (1939) | Appassionato | 0:03:13 - Gerald is scolded by his mother | antagonist | boy | child | chromatic parallelism | chromatic scale | deceptive resolution | dominant 7th chord | establish character | fragmentation | harmonic sequence | hero | home | linear chromaticism | mother | passionate | scolding | sequence | telling a story | tense |
We Are Not Alone (1939) | Playful | 0:04:39 - David asks his son to find a cat | boy | child | establish character | father | foreign key modulation | fragmentation | hero | home | playful | sequence | step modulation |
We Are Not Alone (1939) | Surprise Symphony (Innocent) | 0:06:36 - Gerald runs inside | 9th chord | boy | child | classical music | comforting | common-tone diminished 7th | establish character | familiar tune | father | foreign key modulation | fragmentation | Haydn | hero | home | innocent | mode mixture | nagging | parallel fifths | playful | quotation | step modulation | tritone | Wagner |
We Are Not Alone (1939) | Tommy (Recovering) | 0:09:17 - David tells Tommy he is allergic to cats | 11th chord | boy | cat | cheerful | doctor | establish character | fragmentation | hero | office | playful | sequence |
We Are Not Alone (1939) | Surprise Symphony (Not Afraid) | 0:11:24 - David sets Leni's wrist | chromatic scale | classical music | delicate | doctor | establish character | familiar tune | foreign key modulation | fragmentation | Haydn | hero | heroine | quotation | room | somber |
We Are Not Alone (1939) | Surprise Symphony (Quasi Rubato) | 0:12:46 - David treats Leni's leg | classical music | doctor | establish character | familiar tune | fragmentation | gentle | Haydn | hero | heroine | parallelism | playful | quotation | room |
We Are Not Alone (1939) | Surprise Symphony (Humbly) | 0:13:10 - David treats Leni's leg | classical music | common-tone diminished 7th | doctor | establish character | familiar tune | fragmentation | gentle | Haydn | hero | heroine | hymn-like | quotation | room | sweet |
We Are Not Alone (1939) | Surprise Symphony (Glissando) | 0:22:35 - David rides home on his bike | advance plot | bicycle | classical music | familiar tune | fragmentation | glissando | happy | Haydn | hero | home | peaceful | quotation | sequence | walking |
We Are Not Alone (1939) | Surprise Symphony (Worried) | 0:22:57 - David hears Gerald crying | advance plot | boy | child | classical music | dark | familiar tune | father | fragmentation | Haydn | hero | home | hurrying | mode mixture | quotation | tense |
We Are Not Alone (1939) | Surprise Symphony (Fixing the Lights) | 0:23:27 - David tries to fix the lights | 11th chord | advance plot | boy | child | classical music | familiar tune | father | foreign key modulation | fragmentation | Haydn | helping | hero | home | mysterious | playful | quotation | working |
We Are Not Alone (1939) | Frohe Botschaft (Crying) | 0:45:45 - Leni kisses Gerald | 9th chord | 64 chord | advance plot | antagonist | boy | child | crying | deceptive resolution | familiar tune | folk song | fragmentation | German | heroine | home | leaving | mode mixture | mother | quotation | room | sequence | somber | tritone |
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) | 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) | 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) | 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) | Frohe Botschaft (6th chime) | NIF - not in film | conclusion | cut from film | eerie | familiar tune | folk song | fragmentation | German | ominous | quotation | tone cluster |
We Are Not Alone (1939) | Frohe Botschaft (Fading Away) | 1:50:19 - Susan looks surprised | antagonist | boy | child | conclusion | death | eerie | familiar tune | folk song | fragmentation | German | home | ominous | quotation | room | tone cluster |
| Is My Face Red? (1932) | Strolling the Deck (Argument) | 0:16:14 - Camera moves from one window to another | advance plot | boat | cheerful | eavesdropping | fragmentation | leading man | parallelism | searching | transcribed by ear |
| Men of America (1932) | Cimarron B (Transition) | 0:02:19 - Smokey Joe fights the Indians | ambush | chromatic mediant | cowboy | dramatic | establish character | establish setting | fragmentation | gun | gunshot | horse | Indian | leading man | prairie | riding | self-borrowing | shooting | stagecoach | tense | title card | transcribed by ear |
| Star of Midnight (1935) | Midnight in Manhattan (Montage) | 0:54:11 - Feet walking | bus | chromatic parallelism | fragmentation | hurried | montage | pedal tone | street | transcribed by ear | traveling | walking |
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