| Caged (1950) | Marie | 0:08:04 - Marie poses for mug shot | heroine | prison |
Caged (1950) | Marie (Montage) | 0:32:12 - Montage of Marie in prison | dramatic | heroine | montage | prison |
Caged (1950) | Marie (Dark) | 0:32:55 - Close up on medical report and Marie in infirmary | dramatic | heroine | montage | prison |
Caged (1950) | Marie (Lento) | 0:35:14 - Marie gets sick | heroine | prison |
Caged (1950) | Nursery | 0:49:23 - Marie goes to see her newborn baby | baby | heroine | newborn | prison |
Caged (1950) | Lullaby | 0:49:51 - Marie holds her new baby | baby | heroine | newborn | prison |
Caged (1950) | Marie (Happy) | 0:50:22 - Marie holds her new baby | baby | heroine | newborn | prison |
Caged (1950) | Marie (Tragic) | 0:52:43 - Marie pleads with her mother to take the baby | despair | heroine | pleading | prison |
Caged (1950) | Caged (Waiting) | 0:56:52 - Marie waits outside of the parole office while an inmate runs out excited that she made parole | heroine | parole | prison | shadow |
Caged (1950) | Alarm 2 | 1:00:42 - Marie hears the alarm and gets hysterical | alarm | heroine | hysteria | mickey-mousing | prison | screaming |
Caged (1950) | Prison | 1:00:51 - Marie runs from the parole office | alarm | heroine | hysteria | prison |
Caged (1950) | Marie (Melancholy) | 1:01:25 - Marie returns to her cell | heroine | melancholy | prison |
Caged (1950) | Marie (Solemn) | 1:17:04 - Marie in solitary | heroine | prison | solitary |
Caged (1950) | Isolation Ward | 1:17:19 - Kitty leaves solitary | heroine | prison | solitary |
Caged (1950) | Water Dripping | 1:17:52 - Dripping water in solitary | dripping | heroine | hysteria | mickey-mousing | prison | water |
Caged (1950) | Water Dripping (Frantic) | 1:18:15 - Marie cries to her in solitary | dripping | heroine | hysteria | mickey-mousing | prison | water |
Caged (1950) | Underscoring (Dramatic) | 1:32:09 - Marie leaves the parole office | heroine | justice | parole | prison |
Caged (1950) | Pacing (Impatient) | 1:32:26 - Marie receives a $30.12 check for the 502 days that she worked in the prison | heroine | pacing | prison | walking |
Caged (1950) | Marie (Checking Out) | 1:32:59 - Marie enters the warden's office | heroine | prison |
Caged (1950) | Marie (Blues) | 1:35:01 - Marie leaves prison | freedom | heroine | jazzy | prison |
Caged (1950) | Marie (Jazzy) | 1:35:37 - Marie gets into a car | heroine | jazzy | prison |
| Crime School (1938) | Underscoring (Mysterious) | 0:09:53 - Frankie sneaks in the house | concern | conversing | dissonant bass | establish character | heroine | leading lady | mysterious | pedal tone | room | sister | sneaking | sneaky | teenager | underscoring | whole-tone chord | whole-tone scale |
Crime School (1938) | Sue (Quasi Blues) | 0:11:08 - Sue talks to Frankie | bluesy | chromatic parallelism | common-chord modulation | conversing | crying | establish character | foreign key modulation | Gershwinesque | heroine | leading lady | room | somber |
Crime School (1938) | Sue (Minor) | 0:20:38 - Judge sentences boys to the reformatory | augmented sixth chord | chromatic parallelism | courthouse | crying | dissonant bass | gang | heroine | judge | leading lady | leading man | sister | somber | stinger | teenager | trial |
Crime School (1938) | Sue (Grazioso) | 1:13:10 - Sue and Mark talk in the kitchen | cheerful | conflict | conversing | cooking | happy | hero | heroine | kitchen | leading lady | leading man | mode mixture | secondary dominant |
Crime School (1938) | Sue (Grazioso Mysterioso) | 1:13:38 - Frankie confronts Sue and Mark | cheerful | common-tone diminished 7th | conflict | conversing | deceptive resolution | dining | gun | happy | hero | heroine | leading lady | leading man | room | stick up | stinger | teenager | tone cluster | whole-tone chord |
Crime School (1938) | Underscoring (Tense) | 1:14:26 - Mark talks to policeman | chromatic scale | conflict | deceptive resolution | gun | hero | heroine | hiding | knocking | leading lady | leading man | lying | mode mixture | pedal tone | police | room | teenager | tense | underscoring |
Crime School (1938) | Lights on | 1:15:26 - Sue turns the lights on | conflict | hero | heroine | leading lady | leading man | light | mickey-mousing | room | tense | turning on |
| They Made Me a Criminal (1939) | Underscoring (Dramatic) | 0:26:48 - Peggy rushes to help Johnnie | 64 chord | dramatic | establish character | heroine | leading lady | mickey-mousing | ranch | running | rushing | underscoring |
They Made Me a Criminal (1939) | Underscoring (Tender) | 0:26:58 - Peggy helps Johnnie | 9th chord | 64 chord | heroine | leading lady | leading man | lovers meet | mode mixture | nursing | room | tender | underscoring |
They Made Me a Criminal (1939) | The Fugitive (Recovering) | 0:27:13 - Peggy takes care of Johnnie | 9th chord | foreign key modulation | heroine | leading lady | leading man | lovers meet | nursing | recovering | romance | room | sweet | waking |
They Made Me a Criminal (1939) | Peggy (Dolce) | 0:28:20 - Peggy talks to Johnnie | 9th chord | 11th chord | 13th chord | deceptive resolution | foreign key modulation | heroine | kissing | leading lady | leading man | lovers meet | nursing | recovering | romance | room | sweet | tender |
| The FBI Story (1959) | Lucy A (Romantic) | 0:32:05 - Lucy tells Chip he can stay in the FBI | flashback | heroine | romance |
The FBI Story (1959) | Lucy A (Walking) | 0:37:12 - Lucy walks down the street with her children | child | flashback | heroine | mother | street |
The FBI Story (1959) | Lucy A (Tender) | 0:49:14 - Chip and Lucy talk at home | embrace | flashback | heroine | kissing | romance |
The FBI Story (1959) | Lucy A (Dark) | 1:07:29 - Lucy says that she thinks FBI agents carrying guns is a bad thing | Christmas | dark | flashback | heroine |
The FBI Story (1959) | Lucy A (Family) | 1:25:22 - Lucy talks with her mother while hiding Easter eggs | Easter | eggs | flashback | heroine | spring |
The FBI Story (1959) | Lucy A (Con Moto) | 1:27:53 - Lucy and the kids drive to meet with Chip | flashback | heroine | sentimental |
The FBI Story (1959) | Lucy A (Peaceful) | 1:29:21 - Lucy reads a love letter from Chip | flashback | heroine | letter | sentimental |
The FBI Story (1959) | Lucy sits | 1:30:40 - Lucy defiantly puts her feet up on the couch | comical | couch | feet | flashback | heroine | mickey-mousing | sitting |
The FBI Story (1959) | Lucy A (Tragico) | 2:06:03 - Chip and Lucy mourn together | crying | flashback | heroine | mourning | weeping |
The FBI Story (1959) | Lucy A (Waltz) | 2:27:29 - Chip meets his family and they go for a drive | heroine | joyful | playful |
| Illegal (1955) | Ellen | 0:06:21 - Vic and Ellen talk about the case and marriage | hero | heroine | lunch | marriage | restaurant |
Illegal (1955) | Ellen 2 | 0:19:05 - Vic talks to Ellen | drunk | hero | heroine |
Illegal (1955) | Ellen (Tenderly) | 0:19:29 - Vic tells Ellen to marry Ray | drunk | hero | heroine |
Illegal (1955) | Ellen (Sentimental) | 0:25:06 - Ray proposes marriage to Ellen | heroine | marriage | proposal | restaurant |
Illegal (1955) | Ellen (Chromatic) | 0:28:04 - Ellen disingenuously tells Vic that she and Ray are getting married | heroine | marriage |
Illegal (1955) | Ellen (Triste) | 0:28:26 - Ellen and Ray leave Vic in the courtroom | heroine |
Illegal (1955) | Ellen (Worried) | 0:51:06 - Close up of Ellen's face after she talked to Vic | heroine | love |
Illegal (1955) | Ellen (Tragic) | 0:57:22 - Ellen confronts Vic about how he changed | hero | heroine |
Illegal (1955) | Ellen B | 0:57:58 - Ellen confronts Vic about how he changed | hero | heroine |
Illegal (1955) | Ellen (Very Slow) | 0:58:19 - Ellen confronts Vic about how he changed | hero | heroine |
Illegal (1955) | Ellen (Disturbed) | 0:58:26 - Ellen leaves Vic's office | hero | heroine |
Illegal (1955) | Underscoring (Dramatic) | 1:07:30 - Ray and Ellen struggle at the window | gun | gunshot | heroine |
Illegal (1955) | Ellen Falls | 1:07:35 - Ray pushes Ellen down | falling | heroine | mickey-mousing |
Illegal (1955) | Ellen raises gun | 1:07:42 - Ellen raises gun to defend herself | gun | heroine | mickey-mousing | tense |
Illegal (1955) | Ellen (Dark) | 1:07:50 - Ellen in jail | dark | heroine | prison | sad |
Illegal (1955) | Ellen (Triste) | 1:10:23 - Ellen is overcome with emotion | crying | emotional | heroine |
Illegal (1955) | Ellen (Lonely) | 1:17:33 - Ellen and Vic talk during court recess | courtroom | hero | heroine | trial |
Illegal (1955) | Ellen (The End) | 1:26:30 - The case is dimissed and there is a happy ending | courtroom | hero | heroine |
| Lightning Strikes Twice (1951) | Shelly | 0:07:42 - Shelly wakes up | heroine | mickey-mousing | waking up |
Lightning Strikes Twice (1951) | Shelly (Traveling 1) | 0:10:13 - Shelly drives through desert | bright | car | desert | driving | heroine | map | mickey-mousing | montage | sunny | traveling | wheel |
Lightning Strikes Twice (1951) | Shelly (Concerned) | 0:18:30 - Shelly goes to a room to sleep | concerned | heroine | tense |
Lightning Strikes Twice (1951) | Shelly (Lonely) | 0:18:41 - Shelly gets ready for bed | concerned | heroine | worry |
Lightning Strikes Twice (1951) | Shelly 2 | 0:18:48 - Shelly gets ready for bed | concerned | heroine | worry |
Lightning Strikes Twice (1951) | Shelly (Misterioso) | 0:19:14 - Shelly gets ready for bed | concerned | heroine | thoughtful | worry |
Lightning Strikes Twice (1951) | Shelly 2 (Dolce) | 0:24:34 - Shelly walks around Tumblewood Ranch | calm | freedom | heroine | ranch |
Lightning Strikes Twice (1951) | Trev + Shelly | 0:39:51 - Shelly watches as Trev leaves the store | combination of themes | hero | heroine | store |
Lightning Strikes Twice (1951) | Shelly (Running) | 0:39:58 - Shelly looks for Trev then walks off with Liza | agitated | heroine | searching | walking |
Lightning Strikes Twice (1951) | Trev (Ethereal) | 0:40:26 - Shelly and Liza look in the glass shop windows | glass | heroine | mysterious | underscoring |
Lightning Strikes Twice (1951) | Shelly (Gallop 1) | 0:40:52 - Shelly riding on a horse | galloping | heroine | horse |
Lightning Strikes Twice (1951) | Shelly (Dolce) | 0:41:00 - Shelly walks over to meet with Pedro | calm | heroine | ranch |
Lightning Strikes Twice (1951) | Shelly 3 (Tenderly) | 0:41:54 - Pedro learns Shelly is friends with Trev and helps her find him | heroine |
Lightning Strikes Twice (1951) | Shelly (Gallop 2) | 0:42:19 - Shelly gallops out to where Trev is | galloping | heroine | horse |
Lightning Strikes Twice (1951) | Shelly (Western) | 0:42:32 - Shelly dismounts her horse and goes to find Trev | heroine |
Lightning Strikes Twice (1951) | Shelly (Courageous) | 0:43:13 - Shelly speaks with Trev | heroine | romance |
Lightning Strikes Twice (1951) | Shelly 2 (Helpful) | 0:43:44 - Shelly speaks with Trev | hero | heroine |
Lightning Strikes Twice (1951) | Shelly (Aspiring) | 0:44:07 - Shelly tells Trev she believes he is innocent | hero | heroine | romance |
Lightning Strikes Twice (1951) | Underscoring (Tense) | 0:44:51 - Trev questions Shelly about her belief in him | hero | heroine | suspense | tense | underscoring |
Lightning Strikes Twice (1951) | Shelly 3 (Taken Aback) | 0:45:08 - Trev wants his case kept closed | hero | heroine |
Lightning Strikes Twice (1951) | Shelly (Menacing) | 0:45:23 - Trev alludes that he could kill Shelly | hero | heroine | menacing |
Lightning Strikes Twice (1951) | Shelly (Romantic) | 0:45:51 - Shelly says that she can prove Trev didn't kill his wife | hero | heroine | romance | underscoring |
Lightning Strikes Twice (1951) | Trev (Stumbling) | 0:46:03 - Shelly starts back along path | cliff | heroine | stumbling |
Lightning Strikes Twice (1951) | Underscoring (Tense) | 0:46:12 - Shelly is scared and can't move | cliff | fear | heights | heroine |
Lightning Strikes Twice (1951) | Trev + Shelly | 0:47:16 - Trev helps Shelly climb to safety | cliff | combination of themes | danger | hero | heroine | resue | romance |
Lightning Strikes Twice (1951) | Shelly (Tense) | 0:47:28 - Trev helps Shelly climb to safety | cliff | danger | hero | heroine |
Lightning Strikes Twice (1951) | Rescue | 0:47:42 - Trev helps Shelly climb to safety | hero | heroine | rescue |
Lightning Strikes Twice (1951) | Shelly 3 (Love) | 0:47:56 - Trev and Shelly kiss, then she continues on alone | hero | heroine | hugging | kissing | romance |
Lightning Strikes Twice (1951) | Shelly (Packing Up) | 0:48:29 - Shelly packs her bags | gentle | heroine | luggage | packing |
Lightning Strikes Twice (1951) | Menace (Dark) | 0:50:38 - Shelly leaves the ranch house and goes to the car | heroine | leaving |
Lightning Strikes Twice (1951) | Shelly (Traveling 2) | 0:51:09 - Shelly drives away from the Tumble Moon ranch | driving | heroine | traveling |
Lightning Strikes Twice (1951) | Shelly 2 (Dolce) | 0:51:36 - Shelly arrives at the Nolan ranch | heroine | ranch |
Lightning Strikes Twice (1951) | Shelly 3 (Somber) | 0:52:14 - Shelly sees Trev's portrait on the wall | heroine | portrait |
Lightning Strikes Twice (1951) | Underneath a Western Sky | 0:56:48 - Shelly and Myra talk at an outdoor dinner | accordion | campfire | heroine | on-screen music |
Lightning Strikes Twice (1951) | Too Much Love | 0:59:02 - Shelly looks at Trev's portrait | heroine | party | portrait | source music |
Lightning Strikes Twice (1951) | Shelly (Worried) | 1:03:05 - Shelly gets out of the car | car | concerned | heroine |
Lightning Strikes Twice (1951) | Shelly (Anxious) | 1:03:34 - Shelly runs away and into Trev | hero | heroine |
Lightning Strikes Twice (1951) | Emotion | 1:05:10 - Shelly cries | crying | hero | heroine |
Lightning Strikes Twice (1951) | Prison | 1:05:38 - Trev tells Shelly of a recurring dream | hero | heroine |
Lightning Strikes Twice (1951) | Menace (Prison) | 1:05:54 - Trev tells Shelly of how she brought him peace | hero | heroine |
Lightning Strikes Twice (1951) | Trev (Love) | 1:06:09 - Trev tells Shelly that he is in love with her | hero | heroine | love | romance |
Lightning Strikes Twice (1951) | Shelly 3 (Tenderly) | 1:06:50 - Trev and Shelly embrace and kiss | hero | heroine | hugging | kissing | love | romance |
Lightning Strikes Twice (1951) | Shelly 3 (Excited) | 1:07:09 - Trev and Shelly kiss in the car then get out to | hero | heroine | kissing | love | romance |
Lightning Strikes Twice (1951) | Shelly 3 (Tranquillo) | 1:07:22 - Trev and Shelly talk outside the ranch | hero | heroine | love | romance |
Lightning Strikes Twice (1951) | Shelly (Expressivo) | 1:07:58 - Trev and Shelly kiss | hero | heroine | love | romance |
Lightning Strikes Twice (1951) | Shelly 3 (Tense) | 1:09:40 - Shelly and Myra talk | heroine |
Lightning Strikes Twice (1951) | Concern | 1:10:03 - Shelly learns that Liza loves Trev | concerned | heroine |
Lightning Strikes Twice (1951) | Shelly 3 (Meno) | 1:16:52 - Shelly's concerns are alleviated | happy | heroine | peace |
Lightning Strikes Twice (1951) | Shelly (Grazioso) | 1:17:01 - Shelly talks about her acting history and mentions that she got tired of getting murdered every night | happy | heroine | peace |
Lightning Strikes Twice (1951) | Shelly 3 (Tenderly) | 1:17:31 - Trev says that they are going to have to forget their past | hero | heroine | romance |
Lightning Strikes Twice (1951) | Shelly 3 | 1:17:51 - Shelly gets ready for bed | heroine | romance | undressing |
Lightning Strikes Twice (1951) | Menace (Brooding) | 1:18:00 - Shelly begins to remember things people have said about Trev | concerned | danger | heroine | worry |
Lightning Strikes Twice (1951) | Mournful | 1:18:16 - Shelly worries for her life | concerned | danger | heroine | worry |
Lightning Strikes Twice (1951) | Menace (Sinister) | 1:18:21 - It looks like Trev is going to attack Shelly | concerned | danger | heroine | worry |
Lightning Strikes Twice (1951) | Mournful (Scared) | 1:18:41 - Spider crawls across the bed while Trev tries to kill it; Trev tries to calm Shelly | concerned | danger | heroine | worry |
Lightning Strikes Twice (1951) | Shelly (Afraid) | 1:18:52 - Shelly says she is afraid of Trev | concerned | danger | heroine | worry |
Lightning Strikes Twice (1951) | Fear | 1:19:02 - Shelly flees from Trev in fear | concerned | danger | heroine | stinger | worry |
Lightning Strikes Twice (1951) | Shelly (Fleeing) | 1:19:17 - Shelly flees from Trev as he tries to open the door | concerned | danger | heroine | worry |
Lightning Strikes Twice (1951) | Shelly (Escaping) | 1:19:32 - Shelly runs to the car and drives away | concerned | danger | driving | heroine | running | worry |
Lightning Strikes Twice (1951) | Shelly 3 (Triumph) | 1:29:33 - Trev and Shelly drive away together | hero | heroine | peace |
Lightning Strikes Twice (1951) | Shelly (The End) | 1:30:00 - Trev and Shelly drive away together | hero | heroine | peace |
| Mildred Pierce (1945) | Mildred (Pier) | 0:02:15 - Santa Monica pier at night | chromatic parallelism | dock | establish character | fragmentation | heroine | leading lady | mickey-mousing | pedal tone | pondering | sequence | somber | walking | water | wave |
Mildred Pierce (1945) | Mildred (Tragic) | 0:02:42 - Mildred walks out onto the dock | altered dominant | dock | establish character | half-diminished 7th chord | heroine | leading lady | mickey-mousing | pondering | sequence | somber | suicide | tragic | water | wave |
Mildred Pierce (1945) | Waves rumbling | 0:03:15 - Policeman convinces Mildred not to jump | conversing | dock | establish character | heroine | leading lady | mickey-mousing | police | somber | suicide | water | wave |
Mildred Pierce (1945) | You Must Have Been a Beautiful Baby | 0:03:59 - Wally sees Mildred from the window | conversing | establish character | familiar tune | friend | heroine | jazz | leading lady | on-screen music | restaurant | source music | upbeat |
Mildred Pierce (1945) | Mildred (Sehr Dramatic) | 0:12:06 - Mildred arrives home | advance plot | arriving | chromatic scale | chromatic sequence | dark | daughter | diminished 7th chord | dramatic | half-diminished 7th chord | heroine | imitation | leading lady | street | tense | tritone | worrying |
Mildred Pierce (1945) | Mildred (Ominous) | 0:12:43 - The detectives talk to Mildred | advance plot | chromatic sequence | conversing | dark | detective | fragmentation | heroine | imitation | leading lady | ominous | room |
Mildred Pierce (1945) | Underscoring (Tense) | 0:13:03 - Mildred leaves with the detectives | advance plot | conversing | detective | foreign key modulation | heroine | leading lady | murder | street | tense | underscoring |
Mildred Pierce (1945) | Hall of Justice | 0:13:35 - The Los Angeles Hall of Justice | advance plot | arriving | bold | detective | entering | heroine | justice | leading lady | parallelism | pedal tone | police | police station | walking |
Mildred Pierce (1945) | Mildred sits | 0:14:11 - Mildred sits down | advance plot | heroine | leading lady | mickey-mousing | mysterious | police station | sitting |
Mildred Pierce (1945) | Drink to Me Only With Thine Eyes | 0:16:07 - Cop whistles to himself | advance plot | detective | familiar tune | heroine | leading lady | on-screen music | police | police station | source music | tense | ticking | whistling |
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) | Bert (Triste) | 0:24:26 - Bert and Mildred separate | augmented sixth chord | breaking up | crying | establish character | fragmentation | heroine | husband | leading lady | leaving | Neapolitan | pedal tone | room | somber |
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) | Kay and Veda (Ashamed) | 0:28:13 - Mildred overhears Veda complaining about her new dress | advance plot | child | heroine | leading lady | Neapolitan | room | sigh gesture | somber | watching |
Mildred Pierce (1945) | Mildred (Lonely) | 0:28:20 - Mildred looks through her desk | advance plot | bill | flashback | foreign key modulation | gun | heroine | leading lady | lonely | mode mixture | photograph | room | somber | voice-over | writing |
Mildred Pierce (1945) | Mildred (Tense) | 0:28:43 - Mildred goes to open the door | advance plot | fragmentation | heroine | leading lady | pedal tone | room | tense | walking |
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) | Kay and Veda (Dolce) | 0:32:13 - Mildred and Veda talk about Kay | added-note chord | advance plot | child | conversing | heroine | leading lady | mode mixture | room | sleeping | sweet |
Mildred Pierce (1945) | Kay and Veda (Coy) | 0:32:32 - Veda talks to her mother | advance plot | child | chromatic parallelism | conversing | heroine | leading lady | parallelism | room | sleeping | uneasy |
Mildred Pierce (1945) | Mildred (Waltz Fantasy) | 0:32:38 - Veda fantasizes about her mother marrying Wally | 9th chord | advance plot | appoggiatura | child | chromatic parallelism | dreaming | fantasy | greed | heroine | leading lady | room | uneasy |
Mildred Pierce (1945) | Mildred (Dark) | 0:32:58 - Mildred scolds Veda | advance plot | child | dark | heroine | leading lady | room | scolding |
Mildred Pierce (1945) | Kay and Veda (Deception) | 0:33:08 - Veda lies to her mother | 64 chord | advance plot | child | chromatic parallelism | deceiving | deception | heroine | leading lady | room | selfishness | unstable | whole-tone |
Mildred Pierce (1945) | Mildred (Risoluto) | 0:33:23 - Mildred resolves to give her daughter nice things | 64 chord | advance plot | child | determined | heroic | heroine | leading lady | noble | promising | resolved | room |
Mildred Pierce (1945) | Kay and Veda (Dolce Foxtrot) | 0:33:37 - Mildred puts Veda to bed | 64 chord | added-note chord | advance plot | child | chromatic parallelism | dark | heroine | leading lady | mode mixture | optimistic | promising | room | tragic |
Mildred Pierce (1945) | Mildred (Desperate) | 0:34:05 - Mildred looks for a job | applying | depressed | enharmonic reinterpretation | foreign key modulation | heroine | leading lady | montage | searching | street | voice-over | walking |
Mildred Pierce (1945) | Work | 0:36:12 - Mildred works as a waitress | 64 chord | added-note chord | altered dominant | chromatic mediant | chromatic sequence | common-chord modulation | foreign key modulation | hectic | heroine | leading lady | montage | restaurant | rushing | self-borrowing | sequential modulation | serving | upbeat | voice-over | waitress | working |
Mildred Pierce (1945) | Mildred (Hopeful) | 0:36:42 - Mildred bakes some pies | cooking | heroine | hopeful | kitchen | leading lady | montage | optimistic | restaurant | success | voice-over | waitress | working |
Mildred Pierce (1945) | The Maid | 0:36:57 - Mildred's maid in the kitchen | 9th chord | advance plot | comical | conversing | cooking | heroine | kitchen | leading lady | maid | sequence | working |
Mildred Pierce (1945) | Work (Singing Lesson) | 0:37:17 - Veda sings | added-note chord | child | double exposure | heroine | leading lady | montage | on-screen music | room | scored source music | self-borrowing | singing | upbeat | voice-over | working |
Mildred Pierce (1945) | Ballet Lesson | 0:37:25 - Kay dances | 9th chord | 11th chord | ballet | child | dancing | double exposure | graceful | heroine | leading lady | montage | pleasant | room | voice-over |
Mildred Pierce (1945) | South American Way | 0:37:36 - Veda sings and plays while Kay dances | child | dancing | heroine | leading lady | music scene | on-screen music | playing | popular music | room | sequence | singing | source music | upbeat |
Mildred Pierce (1945) | Mazurka in B-Flat Major (Tense) | 0:38:47 - Veda plays a Chopin Mazurka | arguing | child | classical music | common-tone diminished 7th | conflict | familiar tune | half-diminished 7th chord | heroine | leading lady | on-screen music | playing | quotation | room | scored source music | source music | tense | upbeat | waltz |
Mildred Pierce (1945) | Secret Revealed | 0:39:10 - Mildred argues with Veda | angry | arguing | child | chromatic parallelism | chromatic scale | chromatic wedge | conflict | harsh | heroine | leading lady | linear chromaticism | octatonic chord | room | tense |
Mildred Pierce (1945) | Mildred (Appassionato) | 0:39:22 - Mildred argues with Veda | angry | arguing | child | chromatic scale | conflict | foreign key modulation | heroine | leading lady | raising | room | standing | tense | whole-tone scale |
Mildred Pierce (1945) | Mildred raises Veda | 0:39:22 - Mildred lifts her daughter up by the arm | angry | arguing | child | conflict | heroine | leading lady | mickey-mousing | raising | room | standing | tense | whole-tone scale |
Mildred Pierce (1945) | Mildred B (Angry) | 0:39:30 - Mildred argues with Veda | 11th chord | angry | arguing | child | conflict | fragmentation | heroine | leading lady | room | slapping | tense |
Mildred Pierce (1945) | Mildred (Regretful) | 0:39:37 - Mildred regrets slapping Veda | apologizing | child | chromatic mediant | conflict | foreign key modulation | heroine | hopeful | leading lady | mode mixture | Neapolitan | regretting | room | somber | tritone |
Mildred Pierce (1945) | Kay and Veda (Hopeful) | 0:40:09 - Veda asks if they are going to be rich | child | conflict | foreign key modulation | greed | heroine | hopeful | leading lady | room |
Mildred Pierce (1945) | Work (Excited) | 0:42:35 - Mildred and Wally leave | 9th chord | added-note chord | excited | excitement | friend | heroine | leading lady | leaving | room | self-borrowing | shadow | transition | work |
Mildred Pierce (1945) | Beach House | 0:42:49 - Mildred and Wally drive up to the beach house | 9th chord | arriving | beach house | driving | friend | heroine | leading lady | ocean | peaceful | transition | water | wave |
Mildred Pierce (1945) | Walking | 0:42:58 - Mildred and Wally walk to the house | added-note chord | arriving | beach house | excited | friend | heroine | leading lady | mickey-mousing | ocean | parallelism | transition | walking |
Mildred Pierce (1945) | Bert (Sentimentale) | 0:48:03 - Mildred watches her children leave | heroine | husband | leading lady | leaving | oscillation | room | serious | somber | thinking | transition | whole-tone chord |
Mildred Pierce (1945) | Work (Molto Grazioso) | 0:48:16 - Mildred works at her restaurant | cheerful | common-tone diminished 7th | friend | heroine | ladder | leading lady | legs | pedal tone | restaurant | self-borrowing | transition | working |
Mildred Pierce (1945) | First Kiss | 0:49:40 - Monte steals a kiss from Mildred | cheerful | common-tone diminished 7th | falling in love scene | friend | heroine | kissing | leading lady | restaurant | romance |
Mildred Pierce (1945) | Walking | 0:49:48 - Driving to the beach house | 9th chord | beach house | cheerful | driving | falling in love scene | friend | heroine | leading lady | parallelism | room | traveling | walking |
Mildred Pierce (1945) | Opens closet | 0:49:57 - Mildred slides open a door | 9th chord | cheerful | falling in love scene | heroine | leading lady | love interest | mickey-mousing | opening | room | sliding |
Mildred Pierce (1945) | Disrobes | 0:50:47 - Monte takes off Mildred's robe | beach house | cheerful | disrobing | dissonant bass | falling | falling in love scene | flirting | heroine | leading lady | love interest | mickey-mousing | robe |
Mildred Pierce (1945) | Bathing Suit | 0:50:49 - Monte looks at Mildred in her bathing suit | 9th chord | attraction | beach house | cheerful | dissonant bass | falling in love scene | flirting | foreign key modulation | heroine | leading lady | love interest | mickey-mousing |
Mildred Pierce (1945) | Mildred (Frolicking) | 0:51:01 - Mildred runs to the beach | 9th chord | beach | cheerful | falling in love scene | flirting | foreign key modulation | frolicking | heroine | jaunty | leading lady | love interest | running | tritone |
Mildred Pierce (1945) | Frolicking in the Surf | 0:51:05 - Monte and Mildred run to the water | 9th chord | 64 chord | beach | falling in love scene | foreign key modulation | frolicking | heroine | jaunty | leading lady | love interest | mickey-mousing | playful | running | splashing | swimming | water | waves |
Mildred Pierce (1945) | Waves | 0:51:11 - Waves crash onto the beach | 64 chord | beach | calm | falling in love scene | heroine | leading lady | love interest | mickey-mousing | rolling | splashing | waves |
Mildred Pierce (1945) | It Can't Be Wrong | 0:51:16 - Monte plays a record for Mildred | AABA structure | conversing | heroine | kissing | leading lady | love interest | love scene | popular music | record | record player | romantic | room | score to source borrowing | source music |
Mildred Pierce (1945) | Kay and Veda (Misterioso) | 0:54:01 - Bert tells Mildred that Kay is sick | bad news | conversing | dark | death scene | distress | ex-husband | heroine | leading lady | mysterious | ominous | stinger | street | turning point | whole-tone scale |
Mildred Pierce (1945) | Bert (Dark) | 0:54:14 - Bert and Mildred rush off to see Kay | bad news | conversing | dark | death scene | distress | ex-husband | heroine | leading lady | leaving | street | turning point |
Mildred Pierce (1945) | Pneumonia | 0:54:25 - A doctor works on Kay | child | chromatic scale | dark | death scene | doctor | dying | ex-husband | heroine | illness | leading lady | mickey-mousing | nurse | oscillation | patient | pc set | room | sick person | somber | tense | treating | turning point | waiting | watching |
Mildred Pierce (1945) | Kay and Veda (Dying) | 0:55:05 - Kay's family waits and watches | 11th chord | child | dark | death scene | doctor | dying | ex-husband | heroine | illness | leading lady | nurse | patient | room | sick person | somber | tense | treating | turning point | waiting | watching |
Mildred Pierce (1945) | Pneumonia (Dying) | 0:55:24 - Kay passes away | 9th chord | child | chromatic parallelism | dark | death | death scene | doctor | dying | ex-husband | heroine | illness | leading lady | linear chromaticism | minor-major 7th chord | nurse | oscillation | patient | room | sick person | somber | tense | treating | turning point | waiting | watching |
Mildred Pierce (1945) | Mildred (Mourning) | 0:56:07 - Mildred mourns Kay's death | 9th chord | augmented sixth chord | child | death | death scene | doctor | ex-husband | heroine | leading lady | mourning | nurse | patient | room | sick person | somber | turning point |
Mildred Pierce (1945) | Kay and Veda (Tenderly) | 0:56:34 - Veda and Mildred mourn for Kay | added-note chord | calm | child | death | death scene | ex-husband | heroine | hopeful | leading lady | mode mixture | mourning | plagal cadence | room | somber | turning point |
Mildred Pierce (1945) | T'Ain't No Good | 0:57:37 - Mildred at the opening of her restaurant | advance plot | antagonist | busy | conversing | daughter | dining | friend | guest | heroine | leading lady | popular music | restaurant | serving | source music | upbeat | working |
Mildred Pierce (1945) | While You're Away | 0:59:47 - Monte arrives at the restaurant | ABAC structure | advance plot | antagonist | busy | conversing | daughter | dining | friend | guest | heroine | leading lady | love interest | parallel double period | popular music | restaurant | serving | source music | upbeat | working |
Mildred Pierce (1945) | Please Think of Me | 1:01:54 - Monte dances with Veda | antagonist | celebrating | dance scene | dancing | daughter | friend | heroine | jukebox | leading lady | love interest | on-screen music | popular music | restaurant | singing | source music | upbeat |
Mildred Pierce (1945) | Mildred (Sorrow) | 1:03:41 - Monte asks about Kay | advance plot | conversing | heroine | leading lady | love interest | minor-major 7th chord | mode mixture | restaurant | somber |
Mildred Pierce (1945) | It Can't Be Wrong (Romantic) | 1:04:11 - Monte kisses Mildred | advance plot | chromatic mediant | door | ex-husband | familiar tune | foreign key modulation | heroine | interrupting | kissing | leading lady | love interest | mode mixture | popular music | restaurant | romantic | slamming | source to score | stinger |
Mildred Pierce (1945) | It Can't Be Wrong (Troubled) | 1:04:30 - Bert interrupts Mildred and Monte's kiss | advance plot | conversing | dark | ex-husband | familiar tune | heroine | leading lady | love interest | popular music | restaurant | source to score | suspension | tense | troubled |
Mildred Pierce (1945) | Bert (Regretful) | 1:04:43 - Bert tells Mildred about the divorce | 9th chord | advance plot | chromatic mediant | common-chord modulation | conversing | divorce | ex-husband | heroine | leading lady | love interest | regretting | restaurant | somber |
Mildred Pierce (1945) | Breaks glass | 1:05:35 - Bert slaps the glass out of Monte's hand | advance plot | breaking | down | ex-husband | falling | glass | heroine | leading lady | love interest | mickey-mousing | restaurant | tense | throwing | violence |
Mildred Pierce (1945) | It Can't Be Wrong (Uneasy) | 1:05:36 - Bert stares angrily at Monte | advance plot | dark | ex-husband | familiar tune | glaring | heroine | leading lady | leaving | love interest | pedal tone | popular music | restaurant | source to score | tense | uneasy |
Mildred Pierce (1945) | Flashback ends | 1:05:49 - Screen wipe back to the present day | advance plot | flashback | heroine | leading lady | mickey-mousing | police station | wipe |
Mildred Pierce (1945) | Mildred (Sweepingly) | 1:08:09 - Mildred greets customers | happy | heroine | leading lady | montage | restaurant | smiling | voice-over | working |
Mildred Pierce (1945) | French One-Step | 1:08:14 - Veda at a polo match | added-note chord | antagonist | cheering | common-tone diminished 7th | daughter | field | heroine | leading lady | love interest | montage | playing | polo | secondary dominant | sports | upbeat | voice-over | watching |
Mildred Pierce (1945) | How Sweet You Are | 1:08:28 - Veda dances at a club | ABAB structure | advance plot | club | conversing | dance music | dancing | heroine | leading lady | love interest | on-screen music | relaxed | source music |
Mildred Pierce (1945) | Kay and Veda (Subtle) | 1:09:27 - bill; photograph; gun | advance plot | augmented sixth chord | conversing | friend | heroine | leading lady | mode mixture | room | subtle | voice-over |
Mildred Pierce (1945) | Kay and Veda (Excited) | 1:13:21 - Veda drives away in her new car | added-note chord | advance plot | altered dominant | car | child | deceptive resolution | driving | excited | happy | heroine | kissing | leading lady | love interest | room | running |
Mildred Pierce (1945) | Kay and Veda (Sly) | 1:13:55 - Mildred tells Monte to not see Veda | arguing | breakup | chromatic wedge | chromatic wedge | conflict | disagreement | heroine | leading lady | love interest | ominous | room | sinister | tense | whole-tone chord |
Mildred Pierce (1945) | Kay and Veda (Troubled) | 1:14:06 - Mildred and Monte argue | arguing | breakup | chromatic scale | chromatic sequence | conflict | disagreement | fragmentation | heroine | leading lady | love interest | ominous | room | sinister | tense | whole-tone chord | whole-tone scale |
Mildred Pierce (1945) | Mildred (Agitato) | 1:14:37 - Mildred and Monte argue | agitated | arguing | breakup | conflict | distortion | half-diminished 7th chord | heroine | leading lady | love interest | room | tense |
Mildred Pierce (1945) | Underscoring (Tense) | 1:14:53 - Mildred and Monte argue | 9th chord | added-note chord | arguing | bitter | breakup | conflict | deceptive resolution | heroine | leading lady | love interest | room | tense | underscoring |
Mildred Pierce (1945) | It Can't Be Wrong (Bitter) | 1:15:29 - Mildred writes Monte a check | arguing | bitter | breakup | conflict | dissonant bass | familiar tune | fragmentation | heroine | leading lady | love interest | mickey-mousing | popular music | room | source to score | tense |
Mildred Pierce (1945) | Closes blinds | 1:15:59 - Mildred closes the blinds | blinds | breakup | closing | conflict | down | heroine | leading lady | mickey-mousing | room | somber | window |
Mildred Pierce (1945) | Mildred (Angry) | 1:18:21 - Mildred walks out of an argument | 9th chord | aggressive | angry | arriving | chromatic parallelism | conflict | heroine | hurrying | leading lady | leaving | Neapolitan | room | walking |
Mildred Pierce (1945) | Underscoring (Tense) | 1:18:34 - Veda tells her mother she is married | antagonist | chromatic parallelism | chromatic wedge | conflict | conversing | daughter | diminished 7th chord | friend | heroine | leading lady | oscillation | reverse stinger | room | tense | underscoring |
Mildred Pierce (1945) | Secret Revealed | 1:18:59 - Veda talks to her mother | antagonist | chromatic parallelism | chromatic scale | chromatic wedge | conflict | conversing | daughter | fear | friend | heroine | leading lady | linear chromaticism | octatonic chord | room | surprise | tense |
Mildred Pierce (1945) | Kay and Veda (Coy) | 1:19:11 - Veda talks to her mother | antagonist | apologizing | chromatic parallelism | conflict | daughter | friend | heroine | leading lady | room | tense |
Mildred Pierce (1945) | Mildred (Waltz Fantasy) | 1:19:18 - Mildred talks to Veda | 9th chord | antagonist | appoggiatura | chromatic parallelism | comforting | conflict | daughter | dream-like | friend | heroine | leading lady | room | tense |
Mildred Pierce (1945) | Mildred (Tenderly) | 1:19:37 - Wally talks about a settlement | antagonist | chromatic parallelism | conflict | conversing | daughter | fragmentation | friend | heroine | leading lady | pedal tone | room | tender |
Mildred Pierce (1945) | Kay and Veda (Troubled 2) | 1:21:34 - Veda looks at the divorce settlement check | antagonist | blackmail | chromatic scale | chromatic sequence | conflict | daughter | fragmentation | heroine | laughing | leading lady | mickey-mousing | mocking | room | troubled | ugly | whole-tone chord |
Mildred Pierce (1945) | Kay and Veda (Agitato) | 1:22:22 - Veda and her mother argue | agitated | antagonist | arguing | augmented sixth chord | blackmail | chromatic sequence | conflict | daughter | fragmentation | heroine | leading lady | room | tense |
Mildred Pierce (1945) | Kay and Veda (Ominous) | 1:22:43 - Veda argues with her mother | antagonist | arguing | conflict | dark | daughter | heroine | insulting | leading lady | ominous | room | ugly |
Mildred Pierce (1945) | Mildred (Appassionato) | 1:23:00 - Veda expresses her disgust with her mother | angry | antagonist | arguing | chromatic scale | conflict | daughter | foreign key modulation | heroine | insulting | leading lady | room | tense |
Mildred Pierce (1945) | Mildred B (Angry 2) | 1:23:09 - Mildred gets angry at Veda | angry | antagonist | arguing | conflict | daughter | fragmentation | heroine | insulting | leading lady | room | tense |
Mildred Pierce (1945) | Mildred (Vicious) | 1:23:21 - Veda insults her mother | angry | antagonist | arguing | chromatic parallelism | chromatic wedge | conflict | daughter | heroine | insulting | leading lady | reverse stinger | room | tense | whole-tone chord |
Mildred Pierce (1945) | Mildred B (Angry) | 1:23:38 - Mildred tears up Veda's check | angry | antagonist | arguing | check | conflict | daughter | fighting | heroine | leading lady | pc set | room | slapping | tearing | tense | violence | yelling |
Mildred Pierce (1945) | Stunned Reaction | 1:23:44 - Mildred is stunned after Veda slaps her | angry | antagonist | conflict | daughter | dramatic | heroine | leading lady | pc set | room | staring | stunned | violence |
Mildred Pierce (1945) | Mildred (Tragic) | 1:24:04 - Veda watches her daughter leave | altered dominant | angry | ascending | conflict | heroine | leading lady | leaving | mickey-mousing | octatonic scale | room | stern |
Mildred Pierce (1945) | Rushing train | 1:24:15 - A rushing train | double exposure | excited | heroine | leading lady | mickey-mousing | train | train | transition | traveling |
Mildred Pierce (1945) | Oceana Roll | 1:27:46 - Veda sings at a restaurant | advance plot | antagonist | cheerful | club | dancing | daughter | ex-husband | heroine | leading lady | on-screen music | playing | popular music | singing | source music |
Mildred Pierce (1945) | Sweet Georgia Brown | 1:29:05 - Mildred confronts Wally | ABAC structure | advance plot | antagonist | club | conversing | daughter | heroine | jazz | leading lady | on-screen music | popular music | source music | upbeat |
Mildred Pierce (1945) | It Had to Be You | 1:30:25 - Mildred and Veda talk | ABAC structure | advance plot | antagonist | club | conversing | daughter | heroine | jazz | leading lady | on-screen music | popular music | source music | upbeat |
Mildred Pierce (1945) | Work (Montage) | 1:34:44 - Montage of Mildred and Monte's marriage | added-note chord | cheerful | deceptive resolution | ex-husband | glass | heroine | leading lady | love interest | mickey-mousing | mode mixture | montage | newspaper | self-borrowing | shadow |
Mildred Pierce (1945) | Glasses clink | 1:35:44 - Mildred and Monte clink glasses together | cheerful | clinking | glass | heroine | leading lady | love interest | mickey-mousing | montage |
Mildred Pierce (1945) | Bert (Somber) | 1:37:06 - Bert talks with Mildred in her new house | advance plot | augmented sixth chord | conversing | ex-husband | heroine | leading lady | pedal tone | room | somber |
Mildred Pierce (1945) | Mildred stands and walks to window | 1:38:02 - Mildred stands up and goes to the window | advance plot | delicate | graceful | heroine | leading lady | mickey-mousing | peaceful | rising | room | standing | up | walking |
Mildred Pierce (1945) | Kay and Veda (Returning Home) | 1:38:10 - Mildred looks at Veda through the window | advance plot | chromatic mediant | conversing | daughter | deceptive resolution | emotional | foreign key modulation | happy | heroine | leading lady | loving | mode mixture | mother | room | warm | watching |
Mildred Pierce (1945) | Mildred (Happy Homecoming) | 1:38:50 - Mildred and her daughter embrace | added-note chord | advance plot | apologizing | chromatic mediant | daughter | embracing | foreign key modulation | forgiveness | happy | heroine | leading lady | loving | mode mixture | mother | returning | reuniting | room | warm |
Mildred Pierce (1945) | Bert (Tenderly) | 1:39:33 - Mildred thanks Bert | advance plot | ex-husband | gentle | heroine | leading lady | mother | room | sweet | thanking |
Mildred Pierce (1945) | It Can't Be Wrong (Molto Misterioso) | 1:42:42 - Mildred learns that Monte has betrayed her | 9th chord | bankruptcy | betrayal | dark | familiar tune | friend | heroine | leading lady | love theme | memory | mysterious | pc set | popular music | realizing | room | somber | turning point | whole-tone chord |
Mildred Pierce (1945) | Mildred (Mad) | 1:43:19 - Mildred makes a phone call | anger | angry | calling | dissonant bass | half-diminished 7th chord | heroine | leading lady | room | tense | turbulent | turning point | walking |
Mildred Pierce (1945) | Hopes Crushed | 1:43:38 - Mildred realizes Monte has left her | chromatic scale | dark | dissonant bass | heroine | leading lady | lost hope | mickey-mousing | realizing | room | tritone | turning point |
Mildred Pierce (1945) | Mildred (Revenge) | 1:43:57 - Mildred drives to the beach house | car | chromatic scale | common-tone diminished 7th | dark | dissonant bass | dramatic | driving | flashback ends | gun | heroine | leading lady | pc set | street | transition |
Mildred Pierce (1945) | Mildred (Waltz Fantasy) | 1:44:53 - Mildred tells Veda not to confess | 9th chord | appoggiatura | chromatic parallelism | detective | harsh | heroine | interrogating | interrogation | leading lady | pleading | police station |
Mildred Pierce (1945) | Mildred (Dark) | 1:45:09 - Mildred realizes that she cannot save Veda | crime | heroine | interrogating | interrogation | police station | somber |
Mildred Pierce (1945) | Mildred B (Twist) | 1:45:20 - Mildred walks into the beach house | arriving | climax | dark | flashback | heroine | leading lady | room |
Mildred Pierce (1945) | Mildred (Ominous) | 1:45:25 - Mildred walks downstairs | arriving | climax | dark | fragmentation | half-diminished 7th chord | heroine | imitation | leading lady | ominous | room |
Mildred Pierce (1945) | Kay and Veda (Agitato) | 1:46:05 - Veda reveals that she is in love with Monte | antagonist | augmented sixth chord | betrayal | betraying | chromatic scale | chromatic sequence | climax | dark | daughter | fragmentation | heroine | leading lady | revealing | room | tense |
Mildred Pierce (1945) | Kay and Veda (Very Slow) | 1:46:22 - Mildred reacts to Veda's betrayal | antagonist | betrayal | climax | contemplating | dark | daughter | gun | heroine | leading lady | ominous | parallel 63s | room |
Mildred Pierce (1945) | Mildred (Tragic) | 1:46:43 - Mildred runs away | altered dominant | antagonist | arguing | betrayal | chromatic scale | climax | daughter | dramatic | emotional | half-diminished 7th chord | heroine | leading lady | room | running | sequence |
Mildred Pierce (1945) | Mildred (Breakdown) | 1:47:11 - Mildred tries to start her car | 9th chord | climax | crying | dramatic | emotional | foreign key modulation | heroine | leading lady | leaving | street |
Mildred Pierce (1945) | Kay and Veda (Ominous) | 1:47:42 - Mildred rushes in to check on Veda | antagonist | confessing | dark | daughter | heroine | leading lady | lying | murder | murderer | murder scene | ominous | room |
Mildred Pierce (1945) | Mildred B (Angry) | 1:48:06 - Veda confesses to Mildred | angry | antagonist | confessing | confession | daughter | diminished 7th chord | fragmentation | heroine | leading lady | lying | murderer | murder scene | pc set | room | tense |
Mildred Pierce (1945) | Kay and Veda (Troubled) | 1:48:22 - Veda pleads for help to escape | antagonist | begging | chromatic scale | confessing | daughter | distressed | fragmentation | frantic | heroine | leading lady | murderer | murder scene | room | sequence | whole-tone chord |
Mildred Pierce (1945) | Mildred (Ominous) | 1:48:41 - Mildred calls the police | antagonist | begging | chromatic sequence | daughter | fragmentation | heroine | imitation | leading lady | murderer | murder scene | ominous | room | tense |
Mildred Pierce (1945) | Underscoring (Tense) | 1:48:54 - Veda asks her mother not to turn her in | antagonist | begging | daughter | foreign key modulation | heroine | leading lady | murderer | murder scene | room | tense | underscoring |
Mildred Pierce (1945) | Kay and Veda (Returning Home 2) | 1:49:17 - Veda convinces her mother to not report her | antagonist | crying | daughter | heroine | leading lady | loving | mode mixture | mother | murderer | murder scene | reverse picardy | room | sacrificing | tender | warm |
Mildred Pierce (1945) | Kay and Veda (Triste) | 1:49:37 - Veda is led out by the police | antagonist | conversing | daughter | defeat | detective | heroine | leading lady | leaving | mother | murderer | police station | resigned | resolution | sigh gesture | somber |
Mildred Pierce (1945) | Mildred (The End) | 1:50:07 - Mildred leaves with Bert | added-note chord | ex-husband | heroine | leading lady | leaving | pedal tone | police station | resolution | triumphant |
| 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 (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 (Calm) | 0:12:01 - David's treatment is successful | calm | classical music | countermelody | deceptive resolution | doctor | establish character | familiar tune | Haydn | hero | heroine | quotation | room |
We Are Not Alone (1939) | Surprise Symphony (Not in film) | NIF - not in film | classical music | cut from film | doctor | establish character | familiar tune | Haydn | hero | heroine | pedal tone | quotation | room |
We Are Not Alone (1939) | I Do Like to Be Beside the Seaside (Peaceful) | 0:12:13 - David's treatment is successful | calm | chromatic mediant | deceptive resolution | doctor | establish character | familiar tune | foreign key modulation | hero | heroine | mode mixture | quotation | room |
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) | Tenderness | 0:13:40 - David talks to Leni | 64 chord | doctor | establish character | friendly | hero | heroine | mode mixture | room | sequence | tender |
We Are Not Alone (1939) | I Do Like to Be Beside the Seaside (Tragico) | 0:14:05 - Leni talks with David | doctor | establish character | familiar tune | hero | heroine | minor-major 7th chord | quotation | room | tragic |
We Are Not Alone (1939) | Frohe Botschaft (Tenderly) | 0:14:22 - Leni takes off her wig | 64 chord | doctor | establish character | familiar tune | folk song | German | hero | heroine | pedal tone | quotation | room | tender |
We Are Not Alone (1939) | Blue Danube | 0:14:52 - Leni says she is from Austria | classical music | doctor | establish character | familiar tune | hero | heroine | mode mixture | peaceful | quotation | room | Strauss |
We Are Not Alone (1939) | Surprise Symphony (Gute Nacht) | 0:15:00 - David says goodnight in German to Leni | classical music | doctor | establish character | familiar tune | Haydn | hero | heroine | peaceful | perfect authentic cadence | quotation | room |
We Are Not Alone (1939) | Surprise Symphony | 0:17:34 - David whistles while helping a patient | classical music | comical | diminution | doctor | establish character | familiar tune | Haydn | hero | heroine | office | on-screen music | quotation | source music | whistling |
We Are Not Alone (1939) | I Do Like to Be Beside the Seaside | 0:17:49 - Exterior of a British dance hall | ABAC structure | conflict | doctor | familiar tune | helping | hero | heroine | score to source | source music | street | tense |
We Are Not Alone (1939) | As You Walk Down the Strand | 0:19:59 - David helps Leni | AABC structure | advance plot | calm | doctor | familiar tune | hero | heroine | source music | street |
We Are Not Alone (1939) | Poor Old Adam Was My Father | 0:20:32 - David talks to Leni by the seaside | ABAC structure | advance plot | calm | doctor | familiar tune | hero | heroine | source music | street |
We Are Not Alone (1939) | It's Easy to Be a Lady if You Try | 0:25:50 - Gerald and Leni ride a carousel | ABAC structure | advance plot | amusement park | boy | bright | carnival | carousel | child | conversing | familiar tune | father | hero | heroine | playing | source music |
We Are Not Alone (1939) | Frohe Botschaft (Viennese) | 0:32:51 - Gerald rushes in to see Leni | 11th chord | advance plot | boy | child | familiar tune | folk song | foreign key modulation | German | greeting | heroine | home | hugging | joyful | lifting | mickey-mousing | quotation |
We Are Not Alone (1939) | Frolic | 0:33:45 - Leni and Gerald run through the park | advance plot | antagonist | boy | child | chromatic mediant | diminished 7th chord | foreign key modulation | gossiping | heroine | joyful | park | pedal tone | playing | running |
We Are Not Alone (1939) | Frohe Botschaft (At the Piano) | 0:34:49 - Leni plays and sings | boy | cheerful | child | establish character | familiar tune | father | folk song | foreign key modulation | German | hero | heroine | home | on-screen music | piano | playing | score to source | singing | source music | transcribed by ear |
We Are Not Alone (1939) | Frohe Botschaft | 0:36:41 - Leni plays the piano | boy | child | establish character | familiar tune | folk song | German | heroine | home | on-screen music | piano | playing | source music | warm |
We Are Not Alone (1939) | Piano Banging | 0:37:12 - Gerald bangs on the piano | antagonist | boy | chaotic | child | dissonant | establish character | heroine | home | mother | on-screen music | piano | playing | tone cluster |
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) | Frohe Botschaft (Somber) | 0:38:52 - Leni reacts | 9th chord | antagonist | common-chord modulation | conflict | conversing | evaded cadence | familiar tune | folk song | garden | German | heroine | mode mixture | quotation | sentimental | sigh gesture | somber |
We Are Not Alone (1939) | Surprise Symphony (Dark) | 0:39:33 - Leni thinks to herself | 9th chord | antagonist | classical music | conflict | dark | familiar tune | garden | Haydn | heroine | quotation | suspension | thinking |
We Are Not Alone (1939) | Captain Gerald | 0:43:23 - Gerald tells Leni a story | added-note chord | advance plot | boy | child | exoticism | foreign key modulation | heroine | home | imagination | room | somber | telling a story |
We Are Not Alone (1939) | Barcarolle | 0:44:06 - Gerald talks about sailing | 9th chord | advance plot | barcarolle | boy | child | dissonant bass | heroine | home | hopeful | imagination | pedal tone | room | telling a story |
We Are Not Alone (1939) | Frohe Botschaft (Like a Sigh) | 0:44:30 - Leni tells Gerald to not be afraid | advance plot | conversing | heroine | home | kindness | promise | room | sad | sigh gesture |
We Are Not Alone (1939) | Surprise Symphony (Expanded) | 0:45:36 - Leni hugs Gerald | advance plot | boy | child | chromatic parallelism | classical music | dissonant bass | familiar tune | Haydn | heroine | home | hugging | quotation | room | sweet |
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) | 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) | 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 (Sneaky) | 0:51:52 - David goes to bed | added-note chord | advance plot | antagonist | classical music | cook | diminution | familiar tune | Haydn | hero | heroine | home | mickey-mousing | mysterious | quotation | room | sneaking | somber |
We Are Not Alone (1939) | Die Krähe | 0:52:36 - Leni asks David about his work | advance plot | antagonist | calm | classical music | concert | conversing | cook | familiar tune | hero | heroine | home | room | Schubert | source music |
We Are Not Alone (1939) | Celebre Romance | 0:54:24 - Leni asks David for a reference | ABAC structure | advance plot | antagonist | calm | classical music | concert | conversing | cook | familiar tune | hero | heroine | home | room | Rubinstein | source music |
We Are Not Alone (1939) | Tuning | 0:59:20 - David tunes his violin | advance plot | antagonist | calm | cook | hero | heroine | home | on-screen music | room | source music | tuning | violin |
We Are Not Alone (1939) | Tuning | 1:00:57 - David tunes his violin | advance plot | antagonist | calm | cook | hero | heroine | home | on-screen music | room | source music | tuning | violin |
We Are Not Alone (1939) | Celebre Romance | 1:01:03 - David plays the violin | advance plot | antagonist | classical music | cook | familiar tune | hero | heroine | home | on-screen music | peaceful | playing | romantic | room | Rubinstein | sentence form | source music | source to score | violin |
We Are Not Alone (1939) | Celebre Romance (Accompanied) | 1:01:56 - Gerald sneaks inside | boy | child | classical music | common-tone modulation | familiar tune | hero | heroine | home | mode mixture | on-screen music | peaceful | pivotal scene | playing | romantic | room | Rubinstein | secondary dominant | source music | violin |
We Are Not Alone (1939) | Celebre Romance (Accompanied B) | 1:02:47 - Gerald accidentally mixes up the contents of two bottles | boy | child | classical music | deceptive resolution | familiar tune | hero | heroine | home | linear chromaticism | mode mixture | on-screen music | peaceful | pivotal scene | playing | romantic | room | Rubinstein | source music | violin |
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) | Underscoring (Tense) | 1:15:25 - David is taken away by the police | 9th chord | added-note chord | arresting | conflict | hero | heroine | pedal tone | police | tense | train station | underscoring |
We Are Not Alone (1939) | In Love | 1:30:55 - David realizes he is in love with Leni | 9th chord | courtroom | courtroom scene | hero | heroine | linear chromaticism | love scene | realization | realizing | romantic | suspension | testifying | tone cluster |
We Are Not Alone (1939) | Underscoring (Mysterious) | 1:36:37 - David walks down a prison corridor | advance plot | anticipation | guard | hero | heroine | mysterious | prison | underscoring | walking |
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) | Underscoring (Somber) | 1:37:44 - David and Leni talk | conversing | harmonic sequence | hero | heroine | love scene | prison | somber | triadic transformation | underscoring |
We Are Not Alone (1939) | Execution | 1:38:10 - Leni talks to David | comforting | conversing | drone | execution | hero | heroine | love scene | name of film | prison | somber |
We Are Not Alone (1939) | Frohe Botschaft (Hopeful) | 1:38:41 - David comforts Leni | 9th chord | comforting | conversing | familiar tune | folk song | German | hero | heroine | love scene | mode mixture | pedal tone | plagal cadence | prison | quotation | somber |
We Are Not Alone (1939) | Underscoring (Romantic) | 1:39:42 - David comforts Leni | 9th chord | 13th chord | comforting | conversing | hero | heroine | love scene | prison | romantic | underscoring |
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) | Heart Break | 1:40:11 - David and Leni kiss | 9th chord | appoggiatura | dissonant bass | first kiss | hero | heroine | kissing | love | love scene | mode mixture | passionate | pedal tone | prison | suspension |
We Are Not Alone (1939) | Fainting | 1:40:41 - Leni faints | added-note chord | fainting | falling | hero | heroine | love scene | mickey-mousing | prison | sequence | tense |
We Are Not Alone (1939) | Underscoring (Subtle) | 1:40:57 - David helps Leni | 9th chord | advance plot | conversing | delicate | helping | hero | heroine | octatonic scale | prison | underscoring |
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 (Restful) | 1:41:47 - David watches Leni sleep | 9th chord | advance plot | delicate | familiar tune | folk song | German | hero | heroine | mode mixture | plagal cadence | prison | quotation | watching |
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