| Are These Our Children? (1931) | Moonbeams (Dream Sequence) | 0:27:23 - Eddie takes Flo home | added-note chord | advance plot | double exposure | dream sequence | entering | friend | hectic | kissing | leading man | mode mixture | romantic | source to score | street | transcribed by ear | waltz |
Are These Our Children? (1931) | Underscoring (Dark) | 0:30:25 - Eddie attacks boy | arguing | clock | dark | diminished 7th chord | double exposure | dream sequence | fighting | kissing | leading man | love interest | mickey-mousing | montage | ominous | pedal tone | stinger | ticking |
| Arsenic and Old Lace (1944) | The Old Maid | 0:04:17 - Mortimer talks to Elaine | added-note chord | arguing | conversing | enharmonic modulation | establish character | kissing | leading lady | leading man | marriage | mode mixture | office | parallel period | pedal tone | romantic | self-borrowing |
Arsenic and Old Lace (1944) | Here Comes the Bride (Appassionato) | 0:15:02 - The aunts peek out of the window | 64 chord | aunt | bride | cemetery | chromatic mediant | conversing | familiar tune | flirting | groom | inversion | kissing | leading lady | leading man | love | love scene | peeking | romantic |
Arsenic and Old Lace (1944) | Here Comes the Bride (Appassionato) | 0:15:25 - Mortimer and Elaine kiss | 64 chord | bride | cemetery | conversing | familiar tune | groom | inversion | kissing | leading lady | leading man | love | love scene | romantic |
Arsenic and Old Lace (1944) | Here Comes the Bride (Appassionato) | 0:16:10 - Mortimer and Elaine kiss | 64 chord | bride | cemetery | embracing | familiar tune | groom | inversion | kissing | leading lady | leading man | love | love scene | romantic |
Arsenic and Old Lace (1944) | Happy Land (The End) | 1:57:05 - Mortimer carries Elaine away | altered dominant | bride | countermelody | driver | end title sequence | familiar tune | groom | kissing | leading lady | leading man | resolution | street | The End | upbeat |
| Beyond the Forest (1949) | Lewis (Tender) | 0:58:28 - Lewis takes care of Rosa | calm | conversing | doctor | kissing | leading lady | leading man | reunion scene | room | tender | wife |
| The Big Sleep (1946) | Vivian | 1:15:22 - Marlowe and Vivian talk | 9th chord | 13th chord | AABA structure | added-note chord | altered dominant | car | chromatic mediant | chromatic parallelism | common-tone dominant 7th | conversing | foreign key modulation | kissing | leading lady | leading man | love | love interest | love scene | Neapolitan | private eye | romantic | suspension |
The Big Sleep (1946) | Vivian | 1:40:03 - Marlowe and Vivian kiss | 9th chord | 13th chord | AABA structure | added-note chord | altered dominant | captive | chromatic mediant | chromatic parallelism | common-tone dominant 7th | foreign key modulation | freeing | kissing | leading lady | leading man | love interest | love scene | Neapolitan | private eye | romantic | room | suspension |
| City for Conquest (1940) | Tone Poem A (Expressivo) | 0:31:00 - Peggy apologizes to Danny | 9th chord | added-note chord | appoggiatura | chromatic mediant | common-tone diminished 7th | conversing | foreign key modulation | kiss | kissing | leading lady | leading man | love scene | parallelism | romantic | room |
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 (Simplice) | 0:48:06 - Danny talks to Peggy | 9th chord | 13th chord | boxer | dancer | embracing | kissing | leading lady | leading man | love scene | romantic | street |
City for Conquest (1940) | Tone Poem A (Molto Expressivo) | 0:48:44 - Danny talks with Peggy | 9th chord | 64 chord | appoggiatura | boxer | countermelody | dancer | embracing | kissing | leading lady | leading man | love scene | plagal cadence | romantic | sequence | street |
| They Made Me a Criminal (1939) | So Help Me (If I Don't Love You) | 0:05:54 - Johnnie and Goldie relaxing | drinking | floozy | jaunty | kissing | leading man | murder scene | popular song | radio | room | source music |
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 |
They Made Me a Criminal (1939) | Peggy (Delicatissimo) | 0:49:16 - Johnnie and Peggy kiss | 9th chord | 11th chord | 13th chord | hero | kissing | leading lady | leading man | love scene | romantic | room |
They Made Me a Criminal (1939) | On the Make (Extended) | 0:53:21 - Johnnie and Peggy drive in a car | ABAB structure | added-note chord | advance plot | altered dominant | car | car | cheerful | conversing | driving | hero | kissing | leading lady | leading man | linear chromaticism | mode mixture | phrase extension | romantic | traveling |
They Made Me a Criminal (1939) | On the Make (Appassionato) | 1:25:51 - Peggy wants to go with Johnnie | 9th chord | altered dominant | climax | detective | embracing | kissing | leading lady | leading man | leaving | linear chromaticism | mode mixture | pedal tone | romantic | room | sentimental | sigh gesture | tender |
| Deep Valley (1947) | Kiss | 0:51:58 - Barry kisses Libby | convict | dog | embracing | exciting | falling in love scene | forest | fugitive | kissing | leading lady | leading man | love interest | mickey-mousing | staring |
Deep Valley (1947) | Deep Valley | 0:52:10 - Barry kisses Libby again | convict | dog | embracing | falling in love scene | forest | fugitive | gentle | kissing | leading lady | leading man | love interest | romantic | staring |
Deep Valley (1947) | Deep Valley (Appassionato) | 0:55:51 - Barry and Libby embrace | cabin | cheerful | convict | embracing | fugitive | kissing | leading lady | leading man | love interest | love scene | romantic |
Deep Valley (1947) | Deep Valley (Kiss) | 1:16:19 - Barry kisses Libby | advance plot | barn | convict | crying | embracing | fugitive | kissing | leading lady | leading man | love interest | tender |
Deep Valley (1947) | Deep Valley (Misterioso) | 1:23:23 - Barry looks at Libby | advance plot | barn | calm | convict | embracing | fugitive | kissing | leading lady | leading man | love interest | mysterious |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Ethereal) | 0:24:50 - Joe tells Mabel he loves her | barn | common-tone diminished 7th | deceptive resolution | inversion | kissing | leading lady | leading man | love scene | romantic |
| The FBI Story (1959) | Lucy A | 0:17:57 - Chip and Lucy kiss | flashback | kissing | romance |
The FBI Story (1959) | Lucy A | 0:20:57 - Chip says he would give up anything to marry Lucy | flashback | kissing | romance |
The FBI Story (1959) | Lucy A (Tender) | 0:49:14 - Chip and Lucy talk at home | embrace | flashback | heroine | kissing | romance |
| Flamingo Road (1949) | If I Could Be With You (Tenderly) | 0:29:32 - Lane and Field prepare to leave | 11th chord | 13th chord | altered dominant | common-tone diminished 7th | kissing | lake | leading lady | leading man | love interest | love scene | romance | romantic | secondary dominant | source to score |
Flamingo Road (1949) | Lane (Ethereal) | 0:30:02 - Lane and Field kiss in the moonlight | added-note chord | augmentation | kissing | lake | leading lady | leading man | love interest | love scene | pedal tone | romance | romantic |
Flamingo Road (1949) | Flamingo Road (Romantic) | 0:55:41 - Dan kisses Lane | embracing | foreign key modulation | foreshadowing | kissing | leading lady | leading man | love interest | love scene | mode mixture | parallelism | politician | porch | romantic | self-borrowing |
Flamingo Road (1949) | Lute Mae (Tenderly) | 1:07:55 - Dan kisses Lane | 13th chord | added-note chord | bluesy | husband | kissing | leading lady | leading man | love scene | room | self-borrowing | tender | wife |
Flamingo Road (1949) | Flamingo Road (Appassionato) | 1:32:54 - Dan visits Lane in prison | crying | embracing | foreign key modulation | husband | joyous | kissing | leading lady | leading man | pedal tone | prison | resolution | reuniting | self-borrowing | wife |
Flamingo Road (1949) | Flamingo Road (Dolce) | 1:33:08 - Dan and Lane embrace | crying | dark | embracing | husband | kissing | leading lady | leading man | mode mixture | peaceful | prison | resolution | reuniting | self-borrowing | wife |
Flamingo Road (1949) | Lute Mae (Delicato) | 1:33:28 - Lane smiles as Dan | 13th chord | added-note chord | crying | delicate | husband | kissing | leading lady | leading man | prison | resolution | reuniting | romance | self-borrowing | sentimental | wife |
| Hell on Frisco Bay (1955) | Kay | 0:20:48 - Lye and Amato come down the stairs | antagonist | boss | conductor score | conversing | establish character | gangster | kissing | love interest | romantic | street | walking |
| Her Kind of Man (1946) | April in Paris | 0:12:48 - Steve enters Georgia's dressing room | AABA structure | conversing | establish character | gambler | kissing | leading lady | leading man | love interest | love scene | popular music | room | sentimental | singer | source music |
Her Kind of Man (1946) | It Had to Be You (Kissing) | 0:18:22 - Steve kisses Georgia | action scene | augmented triad | gambler | kissing | leading lady | leading man | love interest | minor-major 7th chord | room | singer | source to score | tense |
Her Kind of Man (1946) | It Had to Be You (Passionate) | 0:47:50 - Georgia talks with Steve | arguing | conversing | dark | gambler | kissing | leading lady | leading man | love interest | love scene | passionate | romantic | room | sequence | source to score | turbulent |
Her Kind of Man (1946) | It Had to Be You (Secret Rendezvous) | 1:09:09 - Georgia enters the warehouse | advance plot | arriving | conversing | embracing | familiar tune | gambler | kissing | leading lady | leading man | murderer | popular music | romantic | singer | source to score | uneasy | warehouse | wife |
| In This Our Life (1942) | Stanley | 0:17:11 - Stanley comes down the stairs | 9th chord | advance plot | appoggiatura | circle of fifths | conversing | fiancé | kissing | leading lady | room | sultry |
In This Our Life (1942) | Stanley B (Slowly) | 0:17:20 - Stanley talks with Craig | advance plot | conversing | dramatic | fiancé | half-diminished 7th chord | kissing | leading lady | lying | room | sultry |
In This Our Life (1942) | Stanley (Shimmery) | 0:32:33 - Stanley smiles | added-note chord | car | kissing | leading lady | leading man | magical | polychord | wedding | wedding |
| Key Largo (1948) | Underscoring (Dramatic) | 0:33:43 - Nora rises to attack Rocco | angry | attacking | boss | conflict | dramatic | father | gangster | hitting | horror | hostage | hotel | kissing | leading lady | leading man | tense | underscoring | violence |
| The Letter (1940) | Kiss | 0:20:33 - Robert kisses Leslie | home | husband | kissing | leading lady | love scene | romantic | suspension |
The Letter (1940) | Deception (Lohengreenish) | 1:28:01 - Leslie reacts to Robert's forgiveness | chromatic mediant | climax | conversing | diminished 7th chord | dissonant bass | home | husband | kissing | leading lady | ostinato | retardation | romantic | sequence | suspension | tense |
| Lightning Strikes Twice (1951) | Shelly and Trev (Appassionato) | 0:47:56 - Trev embraces Shelly | actor | added-note chord | cliff | countryside | falling in love scene | hugging | kissing | leading lady | leading man | love interest | mode mixture | romantic | suspect |
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 |
Lightning Strikes Twice (1951) | Shelly and Trev (Tenderly) | 1:06:50 - Trev and Shelly embrace | actor | conversing | embracing | kissing | leading lady | leading man | love interest | love scene | marriage | proposal | ranch | romantic | suspect |
Lightning Strikes Twice (1951) | Shelly and Trev (Ecstatic) | 1:07:09 - A car pulls up the ranch | actor | arriving | driving | embracing | kissing | leading lady | leading man | love interest | love scene | ranch | romantic | suspect |
Lightning Strikes Twice (1951) | Shelly (Peaceful) + Shelly 2 (Peaceful) | 1:07:58 - Trev and Shelly embrace | actor | calm | combination of themes | conversing | embracing | kissing | leading lady | leading man | love interest | love scene | mother | owner | ranch | romantic | room | suspect |
Lightning Strikes Twice (1951) | Shelly and Trev (Tenderly) | 1:17:31 - Trev and Shelly embrace | actor | conversing | embracing | husband | kissing | leading lady | leading man | love scene | romantic | room | solemn | suspect |
| 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) | 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) | 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) | 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) | Secret Revealed | 1:45:37 - Mildred finds Veda and Monte together | antagonist | chromatic parallelism | chromatic scale | chromatic wedge | climax | dark | daughter | discovering | kissing | linear chromaticism | reveal | room | stinger | tense |
| Out of the Fog (1941) | Gangster (Tense) | 0:41:05 - Stella kisses Goff | bluesy | criminal | dock | embracing | kissing | leading lady | leading man | love scene | tense |
| Kid Galahad (1937) | Heart's Affair (Kiss) | 0:58:47 - Ward talks to Marie | AABA structure | altered dominant | cheerful | conversing | deceptive resolution | farm | happy | kissing | leading man | love scene | mode mixture | sister | transcribed by ear |
Kid Galahad (1937) | Heart's Affair (Trouble) | 1:15:53 - Ward talks to Marie at the farm | advance plot | deceptive resolution | embracing | farm | kissing | leading man | romantic | sister | transcribed by ear |
| 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 |
| White Heat (1949) | Verna (Molto Expressivo) | 0:11:38 - Verna embraces Cody | bluesy | conversing | dark | embracing | flirting | gangster | kissing | leading lady | leading man | love scene | moll | money | mother | murderer | room | victim | waltz |
White Heat (1949) | Verna (Slowly) | 0:43:41 - Verna kisses Big Ed | betrayal | bluesy | gangster | kissing | leading lady | love interest | love scene | moll | mother | porch | romantic | spying | sultry |
White Heat (1949) | Verna (Uneasy) | 1:18:05 - Big Ed kisses Verna | dark | drinking | embracing | gangster | gun | kissing | leading lady | leading man | love interest | moll | murderer | murder scene | room | somber | spying | waiting |
White Heat (1949) | Verna (Gum) | 1:36:15 - Verna spits out her gum | advance plot | conversing | fugitive | gangster | gum | kissing | leading lady | leading man | moll | murderer | preparing | spitting | tense | undercover agent | uneasy | worker | yard |
| The Woman in White (1948) | The Self Banished | 0:34:22 - Walter apologizes to Laura | embracing | falling in love scene | garden | kissing | leading lady | leading man | romance | tender |
The Woman in White (1948) | The Self Banished | 1:31:42 - Walter Kisses Marian | conversing | embracing | friend | gentle | kissing | leading lady | leading man | leaving | love interest | love scene | romantic | room | thematic transference |
The Woman in White (1948) | The Self Banished (The End) | 1:47:51 - Walter with the children | book | child | conversing | embracing | father | greeting | husband | kissing | leading lady | leading man | mother | resolution | tender | The End | voice-over | wife | yard |
| The Public Defender (1931) | Mystery (End Title) | 1:08:56 - A kiss and The End | arguing | end title sequence | kissing | leading man | mode mixture | pedal tone | romantic | room | The End | transcribed by ear |
| Transgression (1931) | Serenade | 0:44:16 - Elsie and Don Arturo talking | ABAC structure | calm | conversing | embracing | kissing | leading lady | love interest | love scene | romantic | room | source music |
| Thirteen Women (1932) | Ursula (Romance) | 0:08:37 - The swami kisses Ursula | antagonist | embracing | establish character | fortune teller | kissing | leading lady | romantic | room | secondary dominant | swami | transcribed by ear | waltz |
Thirteen Women (1932) | Ursula (Romance 2) | 0:33:10 - Burns kisses Ursula | 9th chord | advance plot | kissing | leading lady | love interest | Neapolitan | romantic | room | secondary dominant | transcribed by ear | waltz |
| Before Dawn (1933) | Wedding March | 0:59:55 - Two lovers kissing and The End | detective | familiar tune | fanfare | kissing | leading lady | leading man | plagal cadence | resolution | romantic | secondary dominant | transcribed by ear | triumphant |
| We're Only Human (1935) | Isn't This a Night For Love (The End) | 1:08:36 - Pete kisses Sally | 9th chord | altered dominant | car | detective | end title sequence | kissing | leading lady | leading man | love interest | mode mixture | reporter | resolution | romantic | The End | transcribed by ear |
| Another Face (1935) | You're an Angel | 0:25:47 - A man knocks on a door | AABA structure | actress | advance plot | arguing | conversing | embracing | kissing | maid | manager | proposal | room | sentimental | source music |
| Without Honor (1949) | Grabs her | 0:25:40 - Bill grabs Jane and kisses her | antagonist | brother | conflict | dramatic | grabbing | kissing | leading lady | leading man | room | slapping | turning |
| Lightning Strikes Twice (1951) | Shelly and Trev (Appassionato 2) | 1:29:33 - Trev and Shelly embrace | actor | calm | comforting | countryside | departing | driving | embracing | husband | kissing | leading lady | leading man | mother | owner | peace | peaceful | police | priest | resolution | smiling |
| Half Shot at Sunrise (1930) | Kiss Me Cherie (The End) | 1:17:59 - The leads all embrace | embracing | end title sequence | father | greeting | kissing | leading lady | leading man | love interest | mother | street | The End | upbeat |
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