| All This, and Heaven Too (1940) | Henry | 0:07:41 - Henriette looks at Henry Field | establish character | gentle | hymn-like | leading lady | minister | noble | principal | reassuring | school | secondary dominant | teacher |
All This, and Heaven Too (1940) | The Duke | 0:09:55 - Henriette tells the girls her story | establish place | flashback | gentle | leading lady | light | peaceful | school | storytelling | student | teacher |
All This, and Heaven Too (1940) | The Duke (Ocean Waves) | 0:10:10 - Ocean waves | boat | establish place | flashback | foreign key modulation | gentle | leading lady | light | peaceful | storytelling | student | teacher | traveling |
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) | Arriving | 0:13:14 - Henriette gets out of the carriage | arriving | augmented sixth chord | carriage | driver | enharmonic modulation | foreign key modulation | gentle | leading lady | pleasant | street | transition |
All This, and Heaven Too (1940) | Arriving 2 | 0:13:24 - Henriette walks to the front door | 9th chord | arriving | caretaker | deceptive resolution | gentle | leading lady | pleasant | secondary dominant | street | transition |
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) | Illness | 0:26:16 - The Duke asks about Raynald | advance plot | delicate | duke | gentle | governess | leading lady | leading man | parallelism | room | worrying |
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) | Desperation (Carriage Starts) | NIF - not in film | added-note chord | advance plot | carriage | child | cut from film | duchess | gentle | governess | leading lady | leaving | pedal tone | street |
All This, and Heaven Too (1940) | Underscoring (Gentle) | 0:30:34 - Henriette puts Raynald in bed | advance plot | arguing | caring | child | chromatic sequence | duke | gentle | governess | illness | leading lady | leading man | mode mixture | room | tense | underscoring |
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) | 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) | Lullaby | 0:35:08 - Henriette sings a lullaby | advance plot | calm | caring | child | duke | gentle | governess | illness | leading lady | leading man | lullaby | room | scored source music | singing |
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) | Lullaby | 0:35:39 - Henriette sings a lullaby | advance plot | calm | caring | child | duke | gentle | governess | illness | leading lady | leading man | lullaby | room | scored source music | singing |
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) | Lullaby (Morendo) | 0:36:25 - Henriette sings a lullaby | advance plot | calm | caring | child | chromatic mediant | duke | gentle | governess | illness | leading lady | leading man | room | singing |
All This, and Heaven Too (1940) | Raynald (Tranquillo) | 0:43:53 - Henriette puts Raynald in bed | calm | caring | child | duke | gentle | governess | illness | illness scene | leading lady | leading man | pedal tone | room |
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) | Henriette (Gentle) | 1:09:26 - Isabelle talks to Henriette | 9th chord | advance plot | child | chromatic parallelism | comforting | crying | gentle | governess | leading lady | Neapolitan | room | sweet |
All This, and Heaven Too (1940) | Henriette (Cello Solo) | 1:10:09 - Henriette comforts Isabelle | advance plot | child | comforting | crying | gentle | governess | leading lady | pedal tone | 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) | 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) | 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) | Heaven Theme | 1:28:16 - Henriette tells the Duke about herself | added-note chord | common-chord modulation | duke | falling in love scene | gentle | governess | leading lady | leading man | room | storytelling |
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) | 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) | 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) | 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) | 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) | 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) | The Duke (Gravestone) | 2:16:48 - The Duke's gravestone | common-tone modulation | death | foreign key modulation | gentle | gravestone | graveyard | grieving | leading lady | resolution | somber | voice-over |
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 |
All This, and Heaven Too (1940) | Heaven Theme (Resolution) | 2:21:31 - Henriette reacts to Henry | gentle | leading lady | looking | minister | resolution | school | sweet | teacher |
| 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 |
| Are These Our Children? (1931) | Dreams | 0:00:15 - Title of the film and opening credits | 11th chord | AABA structure | card | cast list | conductor score | gentle | mode mixture | opening title sequence | title of film |
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) | Dreams | 0:02:11 - Eddie and Mary talk | 11th chord | AABA structure | comment on score | conductor score | establish character | gentle | leading lady | leading man | leaving | lovers | love scene | mode mixture | street | waiting |
Are These Our Children? (1931) | Dreams (Whistling) | 0:03:29 - Eddie walks home | cheerful | establish character | gentle | leading man | love scene | on-screen music | score to source | source and scoring overlap | source music | street | transcribed by ear | walking | whistling |
| Arsenic and Old Lace (1944) | The Aunts | 0:09:05 - Aunt Abby scurries across the room | aunt | crazy person | delicate | establish character | foreign key modulation | gentle | harmonic sequence | hurrying | leading lady | room | scurrying |
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 |
| Beyond the Forest (1949) | Loyalton 2 (Andante) | 0:22:47 - Lewis helps a patient | advance plot | doctor | gentle | healing | helping | leading man | patient | room | sickness | somber | tender |
Beyond the Forest (1949) | Underscoring (Gentle) | 0:23:29 - Lewis arrives home | advance plot | arriving | doctor | gentle | leading man | room | tender | underscoring |
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) | Underscoring (Gentle) | 0:33:36 - A car pulls up | advance plot | gentle | leading lady | porch | sleeping | underscoring | waking |
Beyond the Forest (1949) | Underscoring (Gentle) | 0:45:21 - Rosa sits down | advance plot | gentle | hotel | leading lady | underscoring | waiting |
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 |
| The Big Sleep (1946) | Entering | NIF - not in film | arriving | augmented sixth chord | deleted scene | entering | gentle | leading man | not in score | parallel 63s | parallelism | private eye | room | transition | walking |
| The Breaking Point (1950) | The Breaking Point | 0:00:25 - Title of the film | boat | calm | cast list | conductor score | gentle | harbor | mixed meter | mode mixture | opening title sequence | tender | title of film |
| Caged (1950) | Mrs. Benton (Not in Film) | NIF - not in film | 9th chord | added-note chord | altered dominant | augmented sixth chord | comforting | common-tone modulation | crying | cut from film | disbelief | establish character | gentle | leading lady | mode mixture | office | pregnancy | prison | prisoner | realization | warden |
Caged (1950) | Mrs. Benton (Not in Film 2) | NIF - not in film | comforting | crying | cut from film | establish character | foreign key modulation | gentle | leading lady | mode mixture | office | pregnancy | prison | prisoner | warden |
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) | Bird in a Cage | 0:30:00 - Inmates sleeping | advance plot | bed | crazy person | folk song | gentle | humming | leading lady | on-screen music | prison | prisoner | singing | source music |
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) | Nursery | 0:49:22 - Marie goes to see her newborn baby | added-note chord | advance plot | baby | gentle | hopeful | leading lady | nurse | nursery | optimistic | prison | prisoner | walking |
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 | 0:00:28 - Cast list | cast list | gentle | mode mixture | opening title sequence | transcribed by ear | waltz |
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) | Home Sweet Home | 0:03:14 - Philip and Alice go home | child | establish character | gentle | humming | leading man | on-screen music | room | sleeping | source music |
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) | Shadow Waltz (Ethereal) | 0:24:48 - Peggy peeks out of her door | added-note chord | advance plot | arriving | chromatic parallelism | chromatic wedge | common-tone diminished 7th | entering | gentle | leading lady | mysterious | parallelism | room | sneaking | source to score |
City for Conquest (1940) | The Words Are in My Heart | 0:29:31 - Peggy dances with Murray | applause | augmented triad | crowd | dance hall | dancer | dancing | double exposure | gentle | leading lady | montage | source music | waltz |
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) | 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) | 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) | Tone Poem A + Sidewalks of New York | 0:38:31 - Traveling montage | combination of themes | double exposure | gentle | montage | train | transcribed by ear | traveling |
City for Conquest (1940) | Shadow Waltz (Dancing) | 0:38:57 - Montage of dancing scenes | added-note chord | altered dominant | augmented triad | dancing | double exposure | gentle | montage | shadow | stage | transcribed by ear |
City for Conquest (1940) | Underscoring (Gentle) | 0:55:19 - A taxi approaches | 11th chord | appoggiatura | arriving | farewell scene | gentle | leading lady | leading man | source and scoring overlap | street | taxi | underscoring |
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 (Snake) | 1:43:16 - Old timer talks to himself | 64 chord | conversing | gentle | old man | resolution | romantic | soliloquy |
| 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) | Underscoring (Gentle) | 0:49:47 - Mark talks about making this room their home | comedy | deceptive resolution | gang | gentle | hero | leading man | leaving | pedal tone | reformatory | teasing | teenager | underscoring | whole-tone chord |
| They Made Me a Criminal (1939) | Inspiration | 1:09:53 - Johnnie has an inspiration | boxing | foreign key modulation | gentle | hero | idea | inspiration | leading man | pedal tone | pump-up modulation | room | shadow | thinking | turning point |
| Death of a Scoundrel (1956) | Clementi B | 1:38:01 - Zina and Clementi embrace and kiss in the hotel | flashback | gentle | lyrical | romance |
Death of a Scoundrel (1956) | Clementi's Mother (Peaceful) | 1:45:16 - Clementi talks to his mother | bedroom | ethnic | flashback | gentle | mother | peaceful |
| Deep Valley (1947) | Homestead (Moderato) | 0:15:18 - Homestead in the distance | barnyard | dark | father | gentle | leading lady | mother | reading | room | transition |
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 (Sostenuto) | 0:56:17 - Libby turns to leave | cabin | convict | dog | fugitive | gentle | leading lady | leading man | leaving | love interest | love scene |
Deep Valley (1947) | Homestead (Dolce) | 0:57:50 - Ellie comes downstairs | father | gentle | mother | reconciliation scene | reuniting | room | sweet | timid |
Deep Valley (1947) | Homestead (Gentle) | 1:01:50 - Ellie sits at the table | father | gentle | mother | reconciliation scene | room | watching |
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) | Barry (Dolce) | 1:41:24 - Libby finds Barry | convict | death scene | finding | forest | fugitive | gentle | leading lady | leading man | love interest | resolution | searching |
Deep Valley (1947) | Deep Valley (Delicato 2) | 1:41:39 - Libby goes to Barry | comforting | convict | crying | death scene | delicate | dying | forest | fugitive | gentle | leading lady | leading man | love interest | resolution | reuniting | tender |
Deep Valley (1947) | Deep Valley (Dying) | 1:42:30 - Barry talks to Libby | comforting | convict | crying | death scene | delicate | dying | forest | fugitive | gentle | leading lady | leading man | love interest | resolution | reuniting | tender |
Deep Valley (1947) | Passing away | 1:43:19 - Barry dies | convict | death | death scene | delicate | dying | forest | fugitive | gentle | leading lady | leading man | love interest | mickey-mousing | resolution | tender |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Expectant) | 0:18:08 - Mabel leaves | advance plot | expectant | gentle | guard | hopeful | leading lady | leading man | pedal tone | prison | prisoner | sweet |
Dust Be My Destiny (1939) | Dust Be My Destiny (Denied) | 0:18:23 - Mabel talks to Joe | conflict | deceptive resolution | denial | expectant | gentle | guard | hopeful | leading lady | leading man | prison | prisoner | stinger | sweet |
Dust Be My Destiny (1939) | Dust Be My Destiny (In Love) | 0:27:22 - Joe and Mabel talk | 9th chord | added-note chord | advance plot | common-tone diminished 7th | freedom | gentle | leading lady | leading man | mode mixture | runaway | secondary dominant | street | walking |
Dust Be My Destiny (1939) | Dust Be My Destiny (Delicatessen) | 0:43:38 - Mabel and Nick talk | common-tone diminished 7th | develop character | diner | friend | gentle | leading lady | leading man | secondary dominant | shopkeeper |
Dust Be My Destiny (1939) | Dust Be My Destiny (In Love) | 0:43:51 - Mabel and Nick talk | 9th chord | develop character | diner | friend | gentle | leading lady | leading man | shopkeeper |
Dust Be My Destiny (1939) | Dust Be My Destiny (Delicatessen) | 0:44:01 - Mabel and Nick talk | common-tone diminished 7th | develop character | diner | friend | gentle | leading lady | leading man | secondary dominant | shopkeeper |
Dust Be My Destiny (1939) | My Wild Irish Rose (Waltz) | 0:44:17 - Mabel and Nick talk | develop character | diner | familiar tune | friend | gentle | leading lady | leading man | on-screen music | pedal tone | popular song | shopkeeper | singing | source music |
Dust Be My Destiny (1939) | Dust Be My Destiny (Calm) | 0:44:32 - Mabel and Nick talk | added-note chord | altered dominant | develop character | diner | friend | gentle | leading lady | leading man | shopkeeper |
Dust Be My Destiny (1939) | Dust Be My Destiny (Religioso) | 1:22:41 - Mabel testifies for Joe | 11th chord | chromatic parallelism | common-tone diminished 7th | courtroom | crowd | diminished 7th chord | gentle | judge | jury | leading lady | leading man | loving | mode mixture | parallel double period | plagal cadence | sincere | suspect | tender | trial |
| 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 (Chapter One) | 0:00:54 - Chapter one from Flamingo Road | chromatic mediant | common-chord modulation | establish setting | gentle | mode mixture | self-borrowing | street | voice-over |
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) | 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) | 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) | 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 (Expressivo) | 1:02:07 - The gate to 32 Flamingo Road | 11th chord | added-note chord | arriving | gentle | husband | leading man | self-borrowing | sign | street | transition |
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 (Andante) | 1:24:05 - Lane goes to get a drink for Field | altered dominant | chromatic parallelism | dark | death scene | gentle | gunshot | hopeful | leading lady | leading man | love interest | mode mixture | room | self-borrowing | suicide | walking | warm |
| Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:00:24 - Title of film and cast list | cast list | conductor score | gentle | lyrical | opening title sequence |
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) | Lye | 0:16:52 - Amato talks to Lye | antagonist | conductor score | conversing | establish character | gangster | gentle | office |
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 |
Hell on Frisco Bay (1955) | Steve | 0:38:01 - Steve shakes Georgie's hand | advance plot | cheerful | child | conductor score | gentle | investigator | leading man | street | thanking |
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) | Anna | 0:48:38 - Anna comforts Mario | advance plot | comforting | conductor score | gangster | gentle | room | sentimental | wife |
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) | Steve | 1:04:47 - Steve hangs up the phone | advance plot | conductor score | dark | gentle | investigator | leading man | room | waiting |
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) | 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) | Kay | 1:28:35 - Steve leaves with Kay | comforting | gentle | investigator | leading man | leaving | love interest | room | turning point | witness |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:28:48 - Marcia wakes up and answers the door | gentle | leading lady | room | turning point | waking |
Hell on Frisco Bay (1955) | Steve | 1:36:31 - Steve surfaces | dock | gentle | heroic | inspector | leading man | resolution from here on? | swimming |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:37:36 - Steve goes to his wife | arriving | dock | gentle | inspector | leading lady | leading man | romantic |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:37:52 - Steve and Marcia leave together | dock | gentle | inspector | leading lady | leading man | peaceful | romantic | walking |
| 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) | Underscoring (Gentle) | 0:19:34 - A telegram | gambler | gentle | leading man | montage | montage | reading | room | telegram | underscoring |
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) | Underscoring (Gentle) | 0:33:47 - Don leaves | crew | departing | gentle | leading man | manager | reporter | street | theater | transition | underscoring |
| I Was a Communist for the FBI (1951) | Family | 0:25:26 - Matt looks at a photo album | advance plot | baby | common-tone modulation | deceptive resolution | double exposure | flashback | foreign key modulation | gentle | leading man | letter | looking | love | memory | mode mixture | photograph | room | self-borrowing | sentimental | smiling | son | tender | thinking | undercover agent | voice-over | writing |
I Was a Communist for the FBI (1951) | Family (Molto Expressivo) | 0:26:15 - Matt writes a letter to his son | 9th chord | added-note chord | advance plot | baby | deceptive resolution | double exposure | flashback | foreign key modulation | gentle | leading man | letter | looking | love | memory | photograph | room | self-borrowing | sentimental | smiling | son | tender | thinking | undercover agent | voice-over | writing |
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 |
| 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) | 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) | 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 (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) | 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) | Roy (Delicate) | 0:50:40 - Roy arrives at Stanley's apartment | advance plot | arriving | deceptive resolution | foreign key modulation | friend | gentle | leading lady | room | sweet |
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) | Door opens | 0:51:37 - Betty opens the door | advance plot | door | friend | gentle | leading lady | mickey-mousing | opening | room | whole-tone chord |
In This Our Life (1942) | Caring | 0:51:39 - Roy greets Stanley | 9th chord | advance plot | arriving | chromatic parallelism | gentle | leading lady | room | sister | tender | widow |
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 (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 | 0:53:23 - Roy comforts Stanley | 9th chord | advance plot | appoggiatura | circle of fifths | comforting | crying | gentle | 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) | 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 |
| The Informer (1935) | The Minstrel Boy | 0:25:32 - Man sings a folk tune at the street corner | 9th chord | AABA structure | advance plot | angelic | antagonist | calm | familiar tune | folk song | gentle | leading man | listening | mode mixture | mourner | mourning | on-screen music | playing | praying | singer | singing | street | violinist | watching |
The Informer (1935) | Dan and Mary (Legato) | 1:07:46 - Gypo looks at Mary | antagonist | courtroom | courtroom scene | delicate | gentle | headquarters | leading man | pedal tone | room | sister | suspect | watching |
The Informer (1935) | Dan and Mary (Begging) | 1:25:53 - Katie talks to Mary about loving Gypo | advance plot | begging | gentle | leading lady | love interest | rebel | room | sequence | tender |
The Informer (1935) | The Informer (Pathetic) | 1:29:48 - Gypo stumbles toward Frankie's mother | antagonist | church | climax | diminished 7th chord | dying | gentle | leading man | main theme | pedal tone | somber | stumbling | traitor | walking |
The Informer (1935) | Sancta Maria | 1:30:27 - Frankie's mother forgives Gypo | antagonist | church | climax | confessing | dying | gentle | leading man | mother | sacred | somber | suspension | traitor |
| Key Largo (1948) | Expressivo | 0:52:37 - Mr. Temple is helped down the stairs | advance plot | boss | father | gangster | gentle | helping | hostage | hotel | leading lady | leading man | noble | stairs |
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 |
| The Letter (1940) | Robert and Leslie | 0:15:28 - Robert comforts Leslie | advance plot | appoggiatura | comforting | crying | gentle | home | leading lady | love theme | murder | pedal tone | sigh gesture | suspension |
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) | 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) | Mrs. Hammond (Missing Dagger) | 1:29:49 - Leslie opens the door | Chinese | climax | dagger | door | gentle | home | leading lady | mysterious | open fifth | opening | parallel fifths | parallelism | pentatonic |
| 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) | 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) | 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) | 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 (Molto Expressivo) | 0:48:29 - Shelly packs her bags | actor | gentle | leading lady | luggage | packing | ranch | transition |
Lightning Strikes Twice (1951) | Trev (Tenderly) | 1:06:09 - Trev kisses Shelly | actor | crying | embracing | gentle | kissing | leading lady | leading man | love interest | love scene | marriage | proposal | ranch | romantic | suspect |
| Mildred Pierce (1945) | Mildred B | 0:00:52 - Cast list and wave effect | 9th chord | appoggiatura | cast list | chromatic mediant | deceptive resolution | enharmonic modulation | foreign key modulation | gentle | mickey-mousing | name on screen | opening title sequence | optimistic | romantic | sequential modulation | water | wave |
Mildred Pierce (1945) | Flashback starts | 0:20:16 - Flashback to the past | double exposure | establish character | flashback | gentle | heroine | leading lady | mickey-mousing | street |
Mildred Pierce (1945) | Bert | 0:20:18 - Bert comes home | 9th chord | added-note chord | arriving | common-chord modulation | cooking | establish character | flashback | gentle | heroine | husband | leading lady | mode mixture | room | self-borrowing | street |
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) | Mildred (Delicate) | 0:32:04 - Mildred walks up the stairs | advance plot | gentle | heroine | leading lady | parallelism | pedal tone | room | up | walking |
Mildred Pierce (1945) | Bert (Tenderly) | 1:39:33 - Mildred thanks Bert | advance plot | ex-husband | gentle | heroine | leading lady | mother | room | sweet | thanking |
| The Life of Vergie Winters (1934) | Stars and Stripes Forever (Allegro) | 0:46:04 - Newspaper montage | 64 chord | added-note chord | gentle | leading lady | leading man | love interest | montage | patriotic tune | pedal tone | politician | soldier |
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 (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) | 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 |
| Out of the Fog (1941) | Russian Barcarolle (Expressivo) | 0:00:49 - Cast list | cast list | folk-like | gentle | harbor | opening title sequence | peaceful | pedal tone |
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) | Father and Daughter | 0:33:12 - Jonah talks to Stella | advance plot | conversing | crying | father | gentle | hugging | leading lady | mode mixture | room | tender |
| We Are Not Alone (1939) | Boy runs downstairs | 0:03:07 - Gerald runs down the stairs | 9th chord | altered dominant | antagonist | boy | child | chromatic mediant | down | downstairs | establish character | foreign key modulation | gentle | home | mickey-mousing | mother | pedal tone | playful | running |
We Are Not Alone (1939) | Surprise Symphony (Imagination) | 0:03:55 - David talks to his son | boy | child | chromatic parallelism | establish character | father | gentle | hero | home | playful | sweet | telling a story |
We Are Not Alone (1939) | Surprise Symphony (Hug) | 0:05:14 - David hugs his son | boy | child | classical music | establish character | familiar tune | father | gentle | Haydn | hero | home | mode mixture | quotation |
We Are Not Alone (1939) | Doctor | 0:08:10 - David sees Tommy (his patient) | augmented sixth chord | boy | cat | delicate | establish character | foreign key modulation | gentle | hero | office |
We Are Not Alone (1939) | Tommy (Lyrical) | 0:09:34 - David gets some medicine for Tommy | 9th chord | boy | cat | doctor | establish character | gentle | hero | lyrical | Mozart | office | peaceful |
We Are Not Alone (1939) | I Do Like to Be Beside the Seaside | 0:10:56 - David visits an injured Leni | chromatic mediant | deceptive resolution | doctor | establish character | familiar tune | foreign key modulation | gentle | hero | heroine | mode mixture | quotation | room | step modulation |
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) | 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) | 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) | 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) | 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) | Surprise Symphony (Acceptance) | 1:47:27 - David talks to the prison guards | advance plot | classical music | familiar tune | gentle | Haydn | hero | mode mixture | plagal cadence | prison | quotation | reverse picardy | sweet |
We Are Not Alone (1939) | Surprise Symphony (Whistling) | 1:48:34 - David whistles as he thinks | advance plot | augmentation | classical music | deceptive resolution | familiar tune | gentle | Haydn | hero | on-screen music | pedal tone | prison | quotation | score to source | source music | sweet | whistling |
| The Woman in White (1948) | The Carman's Whistle | 0:02:16 - Walter asks for directions | calm | directions | establish place | establish setting | establish time | forest | gentle | leading man | Renaissance music | voice-over | walking | worker |
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) | Underscoring (Gentle) | 0:06:56 - Walter meets Marian | arriving | butler | establish character | gentle | leading lady | leading man | mansion | 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) | Fairlie (Poco Meno) | 0:12:33 - They arrive at Mr. Fairlie's room | arriving | butler | establish character | gentle | leading man | mansion |
The Woman in White (1948) | Fairlie (Gentle) | 0:12:57 - Walter enters Mr. Fairlie's room | arriving | butler | establish character | gentle | leading man | mansion |
The Woman in White (1948) | Fairlie | 0:18:35 - Walter leaves Mr. Fairlie | advance plot | butler | gentle | leading man | room | walking |
The Woman in White (1948) | The Carman's Whistle (Accompaniment) | 0:19:09 - Walter walks to the window | advance plot | gentle | leading man | room | 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) | 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) | 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) | Laura (Harp Countermelody) | 0:36:14 - Laura runs inside | advance plot | arriving | fiancé | gentle | leading lady | leading man | mansion | running |
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) | The Carman's Whistle (Accompaniment) | 0:39:58 - Walter wanders the grounds | advance plot | crying | garden | gentle | leading lady | leading man | listening | walking | wandering |
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 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 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) | 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) | 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) | 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) | 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) | 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) | Adagio | 1:13:26 - The countess helps Laura | advance plot | gentle | helping | illness | leading lady | room | servant | sleeping | tense | victim | whispering | wife |
The Woman in White (1948) | Ann (Lyrical) | 1:15:15 - The countess approaches the woman in white | advance plot | gentle | helping | leading lady | lyrical | room | sleeping | sneaking | victim | wife |
The Woman in White (1948) | Ann 2 | 1:15:31 - The countess tends to the woman in white | advance plot | gentle | helping | leading lady | room | sleeping | sneaking | stinger | tender | 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) | 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 2 | 1:36:07 - Laura asks a man for help | asking | escape | gentle | leading lady | patient | street | tender | victim | wife |
| Transgression (1931) | Main Title | 0:00:15 - Title of film, starring list, cast list | AABA structure | altered dominant | cast list | gentle | happy | harmonic sequence | leading lady | mode mixture | opening title sequence | plagal cadence | pleasant | running | starring list | title of film | transcribed by ear |
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 |
| 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 |
| 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 |
| 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 |
| The Most Dangerous Game (1932) | The Open Sea | 0:01:20 - A buoy on the open sea | boat | boat | calm | clock | gentle | ocean | sailing | transition |
| 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) | Manuelo (Meno) | 0:04:10 - Gregory stands up | boat | boat | child | conversing | diver | establish character | gentle | leading man | worker | working |
Mara Maru (1952) | Manuelo (Stinger) | 0:14:44 - Gregory arrives home | arriving | discovering | dramatic | gentle | leading man | room | stinger | transition | unconcious | 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) | Raining | 1:09:57 - It begins to rain | captain | gentle | leading man | love scene | mickey-mousing | rain | rain effect | raining | sailing | ship | ship | thinking |
Tag Search Results