All This, and Heaven Too (1940) | Agitato | 0:06:49 - Henriette leaves the classroom | agitated | appoggiatura | chromatic scale | distressed | establish character | hurrying | leading lady | leaving | minister | Neapolitan | principal | school | teacher | walking |
All This, and Heaven Too (1940) | Molto Agitato | 0:07:21 - Henriette talks to Miss Haines | agitated | conversing | dissonant bass | distressed | establish character | foreign key modulation | leading lady | minister | principal | school | suspension | teacher |
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) | Underscoring (Agitated) | 0:07:52 - Henriette talks to Henry Field | agitated | chromatic parallelism | chromatic sequence | conversing | distressed | establish character | leading lady | minister | principal | school | teacher |
All This, and Heaven Too (1940) | Henriette (Moderato) | 0:08:03 - Henriette talks to Henry Field | agitated | conversing | distressed | establish character | leading lady | minister | principal | school | secondary dominant | teacher |
All This, and Heaven Too (1940) | Henriette (Proud) | 0:08:21 - Mr. Field encourages Henriette | added-note chord | deceptive resolution | establish character | hopeful | leading lady | minister | mode mixture | mysterious | pedal tone | principal | reassuring | reverse picardy | school | student | 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 (Lento) | 0:10:20 - Henriette on a ship | boat | dissonant bass | flashback | foreign key modulation | hopeful | leading lady | mysterious | pedal tone | storytelling | tense | 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) | Henriette (Carriage) | 0:13:05 - A carriage arrives | 64 chord | carriage | driver | leading lady | pleasant | street | transition | traveling | upbeat |
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) | Ascending | 0:13:37 - Henriette meets the caretaker | altered dominant | caretaker | conversing | half-diminished 7th chord | leading lady | mysterious | street | transition | underscoring |
All This, and Heaven Too (1940) | Pierre | 0:13:47 - Pierre introduces himself | added-note chord | caretaker | conversing | deceptive resolution | introducing | leading lady | mode mixture | pedal tone | pleasant | street | tense | 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) | The Duke (Quasi Mysterioso) | 0:14:49 - Henriette hears the Duke and Duchess arguing | arriving | butler | common-chord modulation | deceptive resolution | duchess | duke | establish setting | interrupting | leading lady | leading man | mysterious | room | tense |
All This, and Heaven Too (1940) | The Duchess (Agitato) | 0:22:02 - The Duchess argues with the Duke | agitated | arguing | chromatic scale | chromatic sequence | distressed | duchess | duke | establish character | leading lady | leading man | mode mixture | room |
All This, and Heaven Too (1940) | Underscoring (Agitated) | 0:22:23 - The Duke rebukes the Duchess | agitated | arguing | chromatic parallelism | chromatic scale | distressed | dominant 7th chord | duchess | duke | establish character | leading lady | leading man | room |
All This, and Heaven Too (1940) | Rushing | 0:22:31 - The Duchess rushes after the Duke | agitated | arguing | augmented triad | distressed | duchess | duke | establish character | leading lady | leading man | mickey-mousing | rising | room | rushing | turn figure |
All This, and Heaven Too (1940) | Pleading | 0:22:41 - The Duchess pleads with the Duke to stay | acceleration | agitated | arguing | chromatic sequence | distressed | duchess | duke | establish character | fragmentation | leading lady | leading man | parallelism | pleading | room |
All This, and Heaven Too (1940) | Desperation (Furioso) | 0:22:53 - The Duchess curses the Duke | agitated | arguing | dissonant bass | distressed | duchess | duke | establish character | leading lady | leading man | parallelism | pleading | priest | room | tense |
All This, and Heaven Too (1940) | Fairy Tale | 0:23:13 - Henriette reads a fairy tale | added-note chord | book | calm | child | delicate | establish character | fairy tale | governess | leading lady | pentatonic | pleasant | room | storytelling |
All This, and Heaven Too (1940) | Fairy Godmother | 0:23:28 - Henriette reads a fairy tale | 9th chord | altered dominant | book | calm | child | delicate | establish character | fairy tale | foreign key modulation | governess | leading lady | magical | pleasant | room | storytelling |
All This, and Heaven Too (1940) | Henriette (Fairy Tale) | 0:23:50 - Henriette reads a fairy tale | book | calm | child | countermelody | delicate | duke | establish character | fairy tale | governess | leading lady | leading man | magical | pleasant | room | storytelling |
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) | The War of the Roses | 0:27:13 - Henriette plays the harpsichord | advance plot | child | children's song | dancing | governess | leading lady | on-screen music | pleasant | room | singing | source music |
All This, and Heaven Too (1940) | The War of the Roses | 0:28:23 - The girls sing | advance plot | child | children's song | dancing | governess | leading lady | on-screen music | pleasant | room | singing | source music |
All This, and Heaven Too (1940) | Underscoring (Tense) | NIF - not in film | advance plot | child | chromatic wedge | conversing | cut from film | duchess | governess | leading lady | room | tense | underscoring |
All This, and Heaven Too (1940) | Rubato | NIF - not in film | 9th chord | added-note chord | advance plot | arguing | child | cut from film | deceptive resolution | duchess | governess | leading lady | room | tense |
All This, and Heaven Too (1940) | Desperation (Very Dramatic) | NIF - not in film | advance plot | altered dominant | arguing | child | cut from film | duchess | governess | leading lady | room | tense |
All This, and Heaven Too (1940) | Rubato (Carriage) | NIF - not in film | 9th chord | advance plot | carriage | child | cut from film | deceptive resolution | duchess | governess | leading lady | leaving | parallelism | passionate | street |
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 (Tense) | 0:30:19 - Henriette dresses Raynald | 9th chord | advance plot | arguing | caring | child | duke | governess | illness | leading lady | leading man | room | sequence | tense | underscoring |
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) | Romance | 0:30:48 - Henriette talks with the Duke | added-note chord | advance plot | arguing | child | duke | governess | illness | leading lady | leading man | romantic | room | sequence |
All This, and Heaven Too (1940) | Henriette (Andante) | 0:31:04 - The Duke apologizes to Henriette | 9th chord | 64 chord | advance plot | apologizing | child | conversing | duke | foreign key modulation | governess | illness | leading lady | leading man | romantic | room |
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) | Counting | 0:33:30 - Henriette counts tangerine slices | advance plot | calm | child | chromatic sequence | conversing | counting | distracting | duke | governess | illness | leading lady | leading man | pc set | room | tense | wedge | zoom in |
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) | Raynald (Dark) | 0:34:52 - Raynald talks with Henriette | advance plot | child | comforting | conversing | dark | death | duke | foreign key modulation | governess | illness | leading lady | leading man | room |
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) | The Prayer | 0:36:36 - The Abbe prays for Raynald | child | common-chord modulation | duke | governess | hymn-like | illness | leading lady | leading man | parallelism | praying | priest | religious scene | room | sequence | somber |
All This, and Heaven Too (1940) | Underscoring (Tense) | 0:37:37 - They rise from prayer | added-note chord | child | chromatic scale | chromatic wedge | conversing | deceptive resolution | duchess | duke | governess | illness | leading lady | leading man | leaving | priest | religious scene | room | somber | tense |
All This, and Heaven Too (1940) | The Duchess (Agitato) | 0:38:09 - The Duchess argues with the doctor | arguing | common-chord modulation | doctor | duchess | illness | leading lady | mode mixture | religious scene | room | syncopation | tense |
All This, and Heaven Too (1940) | Raynald (Adagio) | 0:38:26 - The doctor takes Raynald's pulse | 9th chord | advance plot | caring | child | chromatic scale | conversing | doctor | duke | governess | governess | illness | leading lady | leading man | room | solemn |
All This, and Heaven Too (1940) | Raynald (Triste) | 0:39:16 - The Duke talks to Henriette | 64 chord | advance plot | child | conversing | duke | governess | illness | leading lady | leading man | room | somber |
All This, and Heaven Too (1940) | The Duchess (Expressivo con Schmalzo) | 0:39:24 - The Duchess writes a letter | angry | chromatic sequence | crying | despair | duchess | foreign key modulation | leading lady | mad scene | on-screen text | room | sequence | sequential modulation | writing |
All This, and Heaven Too (1940) | Desperation | 0:39:54 - The Duchess writes a letter | angry | chromatic scale | crying | despair | duchess | leading lady | mad scene | on-screen text | parallelism | room | writing |
All This, and Heaven Too (1940) | Rushing | 0:40:15 - The Duchess rushes to the Abbe | angry | arguing | augmented triad | despair | duchess | leading lady | mad scene | mickey-mousing | priest | room | turn figure |
All This, and Heaven Too (1940) | Pleading (Extended) | 0:40:26 - The Abbe talks with the Duchess | 9th chord | angry | arguing | chromatic sequence | despair | duchess | fragmentation | leading lady | mad scene | oscillation | parallelism | priest | room |
All This, and Heaven Too (1940) | Desperation (Very Emotional) | 0:41:00 - The Duchess pleads with the Abbe | angry | arguing | chromatic scale | chromatic sequence | crying | despair | dissonant bass | illness | leading lady | mad scene | priest | room |
All This, and Heaven Too (1940) | Raynald (Andante) | 0:41:36 - Henriette and the Duke by Raynald's bedside | 9th chord | 64 chord | augmented sixth chord | child | chromatic sequence | conversing | duke | governess | hopeful | illness | illness scene | leading lady | leading man | parallelism | room | solemn | somber |
All This, and Heaven Too (1940) | Henriette (Ethereal) | 0:42:36 - Henriette asks to open the window | 9th chord | bright | child | conversing | duke | foreign key modulation | governess | half-diminished 7th chord | hopeful | illness | illness scene | leading lady | leading man | room | sequence | timid |
All This, and Heaven Too (1940) | Raynald (Ethereal) | 0:43:04 - Raynald by the window | 64 chord | child | conversing | duke | governess | hopeful | illness | illness scene | leading lady | leading man | pedal tone | room |
All This, and Heaven Too (1940) | Rushing 2 | 0:43:14 - The Duchess rushes into the room | arguing | child | duchess | duke | governess | half-diminished 7th chord | hurried | illness | illness scene | leading lady | leading man | mickey-mousing | room | rushing |
All This, and Heaven Too (1940) | Desperation (Furioso) | 0:43:28 - The Duchess rushes out of the room | angry | child | despair | dissonant bass | duchess | duke | governess | hurrying | illness | illness scene | leading lady | leading man | leaving | room |
All This, and Heaven Too (1940) | Desperation (Calming) | 0:43:35 - Henriette closes the window | calm | caring | child | dark | dissonant bass | duke | fragmentation | governess | hopeful | illness | illness scene | leading lady | leading man | room |
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 (Appassionato) | 0:44:08 - Raynald plays outside | 64 chord | added-note chord | advance plot | child | common-tone diminished 7th | conversing | courtyard | duke | foreign key modulation | governess | happy | leading lady | leading man | passionate | playing |
All This, and Heaven Too (1940) | Raynald (Mysterioso) | 0:44:22 - Raynald talks with Henriette | advance plot | child | conversing | courtyard | deceptive resolution | duke | governess | happy | leading lady | leading man | mysterious |
All This, and Heaven Too (1940) | The Duchess (Molto Expressivo) | 0:44:33 - Henriette reads a letter from the Duchess | advance plot | common-chord modulation | governess | leading lady | letter | on-screen text | positive | reading | room |
All This, and Heaven Too (1940) | The Duchess (Molto Screwieoso) | 0:44:50 - Henriette looks at a gift from the Duchess | 64 chord | advance plot | chromatic parallelism | distressed | gift | governess | leading lady | looking | opening | pedal tone | room | stinger |
All This, and Heaven Too (1940) | Underscoring (Mysterious) | 0:46:43 - The Duchess stares at Henriette | chromatic wedge | conversing | duchess | governess | leading lady | linear chromaticism | mysterious | pc set | room | transition | underscoring |
All This, and Heaven Too (1940) | Raynald (Carriage) | 0:46:53 - Horses pulling a carriage | 64 chord | carriage | child | chromatic mediant | common-chord modulation | conversing | countermelody | foreign key modulation | governess | horse | leading lady | mickey-mousing | mode mixture | pleasant | riding | street | traveling scene | trotting | upbeat |
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) | Armide | 0:49:21 - The opera house | arriving | audience | child | concert scene | conversing | duke | governess | leading lady | leading man | opera | regal | source music | theater | upbeat | watching |
All This, and Heaven Too (1940) | La Parisienne (The King) | 0:50:33 - The king enters | arriving | audience | bowing | child | concert scene | duke | governess | king | leading lady | leading man | not by Steiner | patriotic tune | regal | source music | theater | watching |
All This, and Heaven Too (1940) | Plainte de Cloris | 0:51:08 - They listen to the musical prologue | audience | calm | child | classical music | concert scene | conversing | duke | governess | leading lady | leading man | listening | passionate | source music | theater |
All This, and Heaven Too (1940) | Air pour La Jeunesse | 0:51:43 - A montage of people applauding | audience | child | classical music | concert scene | dramatic | duke | governess | leading lady | leading man | listening | source music | theater | watching |
All This, and Heaven Too (1940) | Fanfan la Tulipe | 0:51:48 - Henriette plays the harpsichord | advance plot | child | dancing | duke | folk music | governess | leading lady | leading man | on-screen music | playing | room | upbeat |
All This, and Heaven Too (1940) | Louise | 0:52:39 - Louise hugs her father | added-note chord | advance plot | appoggiatura | child | conversing | duke | excited | governess | happy | hugging | leading lady | leading man | mode mixture | room |
All This, and Heaven Too (1940) | The Duke (Lohengrin) | 0:52:53 - The Duke gives Louise his rose | advance plot | calm | child | conversing | countermelody | duke | fragmentation | governess | hugging | kind | leading lady | leading man | room | sequence |
All This, and Heaven Too (1940) | Louise (Poco Animato) | 0:53:39 - Louise talks to Henriette | advance plot | child | conversing | excited | governess | happy | leading lady | room | sequential modulation |
All This, and Heaven Too (1940) | Henriette (Poco Animato) | 0:53:44 - Henriette puts out the lights | advance plot | child | conversing | excited | fragmentation | governess | happy | leading lady | room | sequential modulation |
All This, and Heaven Too (1940) | Henriette (Music Box) | 0:54:04 - Henriette puts Louise to bed | advance plot | augmented sixth chord | calm | child | common-tone diminished 7th | conversing | goodnight | governess | happy | leading lady | lullaby | mode mixture | music box | room |
All This, and Heaven Too (1940) | Underscoring (Mysterious) | 0:56:57 - The Duchess enters | advance plot | child | conversing | governess | half-diminished 7th chord | leading lady | maid | mysterious | room | tense | trouble | underscoring |
All This, and Heaven Too (1940) | The Duchess (Arguing) | 1:00:32 - Henriette leaves | added-note chord | arguing | conflict | dramatic | duchess | duke | governess | leading lady | leading man | linear chromaticism | listening | romantic | room | serious | trouble |
All This, and Heaven Too (1940) | Underscoring (Dramatic) | 1:01:03 - Henriette packs her things | arguing | conflict | dramatic | duke | governess | leading lady | leading man | room | trouble |
All This, and Heaven Too (1940) | Desperation (Very Emotional) | 1:01:26 - Henriette talks to the Duke | arguing | chromatic sequence | conflict | dramatic | duke | governess | leading lady | leading man | room | trouble |
All This, and Heaven Too (1940) | Pleading (Extended) | 1:01:39 - The Duke responds to Henriette | 9th chord | arguing | chromatic sequence | conflict | dramatic | duke | governess | leading lady | leading man | room | trouble |
All This, and Heaven Too (1940) | Desperation (Very Emotional) | 1:02:00 - The Duke talks to Henriette | arguing | chromatic scale | chromatic sequence | conflict | dissonant bass | dramatic | duke | governess | leading lady | leading man | room | trouble |
All This, and Heaven Too (1940) | Henriette (Emotional) | 1:02:28 - The Duke talks to Henriette | chromatic sequence | conflict | conversing | duke | governess | leading lady | leading man | mode mixture | romance | romantic | room |
All This, and Heaven Too (1940) | Henriette (Sweepingly) | 1:02:57 - Henriette with tears in her eyes | added-note chord | augmented sixth chord | chromatic mediant | conflict | conversing | deceptive resolution | duke | foreign key modulation | governess | leading lady | leading man | mode mixture | pedal tone | romance | romantic | room |
All This, and Heaven Too (1940) | Valse | 1:03:32 - Montage of newspaper clippings | added-note chord | ballroom | cheerful | crowd | dancing | double exposure | duchess | duke | leading lady | leading man | mode mixture | montage | upbeat | waltz |
All This, and Heaven Too (1940) | Invitation from the King | 1:03:46 - Invitation from the King | 11th chord | ballroom | bold | double exposure | duchess | duke | fanfare | leading lady | leading man | montage | pedal tone | walking |
All This, and Heaven Too (1940) | Ascending | 1:03:57 - The Duke and Duchess ascend | ascending | ballroom | chromatic sequence | double exposure | duchess | duke | leading lady | leading man | mickey-mousing | montage | stairs | tense |
All This, and Heaven Too (1940) | The Duchess (Tutti) | 1:04:02 - A concert program | ballroom | bold | carriage | duchess | duke | fanfare | leading lady | leading man | montage | riding | romantic | sequential modulation |
All This, and Heaven Too (1940) | Invitation to the Dance | 1:04:19 - People waltzing | advance plot | ballroom | child | classical music | crowd | dancing | duchess | duke | leading lady | leading man | simulated source music | upbeat | waltz |
All This, and Heaven Too (1940) | La Parisienne (The King) | 1:06:08 - The children watch from the balcony | advance plot | arriving | ballroom | child | crowd | governess | king | leading lady | march | patriotic tune | regal | simulated source music |
All This, and Heaven Too (1940) | La Parisienne (Expressivo) | 1:06:51 - The children pray | advance plot | calm | child | governess | leading lady | mode mixture | praying | room |
All This, and Heaven Too (1940) | Henriette (Goodnight) | 1:06:59 - Henriette puts the children to bed | advance plot | calm | child | fragmentation | goodnight | governess | leading lady | peaceful | pedal tone | room | tucking in |
All This, and Heaven Too (1940) | Isabelle | 1:07:33 - Isabelle cries | advance plot | augmented sixth chord | child | chromatic sequence | comforting | crying | governess | leading lady | room | sequence | serious | somber |
All This, and Heaven Too (1940) | Isabelle 2 | 1:08:44 - Isabelle talks to Henriette | advance plot | child | comforting | countermelody | crying | governess | leading lady | room | serious | somber |
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) | The Duchess (Expressivo) | 1:10:42 - The Duke complains to Henriette | abrupt | advance plot | angry | chromatic parallelism | complaining | duke | governess | leading lady | leading man | room | sequential modulation |
All This, and Heaven Too (1940) | Henriette (Transition) | 1:10:55 - The Duke talks to Henriette | advance plot | calm | common-tone diminished 7th | conversing | duke | enharmonic modulation | governess | leading lady | leading man | room |
All This, and Heaven Too (1940) | Henriette (Rubato) | 1:11:14 - The Duke talks to Henriette | 9th chord | added-note chord | advance plot | calm | conversing | duke | governess | leading lady | leading man | mode mixture | peaceful | room |
All This, and Heaven Too (1940) | Henriette + Falling Snow | 1:12:16 - The Duke talks to Henriette | advance plot | augmented triad | chromatic parallelism | combination of themes | conversing | duke | governess | leading lady | leading man | mickey-mousing | mode mixture | room | snow | snow globe | snowing | uneasy |
All This, and Heaven Too (1940) | Falling Snow | 1:12:39 - Henriette watches the falling snow | 64 chord | advance plot | chromatic parallelism | chromatic scale | chromatic sequence | conversing | dissonant bass | duke | governess | leading lady | leading man | mickey-mousing | pedal tone | point-of-view shot | room | snow | snow globe | snowing | uneasy |
All This, and Heaven Too (1940) | Henriette (Sad Waltz) | 1:12:55 - Henriette watches the people dancing | 9th chord | 64 chord | advance plot | ballroom | crowd | dancing | dissolve | governess | leading lady | pedal tone | point-of-view shot | room | somber | watching |
All This, and Heaven Too (1940) | Underscoring (Dramatic) | 1:13:19 - Henriette watches the falling snow | advance plot | arriving | butler | dissonant bass | dramatic | duchess | duke | leading lady | leading man | outside | panning shot | pc set | point-of-view shot | room | sigh gesture | underscoring | watching |
All This, and Heaven Too (1940) | The Duchess (Con Moto) | 1:13:45 - Henriette watches the Duke and Duchess | advance plot | dramatic | duchess | duke | leading lady | leading man | leaving | painful | point-of-view shot | room | sequential modulation | watching |
All This, and Heaven Too (1940) | Henriette (Somber) | 1:15:09 - Henriette looks out the window | advance plot | governess | leading lady | longing | pedal tone | room | somber |
All This, and Heaven Too (1940) | Henriette (Quasi Agitato) | 1:17:45 - Henriette paces anxiously | acceleration | advance plot | agitated | conflicted | dissonant bass | fragmentation | gift | governess | half-diminished 7th chord | leading lady | pacing | pondering | room | sequence | turbulent |
All This, and Heaven Too (1940) | Henriette (Tristan) | 1:18:13 - Henriette opens a gift | 9th chord | advance plot | fragmentation | gift | governess | happy | leading lady | opening | pump-up modulation | room | snow globe |
All This, and Heaven Too (1940) | Henriette + Falling Snow | 1:18:26 - Snow swirling in a snow globe | advance plot | calm | chromatic parallelism | combination of themes | deceptive resolution | gift | governess | leading lady | room | snow | snow globe | snowing | swirling |
All This, and Heaven Too (1940) | Rushing | 1:19:33 - The Duchess rushes forward | angry | arguing | augmented triad | compound melody | conflict | desperate | duchess | duke | hurried | leading lady | leading man | room | rushing | turn figure |
All This, and Heaven Too (1940) | Pleading (Extended 2) | 1:19:43 - The Duchess pleads with the Duke | 9th chord | acceleration | arguing | chromatic sequence | conflict | desperate | duchess | duke | fragmentation | leading lady | leading man | parallelism | room |
All This, and Heaven Too (1940) | Desperation (Very Emotional) | 1:20:06 - The Duchess threatens the Duke | arguing | augmented triad | chromatic scale | chromatic sequence | conflict | desperate | dissonant bass | duchess | duke | leading lady | leading man | room | tense | threatening |
All This, and Heaven Too (1940) | Desperation (Sempre Accelerando | 1:20:39 - The Duke and Duchess argue | acceleration | arguing | augmented triad | chromatic scale | chromatic sequence | conflict | desperate | dissonant bass | duchess | duke | leading lady | leading man | panning shot | pc set | room | screaming | tense | threatening |
All This, and Heaven Too (1940) | Underscoring (Tense) | 1:20:55 - Henriette calms the children down | caretaker | child | conflict | crying | dissonant bass | governess | leading lady | pc set | room | tense |
All This, and Heaven Too (1940) | Underscoring (Somber) | 1:21:26 - The Duke descends the stairs | child | chromatic scale | conflict | conversing | crying gesture | descending | governess | leading lady | room | somber | tense |
All This, and Heaven Too (1940) | The Duchess (Calm) | 1:22:05 - Henriette asks about the Duchess | calm | conflict | conversing | dissonant bass | duchess | duke | foreign key modulation | leading lady | leading man | 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) | The Duke (Dignified) | 1:23:09 - A carriage arrives at the chateau | arriving | child | dignified | driver | governess | leading lady | noble | on-screen text | palace | transition |
All This, and Heaven Too (1940) | All Hallows Eve | 1:23:22 - A forest scene at night | augmented triad | child | chromatic parallelism | chromatic scale | conversing | create suspense | dissonant bass | forest | governess | Halloween | hiding | leading lady | ombra topic | on-screen text | pc set | pedal tone | scaring | scary | spooky | walking | whole-tone chord |
All This, and Heaven Too (1940) | Spring Time | 1:24:18 - The children laugh | cheerful | child | chromatic sequence | conversing | create suspense | forest | governess | leading lady | walking |
All This, and Heaven Too (1940) | Loti's Song | 1:24:31 - Apples roasting on a fire | 9th chord | child | chromatic mediant | chromatic parallelism | chromatic scale | cooking | create suspense | dissonant bass | forest | governess | leading lady | linear chromaticism | old man | pedal tone | scary | scored source music | singer | singing | split-third chord | spooky |
All This, and Heaven Too (1940) | Creeping | 1:25:02 - A stranger approaches | child | chromatic parallelism | create suspense | creeping | diminished 7th chord | duke | forest | governess | leading lady | leading man | mickey-mousing | retardation | scary | sneaking | spooky |
All This, and Heaven Too (1940) | Spring Time | 1:25:18 - The Duke talks with his children | 64 chord | advance plot | cheerful | child | chromatic sequence | common-tone diminished 7th | duke | forest | governess | leading lady | leading man | pedal tone | recognizing | relief |
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) | Grazioso | 1:27:26 - Madame Gauthier talks about the children | 9th chord | 64 chord | added-note chord | advance plot | cheerful | conversing | duke | governess | leading lady | leading man | room | servant |
All This, and Heaven Too (1940) | Raynald | 1:27:35 - Madame Gauthier talks about Raynald | 64 chord | advance plot | cheerful | chromatic sequence | conversing | deceptive resolution | duke | governess | leading lady | leading man | 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) | Triste | 1:28:51 - Henriette talks about a mystery | duke | falling in love scene | governess | leading lady | leading man | pedal tone | room | sigh gesture | somber | 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) | Spring Time | 1:30:22 - A carriage approaches the palace | 64 chord | arriving | bright | carriage | chattering | cheerful | child | duke | foreign key modulation | governess | happy | leading lady | leading man | Neapolitan | palace | pedal tone | riding | transition |
All This, and Heaven Too (1940) | Raynald (Mysterioso 2) | 1:30:33 - The carriage arrives | arriving | bright | carriage | chattering | child | duke | governess | happy | leading lady | leading man | palace | riding | sequential modulation | transition |
All This, and Heaven Too (1940) | Spring Time | 1:30:41 - The children get out of the carriage | 64 chord | bright | cheerful | child | chromatic sequence | conversing | duke | governess | happy | leading lady | leading man | Neapolitan | palace | pentatonic | transition |
All This, and Heaven Too (1940) | Raynald (Mysterioso 3) | 1:30:51 - The children talk to Henriette | 9th chord | bright | child | chromatic parallelism | conversing | duke | governess | leading lady | leading man | palace | surprise | tense | transition |
All This, and Heaven Too (1940) | Spring Time (Ominous) | 1:31:04 - The children enter the palace | 9th chord | 64 chord | augmented sixth chord | bright | cheerful | child | common-chord modulation | conversing | deceptive resolution | diminished third chord | duke | governess | leading lady | leading man | mode mixture | ominous | palace | surprise | transition |
All This, and Heaven Too (1940) | Henriette (Ominous) | 1:31:15 - Henriette talks to the Duke | 9th chord | 64 chord | added-note chord | conversing | duke | foreign key modulation | governess | hopeful | leading lady | leading man | love scene | ominous | palace | reassuring |
All This, and Heaven Too (1940) | Henriette (Molto Expressivo) | 1:31:48 - The Duke talks to Henriette | chromatic mediant | chromatic parallelism | conversing | duke | governess | leading lady | leading man | love scene | mode mixture | Neapolitan | palace | pedal tone | reassuring | romantic | sigh gesture | stinger | tender |
All This, and Heaven Too (1940) | Henriette (Expressivo) | 1:32:32 - Henriette enters the palace | dissonant bass | governess | leading lady | love scene | ominous | palace | somber | walking |
All This, and Heaven Too (1940) | The Duchess (Agitato) | 1:34:41 - Henriette rushes away from the Duchess | chattering | child | chromatic sequence | common-chord modulation | conflict | conversing | duchess | governess | leading lady | mode mixture | room | somber | worried |
All This, and Heaven Too (1940) | Underscoring (Agitated) | 1:35:05 - Henriette with the children | advance plot | agitated | child | chromatic parallelism | chromatic scale | chromatic sequence | conversing | governess | leading lady | room | worried |
All This, and Heaven Too (1940) | Spring Time (Shimmery) | 1:35:12 - Henriette opens a gift | 9th chord | 64 chord | added-note chord | advance plot | cheerful | child | conversing | foreign key modulation | gift | governess | leading lady | light | opening | room |
All This, and Heaven Too (1940) | The Duchess (Distracted) | 1:35:21 - Henriette opens a gift | advance plot | agitated | child | conversing | gift | governess | leading lady | opening | room | worried |
All This, and Heaven Too (1940) | Spring Time (Harry Cohn Moto) | 1:35:26 - Henriette opens a gift | advance plot | cheerful | child | chromatic sequence | gift | governess | happy | leading lady | opening | pedal tone | room | tense | unwrapping |
All This, and Heaven Too (1940) | Spring Time (Moderato) | 1:35:45 - Henriette opens a gift | 9th chord | 64 chord | advance plot | augmentation | calm | child | chromatic mediant | foreign key modulation | gift | governess | leading lady | locket | opening | parallelism | room | tender |
All This, and Heaven Too (1940) | Henriette (Dolschissimo) | 1:36:07 - Henriette reads the locket inscription | 64 chord | advance plot | calm | child | chromatic mediant | conversing | crying | dissonant bass | foreign key modulation | gift | governess | leading lady | locket | mode mixture | room | stinger | tender | tense |
All This, and Heaven Too (1940) | Underscoring (Somber) | 1:37:35 - Henriette talks with the Duke | chromatic scale | conversing | duke | governess | leading lady | leading man | love scene | room | somber | underscoring |
All This, and Heaven Too (1940) | Expressivo | 1:38:15 - Henriette talks with the Duke | chromatic mediant | conversing | desperate | duke | foreign key modulation | governess | leading lady | leading man | love scene | romantic | room | sequential modulation |
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) | Desperation (Ethereal) | 1:38:54 - Henriette talks with the Duke | conversing | duke | ethereal | governess | leading lady | leading man | love scene | parallelism | room |
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) | Raynald (Dark) | 1:41:54 - Raynald talks with Henriette | child | chromatic sequence | conversing | crying | deceptive resolution | farewell scene | governess | leading lady | room | somber |
All This, and Heaven Too (1940) | Lullaby (Tender) | 1:42:13 - Henriette says goodbye to the children | child | conversing | deceptive resolution | farewell scene | governess | leading lady | room | somber |
All This, and Heaven Too (1940) | Henriette (Sweepingly) | 1:45:32 - Henriette reads a letter | cheerful | leading lady | letter | pleasant | room | transition |
All This, and Heaven Too (1940) | Henriette (Appassionato 2) | 1:46:00 - Henriette descends the staircase | 9th chord | 11th chord | added-note chord | anxious | chromatic sequence | common-tone diminished 7th | descending | excited | foreign key modulation | hurrying | leading lady | not mickey-moused | room | stairs | transition | walking |
All This, and Heaven Too (1940) | Henriette (Tristan) | 1:46:15 - Henriette greets the children | 9th chord | arriving | child | duke | fragmentation | grand | greeting | leading lady | leading man | pump-up modulation | reunion scene | romantic | room |
All This, and Heaven Too (1940) | Henriette (Meno) | 1:46:24 - Henriette talks with the children | arriving | calm | child | duke | greeting | leading lady | leading man | mode mixture | Neapolitan | reunion scene | room |
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) | Spring Time (Flowers) | 1:47:09 - The children give flowers to Henriette | added-note chord | cheerful | child | conversing | leading lady | pleasant | reunion scene | room | sequential modulation |
All This, and Heaven Too (1940) | Henriette (Gossiping) + Spring Time (Gossiping) | 1:47:25 - Henriette's landlady talks to the Duke | awkward | child | combination of themes | common-tone diminished 7th | diminished 7th chord | duke | gossiper | gossiping | landlady | leading lady | leading man | mysterious | parallelism | pedal tone | reunion scene | room | somber | tense | watching |
All This, and Heaven Too (1940) | Henriette (Tense) | 1:47:51 - The Duke argues with Henriette | arguing | conflict | diminished 7th chord | duke | fragmentation | leading lady | leading man | pedal tone | room | tense |
All This, and Heaven Too (1940) | The Duchess (Tense) | 1:48:04 - Henriette talks with the Duke | arguing | conflict | duke | leading lady | leading man | room | sequential modulation | tense |
All This, and Heaven Too (1940) | Desperation (Tense) | 1:48:14 - The Duke talks with Henriette | chromatic parallelism | chromatic sequence | conflict | conversing | dissonant bass | duke | leading lady | leading man | room | tense |
All This, and Heaven Too (1940) | Screwissimo | 1:48:47 - The Duke goes mad | chromatic scale | conflict | conversing | creepy | disturbing | duke | leading lady | leading man | madness | ominous | room | whole-tone chord |
All This, and Heaven Too (1940) | Desperation (Slow) | 1:48:58 - The Duke leaves | chromatic scale | conflict | dissonant bass | duke | leading lady | leading man | leaving | ominous | room | tense |
All This, and Heaven Too (1940) | The Murder | 1:51:56 - The Duke advances towards the Duchess | approaching | blur | chromatic scale | climax | dark | diminished 7th chord | duchess | duke | leading lady | leading man | menacing | murder | murdering | murder scene | ominous | pc set | room | strangling |
All This, and Heaven Too (1940) | Desperation (Subito) | 1:52:22 - Soldiers climb the stairs | 64 chord | ascending | conflict | landlady | leading lady | not mickey-moused | room | soldier | suspect | tense |
All This, and Heaven Too (1940) | The Duchess (Dramatic) | 1:52:48 - Soldiers confront Henriette | accusing | arresting | augmented sixth chord | conflict | landlady | leading lady | ominous | realizing | room | soldier | suspect | tense |
All This, and Heaven Too (1940) | Henriette (Dark) | 1:52:57 - A police wagon approaches | arresting | carriage | chromatic sequence | conflict | crowd | dark | landlady | leading lady | soldier | street | suspect |
All This, and Heaven Too (1940) | Henriette (Grandioso) + Desperation (Grandioso) | 1:53:13 - The police wagon leaves | arresting | bold | carriage | conflict | conversing | crowd | crying | dark | dissonant bass | fragmentation | landlady | leading lady | ominous | soldier | street | suspect | tense | testifying |
All This, and Heaven Too (1940) | Agitato 2 | 1:59:31 - Henriette is arrested | agitated | crowd | crying | diminished 7th chord | dissonant bass | double exposure | dramatic | fanfare | headline | leading lady | leaving | mob | montage | newspaper | soldier | street | suspect | yelling |
All This, and Heaven Too (1940) | Henriette (Molto Moderato) | 2:04:10 - Women in prison | double exposure | headline | leading lady | montage | newspaper | oscillation | pacing | prison | prisoner | solemn | suspect | walking |
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) | Underscoring (Tense) | 2:06:17 - Henriette argues with Henry | advance plot | arguing | fragmentation | leading lady | minister | pedal tone | prison | prisoner | sequence | suspect | tense | underscoring |
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) | Raynald (Delicato) | 2:06:46 - Henry talks to Henriette | advance plot | conversing | delicate | leading lady | minister | mode change | prison | prisoner | suspect | tender | tense | worrying |
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) | Henriette (The Truth) | 2:07:07 - Henry talks to Henriette | advance plot | calm | conversing | deceptive resolution | leading lady | minister | prison | prisoner | suspect |
All This, and Heaven Too (1940) | Henriette (Ostinato) | 2:10:09 - A carriage leaves | carriage | crowd | dramatic | fragmentation | leading lady | mob | ominous | ostinato | prisoner | soldier | street | suspect | tense | transition | traveling |
All This, and Heaven Too (1940) | Underscoring (Tense) | 2:10:17 - A carriage arrives at the palace | 9th chord | arriving | carriage | chromatic scale | leading lady | prisoner | soldier | street | suspect | tense | transition | traveling | underscoring |
All This, and Heaven Too (1940) | The Duke (Maestoso) | 2:10:50 - Henriette enters the Duke's palace | arriving | countermelody | dark | hearing voices | leading lady | mode change | palace | prisoner | soldier | spooky | suspect | transition | uneasy |
All This, and Heaven Too (1940) | Henriette (Ghostly) | 2:11:23 - Henriette hears voices | arriving | chromatic parallelism | dark | dissonant bass | hearing voices | leading lady | palace | prisoner | soldier | spooky | suspect | transition | uneasy |
All This, and Heaven Too (1940) | Henriette (Serious) | 2:11:50 - Henriette arrives upstairs | arriving | detective | hearing voices | leading lady | palace | prisoner | serious | soldier | solemn | somber | suspect | transition | whole-tone chord |
All This, and Heaven Too (1940) | Crying | 2:12:15 - Pierre looks at Henriette | 64 chord | caretaker | chromatic scale | crying | detective | devastated | leading lady | looking | palace | prisoner | soldier | somber | suspect | transition |
All This, and Heaven Too (1940) | Henriette (Noble) | 2:13:19 - Henriette comes into the Duke's room | arriving | dark | death scene | detective | duke | dying | hopeful | leading lady | leading man | mode mixture | noble | prisoner | room | soldier | suspect |
All This, and Heaven Too (1940) | Dying | 2:13:46 - The Duke in his death bed | chromatic scale | conversing | death bed | death scene | detective | dissonant bass | duke | dying | leading lady | leading man | prisoner | questioning | room | sad | soldier | suspect |
All This, and Heaven Too (1940) | Henriette (Duet) | 2:14:06 - A close-up on Henriette | appoggiatura | chromatic parallelism | conversing | death bed | death scene | deceptive resolution | detective | duke | dying | leading lady | leading man | mode mixture | prisoner | questioning | room | sad | soldier | suspect | tender |
All This, and Heaven Too (1940) | Henriette (Funereal) | 2:14:27 - Henriette leaves the Duke | conversing | death bed | death scene | detective | duke | dying | funeral march | leading lady | leading man | Neapolitan | parallelism | pedal tone | prisoner | questioning | room | sad | sigh gesture | soldier | suspect |
All This, and Heaven Too (1940) | Henriette (Moderato Maestoso) | 2:16:29 - A hand signing a release form | 9th chord | chromatic mediant | deceptive resolution | hopeful | leading lady | leaving | noble | prison | resolution | walking | writing |
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) | Heaven Theme (Expressivo) | 2:17:25 - Henriette leaves with Henry Field | comforting | death | gravestone | graveyard | grieving | hopeful | leading lady | minister | resolution | voice-over | wave |
All This, and Heaven Too (1940) | Desperation (Mysterioso) | 2:17:47 - Henriette narrates her story | child | fragmentation | leading lady | mysterious | resolution | school | storytelling | student | teacher | tense |
All This, and Heaven Too (1940) | The Duchess | 2:17:58 - Henriette narrates her story | child | common-chord modulation | leading lady | mode mixture | resolution | school | storytelling | student | teacher | tense |
All This, and Heaven Too (1940) | Underscoring (Tense) | 2:18:09 - Children listening to Henriette | child | leading lady | resolution | school | storytelling | student | teacher | tense |
All This, and Heaven Too (1940) | Columbia Gem of the Ocean (Somber) | 2:18:19 - Children listening to Henriette | 9th chord | child | hopeful | leading lady | mode change | resolution | school | storytelling | student | teacher |
All This, and Heaven Too (1940) | Henriette (Adagio) | 2:18:52 - A child begins crying | child | chromatic mediant | crying | deceptive resolution | leading lady | resolution | school | somber | storytelling | student | teacher |
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 |
All This, and Heaven Too (1940) | Henriette + Falling Snow | 2:21:43 - Henriette sees the falling snow | augmented triad | chromatic parallelism | combination of themes | hearing voices | leading lady | minister | mode mixture | resolution | school | snow | teacher | tense |
The Amazing Dr. Clitterhouse (1938) | Doctor Leaves | 0:57:38 - Dr. Clitterhouse leaves | advance plot | doctor | door | exiting | gangster | hero | leading lady | leading man | leaving | linear chromaticism | opening | room | tense | wedge | whole-tone chord |
The Amazing Dr. Clitterhouse (1938) | Underscoring (Mysterious) | 0:57:58 - Dr. Clitterhouse talks with Jo | conversing | doctor | gangster | leading lady | leading man | love scene | mysterious | room | tense |
The Amazing Dr. Clitterhouse (1938) | Jo | 0:58:18 - Dr. Clitterhouse talks with Jo | 13th chord | added-note chord | altered dominant | chromatic mediant | conversing | doctor | foreign key modulation | gangster | leading lady | leading man | love scene | room | sequence | tender |
The Amazing Dr. Clitterhouse (1938) | Jo (At the Phone) | 0:59:24 - Rocks takes the phone apart | 9th chord | advance plot | antagonist | combination of themes | dark | gangster | leading lady | ominous | plotting | room | tense |
The Amazing Dr. Clitterhouse (1938) | Underscoring (Tense) | 1:00:10 - Jo and Rocks quarrel | advance plot | antagonist | arguing | dissonant bass | gangster | half-diminished 7th chord | leading lady | quarreling | room | tense |
The Amazing Dr. Clitterhouse (1938) | The Poison Victim | 1:07:50 - Rocks is poisoned | dissonant | doctor | gangster | leading lady | leading man | murder | murderer | murdering | murder scene | mysterious | office | parallel fifths | poison | poisoning | quartal chord | tense | tone cluster | tritone |
The Amazing Dr. Clitterhouse (1938) | Poison | 1:08:46 - Rocks feels the effect of the poison | blur | chromatic parallelism | diminution | doctor | dreaming | drugs | ethereal | gangster | layering | leading lady | leading man | murder | murderer | murdering | murder scene | office | oscillation | ostinato | pc set | poison | poisoning | polychord | stinger | tone cluster |
The Amazing Dr. Clitterhouse (1938) | Rocks struggles and falls | 1:09:52 - Rocks tries to get up, then collapses | chromatic parallelism | chromatic scale | death | doctor | down | drugs | dying | falling | gangster | leading lady | leading man | murder | murderer | murder scene | office | oscillation | poison | rising | split-third chord | struggling | tense | up |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Funebre) | 1:10:07 - Dr. Clitterhouse talks with Jo | 9th chord | chromatic parallelism | dark | death | doctor | gangster | leading lady | leading man | murder | murderer | murder scene | office | pleading | realizing | tense |
Angels With Dirty Faces (1938) | Rocky and Laury (Not In Film 1) | NIF - not in film | added-note chord | altered dominant | augmented sixth chord | common-chord modulation | conversing | cut from film | establish character | following | gangster | leading lady | leading man | mode mixture | street | walking |
Angels With Dirty Faces (1938) | Rocky and Laury (Not In Film 2) | NIF - not in film | added-note chord | altered dominant | augmented sixth chord | chromatic scale | conversing | cut from film | establish character | following | gangster | leading lady | leading man | street | walking |
Angels With Dirty Faces (1938) | Rocky and Laury | 0:41:37 - Laury pushes her way through the crowd | altered dominant | arriving | close-up | conflict | heartbroken | leading lady | love interest | rushing | sentimental | shop |
Angels With Dirty Faces (1938) | Underscoring (Romantic) | 1:01:43 - Rocky and Laury talk | altered dominant | conversing | dissonant bass | gangster | leading lady | leading man | linear chromaticism | love scene | romantic | room | underscoring |
Angels With Dirty Faces (1938) | Rocky and Laury (Sentimental) | 1:01:59 - Rocky and Laury talk | added-note chord | altered dominant | conversing | gangster | leading lady | leading man | love scene | parallel period | romantic | room |
Angels With Dirty Faces (1938) | Foxtrot | 1:02:20 - Rocky and Laury look out the window | added-note chord | altered dominant | common-tone diminished 7th | dreaming | foxtrot | gangster | hoping | leading lady | leading man | looking | love scene | mode mixture | romantic | room |
Angels With Dirty Faces (1938) | Saving Myself For You (I've Been) | 1:02:30 - Rocky and Laury at a night club | AABA structure | advance plot | cheerful | club | drinking | gambling | gangster | lawyer | leading lady | leading man | on-screen music | source music |
Angels With Dirty Faces (1938) | Pleading | 1:11:08 - Laury pleads for Rocky | 9th chord | advance plot | appoggiatura | circle of fifths | common-chord modulation | crying | leading lady | leading man | love interest | pleading | priest | room | somber |
Angels With Dirty Faces (1938) | Jerry | 1:11:35 - Jerry talks to Laury | 9th chord | advance plot | deceptive resolution | foreign key modulation | leading lady | leading man | love interest | memory | pleading | priest | room | tender |
Angels With Dirty Faces (1938) | Pleading (Extended) | 1:21:00 - Jerry arrives on the scene | 9th chord | appoggiatura | arriving | chromatic sequence | circle of fifths | concerned | conflict | crowd | gun | gunshot | hurried | hurrying | leading lady | leading man | love interest | polychord | priest | pushing | street | yearning |
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 |
Arsenic and Old Lace (1944) | Underscoring (Comical) | 0:02:20 - Mortimer hides from the reporters | chromatic parallelism | chromatic wedge | comical | disguise | establish character | hiding | leading lady | leading man | looking | marriage | office | reporter | underscoring | whole-tone chord |
Arsenic and Old Lace (1944) | Here Comes the Bride (Modulating) | 0:03:34 - Hiding in a telephone booth | added-note chord | arguing | bystander | conversing | deceptive resolution | establish character | familiar tune | fragmentation | leading lady | leading man | marriage | office | pump-up modulation | running | rushed | rushing | self-borrowing | sequence |
Arsenic and Old Lace (1944) | Hanging up | 0:03:53 - Mortimer hangs up the phone | bystander | diminished 7th chord | establish character | hanging up | leading lady | leading man | marriage | mickey-mousing | office | rushed |
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 (Modulating) | 0:04:54 - Mortimer and Elaine rush off | establish character | familiar tune | foreign key modulation | leading lady | leading man | marriage | office | rushed | rushing | self-borrowing | sequence |
Arsenic and Old Lace (1944) | Here Comes the Bride (Chinese) | 0:05:00 - Chinese girl turns around | Chinese | establish character | exotic | familiar tune | leading lady | leading man | marriage | office | open fifth | smiling | stereotype | winking |
Arsenic and Old Lace (1944) | Here Comes the Bride (Comical) | 0:05:05 - Goofy man turns around | 9th chord | comical | common-tone diminished 7th | establish character | familiar tune | leading lady | leading man | marriage | office | smiling | winking |
Arsenic and Old Lace (1944) | Rondo Alla Turca | 0:06:25 - Teddy plays the harpsichord | aunt | brother | classical music | conversing | crazy person | establish character | harpsichord | leading lady | old man | on-screen music | playing | room | source music | upbeat | victim |
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 |
Arsenic and Old Lace (1944) | Happy Land (Grazioso) | 0:13:34 - The aunts talk | advance plot | aunt | conversing | leading lady | magical | plotting | room | whole-tone chord |
Arsenic and Old Lace (1944) | Wind blowing | 0:13:48 - Wind blows the curtains at the window | advance plot | aunt | blowing | chromatic parallelism | leading lady | looking | mysterious | room | wind | wind effect |
Arsenic and Old Lace (1944) | The Aunts (Allegretto) | 0:13:52 - The aunts run to the window | advance plot | aunt | cheerful | harmonic sequence | leading lady | mode mixture | pedal tone | room | running |
Arsenic and Old Lace (1944) | Opens window | 0:13:59 - The aunts open the window | advance plot | aunt | half-diminished 7th chord | leading lady | mickey-mousing | opening | raising | room | upbeat | window |
Arsenic and Old Lace (1944) | Here Comes the Bride (Full) | 0:14:00 - Elaine appears in the window | aunt | bride | cheerful | chromatic mediant | common-chord modulation | conversing | crazy person | familiar tune | greeting | groom | leading lady | leading man | love | love scene | on-screen music | pleasant | room | score to source | source music | street | whistling |
Arsenic and Old Lace (1944) | Here Comes the Bride (Modulating) | 0:14:10 - Mortimer calls to Elaine | added-note chord | aunt | bride | cemetery | conversing | deceptive resolution | driver | familiar tune | flirting | fragmentation | groom | hurrying | leading lady | leading man | love | love scene | pump-up modulation | rushed | rushing | sequence | source to score | street |
Arsenic and Old Lace (1944) | Here Comes the Bride (Religioso) | 0:14:41 - Mortimer and Elaine in the cemetery | 64 chord | bride | calm | cemetery | conversing | familiar tune | flirting | groom | hymn-like | leading lady | leading man | love | love scene | religious | suspension |
Arsenic and Old Lace (1944) | Chasing | 0:14:48 - Mortimer chases Elaine around a tree | bride | cemetery | chasing | comical | flirting | groom | leading lady | leading man | love | love scene | mickey-mousing | secondary dominant |
Arsenic and Old Lace (1944) | Underscoring (Mysterious) | 0:14:51 - Mortimer flirts with Elaine | bride | cemetery | conversing | flirting | groom | leading lady | leading man | love | love scene | mysterious | underscoring | whole-tone chord |
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 (Church Bells) | 0:15:17 - Mortimer follows Elaine | 64 chord | bride | cemetery | chromatic mediant | conversing | familiar tune | flirting | foreign key modulation | groom | leading lady | leading man | love | love scene | parallelism | 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 (Modulating) | 0:15:36 - Mortimer and Elaine talk | added-note chord | bride | cemetery | conversing | familiar tune | flirting | fragmentation | groom | hurried | leading lady | leading man | love | love scene | pump-up modulation | romantic | sequence |
Arsenic and Old Lace (1944) | Here Comes the Bride (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) | Here Comes the Bride (Church Bells) | 0:16:22 - Mortimer and Elaine talk | 64 chord | bride | cemetery | chromatic mediant | conversing | familiar tune | flirting | foreign key modulation | groom | leading lady | leading man | love | love scene | parallelism | romantic |
Arsenic and Old Lace (1944) | Chasing | 0:16:31 - Elaine runs off | bride | groom | hurrying | leading lady | leading man | light | love | love scene | running | secondary dominant | street |
Arsenic and Old Lace (1944) | Here Comes the Bride | 0:16:37 - Elaine whistles | bride | cheerful | familiar tune | groom | leading lady | leading man | love | love scene | on-screen music | source music | street | whistling |
Arsenic and Old Lace (1944) | Here Comes the Bride | 0:17:02 - Mortimer whistles | aunt | cheerful | familiar tune | groom | leading lady | leading man | love | love scene | on-screen music | room | source music | whistling |
Arsenic and Old Lace (1944) | Break the News to Mother | 0:18:44 - Teddy sings | advance plot | aunt | brother | cheerful | crazy person | familiar tune | groom | leading lady | leading man | on-screen music | room | singing | source music | war song |
Arsenic and Old Lace (1944) | Jonathan | 0:18:54 - Jonathan Brewster's picture is shown | advance plot | aunt | conversing | diminished 7th chord | groom | leading lady | leading man | ominous | pc set | picture | room | sinister | stinger |
Arsenic and Old Lace (1944) | Happy Land | 0:20:06 - Abby sings | advance plot | aunt | cheerful | familiar tune | groom | leading lady | leading man | on-screen music | room | score to source | sequence | singing | source music |
Arsenic and Old Lace (1944) | Here Comes the Bride (Elaine Whistles) | 0:23:44 - Elaine whistles out of her window | agitated | bride | cheerful | chromatic scale | dark | diminished 7th chord | familiar tune | groom | leading lady | leading man | on-screen music | room | scored source music | source music | turning point | whistling |
Arsenic and Old Lace (1944) | Here Comes the Bride (Running) | 0:23:58 - Mortimer runs to the door | 9th chord | 13th chord | aunt | bride | child | chromatic scale | crazy person | dark | familiar tune | groom | Halloween | intervallic expansion | leading lady | leading man | murderer | room | running | rushing | source music | source to score | trick-or-treating | turning point |
Arsenic and Old Lace (1944) | Happy Land | 0:24:16 - Abby, Martha, and Mortimer in the kitchen | advance plot | aunt | cheerful | child | crazy person | familiar tune | groom | leading lady | leading man | murderer | on-screen music | room | singing | source music |
Arsenic and Old Lace (1944) | Here Comes the Bride | 0:26:22 - Elaine whistles on the phone | advance plot | bride | cheerful | familiar tune | groom | leading lady | leading man | on-screen music | room | source music | telephone | whistling |
Arsenic and Old Lace (1944) | Here Comes the Bride | 0:31:04 - Elaine whistles in Mortimer's ear | advance plot | bride | cheerful | familiar tune | groom | leading lady | leading man | on-screen music | room | source music | whistling |
Arsenic and Old Lace (1944) | The Aunts | 0:39:01 - The aunts talk | advance plot | aunt | cleaning | conversing | crazy person | foreign key modulation | harmonic sequence | leading lady | murderer | room | upbeat |
Arsenic and Old Lace (1944) | Happy Land (Screwyoso) | 0:39:06 - The aunts talk | added-note chord | advance plot | altered dominant | aunt | calm | cleaning | conversing | crazy person | familiar tune | hat | leading lady | murderer | ominous | room | stinger | suspension |
Arsenic and Old Lace (1944) | Happy Land (String Quartet) | 0:39:28 - The aunts set the table | advance plot | aunt | cleaning | conversing | crazy person | direct modulation | evaded cadence | familiar tune | hymn-like | leading lady | murderer | peaceful | room |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:39:58 - The aunts see shadows at the door | augmentation | aunt | conversing | crazy person | dark | establish character | fear | foreign key modulation | fragmentation | knocking | leading lady | murderer | mysterious | Neapolitan | ominous | parallel 63s | pedal tone | room | shadow | whispering |
Arsenic and Old Lace (1944) | Home Sweet Home (Expressivo) + Scar | 0:41:42 - Abby talks to Jonathan | altered dominant | augmented triad | aunt | brother | combination of themes | conversing | convincing | crazy person | criminal | distortion | doctor | establish character | expressive | familiar tune | leading lady | leading man | murderer | mysterious | ominous | room |
Arsenic and Old Lace (1944) | Underscoring (Tense) | 0:42:08 - Jonathan talks to the aunts | aunt | brother | conversing | crazy person | criminal | doctor | establish character | leading lady | leading man | murderer | mysterious | parallelism | room | tense | underscoring |
Arsenic and Old Lace (1944) | Scar (Face) | 0:42:29 - Jonathan talks about his scar | augmented triad | aunt | brother | chromatic parallelism | conversing | crazy person | criminal | doctor | establish character | fragmentation | leading lady | leading man | murderer | mysterious | pc set | polychord | room | scar | tense |
Arsenic and Old Lace (1944) | Mysterioso Pizzicato | 0:42:41 - Martha talks about scary movies | aunt | brother | conversing | crazy person | criminal | dissonant bass | doctor | establish character | familiar tune | leading lady | leading man | murderer | mysterious | room | scar | silent film music |
Arsenic and Old Lace (1944) | Underscoring (Tense) | 0:42:56 - Jonathan glares at Dr. Einstein | aunt | brother | conversing | crazy person | criminal | diminished 7th chord | doctor | establish character | leading lady | leading man | murderer | oscillation | room | scar | tense |
Arsenic and Old Lace (1944) | Jonathan 2 | 0:43:08 - Jonathan talks about the operation | aunt | brother | chromatic scale | chromatic wedge | crazy person | criminal | dark | dissonant bass | doctor | establish character | grabbing | leading lady | leading man | murderer | ominous | pc set | room | struggling | threatening |
Arsenic and Old Lace (1944) | Scar | 0:43:20 - Dr. Einstein talks to the aunts | aunt | brother | conversing | crazy person | criminal | dark | doctor | establish character | leading lady | leading man | murderer | ominous | pc set | polychord | room |
Arsenic and Old Lace (1944) | Home Sweet Home (Ominous) | 0:43:28 - Dr. Einstein talks to the aunts | added-note chord | altered dominant | aunt | brother | conversing | crazy person | criminal | distortion | doctor | establish character | familiar tune | leading lady | leading man | murderer | room | split-fifth chord | tense |
Arsenic and Old Lace (1944) | Home Sweet Home (Tranquillo) | 0:43:40 - Jonathan sits down | augmented triad | aunt | brother | calm | chromatic parallelism | conversing | crazy person | criminal | direct modulation | distortion | doctor | establish character | familiar tune | leading lady | leading man | murderer | pedal tone | room |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:44:00 - The aunts go into the kitchen | augmentation | aunt | brother | conversing | crazy person | criminal | doctor | establish character | fear | foreign key modulation | fragmentation | leading lady | leading man | murderer | mysterious | Neapolitan | ominous | parallel 63s | pedal tone | room | walking | watching |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:45:22 - The aunts peek through the kitchen window | aunt | brother | conversing | crazy person | criminal | doctor | establish character | face | fear | leading lady | leading man | murderer | mysterious | Neapolitan | ominous | parallel 63s | pedal tone | room | snooping | watching |
Arsenic and Old Lace (1944) | Scar | 0:45:29 - Dr. Einstein describes how he will fix Jonathan's face | aunt | brother | conversing | crazy person | criminal | dark | doctor | establish character | face | leading lady | leading man | murderer | ominous | pc set | planning | polychord | room | wipe |
Arsenic and Old Lace (1944) | Jonathan 2 | 0:49:12 - Jonathan threatens the aunts | advance plot | aunt | brother | chromatic scale | chromatic wedge | crazy person | criminal | dark | dissonant bass | doctor | fear | leading lady | leading man | murderer | ominous | pc set | room | threatening |
Arsenic and Old Lace (1944) | Scar | 0:49:36 - Dr. Einstein calls to Jonathan | advance plot | aunt | brother | crazy person | criminal | dark | doctor | fear | leading lady | leading man | murderer | ominous | pc set | polychord | room | threatening |
Arsenic and Old Lace (1944) | The Aunts (Grazioso Con Moto) | 0:52:20 - The aunts move through the kitchen | advance plot | aunt | calm | conversing | crazy person | foreign key modulation | harmonic sequence | leading lady | murderer | pleasant | room |
Arsenic and Old Lace (1944) | Wind blowing 2 | 0:52:32 - The aunts walk to the window | advance plot | aunt | blowing | chromatic parallelism | crazy person | half-diminished 7th chord | leading lady | looking | murderer | mysterious | room | wind | wind effect | window |
Arsenic and Old Lace (1944) | Stinger | 0:52:41 - Jonathan suddenly appears at the window | advance plot | aunt | brother | crazy person | dramatic | harsh | leading lady | leading man | murderer | opening | room | stinger | surprise | whole-tone chord | window |
Arsenic and Old Lace (1944) | Jonathan 2 | 0:52:48 - Jonathan comes in the window | advance plot | aunt | brother | chromatic scale | chromatic wedge | crazy person | dark | darkness | dissonant bass | doctor | intimidating | leading lady | leading man | murderer | ominous | pc set | room | staring | tense |
Arsenic and Old Lace (1944) | Jonathan (Fragmented) | 0:53:35 - Jonathan and the doctor go up the stairs | advance plot | aunt | brother | conversing | crazy person | dark | darkness | doctor | fragmentation | intimidating | leading lady | leading man | murderer | ominous | pc set | room | tense |
Arsenic and Old Lace (1944) | The Aunts | 0:53:55 - Aunt Abby goes to the front door | advance plot | aunt | brother | calm | crazy person | darkness | harmonic sequence | leading lady | leading man | murderer | room | silhouette | staring | upbeat | walking |
Arsenic and Old Lace (1944) | Underscoring (Mysterious) | 0:54:01 - Aunt Abby goes up the stairs | advance plot | aunt | brother | crazy person | darkness | intimidating | leading lady | leading man | murderer | mysterious | room | silhouette | staring | underscoring |
Arsenic and Old Lace (1944) | The Aunts (Molto Misterioso) | 0:54:12 - Aunt Abby faces Jonathan | advance plot | aunt | brother | crazy person | darkness | foreign key modulation | fragmentation | intimidating | leading lady | leading man | murderer | mysterious | parallel 63s | pedal tone | room | staring | walking |
Arsenic and Old Lace (1944) | Here Comes the Bride (Tense) | 0:58:28 - Elaine comes in the door | advance plot | bride | calling | darkness | entering | familiar tune | half-diminished 7th chord | leading lady | room | sequence | sneaking | tense |
Arsenic and Old Lace (1944) | Scar (Tense) | 0:58:39 - Close-up on Dr. Einstein's face | advance plot | bride | brother | calling | close-up | crazy person | darkness | doctor | entering | fear | fragmentation | leading lady | leading man | murderer | polychord | room | sneaking | tense |
Arsenic and Old Lace (1944) | Jonathan 2 | 0:58:55 - Jonathan emerges from the shadows | advance plot | bride | brother | chromatic scale | chromatic wedge | conversing | crazy person | darkness | dissonant bass | doctor | fear | leading lady | leading man | murderer | pc set | questioning | room | sinister |
Arsenic and Old Lace (1944) | Jonathan 2 (Ominous) | 1:00:36 - Jonathan backs Elaine into a corner | advance plot | anger | augmented triad | bride | brother | chromatic scale | crazy person | dissonant bass | doctor | fear | hurting | leading lady | leading man | murderer | ominous | polychord | questioning | room | stinger | tense | threatening |
Arsenic and Old Lace (1944) | Underscoring (Dramatic) | 1:01:21 - They take Elaine into the cellar | 9th chord | aunt | bride | brother | chromatic scale | conflict | crazy person | darkness | diminished 7th chord | doctor | dramatic | fear | fighting | gagging | harmonic sequence | leading lady | leading man | metric dissonance | murderer | oscillation | room | running | self-borrowing | struggling | suspenseful | underscoring |
Arsenic and Old Lace (1944) | Organ Stinger | 1:01:40 - Aunts emerge in black upstairs | arguing | aunt | brother | conflict | crazy person | leading lady | leading man | murderer | ominous | room | stinger |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 1:01:49 - Aunts talk to Jonathan | arguing | aunt | brother | conflict | crazy person | fear | fragmentation | leading lady | leading man | murderer | Neapolitan | parallel 63s | pedal tone | room | tense |
Arsenic and Old Lace (1944) | Happy Land | 1:19:56 - Mortimer with the taxi driver | aunt | brother | calm | conversing | crazy person | doctor | driver | funeral | groom | hymn | leading lady | leading man | murderer | on-screen music | score to source | singing | source music | street |
Arsenic and Old Lace (1944) | Happy Land | 1:22:17 - Mortimer talks with Elaine through her window | aunt | bride | calm | conversing | crazy person | doctor | funeral | groom | hymn | leading lady | leading man | murderer | singing | street |
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 (Moderato Expressivo) | 0:06:23 - Fishing in a stream | calm | canoe | doctor | establish character | friend | lake | leading lady | leading man | rowing | wife |
Beyond the Forest (1949) | Lewis | 0:10:42 - The doctor in a canoe | calm | canoe | departing | doctor | establish character | friend | lake | leading lady | leading man | noble | rowing | wife |
Beyond the Forest (1949) | Moose | 0:11:22 - Moose enters the house | cabin | conversing | establish character | exotic | friend | leading lady | liquor | wife | working |
Beyond the Forest (1949) | Porcupine | 0:11:59 - A porcupine in a tree | cabin | climbing | comical | dying | establish character | falling | leading lady | porcupine | shooting | wife |
Beyond the Forest (1949) | Drunk | 0:14:08 - Moose is drinking | advance plot | cabin | collapsing | drinking | drunk | drunk effect | friend | leading lady | liquor | mickey-mousing | stumbling | wife |
Beyond the Forest (1949) | Falling down | 0:14:27 - Moose falls on a bed | advance plot | cabin | collapsing | dramatic | falling | friend | leading lady | mickey-mousing | pushing | wife |
Beyond the Forest (1949) | Underscoring (Mysterious) | 0:14:31 - Rosa grabs the key | advance plot | cabin | friend | key | leading lady | mysterious | underscoring | walking | wife |
Beyond the Forest (1949) | Running | 0:14:40 - Rosa runs to the lodge | advance plot | leading lady | mickey-mousing | mysterious | ominous | outside | running | wife |
Beyond the Forest (1949) | Rosa (Grazioso) | 0:15:01 - Rosa enters the lodge | advance plot | arriving | cheerful | leading lady | room | wife | working |
Beyond the Forest (1949) | Hurrying | 0:15:09 - Rosa lights a fire | advance plot | hurrying | leading lady | room | upbeat | wife | working |
Beyond the Forest (1949) | Rosa (Grazioso) | 0:15:23 - Rosa gets a drink | advance plot | hurrying | leading lady | room | upbeat | wife | working |
Beyond the Forest (1949) | Hurrying | 0:15:35 - Rosa carries a drink | advance plot | hurrying | leading lady | room | upbeat | wife | working |
Beyond the Forest (1949) | Rosa (Sulking) | 0:28:33 - Rosa watches the train | advance plot | leading lady | solemn | train | train station | walking | watching |
Beyond the Forest (1949) | Chicago (Mink Coat) | 0:29:01 - Rosa sees Carol's mink coat | advance plot | conversing | familiar tune | jealousy | leading lady | popular tune | sentimental | train station |
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) | Chicago (Jealous) | 0:29:33 - Rosa glares at Carol | advance plot | conversing | dark | familiar tune | jealousy | leading lady | popular tune | sentimental | train station |
Beyond the Forest (1949) | Rosa (Turbulent) | 0:30:21 - Rosa checks her mail | advance plot | leading lady | mail | post office | reading | turbulent | upset |
Beyond the Forest (1949) | Chicago (Mail) | 0:30:30 - Rosa reads her mail | advance plot | familiar tune | hurried | leading lady | mail | optimistic | popular tune | post office | reading |
Beyond the Forest (1949) | Underscoring (Mysterious) | 0:30:40 - Rosa reacts to her mail | advance plot | crumpling | leading lady | mail | mysterious | post office | reading | underscoring |
Beyond the Forest (1949) | Hurrying (Rather Slowly) | 0:30:48 - Rosa leaves the post office | advance plot | child | departing | leading lady | mother | neighbor | post office | upset |
Beyond the Forest (1949) | Courthouse (Agitato Quasi Rubato) | 0:31:12 - Rosa arrives home | advance plot | angry | arriving | leading lady | room | upset | yelling |
Beyond the Forest (1949) | Rosa (Sombre) | 0:32:36 - Rosa walks away | advance plot | leading lady | room | somber | sulking | tense | upset | walking |
Beyond the Forest (1949) | Sawmill | 0:32:53 - The sawmill | advance plot | factory | fire | industrious | leading lady | machinery effect | porch | sulking | watching |
Beyond the Forest (1949) | Sawmill + Steam Whistle | 0:33:06 - Rosa on her porch | advance plot | combination of themes | factory | fire | harsh | industrious | leading lady | machinery effect | porch | sulking | watching | whistle effect |
Beyond the Forest (1949) | Sawmill + Rosa | 0:33:25 - Rosa lies down | advance plot | combination of themes | factory | fire | leading lady | machinery effect | porch | sulking | upset | watching |
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) | Insolence | 0:37:06 - Rosa argues with her maid Jenny | advance plot | cleaning | comical | kitchen | leading lady | maid | obeying | wife |
Beyond the Forest (1949) | Chicago (Molto Expressivo) | 0:37:20 - Rosa sees the mink coat | advance plot | coat | contemplating | expressive | familiar tune | jealousy | leading lady | popular tune | room | wife |
Beyond the Forest (1949) | Chicago (Misterioso) | 0:38:47 - Rosa lights a match | advance plot | contemplating | dramatic | familiar tune | jealousy | leading lady | obsession | obsessive | passage of time | popular tune | room | smoking | tense | wife |
Beyond the Forest (1949) | Rosa (Slower) | 0:39:05 - Rosa in bed | advance plot | calm | contemplating | dark | leading lady | leading man | panning shot | restlessness | room | smoking | wife |
Beyond the Forest (1949) | Sawmill (Agitato) | 0:39:25 - Fire from the sawmill | advance plot | agitated | bedroom | factory | fire | leading lady | leading man | restlessness | wife | yelling |
Beyond the Forest (1949) | Rosa (Molto Misterioso) | 0:41:50 - Rosa smokes in bed | advance plot | bedroom | contemplating | leading lady | leading man | mysterious | smoking | wife |
Beyond the Forest (1949) | Running (Quasi Misterioso) | 0:42:06 - Rosa looks through the account book | advance plot | leading lady | mysterious | ominous | reading | room | wife | writing |
Beyond the Forest (1949) | Chicago | 0:43:37 - Rosa sews | advance plot | arriving | familiar tune | leading lady | leading man | on-screen music | popular tune | room | score to source | sewing | singing | source and scoring overlap | source music | upbeat | wife |
Beyond the Forest (1949) | Hurrying (Molto Agitato) | 0:44:13 - Rosa picks up the money | frantic | grabbing | hurried | leading lady | money | room | transition |
Beyond the Forest (1949) | Chicago (City) | 0:44:28 - Downtown Chicago | arriving | bright | calling | calm | city | familiar tune | hotel | leading lady | phone book | popular tune | telephone | transition | traveling |
Beyond the Forest (1949) | Rosa (Telephone) | 0:44:52 - Rosa makes a phone call | advance plot | calling | hotel | leading lady | mysterious | telephone | telephone effect |
Beyond the Forest (1949) | Underscoring (Gentle) | 0:45:21 - Rosa sits down | advance plot | gentle | hotel | leading lady | underscoring | waiting |
Beyond the Forest (1949) | Rosa (Moderato 2) | 0:45:30 - Rosa in her hotel room | advance plot | calling | hotel | leading lady | somber | telephone | waiting | worrisome |
Beyond the Forest (1949) | Flowers | 0:46:12 - Flowers | advance plot | cheerful | flower | leading lady | optimistic | street | walking |
Beyond the Forest (1949) | Rosa (Slowly) | 0:47:08 - Rosa reads a magazine | advance plot | cut from film | leading lady | office | reading | receptionist | solemn | waiting |
Beyond the Forest (1949) | Rosa (Solemn) | 0:48:04 - Rosa leaves the office | dark | departing | leading lady | office | receptionist | somber | street | transition | walking |
Beyond the Forest (1949) | Chicago (Somber) | 0:48:32 - Rosa sits in a coffee shop | advance plot | angry | audible thoughts | cafe | familiar tune | leading lady | popular tune | somber | thinking |
Beyond the Forest (1949) | Chicago (Tense) | 0:49:00 - Rosa drinks coffee | advance plot | angry | audible thoughts | cafe | familiar tune | leading lady | popular tune | tense | thinking |
Beyond the Forest (1949) | Underscoring (Tense) | 0:49:07 - Rosa gets up | advance plot | cafe | conversing | hurrying | leading lady | tense | underscoring | waitress |
Beyond the Forest (1949) | Rosa (She Runs) | 0:49:22 - Rosa runs to the phone | advance plot | cafe | leading lady | optimistic | running | rushing | telephone |
Beyond the Forest (1949) | Hurrying (Phone Call) | 0:49:32 - Rosa talks on the phone | advance plot | cafe | conversing | leading lady | optimistic | telephone |
Beyond the Forest (1949) | Rosa (Dejected) | 0:49:45 - Rosa hangs up the phone | advance plot | cafe | crying | leading lady | somber | telephone |
Beyond the Forest (1949) | I’m in a Jam with Baby | 0:54:39 - Rosa walks down the street | advance plot | arriving | bouncer | club | crying | departing | jazz | leading lady | sentimental | sitting | source music | stranger |
Beyond the Forest (1949) | Chicago (Agitato Molto Marcato) | 0:55:48 - Rosa runs through the streets | agitated | crazy person | crying | familiar tune | laughing | leading lady | mad scene | manic | popular tune | running | rushing | scaring | stranger | street | tense |
Beyond the Forest (1949) | Rosa (Molto Tranquillo) | 0:57:36 - Lewis opens the door | arriving | calm | dark | doctor | leading lady | leading man | reunion scene | room | wife |
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 |
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 |
Beyond the Forest (1949) | For He’s a Jolly Good Fellow | 1:02:12 - Folk musicians | arriving | cake | cheerful | conversing | crowd | dance scene | doctor | familiar tune | leading lady | leading man | love interest | musician | on-screen music | party | playing | room | singing | source music | tuning | wife | wind |
Beyond the Forest (1949) | The Arkansas Traveler | 1:02:55 - Folk musicians | crowd | dancer | dance scene | dancing | doctor | folk music | leading lady | leading man | love interest | musician | on-screen music | party | playing | room | singing | source music | square dance caller | square dance music | upbeat | wife |
Beyond the Forest (1949) | Portland Fancy | 1:03:11 - People dancing | crowd | dancer | dance scene | dancing | doctor | folk music | leading lady | leading man | love interest | musician | on-screen music | party | playing | room | singing | source music | square dance caller | square dance music | upbeat | wife |
Beyond the Forest (1949) | Devil’s Dream | 1:03:26 - People dancing | crowd | dancer | dance scene | dancing | doctor | folk music | leading lady | leading man | love interest | musician | on-screen music | party | playing | room | singing | source music | square dance caller | square dance music | upbeat | wife |
Beyond the Forest (1949) | Little Brown Jug | 1:03:57 - People dancing | crowd | dancer | dance scene | dancing | doctor | folk music | leading lady | leading man | love interest | musician | on-screen music | party | playing | room | singing | source music | square dance caller | square dance music | upbeat | wife |
Beyond the Forest (1949) | Varsovienne | 1:04:52 - Moose talks with Mr. Latimer | conversing | dance scene | folk music | friend | friend | leading lady | leading man | love interest | on-screen music | party | plotting | proposal | room | sneaking | source music | square dance music | upbeat |
Beyond the Forest (1949) | Underscoring (Dramatic) | 1:08:24 - Moose warns Rosa | anger | dramatic | friend | harsh | leading lady | observing | room | stinger | turning point | underscoring | warning | warning |
Beyond the Forest (1949) | Chicago (Harmonics) | 1:08:31 - Rosa reacts to Moose's warning | anger | angry | contemplating | familiar tune | harsh | leading lady | ominous | popular tune | reacting | room | turning point |
Beyond the Forest (1949) | Underscoring (Dramatic) | 1:08:36 - Rosa hits the table | anger | angry | contemplating | dramatic | harsh | hitting | leading lady | pounding | reacting | room | turning point | underscoring |
Beyond the Forest (1949) | Rosa (Violent) | 1:08:54 - Rosa slowly turns | anger | angry | contemplating | harsh | leading lady | ominous | reacting | room | turning point |
Beyond the Forest (1949) | Rosa (Violent) + Chicago | 1:09:01 - Rosa heads outside | anger | angry | combination of themes | contemplating | departing | familiar tune | harsh | leading lady | ominous | popular tune | reacting | room | turning point |
Beyond the Forest (1949) | Rosa (Misterioso) | 1:09:23 - Rosa looks through the binoculars | anger | binoculars | forest | friend | hunting | husband | leading lady | leading man | looking | murder scene | mysterious | ominous | tense | victim |
Beyond the Forest (1949) | Chicago (Ominous) | 1:10:01 - Rosa puts down the binoculars | aiming | anger | dark | familiar tune | forest | friend | husband | leading lady | leading man | murder scene | ominous | popular tune | victim |
Beyond the Forest (1949) | Rosa (Ominous) | 1:10:14 - Rosa aims her gun | aiming | anger | dark | forest | friend | harsh | husband | leading lady | leading man | murder scene | ominous | stinger | victim |
Beyond the Forest (1949) | Chicago (Con Moto) | 1:11:06 - Rosa is relieved at the verdict | calm | conversing | courtroom | courtroom scene | expressive | familiar tune | hope | hopeful | husband | leading lady | leading man | love interest | murderer | popular tune | smiling | verdict |
Beyond the Forest (1949) | Rosa (Sulking) | 1:12:32 - Rosa and Lewis at the funeral | funeral | graveyard | husband | leading lady | leading man | love interest | murderer | rain | solemn | sulking | victim | watching |
Beyond the Forest (1949) | Rosa (Heavy) | 1:12:58 - Rosa and Lewis drive away | arriving | departing | dramatic | funeral | husband | leading lady | leading man | murderer | room | somber | transition | victim |
Beyond the Forest (1949) | Lewis (Crescendo) | 1:13:15 - Rosa and Lewis at home | arriving | calm | conversing | dark | dramatic | husband | leading lady | leading man | murderer | room | transition | victim | yelling |
Beyond the Forest (1949) | Threat | 1:16:14 - Rosa lunges forward | advance plot | dark | harsh | leading lady | lunging | murderer | ominous | room | staring | stinger | threatening | violent |
Beyond the Forest (1949) | Underscoring (Mysterious) | 1:16:20 - Rosa stares out the window | advance plot | departing | leading lady | maid | murderer | mysterious | plotting | room | street | underscoring | walking | watching |
Beyond the Forest (1949) | Running (A Little Heavier) | 1:16:28 - Rosa heads downstairs | advance plot | hurrying | leading lady | murderer | mysterious | plotting | room | tense |
Beyond the Forest (1949) | Rosa (Listesso) | 1:16:48 - Rosa takes the maid's things | advance plot | dark | disguise | dressing | harsh | leading lady | murderer | ominous | room | stealing | violent |
Beyond the Forest (1949) | Rosa (On the Run) | 1:17:21 - Rosa approaches a bus | advance plot | bus | disguise | doctor | leading lady | leading man | murderer | mysterious | office | patient | runaway | running away | sneaking | street | watching |
Beyond the Forest (1949) | Rosa (Cello Solo) | 1:18:09 - Rosa sitting in a chair | advance plot | disguise | leading lady | leading man | murderer | mysterious | office | sitting |
Beyond the Forest (1949) | The Cliff | 1:19:13 - Rosa looks out of the car window | action scene | car | car | cliff | contemplating | descending | driving | leading lady | leading man | murderer | tense |
Beyond the Forest (1949) | Chicago (Dark) | 1:19:25 - Rosa sitting in a car | action scene | car | car | cliff | conversing | descending | driving | familiar tune | leading lady | leading man | murderer | ominous | popular tune |
Beyond the Forest (1949) | The Cliff (Car Stops) | 1:19:36 - Rosa sitting in a car | action scene | car | car | cliff | conversing | descending | driving | leading lady | leading man | murderer | tense |
Beyond the Forest (1949) | Hurrying (Fleeing) | 1:19:50 - Rosa leaps out of the car | action scene | canyon | car | cliff | fleeing | leading lady | leading man | murderer | runaway | running | rushed |
Beyond the Forest (1949) | Leaping | 1:19:56 - Rosa leaps off of a cliff | action scene | canyon | jumping | leading lady | murderer | runaway | rushed |
Beyond the Forest (1949) | Rosa (Broadly) | 1:19:57 - Rosa rolls down a hill | action scene | canyon | dark | dramatic | falling | jumping | leading lady | leading man | murderer | runaway | tense |
Beyond the Forest (1949) | Rosa (Molto Tranquillo 2) | 1:20:12 - Rosa in bed | advance plot | calm | leading lady | murderer | recovering | resting | room | sickness | sleeping | sultry | waking |
Beyond the Forest (1949) | Chicago (Molto Tranquillo) | 1:20:35 - Rosa in bed | advance plot | banging | calm | familiar tune | leading lady | maid | murderer | popular tune | recovering | resting | room | sentimental | sickness |
Beyond the Forest (1949) | Chicago (Molto Expressivo) | 1:20:43 - The maid in the kitchen | advance plot | familiar tune | leading lady | maid | murderer | popular tune | recovering | resting | room | sentimental | sickness | upbeat |
Beyond the Forest (1949) | Rosa (Agitato Misterioso) | 1:22:49 - Rosa in bed | agitated | fever | illness scene | leading lady | murderer | room | sickness | sweating | tense | walking |
Beyond the Forest (1949) | Sawmill + Steam Whistle | 1:23:17 - Rosa opens the window | agitated | combination of themes | fever | illness scene | leading lady | machinery effect | mickey-mousing | murderer | opening | raising | room | sickness | sweating | tense | waiting | whistle effect |
Beyond the Forest (1949) | Sawmill + Fever | 1:23:26 - Rosa rubs her forehead | agitated | combination of themes | fever | illness scene | leading lady | machinery effect | maid | murderer | room | sickness | sickness effect | sweating | tense | waiting |
Beyond the Forest (1949) | Rosa (Fever) | 1:23:41 - The maid sweeping | bleak | drinking | fever | illness scene | leading lady | maid | murderer | oppressive | pounding | room | sickness | waiting |
Beyond the Forest (1949) | Lewis (Triste 2) | 1:24:09 - Lewis walks inside | arriving | calm | doctor | fever | illness scene | leading lady | leading man | murderer | room | sickness | solemn | street | waiting | walking |
Beyond the Forest (1949) | Chicago | 1:27:10 - Rosa sings to herself | delirious | familiar tune | fever | illness scene | leading lady | maid | murderer | on-screen music | popular tune | room | score to source | sickness | singing | source music |
Beyond the Forest (1949) | Chicago (Echo Chambre) | 1:28:20 - Rosa prepares to leave | angry | arguing | climax | crazed | delirious | eerie | familiar tune | leading lady | mad | madness | mad scene | maid | murderer | popular tune | preparing | room | stumbling | unsettling | yelling |
Beyond the Forest (1949) | Chicago (She Walks Down) | 1:29:25 - Rosa walks down the stairs | climax | dark | descending | familiar tune | leading lady | madness | mad scene | maid | mickey-mousing | murderer | popular tune | room | solemn | stairs | stumbling |
Beyond the Forest (1949) | Sawmill | 1:29:51 - Rosa opens the door | agitated | climax | leading lady | machinery effect | madness | mad scene | maid | murderer | street | stumbling | tense | walking |
Beyond the Forest (1949) | Sawmill + Steam Whistle | 1:30:02 - The maid makes a phone call | agitated | climax | collapsing | combination of themes | cut from film | falling | leading lady | machinery effect | madness | mad scene | maid | murderer | street | stumbling | tense | walking | whistle effect |
Beyond the Forest (1949) | Sawmill + Rosa (Stumbling) | 1:30:10 - Rosa struggles to her feet | climax | combination of themes | dark | leading lady | machinery effect | madness | mad scene | murderer | ominous | standing | street | stumbling | walking |
Beyond the Forest (1949) | Rosa (Fever 2) | 1:30:23 - Rosa stumbles forward | climax | dark | leading lady | madness | mad scene | murderer | ominous | street | stumbling | walking |
Beyond the Forest (1949) | Sawmill + Steam Whistle | 1:30:36 - Darkness | agitated | climax | combination of themes | leading lady | madness | mad scene | murderer | stumbling | tense | train | train station | walking | whistle effect |
Beyond the Forest (1949) | Train | 1:30:52 - A locomotive | agitated | climax | cut from film | leading lady | madness | mad scene | murderer | stumbling | tense | train | train effect | train station | walking |
Beyond the Forest (1949) | Train + Chicago (Shrill) | 1:30:54 - Rosa stumbles towards the train | agitated | climax | combination of themes | cut from film | familiar tune | leading lady | madness | mad scene | murderer | popular tune | shrill | stumbling | tense | train | train effect | train station | walking |
Beyond the Forest (1949) | Train (Heating Up) + Chicago (Fragmented) | 1:31:05 - Rosa stumbles towards the train | agitated | climax | combination of themes | desperate | familiar tune | leading lady | madness | mad scene | murderer | popular tune | stumbling | tense | train | train effect | train station | walking |
Beyond the Forest (1949) | Chicago | 1:31:21 - Rosa stumbles towards the train | climax | desperate | familiar tune | leading lady | madness | mad scene | murderer | popular tune | stumbling | tense | train | train station | walking |
Beyond the Forest (1949) | Chicago | 1:31:26 - The train leaves the station | agitated | climax | departing | familiar tune | leading lady | madness | mad scene | murderer | obsessive | popular tune | shrill | tense | train | train station |
Beyond the Forest (1949) | Stinger | 1:31:51 - Rosa dead | arriving | climax | dark | death | doctor | husband | leading lady | leading man | mad scene | murderer | solemn | stinger | train | train station | walking |
Beyond the Forest (1949) | Rosa | 1:32:10 - Lewis arrives | arriving | checking | climax | dark | death | doctor | dramatic | husband | leading lady | leading man | mad scene | murderer | reacting | tender | train | train station |
The Big Sleep (1946) | Transition | 0:00:08 - Shadows of the main characters | bold | half-diminished 7th chord | leading lady | leading man | opening title sequence | silhouette | smoke | smoking | starring list | transition | voice-exchange |
The Big Sleep (1946) | The Big Sleep | 0:00:13 - Starring actors and main title | 9th chord | ABA structure | cast list | chromatic mediant | chromatic sequence | dark | heavy | leading lady | leading man | Neapolitan | opening title sequence | silhouette | smoke | smoking | starring list |
The Big Sleep (1946) | Walking | 0:25:22 - Vivian walks down the hall | advance plot | butler | calm | inserted scene | leading lady | leading man | not in score | parallelism | pedal tone | private eye | reused recording | room | walking |
The Big Sleep (1946) | Marlowe (Grazioso) | 0:25:28 - Marlowe asks Vivian to help with Carmen | added-note chord | advance plot | butler | conversing | femme fatale | half-diminished 7th chord | inserted scene | leading lady | leading man | mysterious | not in score | private eye | reused recording | room |
The Big Sleep (1946) | Walking | 0:32:10 - Marlowe walks to his office | advance plot | arriving | calm | leading lady | leading man | parallelism | pedal tone | private eye | room | walking |
The Big Sleep (1946) | Marlowe (Grazioso) | 0:32:29 - Marlowe talks with Vivian | advance plot | conversing | half-diminished 7th chord | leading lady | leading man | mysterious | private eye | room |
The Big Sleep (1946) | Running | 0:47:40 - Vivian enters the apartment building | chromatic parallelism | dissonant bass | hurrying | investigating | investigation scene | leading lady | leading man | mysterious | private eye | street | tense | walking |
The Big Sleep (1946) | Marlowe (Determined) | 0:47:56 - Marlowe enters the apartment building | arriving | ascending | bold | common-chord modulation | determined | fragmentation | heroic | investigating | investigation scene | leading lady | leading man | parallel 63s | parallelism | private eye | sequence | stairs | street | walking |
The Big Sleep (1946) | Underscoring (Tense) | 0:51:31 - Joe reacts to the doorbell ringing | blackmailer | chromatic parallelism | conflict | conversing | criminal | doorbell | gun | leading lady | leading man | mysterious | pc set | private eye | room | suspect | tense | tone cluster | underscoring | whole-tone chord |
The Big Sleep (1946) | Sternwood (Threatening) | 0:51:52 - Carmen enters holding a gun on Brody | blackmailer | blue note | conflict | criminal | dark | dissonant bass | femme fatale | gun | leading lady | leading man | private eye | room | sinister | stinger | suspect | threatening | whole-tone chord |
The Big Sleep (1946) | Underscoring (Dramatic) | 0:52:02 - Marlowe pushes Agnes | blackmailer | chromatic parallelism | chromatic scale | conflict | criminal | diminished 7th chord | dramatic | falling | femme fatale | gun | leading lady | leading man | private eye | room | suspect | tense | tripping | underscoring |
The Big Sleep (1946) | Carmen (Misterioso) | 0:52:18 - Joe gives the picture to Marlowe | blackmail | blackmailer | conflict | conversing | criminal | evidence | femme fatale | half-diminished 7th chord | leading lady | leading man | mysterious | private eye | room | suspect | whole-tone chord |
The Big Sleep (1946) | Sternwood (Extended) | 0:52:29 - Carmen asks for her picture back | 9th chord | altered dominant | blackmail | chromatic parallelism | conflict | diminished 7th chord | evidence | femme fatale | flirting | leading lady | leading man | mysterious | pc set | private eye | room | seductive | whole-tone chord |
The Big Sleep (1946) | Carmen (Violent) | 0:52:58 - Vivian and Carmen leave | blackmailer | conflict | criminal | dissonant bass | femme fatale | leading lady | leading man | leaving | mysterious | private eye | room | suspect | whole-tone | whole-tone chord |
The Big Sleep (1946) | Slapping | 0:53:02 - Carmen slaps Joe with her purse | blackmailer | conflict | criminal | dissonant bass | femme fatale | leading lady | leading man | mickey-mousing | private eye | room | slamming | slapping | suspect | tense | violence | whole-tone chord |
The Big Sleep (1946) | Vivian + Marlowe (Ear Business) | NIF - not in film | advance plot | altered dominant | combination of themes | conversing | cut from film | deleted scene | deleted scene | leading lady | leading man | love interest | mysterious | private eye | romantic | room | thinking | whole-tone |
The Big Sleep (1946) | I Guess I'll Have to Change My Plan | 1:00:50 - Vivian enters a restaurant | ABACA structure | arriving | club | conversing | falling in love scene | leading lady | leading man | love interest | pleasant | private eye | source music |
The Big Sleep (1946) | The Blue Room | 1:02:15 - Vivan pays Marlowe | AABA structure | club | conversing | falling in love scene | leading lady | leading man | love interest | pleasant | private eye | source music |
The Big Sleep (1946) | You Go to My Head | 1:04:25 - Vivian and Marlowe talk in a restaurant | club | conversing | falling in love scene | leading lady | leading man | love interest | pleasant | private eye | source music |
The Big Sleep (1946) | And Her Tears Flowed Like Wine | 1:05:55 - Marlowe arrives at Mars's place | advance plot | arriving | club | leading lady | leading man | love interest | musician | on-screen music | playing | private eye | singer | singing | source music | upbeat |
The Big Sleep (1946) | I'm in a Jam With Baby | 1:10:53 - Marlowe talks to people at the party | advance plot | club | gambler | gambling | leading lady | leading man | love interest | private eye | source music | upbeat |
The Big Sleep (1946) | Liza (All the Clouds'll Roll Away) | 1:12:27 - Marlowe leaves the gambling joint | AABA structure | conflict | criminal | investigating | leading lady | leading man | love interest | private eye | source music | street | upbeat |
The Big Sleep (1946) | What Are You Doin' the Rest of Your Life | 1:14:35 - Marlowe and Vivian leave | conflict | conversing | leading lady | leading man | love interest | parallel double period | private eye | source music | street | upbeat |
The Big Sleep (1946) | Driving | 1:14:54 - Marlowe and Vivian in the car | augmented sixth chord | car | car | driving | leading lady | leading man | love interest | love scene | mickey-mousing | oscillation | ostinato | private eye | tense |
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) | Questions | 1:16:16 - Marlowe and Vivian argue | angry | car | chromatic parallelism | chromatic scale | conversing | leading lady | leading man | love interest | love scene | private eye | tense |
The Big Sleep (1946) | Sternwood (Tense) | 1:16:26 - Marlowe asks about Eddie Mars | accusing | car | fragmentation | half-diminished 7th chord | leading lady | leading man | love interest | love scene | private eye | tense | whole-tone chord |
The Big Sleep (1946) | Underscoring (Tense) | 1:16:43 - Marlowe and Vivian argue | accusing | car | chromatic parallelism | half-diminished 7th chord | leading lady | leading man | love interest | love scene | pedal tone | private eye | tense | underscoring |
The Big Sleep (1946) | Marlowe (Mysterious Organ) | 1:21:42 - Marlowe speaks to waitress | advance plot | café | conversing | leading lady | leading man | love interest | mysterious | pc set | phone call | private eye | tense |
The Big Sleep (1946) | Underscoring (Mysterious) | 1:21:57 - Marlowe speaks with Vivian on the phone | advance plot | café | chromatic parallelism | conversing | leading lady | leading man | linear chromaticism | love interest | mysterious | phone call | private eye | stinger | tense | underscoring |
The Big Sleep (1946) | Marlowe (Whole Tone) | 1:39:25 - Marlowe talks to Vivian | captive | conversing | leading lady | leading man | love interest | love scene | mysterious | private eye | room | tense | whole-tone | whole-tone chord | whole-tone scale |
The Big Sleep (1946) | Marlowe (Phone Call) | 1:39:39 - Marlowe talks to Vivian | captive | conversing | leading lady | leading man | love interest | love scene | mysterious | private eye | room | sequence | tense | whole-tone chord |
The Big Sleep (1946) | Carmen | 1:39:52 - Marlowe talks to Vivian | captive | conversing | half-diminished 7th chord | leading lady | leading man | love interest | love scene | musical clue | music reveals thoughts | mysterious | private eye | room | whole-tone chord |
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 |
The Big Sleep (1946) | Questions | 1:40:44 - Vivian tries to free Marlowe | captive | chromatic parallelism | freeing | leading lady | leading man | love interest | love scene | private eye | room | tense |
The Big Sleep (1946) | Marlowe (Misterioso) | 1:41:01 - Marlowe plans his escape | action scene | leading lady | leading man | love interest | mysterious | planning | private eye | room | tense |
The Big Sleep (1946) | Marlowe 2 | 1:41:18 - Marlowe goes outside | action scene | chromatic scale | escaping | leading lady | leading man | love interest | mysterious | private eye | room | screaming | tense |
The Big Sleep (1946) | Underscoring (Dramatic) | 1:41:36 - Marlowe runs to his car | 9th chord | action scene | criminal | diminution | dramatic | fragmentation | leading lady | leading man | linear chromaticism | love interest | outside | private eye | running | underscoring | whole-tone chord |
The Big Sleep (1946) | Hostage + Marlowe (Fragment) | 1:42:34 - Canino brings Vivian out as a hostage | 64 chord | action scene | criminal | hostage | leading lady | leading man | love interest | ostinato | ostinato | outside | private eye | tense | tritone oscillation | walking |
The Big Sleep (1946) | Underscoring (Dramatic) | 1:43:17 - Canino shoots | action scene | criminal | dramatic | gun | gunshot | hostage | leading lady | leading man | love interest | outside | private eye | shooting | underscoring |
The Big Sleep (1946) | Marlowe rises | 1:43:19 - Marlowe rises | action scene | criminal | dramatic | hostage | leading lady | leading man | love interest | outside | pc set | private eye | rising |
The Big Sleep (1946) | Canino's Death | 1:43:22 - Canino is shot | action scene | chromatic parallelism | criminal | death | dramatic | dying | falling | gun | gunshot | hostage | leading lady | leading man | love interest | mirroring | outside | pc set | private eye | retrograde | stumbling | tense |
The Big Sleep (1946) | Underscoring (Tense) | 1:43:35 - Marlowe gets the keys to the handcuffs | action scene | chromatic parallelism | criminal | death | escaping | gun | hostage | leading lady | leading man | love interest | outside | pc set | private eye | tense | underscoring | whole-tone | whole-tone chord |
The Big Sleep (1946) | Marlowe (Escaping) | 1:43:48 - Vivian takes off the handcuffs | action scene | distortion | escaping | leading lady | leading man | love interest | mysterious | outside | private eye | tense |
The Big Sleep (1946) | Driving 2 | 1:43:54 - Marlowe and Vivian drive away | car | conversing | driving | leading lady | leading man | love interest | love scene | ostinato | pc set | private eye | sequence | tense |
The Big Sleep (1946) | Driving 2 + Vivian | 1:44:16 - Vivian tells Marlowe she loves him | 9th chord | 13th chord | car | chromatic parallelism | conversing | driving | leading lady | leading man | love | love interest | love scene | ostinato | private eye | romantic | suspension | tense |
The Big Sleep (1946) | Driving 2 | 1:44:32 - Vivian and Marlowe talk in the car | car | conversing | driving | leading lady | leading man | love interest | love scene | ostinato | private eye | sequence | tense |
The Big Sleep (1946) | Driving 2 + Vivian | 1:44:44 - Vivian and Marlowe talk in the car | car | conversing | driving | leading lady | leading man | love | love interest | love scene | ostinato | private eye | romantic | tense | whole-tone chord |
The Big Sleep (1946) | Driving 2 | 1:44:51 - Vivian and Marlowe talk in the car | car | conversing | driving | leading lady | leading man | love interest | love scene | ostinato | pc set | private eye | tense | whole-tone chord |
The Big Sleep (1946) | Driving 2 + Carmen | 1:45:06 - Marlowe talks about Carmen | car | conversing | driving | leading lady | leading man | love interest | love scene | ostinato | private eye | tense | whole-tone chord |
The Big Sleep (1946) | Driving 2 + Vivian | 1:45:21 - Marlowe tells Vivian he loves her | 9th chord | 13th chord | arriving | car | chromatic parallelism | conversing | driving | leading lady | leading man | love | love interest | love scene | ostinato | private eye | romantic | suspension | tense |
The Big Sleep (1946) | Marlowe (Bold) | 1:45:44 - Marlowe and Vivian get out of the car | bold | chromatic scale | heroic | leading lady | leading man | love interest | outside | private eye | transition | walking |
The Big Sleep (1946) | Walking (Extended) | 1:45:45 - Marlowe and Vivian walk up to house | fragmentation | leading lady | leading man | love interest | outside | parallelism | pedal tone | private eye | sequential modulation | tense | transition | walking |
The Big Sleep (1946) | Hangs up phone | 1:47:07 - Marlowe hangs up the phone | climax | hanging up | leading lady | leading man | love interest | mickey-mousing | mysterious | private eye | room |
The Big Sleep (1946) | Hurrying | 1:47:07 - Marlowe and Vivian make a plan | chromatic sequence | climax | fragmentation | hurrying | leading lady | leading man | love interest | parallelism | planning | private eye | room | tense |
The Big Sleep (1946) | Marlowe (Misterioso) | 1:47:26 - Marlowe drops a bullet | climax | fear | leading lady | leading man | love interest | mysterious | private eye | room | shaking | tense |
The Big Sleep (1946) | Marlowe 2 | 1:47:31 - Car pulls up outside | chromatic scale | climax | fear | leading lady | leading man | love interest | mysterious | private eye | room | shaking | tense | tritone |
The Big Sleep (1946) | Carmen (Drugged) | 1:48:08 - Marlowe watches men outside | climax | criminal | fear | leading lady | leading man | love interest | mysterious | ominous | planning | private eye | room | tense | waiting |
The Big Sleep (1946) | Mars Dies | 1:51:43 - Mars falls dead to the ground | criminal | death | dying | falling | leading lady | leading man | love interest | mysterious | ominous | private eye | resolution | room | stinger | tense | underscoring |
The Big Sleep (1946) | Marlowe (Risoluto) | 1:52:01 - Marlowe walks to the phone | added-note chord | bold | death | fragmentation | leading lady | leading man | love interest | mysterious | plotting | private eye | resolution | room | tense |
The Big Sleep (1946) | Carmen (Tense) | 1:52:28 - Marlowe talks on the phone | conversing | leading lady | leading man | love interest | lying | mysterious | oscillation | pedal tone | phone call | private eye | resolution | room | tense | uneasy | whole-tone chord |
The Big Sleep (1946) | Vivian | 1:52:48 - Marlowe talks to Vivian | 9th chord | 13th chord | chromatic parallelism | conversing | leading lady | leading man | love | love interest | Neapolitan | private eye | resolution | romantic | room |
The Big Sleep (1946) | Vivian (Expressivo) | 1:53:20 - Marlowe pulls Vivian close | 9th chord | 13th chord | chromatic parallelism | conversing | foreign key modulation | leading lady | leading man | love | love interest | private eye | resolution | romantic | room | suspension |
The Breaking Point (1950) | Fishermen | 0:07:40 - Ship leaving the harbor | boat | boat | boating | calm | common-tone diminished 7th | departing | fisherman | fishing | floozy | leading lady | leading man | montage | not by Steiner | sailor | tense | transcribed by ear | upbeat |
The Breaking Point (1950) | Flor de Lis | 0:08:17 - A ship sailing | art song | boat | boat | boating | conversing | establish setting | flirting | floozy | leading lady | leading man | not by Steiner | sailor | upbeat | working |
The Breaking Point (1950) | En Mi Canto de Amor | 0:08:57 - A dock at night | arriving | art song | boat | conversing | docking | establish setting | flirting | floozy | harbor | leading lady | leading man | not by Steiner | sailor | source music | upbeat | working |
The Breaking Point (1950) | Carmen, Carmela | 0:11:11 - Harry talks to Duncan in a bar | AABA structure | bar | conversing | criminal | establish setting | floozy | folk music | gambling | leading lady | leading man | musician | on-screen music | performing | pleasant | sailor | serenading | singing | source music |
The Breaking Point (1950) | La Golondrina | 0:12:21 - Harry sits down with Leona in the bar | advance plot | bar | calm | conversing | fisherman | flirting | floozy | folk music | leading lady | leading man | sailor | source music |
The Breaking Point (1950) | Please Don't Talk About Me When I'm Gone | 0:39:07 - Harry arrives at a bar | AABA structure | advance plot | bar | bartender | criminal | dancing | floozy | jukebox | leading lady | leading man | on-screen music | sailor | singing | source music | upbeat |
The Breaking Point (1950) | Ask Me No Questions | 0:40:46 - Harry talks to Duncan | advance plot | arguing | bar | bartender | conversing | criminal | floozy | jukebox | leading lady | leading man | mellow | sailor | source music |
The Breaking Point (1950) | On an Ordinary Morning | 0:43:33 - Leona and Harry sit together in a bar | advance plot | bar | conversing | floozy | jukebox | leading lady | leading man | mellow | sailor | source music | wife |
The Breaking Point (1950) | Make Love With a Guitar | 0:46:27 - A boy plays the accordion | advance plot | calm | child | conversing | drunk | leading lady | leading man | neighbor | on-screen music | sailor | source music | street | walking | wife |
The Breaking Point (1950) | I Guess I'll Have to Change My Plan | 1:00:26 - Harry in a restaurant | ABACA structure | advance plot | bartender | conversing | floozy | leading lady | leading man | mellow | restaurant | sailor | source music |
The Breaking Point (1950) | You Missed the Boat | 1:02:56 - Duncan talks to Harry in the restaurant | advance plot | conversing | criminal | floozy | leading lady | leading man | mellow | restaurant | sailor | source music |
The Breaking Point (1950) | Don't Take Your Love From Me | 1:05:42 - Harry arrives at Leona's apartment | ABAC structure | advance plot | conversing | floozy | leading lady | leading man | mellow | room | sailor | source music |
The Breaking Point (1950) | The Breaking Point (Ethereal) | 1:34:41 - Harry recognizes Lucy | 9th chord | boat | climax | comforting | conversing | crying | ethereal | leading lady | leading man | mixed meter | mode mixture | sailor | sweet | wife |
The Breaking Point (1950) | The Breaking Point (Cellos) | 1:35:14 - Harry talks with Lucy | boat | climax | comforting | conversing | crying | ethereal | foreign key modulation | leading lady | leading man | mixed meter | sailor | sweet | wife |
The Breaking Point (1950) | Calm | 1:35:38 - Lucy leaves | augmented triad | boat | climax | comforting | conversing | crying | ethereal | leading lady | leading man | pedal tone | sailor | sweet | wife |
The Breaking Point (1950) | The Breaking Point (Triste) | 1:35:50 - Harry is carried out on a stretcher | carrying | child | climax | crowd | crying | deceptive resolution | doctor | harbor | leading lady | leading man | sailor | somber | watching | wife |
The Breaking Point (1950) | Leona | 1:36:26 - Leona watches | 9th chord | 11th chord | 13th chord | augmented sixth chord | child | chromatic parallelism | climax | crowd | crying | doctor | harbor | leading lady | leading man | sailor | somber | watching | wife |
Caged (1950) | Marie (Main Title) | NIF - not in film | augmented sixth chord | car | cut from film | dark | guard | leading lady | looking | opening title sequence | police car | prisoner | tense |
Caged (1950) | Prison | NIF - not in film | 9th chord | augmented sixth chord | conversing | cut from film | dark | exiting | guard | leading lady | opening title sequence | police car | prison | prisoner | suspension | underscoring |
Caged (1950) | Marie | 0:08:04 - Marie poses for mugshot | augmented sixth chord | camera | dissonant bass | establish character | guard | leading lady | mug shot | photographer | photographing | prison | prisoner | sigh gesture | somber |
Caged (1950) | Isolation Ward | 0:08:54 - Edna lying in a bed | 9th chord | conversing | dark | dissonant bass | establish character | illness | isolation | leading lady | mysterious | ominous | oscillation | prison | prisoner | rain | uneasy |
Caged (1950) | Marie (Tragic) | NIF - not in film | advance plot | augmented sixth chord | cut from film | dissonant bass | foreign key modulation | guard | leading lady | pc set | prison | prisoner | standing | uneasy |
Caged (1950) | Swimmy | NIF - not in film | advance plot | chromatic parallelism | chromatic scale | cut from film | disbelief | dissonant bass | fragmentation | guard | leading lady | pregnancy | prison | prisoner | reacting | realization | tense |
Caged (1950) | Molto Expressivo | NIF - not in film | 9th chord | advance plot | arriving | cut from film | disbelief | foreign key modulation | guard | leading lady | pregnancy | prison | prisoner | realization | somber | stinger | tense | walking |
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) | Crying | NIF - not in film | comforting | crying | cut from film | deceptive resolution | dramatic | establish character | leading lady | office | pregnancy | prison | prisoner | sequential modulation | 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) | Underscoring (Tense) | NIF - not in film | bed | crazy person | crying | cut from film | leading lady | mad scene | oscillation | prison | prisoner | sleeping | tense | underscoring |
Caged (1950) | Madness | NIF - not in film | agitated | bed | chromatic scale | crazy person | crying | cut from film | leading lady | mad scene | ostinato | prison | prisoner | sleeping | standing |
Caged (1950) | Train Whistle Hallucination | NIF - not in film | acceleration | agitated | bed | breaking | chromatic parallelism | chromatic scale | crazy person | crying | cut from film | diminished 7th chord | dramatic | glass | hallucinating | leading lady | mad scene | ostinato | pedal tone | polychord | prison | prisoner | screaming | smashing |
Caged (1950) | Caged (Not in Film) | NIF - not in film | bed | crazy person | crying | cut from film | dark | glass | leading lady | mad scene | pc set | prison | prisoner |
Caged (1950) | Wailing | NIF - not in film | agitated | bed | crazy person | crying | crying effect | cut from film | glass | leading lady | mad scene | ostinato | pc set | prison | prisoner | wailing |
Caged (1950) | Wailing + Train Whistle Hallucination | NIF - not in film | acceleration | agitated | bed | chromatic parallelism | chromatic scale | combination of themes | crazy person | crying | crying effect | cut from film | diminished 7th chord | dramatic | glass | leading lady | mad scene | ostinato | pedal tone | polychord | prison | prisoner | rushing | unlocking | wailing |
Caged (1950) | Wailing (Ominous) | NIF - not in film | bed | bleeding | blood | crazy person | crying | cut from film | dark | leading lady | mad scene | ominous | ostinato | prison | prisoner | tritone | wailing | whole-tone chord |
Caged (1950) | Prison Alarm | 0:32:00 - Ringing prison alarm | agitated | alarm | alarm effect | bell | double exposure | dramatic | guard | leading lady | mickey-mousing | montage | montage | prison | prisoner | ringing | waking | whole-tone chord | whole-tone scale | yelling |
Caged (1950) | Marie (Expressivo) | 0:32:12 - The prison laundry | alarm | augmented sixth chord | augmented triad | bell | double exposure | dramatic | guard | leading lady | metric displacement | montage | montage | prison | prisoner | ringing | roll call | working |
Caged (1950) | Prison Alarm | 0:32:22 - Ringing prison alarm | agitated | alarm | alarm effect | bell | double exposure | dramatic | eating | guard | leading lady | mickey-mousing | montage | montage | prison | prisoner | ringing | waking | whole-tone chord |
Caged (1950) | Underscoring (Dramatic) | 0:32:30 - Marie in the prison cafeteria | alarm | alarm effect | bell | chromatic parallelism | double exposure | dramatic | eating | fanning | guard | heat | leading lady | mickey-mousing | montage | montage | pc set | prison | prisoner | underscoring | whole-tone scale |
Caged (1950) | Prison | 0:32:40 - Marie working in the prison laundry | 9th chord | double exposure | dramatic | leading lady | montage | montage | prison | prisoner | suspension | working |
Caged (1950) | Underscoring (Dramatic) | 0:32:47 - Marie working in the prison laundry | alarm | alarm effect | augmented sixth chord | bell | chromatic scale | double exposure | dramatic | leading lady | mickey-mousing | montage | montage | pain | prison | prisoner | quick cuts | underscoring | working |
Caged (1950) | Marie (Dark) | 0:32:55 - Marie's medical report | augmented sixth chord | dark | double exposure | infirmary | leading lady | medical report | montage | montage | pain | prison | prisoner | working |
Caged (1950) | Marie (Slowly) | 0:35:14 - Marie talks to Kitty | advance plot | augmented sixth chord | chromatic mediant | conversing | foreign key modulation | friend | leading lady | oscillation | pc set | prison | prisoner | sickness | sigh gesture | solemn | uneasy |
Caged (1950) | Underscoring (Subtle) | 0:36:52 - June gets dressed for her parole board hearing | dressing | establish character | excited | friend | leading lady | prison | prisoner | sequential modulation | tense | underscoring |
Caged (1950) | June and Marie | 0:37:06 - June and Marie talk | conversing | establish character | foreign key modulation | friend | hopeful | leading lady | noble | prison | prisoner |
Caged (1950) | June | 0:37:27 - June and Marie talk | 11th chord | 13th chord | conversing | establish character | foreign key modulation | friend | hopeful | leading lady | melancholy | prison | prisoner | sequence | somber |
Caged (1950) | Underscoring (Dark) | 0:37:58 - June and Marie argue | arguing | dark | dissonant bass | establish character | friend | leading lady | prison | prisoner | underscoring |
Caged (1950) | June (Triste) | 0:38:14 - June and Marie talk | common-tone diminished 7th | conversing | cut from film | establish character | friend | leading lady | melancholy | prison | prisoner | somber |
Caged (1950) | June (Slowly) | 0:38:39 - Marie looks for June | arriving | chromatic mediant | conversing | deceptive resolution | establish character | friend | guard | leading lady | melancholy | minor-major 7th chord | prison | prisoner | somber |
Caged (1950) | June (Adagio) | 0:39:34 - Inmates play cards | cards | chromatic mediant | chromatic scale | close-up | conversing | establish character | foreign key modulation | friend | leading lady | melancholy | playing | prison | prisoner | somber | underscoring | uneasy |
Caged (1950) | June and Marie (Very Slow) | 0:39:59 - Marie helps June | 9th chord | consoling | dark | despair | establish character | friend | guard | helping | leading lady | prison | prisoner | somber | whole-tone chord |
Caged (1950) | Harper | 0:40:20 - Harper walks | dark | establish character | friend | guard | leading lady | mickey-mousing | prison | prisoner | tritone oscillation | walking | whole-tone chord |
Caged (1950) | June (Dead) | 0:43:38 - Shot of June's hanging body | common-tone diminished 7th | dark | death | death scene | friend | hanging | harsh | leading lady | prison | prisoner | suicide |
Caged (1950) | Crying (Poco Agitato) | 0:44:27 - Mrs. Benton paces | baby | childbirth | conversing | crying | doctor | infirmary | leading lady | mickey-mousing | operation scene | oscillation | pacing | prison | prisoner | tense | triadic transformation | uneasy | walking | warden |
Caged (1950) | Marie (Tragic) | 0:44:36 - Mrs. Benton paces | baby | childbirth | doctor | foreign key modulation | infirmary | leading lady | operation scene | pacing | prison | prisoner | tense | uneasy | warden | worrying |
Caged (1950) | Marie | 0:44:54 - The doctor washes up | baby | childbirth | cleaning | conversing | doctor | infirmary | leading lady | operation scene | prison | prisoner | sigh gesture | solemn | 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 |
Caged (1950) | Marie (Dramatic) | 0:52:43 - Marie pleads with her mother to take the baby | 9th chord | altered dominant | chromatic scale | chromatic wedge | despair | dramatic | leading lady | mother | nurse | pleading | prison | prisoner | tragic | turning point |
Caged (1950) | Prison (Tragic) | 0:52:48 - Marie calls after her mother | added-note chord | augmented sixth chord | chromatic sequence | despair | dramatic | leading lady | mother | nurse | pleading | prison | prisoner | sigh gesture | tragic | turning point |
His Greatest Gamble (1934) | Nocturne in E-flat Major | 0:36:29 - Philip looks for Alice | advance plot | calm | conversing | daughter | fugitive | leading lady | leading man | mansion | nocturne | pleasant | searching | source music | wandering |
His Greatest Gamble (1934) | Waltz in C-sharp Minor | 0:40:28 - Philip talks with Alice and Florence | advance plot | conversing | daughter | ex-wife | fugitive | leading lady | leading man | mansion | serious | source music | waltz |
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) | Scales | 0:09:16 - Danny and Peggy go upstairs | arguing | conversing | establish character | leading lady | leading man | mother | on-screen music | piano | room | source music | tedious | transcribed by ear |
City for Conquest (1940) | Lullaby of Broadway | 0:17:00 - A sign for Rose Gardens Casino | boxer | conversing | crowd | dance band | dance hall | dancer | dance scene | dancing | leading lady | leading man | on-screen music | playing | popular music | source music | upbeat |
City for Conquest (1940) | Latin For Manhattan | 0:18:29 - Peggy and Danny sit down | AABA structure | blue note | boxer | conversing | crowd | dance band | dance hall | dancer | dance scene | dancing | leading lady | leading man | on-screen music | playing | popular music | source music | upbeat |
City for Conquest (1940) | The Continental | 0:19:53 - Peggy dances with Murray | AABA structure | boxer | conversing | crowd | dance band | dance hall | dancer | dance scene | dancing | friend | leading lady | leading man | on-screen music | phrase extension | playing | popular music | source music | upbeat |
City for Conquest (1940) | Jalousie | 0:20:39 - Danny sitting at a table | ABAC structure | boxer | crowd | dance band | dance hall | dancer | dance scene | dancing | friend | leading lady | leading man | on-screen music | popular music | source music | upbeat |
City for Conquest (1940) | I'm Just Wild About Harry | 0:21:28 - Peggy dances with Murray | ABAC structure | crowd | dance band | dance hall | dancer | dance scene | dancing | leading lady | on-screen music | popular music | source music | upbeat |
City for Conquest (1940) | Shadow Waltz | 0:21:46 - Peggy dances with Murray | ABAC structure | conversing | crowd | dance band | dance hall | dancer | dance scene | dancing | leading lady | on-screen music | playing | popular music | source music | upbeat |
City for Conquest (1940) | Fanfare | 0:22:58 - A trophy is brought out | award | bold | chromatic mediant | crowd | dance band | dance hall | dancer | dance scene | fanfare | leading lady | on-screen music | parallelism | presenting | source music | transcribed by ear | upbeat |
City for Conquest (1940) | I'm Just Wild About Harry | 0:23:07 - Close-up of Lily | ABAC structure | award | boxer | conversing | crowd | dance band | dance hall | dancer | dance scene | friend | leading lady | leading man | on-screen music | popular music | source music | upbeat |
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) | I'm Just Wild About Harry (Delicato) | 0:25:06 - Peggy calls Murray | 11th chord | added-note chord | advance plot | altered dominant | calling | common-tone diminished 7th | conversing | leading lady | mode mixture | pleasant | room | source to score | telephone | upbeat |
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) | Original Rhumba | 0:29:38 - Peggy dances with Murray | applause | crowd | dance hall | dancer | dancing | double exposure | leading lady | montage | rhumba | source music | upbeat |
City for Conquest (1940) | Original Bolero | 0:29:43 - Peggy dances with Murray | applause | bolero | chromatic mediant | crowd | dance hall | dancer | dancing | double exposure | leading lady | montage | source music | upbeat |
City for Conquest (1940) | Jalousie | 0:29:51 - Peggy dances with Murray | added-note chord | applause | crowd | dance hall | dancer | dancing | double exposure | leading lady | montage | source music | tango | upbeat |
City for Conquest (1940) | Original Foxtrot | 0:29:57 - Peggy dances with Murray | applause | common-tone diminished 7th | crowd | dance hall | dancer | dancing | double exposure | foxtrot | leading lady | montage | source music | upbeat |
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) | Peggy pokes Danny | 0:30:47 - Peggy pokes Danny | 11th chord | flirting | leading lady | leading man | love scene | mickey-mousing | playful | room | shaving | teasing |
City for Conquest (1940) | Only Fooling | 0:30:54 - Peggy cleans Danny's face | arguing | common-tone modulation | conversing | diminished 7th chord | flirting | leading lady | leading man | love scene | parallelism | playful | room | shaving |
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) | 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) | Tone Poem A (Waltz) | 0:31:48 - Peggy and Danny talk about the future | 9th chord | 13th chord | added-note chord | boat | calm | common-chord modulation | conversing | deceptive resolution | foreign key modulation | leading lady | leading man | love scene | mode mixture | romantic |
City for Conquest (1940) | Shadow Waltz (Dark) | 0:33:22 - Peggy talks with Danny | boat | chromatic sequence | conversing | dark | leading lady | leading man | love scene | major 7th chord | octatonic | somber |
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) | I'm Just Wild About Harry | 0:34:32 - Man operating a spotlight | audience | clapping | dancer | dancing | double exposure | leading lady | marquee | montage | source music | stage | upbeat |
City for Conquest (1940) | In the Evening | 0:45:08 - Peggy in her dressing room | arguing | boxer | conflict | conversing | crying | dancer | dressing room | leading lady | leading man | parallel double period | punching | source music | upbeat |
City for Conquest (1940) | A Girl Like You | 0:46:49 - Danny in Peggy's dressing room | boxer | conflict | crying | dancer | dressing room | leading lady | leading man | leaving | parallel double period | source music | upbeat |
City for Conquest (1940) | Peggy runs | 0:47:31 - Peggy runs down the stairs | boxer | chromatic parallelism | chromatic sequence | dancer | descending | leading lady | leading man | love scene | mickey-mousing | running | source and scoring overlap | street | tense |
City for Conquest (1940) | Tone Poem A (Romantic) | 0:47:41 - Peggy talks with Danny | boxer | conversing | dancer | leading lady | leading man | love scene | street | tense |
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 (Walking) | 0:48:32 - Danny and Peggy walk down the street | 11th chord | boxer | chromatic sequence | conversing | dancer | leading lady | leading man | love scene | romantic | street | walking |
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 |
City for Conquest (1940) | Adios Muchachos | 0:50:27 - Peggy arrives home | advance plot | arriving | cheerful | conversing | dancer | leading lady | parallel double period | record player | room | source music | tango |
City for Conquest (1940) | Adios Muchachos | 0:51:19 - Peggy talks with Murray | advance plot | arriving | cheerful | conversing | dancer | leading lady | parallel double period | record player | room | source music | tango |
City for Conquest (1940) | Corn Pickin' | 0:53:35 - People dancing the jitterbug | AABA structure | advance plot | boxer | club | crowd | dance band | dancer | dancing | leading lady | leading man | on-screen music | source music | upbeat |
City for Conquest (1940) | Japanese Sandman | 0:54:33 - Danny and Peggy at the dance | advance plot | boxer | club | crowd | dance band | dancer | dancing | leading lady | leading man | on-screen music | source music | upbeat |
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 A (Farewell) | 0:55:31 - Peggy bids farewell to Danny | 9th chord | appoggiatura | augmented sixth chord | conversing | crying | embracing | enharmonic respelling | farewell scene | leading lady | leading man | leaving | mode mixture | plagal cadence | romantic | sentimental | street |
City for Conquest (1940) | Garden of the Moon | 1:00:04 - Backstage at the Club Madrid | AABA structure | advance plot | conversing | dancer | dressing room | leading lady | preparing | source music | upbeat |
City for Conquest (1940) | Piggy Wiggy Woo | 1:10:52 - Peggy cries | advance plot | conversing | crying | dancer | dressing room | leading lady | source music | upbeat |
City for Conquest (1940) | Powder My Back | 1:23:34 - A burlesque marquee | advance plot | conversing | dancer | dancing | leading lady | manager | on-screen music | phrase extension | singer | singing | source music | stage | upbeat |
City for Conquest (1940) | Tone Poem A (Lento 2) | 1:28:11 - Peggy cries | 9th chord | advance plot | altered dominant | conversing | crying | foreign key modulation | friend | leading lady | room | sequence | somber |
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 (Maestoso) | 1:29:11 - Peggy looks up | advance plot | friend | hopeful | leading lady | mode mixture | newspaper | reading | room | suspension |
City for Conquest (1940) | Tone Poem A | 1:32:32 - Violins playing | 9th chord | 11th chord | 13th chord | audience | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dramatic | Gershwinesque | leading lady | listening | musician | on-screen music | orchestra | playing | romantic | sentimental | sequence | source music | watching | zoom in |
City for Conquest (1940) | Tone Poem A (Tutti) | 1:33:02 - Peggy watches from the audience | 9th chord | 11th chord | 13th chord | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dramatic | fragmentation | Gershwinesque | leading lady | listening | musician | on-screen music | orchestra | playing | point-of-view shot | romantic | source music | watching | zoom in |
City for Conquest (1940) | Tone Poem A (Very Broad) | 1:34:24 - Peggy reacts to the music | 9th chord | 13th chord | audience | bold | Carnegie Hall | chromatic parallelism | chromatic scale | chromatic sequence | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dissonant bass | dramatic | Gershwinesque | leading lady | leading man | listening | musician | newspaper | newspaper stand | on-screen music | orchestra | playing | radio | romantic | source music | street | watching | zoom out |
City for Conquest (1940) | Tone Poem A (Lento) | 1:35:02 - Orchestra playing | 9th chord | audience | Carnegie Hall | chromatic parallelism | chromatic sequence | concert | concert hall | concert scene | conducting | conductor | crying | leading lady | linear chromaticism | listening | musician | on-screen music | orchestra | playing | polychord | romantic | somber | source music | tender | watching |
City for Conquest (1940) | Tone Poem A (Grandioso) | 1:36:11 - Audience enjoying the performance | 9th chord | 13th chord | altered dominant | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | double exposure | dramatic | Gershwinesque | leading lady | leading man | listening | musician | on-screen music | orchestra | playing | romantic | sentimental | smiling | source music | watching |
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 |
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) | The Fugitive (Looking Around) | 0:25:11 - The young man sees Johnnie | 9th chord | deceptive resolution | establish character | foreign key modulation | leading lady | leading man | ranch | teenager | tired | walking |
They Made Me a Criminal (1939) | The Fugitive (Arriving) | 0:25:42 - Johnnie arrives at the ranch | 9th chord | arriving | establish character | foreign key modulation | leading lady | leading man | ranch | teenager | tired |
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 |
They Made Me a Criminal (1939) | The Fugitive (Apology) | 0:48:31 - Johnnie and Peggy talk | 9th chord | conversing | hero | leading lady | leading man | love scene | romantic | room | secondary dominant | 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 | 0:49:40 - Johnnie and Peggy drive in a car | ABAB structure | added-note chord | altered dominant | car | car | cheerful | conversing | driving | hero | leading lady | leading man | linear chromaticism | love scene | mode mixture | phrase extension | romantic | traveling |
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) | The Fugitive (Ashamed) | 1:03:55 - Johnnie tells them he can't fight | 9th chord | conflict | dark | foreign key modulation | harmonic sequence | leading lady | leading man | lying | room | somber | teenager |
They Made Me a Criminal (1939) | On the Make (Dolce) | 1:05:13 - Peggy talks to Johnnie | added-note chord | altered dominant | arguing | conflict | leading lady | leading man | linear chromaticism | lying | room | tender |
They Made Me a Criminal (1939) | Underscoring (Tense) | 1:05:52 - Johnny talks to Peggy | conflict | dramatic | half-diminished 7th chord | harmonic sequence | leading lady | leading man | lying | room | tense | underscoring |
They Made Me a Criminal (1939) | On the Make (Heartbreak) | 1:06:05 - Johnny talks to Peggy | 9th chord | arguing | conflict | dissonant bass | dramatic | leading lady | leading man | room | slamming | somber | tense |
They Made Me a Criminal (1939) | On the Make (Crying) | 1:06:29 - Peggy cries after Johnnie leaves | 11th chord | conflict | crying | leading lady | leading man | room | somber |
They Made Me a Criminal (1939) | Spirit of Independence | 1:14:53 - Johnnie marches into the ring | arena | cheerful | excited | hero | leading lady | leading man | march | preparing | source music | sport scene | teenager |
They Made Me a Criminal (1939) | Peggy (Waiting) | 1:24:39 - The detective talks to Johnnie | chromatic scale | climax | dark | detective | diminished 7th chord | dissonant | dissonant bass | leading lady | leading man | lying | ominous | room | waiting |
They Made Me a Criminal (1939) | Lying | 1:25:16 - Johnnie lies to Peggy about where he's going | added-note chord | augmented sixth chord | climax | common-chord modulation | detective | dissonant bass | foreign key modulation | leading lady | leading man | lying | minor-major 7th chord | room | turbulent |
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) | Joe | 0:01:29 - A dog | cheerful | dog | establish character | friendly | leading lady | mother | opening | porch | room | running | upbeat | waking |
Deep Valley (1947) | Joe (Poco Meno Expressivo) | 0:01:59 - Libby gets up | dog | dressing | establish character | leading lady | mother | room | scolding | upbeat | waking |
Deep Valley (1947) | Drudge | 0:03:59 - Libby goes downstairs | descending | establish character | leading lady | room | somber | stairs | upset | walking |
Deep Valley (1947) | Drudge (Kitchen) | 0:04:12 - Libby works in kitchen | cooking | dog | establish character | kitchen | leading lady | somber | upset |
Deep Valley (1947) | Joe (Very Light) | 0:04:29 - Joe watches Libby work | cheerful | cooking | dog | establish character | kitchen | leading lady | upbeat |
Deep Valley (1947) | Drudge (Sentimentale) | 0:04:49 - Libby feeds Joe | cooking | dog | establish character | kitchen | leading lady | somber |
Deep Valley (1947) | Libby | 0:06:09 - Libby returns to her work | establish character | father | kitchen | leading lady | serving | somber |
Deep Valley (1947) | Libby (Rubato) | 0:08:13 - Libby at the kitchen table | establish character | kitchen | leading lady | leaving | somber | tense |
Deep Valley (1947) | Woods | 0:08:25 - Libby leaves the house | cheerful | dog | establish character | forest | leading lady | playing | running | upbeat |
Deep Valley (1947) | Squirrel | 0:09:26 - Libby feeds a squirrel | cheerful | conversing | establish character | forest | leading lady | squirrel | upbeat |
Deep Valley (1947) | Woods | 0:09:57 - Libby walks in the woods | cheerful | cut from film | dog | establish character | forest | leading lady | upbeat | walking |
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) | Homestead (Sordini) | 0:16:14 - Ellie talks with Libby | advance plot | calm | conversing | delicate | leading lady | memory | mother | past | room | sentimental |
Deep Valley (1947) | Underscoring (Tense) | 0:17:06 - Ellie talks with Libby | advance plot | conversing | dark | leading lady | mother | room | stinger | tense | underscoring |
Deep Valley (1947) | Homestead (Triste) | 0:17:34 - Ellie talks with Libby | advance plot | conversing | dark | leading lady | mother | room | tense |
Deep Valley (1947) | Underscoring (Somber) | 0:17:55 - Libby talks with Ellie | advance plot | conversing | dark | leading lady | mother | room | somber | underscoring |
Deep Valley (1947) | Homestead (Somber) | 0:18:26 - Ellie talks with Libby | advance plot | conversing | dark | leading lady | mother | room | somber |
Deep Valley (1947) | Joe (Running) | 0:19:24 - Libby arrives at the farm | conversing | leading lady | lovers meet | running | rushed | street | upbeat |
Deep Valley (1947) | Libby 2 (Slowly) | 0:19:39 - Jeff talks with Libby | arguing | crew | dog | father | leading lady | leading man | lovers meet | street | tense |
Deep Valley (1947) | Running | 0:20:26 - Libby runs to Joe | convict | dog | leading lady | leading man | lovers meet | running | street | tense |
Deep Valley (1947) | Love Theme | 0:20:35 - Libby meets Barry | convict | leading lady | leading man | lovers meet | meeting | romantic | street |
Deep Valley (1947) | Underscoring (Tense) | 0:22:23 - Barry pumps water | boss | conflict | convict | father | guard | leading lady | leading man | mocking | pumping | street | tense | underscoring |
Deep Valley (1947) | Turns, Hits, and Falls | 0:22:28 - Barry hits the guard | boss | conflict | convict | dramatic | falling | father | guard | leading lady | leading man | mickey-mousing | punching | stinger | street | turning | violence |
Deep Valley (1947) | Barry | 0:22:35 - Barry threatens the guard | angry | arguing | boss | conflict | convict | dramatic | father | guard | leading lady | leading man | street | threatening | yelling |
Deep Valley (1947) | Law (Subtle) | 0:22:45 - Barry looks at the guard | arguing | boss | conflict | convict | father | guard | leading lady | leading man | street | tense | underscoring |
Deep Valley (1947) | Love Theme (Molto Expressivo) | 0:23:07 - Libby watches them take Barry | boss | conflict | convict | crying | father | guard | leading lady | leading man | somber | street | watching |
Deep Valley (1947) | Barry (Misterioso) | 0:28:31 - Libby talks with Jeff | advance plot | boss | conversing | dark | leading lady | leading man | mysterious | room | somber |
Deep Valley (1947) | Homestead (Morendo) | 0:29:17 - Jeff talks with Libby | advance plot | boss | conversing | leading lady | leading man | room | somber |
Deep Valley (1947) | Libby 3 | 0:29:40 - Close-up on Libby | advance plot | boss | conversing | dance-like | hesitant | leading lady | leading man | room |
Deep Valley (1947) | Libby (Stormy) | 0:29:58 - Libby pulls away from Jeff's grasp | advance plot | boss | dark | leading lady | leading man | leaving | lightning | room | running | storm | thunder |
Deep Valley (1947) | Libby 3 | 0:30:31 - Libby watches the storm | advance plot | arriving | boss | hesitant | leading lady | leading man | leaving | lightning | room | storm | thunder | watching |
Deep Valley (1947) | Underscoring (Dramatic) | 0:31:10 - Close-up on Libby | arguing | conflict | crying | dark | dramatic | father | leading lady | lightning | room | storm | tense | thunder | underscoring |
Deep Valley (1947) | Slap | 0:32:20 - Cliff slaps Libby | conflict | dramatic | father | leading lady | lightning | mickey-mousing | room | slapping | storm | thunder | violence |
Deep Valley (1947) | Earthquake | 0:32:21 - An earthquake shakes the house | conflict | dramatic | earthquake | father | leading lady | lightning | mother | room | rushing | shaking | storm | thunder |
Deep Valley (1947) | Libby (Dark) | 0:33:17 - Libby walks to her mother's room | conflict | conversing | dark | leading lady | lightning | mother | room | somber | storm | thunder | walking |
Deep Valley (1947) | Libby (Slowly) | 0:34:53 - Libby leaves her mother | conflict | dark | leading lady | leaving | lightning | mother | pleading | room | somber | storm | tense | thunder |
Deep Valley (1947) | Triste (Stormy) | 0:35:16 - Shutters shaking in the wind | conflict | dark | leading lady | leaving | lightning | mother | pleading | room | somber | storm | thunder |
Deep Valley (1947) | Libby 2 (Stormy) | 0:35:27 - Waves hitting the shore | conflict | construction site | crew | dark | leading lady | leaving | mother | pleading | storm | tense | waves | working |
Deep Valley (1947) | Joe (Allegretto Grazioso) | 0:39:06 - Libby in the woods | advance plot | dog | forest | happy | leading lady | running | upbeat | walking |
Deep Valley (1947) | Love Theme (Full) | 0:39:50 - Libby in the cabin | advance plot | arriving | cabin | calm | dog | leading lady | noble |
Deep Valley (1947) | Woods | 0:40:58 - Libby swimming | advance plot | cheerful | convict | dog | forest | fugitive | leading lady | leading man | searching | swimming | upbeat |
Deep Valley (1947) | Woods | 0:42:41 - Libby arrives at the cabin | advance plot | arriving | cabin | cheerful | convict | dog | fugitive | leading lady | leading man | upbeat |
Deep Valley (1947) | Barry (Ferroce) | 0:42:50 - Libby sees Barry | advance plot | cabin | convict | dark | dog | fierce | fugitive | leading lady | leading man | threatening |
Deep Valley (1947) | Barry (Slowly) | 0:45:50 - Barry watches Libby | cabin | convict | dog | falling in love scene | fugitive | leading lady | leading man | uneasy | watching |
Deep Valley (1947) | Joe (Calm) | 0:46:14 - Joe comes in | cabin | calm | convict | dog | falling in love scene | fugitive | leading lady | leading man | watching |
Deep Valley (1947) | Love Theme (Full) | 0:46:30 - Barry and Libby by the lake | calm | conversing | convict | falling in love scene | forest | fugitive | laughing | leading lady | leading man | working |
Deep Valley (1947) | Love Theme (Memory) | 0:46:53 - Barry and Libby by the lake | conversing | convict | falling in love scene | forest | fugitive | leading lady | leading man | memory | uneasy |
Deep Valley (1947) | Breeze | 0:48:03 - Libby talks to Barry | conversing | convict | ethereal | falling in love scene | forest | fugitive | leading lady | leading man | listening | magical | wind | wind effect |
Deep Valley (1947) | Breeze + Love Theme | 0:48:14 - Barry talks to Libby | combination of themes | conversing | convict | ethereal | falling in love scene | forest | fugitive | leading lady | leading man | listening | magical | wind | wind effect |
Deep Valley (1947) | Barry (Drunk) | 0:50:00 - Barry talks to Libby | convict | drunk | falling in love scene | forest | fugitive | leading lady | leading man | story | storytelling | tense |
Deep Valley (1947) | Barry | 0:50:33 - Barry talks to Libby | agitated | convict | falling in love scene | forest | fugitive | leading lady | leading man | story | storytelling |
Deep Valley (1947) | Barry (Drunk) | 0:51:00 - Barry talks to Libby | convict | drunk | falling in love scene | forest | fugitive | leading lady | leading man | story | storytelling | tense |
Deep Valley (1947) | Barry (Dolce) | 0:51:17 - Barry talks to Libby | convict | falling in love scene | forest | fugitive | leading lady | leading man | story | storytelling | sweet |
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 (Misterioso) | 0:54:57 - Libby starts to leave | cabin | calm | conversing | convict | dog | fugitive | leading lady | leading man | love interest | love scene | planning |
Deep Valley (1947) | Barry (Tense) | 0:55:38 - Barry unloads his gun | cabin | convict | destroying | fugitive | leading lady | leading man | love interest | love scene | mysterious | tense |
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 (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) | Libby (Molto Expressivo) | 0:57:13 - Libby looks at the homestead | leading lady | mother | mysterious | reconciliation scene | returning | room | somber | street |
Deep Valley (1947) | Underscoring (Dramatic) | 1:02:02 - Libby in her room | advance plot | arriving | dramatic | father | leading lady | police | room | searching | street | tense | underscoring | watching |
Deep Valley (1947) | Law (Misterioso) | 1:02:41 - Libby looks out the window | advance plot | father | leading lady | manhunt | mysterious | police | room | searching | street | tense |
Deep Valley (1947) | Barry (Misterioso) | 1:02:50 - Libby runs to the door | advance plot | leading lady | mother | mysterious | room | rushing | tense |
Deep Valley (1947) | Law (Tense) | 1:02:57 - Libby goes down the stairs | advance plot | leading lady | mother | room | sneaking | tense |
Deep Valley (1947) | Barry (Misterioso) | 1:03:09 - Ellie approaches | advance plot | leading lady | mother | mysterious | room | sneaking |
Deep Valley (1947) | Libby 3 | 1:03:21 - Ellie talks with LIbby | advance plot | conversing | hesitant | leading lady | lying | mother | room |
Deep Valley (1947) | Libby (Stormy) | 1:03:40 - Ellie talks with Libby | advance plot | conversing | hesitant | leading lady | lying | mother | room | tense |
Deep Valley (1947) | Underscoring (Tense) | 1:03:52 - Libby sneaks away | advance plot | leading lady | packing | room | rushing | tense | underscoring |
Deep Valley (1947) | Barry (Contrary Motion) | 1:04:10 - Libby gathers things | advance plot | leading lady | mickey-mousing | packing | police | rolling | room | rushing | tense |
Deep Valley (1947) | Barry (Molto Misterioso) + Love Theme | 1:06:04 - Sheriff drinks coffee | action scene | convict | drinking | forest | fugitive | leading lady | leading man | love interest | mysterious | police | room | somber | walking |
Deep Valley (1947) | Homestead (Lento) | 1:07:51 - Ellie and Cliff play cards | advance plot | calm | cards | conversing | father | leading lady | mother | playing | room |
Deep Valley (1947) | Homestead (Morendo) | 1:08:13 - Libby talks with her parents | advance plot | conversing | father | leading lady | mother | room | somber |
Deep Valley (1947) | Libby 3 | 1:08:56 - Jeff talks with Libby | advance plot | conversing | hesitant | leading lady | leading man | room |
Deep Valley (1947) | Libby (Stormy) | 1:09:20 - Jeff talks with Libby | advance plot | conversing | hesitant | leading lady | leading man | room | tense |
Deep Valley (1947) | Underscoring (Tense) | 1:09:40 - Jeff talks with Libby | advance plot | conversing | leading lady | leading man | room | stinger | tense | underscoring |
Deep Valley (1947) | Libby (Triste) | 1:10:09 - Libby reacts to the news | escape | leading lady | leading man | reacting | room | somber |
Deep Valley (1947) | Libby (Worried) | 1:10:24 - Libby tosses and turns on her bed | anxiety | anxious | escape | leading lady | restless effect | restlessness | room | tense | worry | worrying |
Deep Valley (1947) | Libby (Agitated) | 1:10:36 - Libby gets up from her bed | anxiety | anxious | escape | leading lady | restless effect | restlessness | room | tense | worry | worrying |
Deep Valley (1947) | Underscoring (Tense) | 1:10:50 - Libby looks out the window | convict | escape | fugitive | leading lady | leading man | looking | love interest | room | searching | tense | underscoring | yard |
Deep Valley (1947) | Libby (Sneaking) | 1:11:05 - Libby hurries away | escape | leading lady | room | rushing | sneaking | sneaking effect | tense |
Deep Valley (1947) | Deep Valley | 1:11:53 - Libby and Barry embrace | convict | escape | fugitive | joyous | leading lady | leading man | love interest | reuniting | yard |
Deep Valley (1947) | Wind | 1:12:11 - Libby listens carefully | afraid | convict | escape | fear | fugitive | leading lady | leading man | love interest | mickey-mousing | wind | wind effect | worrying | yard |
Deep Valley (1947) | Sneaking | 1:12:20 - Barry and Libby run to the shed | convict | escape | fugitive | leading lady | leading man | love interest | sneaking | sneaking effect | tense | yard |
Deep Valley (1947) | Barry (Tense 2) | 1:15:38 - Barry drops his gun | advance plot | barn | conversing | convict | fugitive | leading lady | leading man | love interest | tense |
Deep Valley (1947) | Barry (Tender) | 1:15:59 - Barry apologizes to Libby | advance plot | apologizing | barn | convict | embracing | fugitive | leading lady | leading man | love interest | tender |
Deep Valley (1947) | Deep Valley (Kiss) | 1:16:19 - Barry kisses Libby | advance plot | barn | convict | crying | embracing | fugitive | kissing | leading lady | leading man | love interest | tender |
Deep Valley (1947) | Deep Valley (Sostenuto) | 1:16:37 - Libby talks with Barry | advance plot | barn | calm | conversing | convict | fugitive | hopeful | leading lady | leading man | love interest |
Deep Valley (1947) | Underscoring (Tense) | 1:17:04 - Barry picks up the gun | advance plot | barn | conversing | convict | fugitive | leading lady | leading man | love interest | tense | underscoring |
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) | Underscoring (Dramatic) | 1:17:55 - Barry hears a noise | advance plot | barn | convict | dramatic | fugitive | leading lady | leading man | love interest | sneaking | stinger | tense | walking |
Deep Valley (1947) | Drops gun | 1:18:35 - Libby drops the gun down a well | advance plot | dropping | gun | leading lady | mickey-mousing | tense | yard |
Deep Valley (1947) | Deep Valley (Lonely) | 1:18:43 - Barry looks around | advance plot | barn | leading lady | leaving | lonely | yard |
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 |
Deep Valley (1947) | Underscoring (Dramatic) | 1:23:43 - Barry hears a noise | advance plot | barn | convict | dramatic | fugitive | leading lady | leading man | love interest | rushing | tense | worrying |
Deep Valley (1947) | Homestead (Walking) | 1:23:47 - Cliff on the porch | advance plot | arriving | calm | convict | father | fugitive | leading lady | leading man | love interest | porch |
Deep Valley (1947) | Joe (Running) | 1:23:58 - Barry talks to Libby | advance plot | barn | calm | conversing | convict | fugitive | leading lady | leading man | love interest |
Deep Valley (1947) | Underscoring (Tense) | 1:24:11 - Libby talks to Barry | advance plot | barn | convict | fugitive | leading lady | leading man | love interest | tense | worrying |
Deep Valley (1947) | Libby (Sneaking) | 1:24:14 - Libby talks to Barry | advance plot | barn | convict | fugitive | leading lady | leading man | love interest | tense | worrying | worrying effect |
Deep Valley (1947) | Deep Valley | 1:24:39 - Libby talks to Barry | advance plot | barn | calm | convict | fugitive | hopeful | hoping | leading lady | leading man | love interest |
Deep Valley (1947) | Barry (Misterioso) | 1:25:16 - Barry shaving | advance plot | arriving | convict | fugitive | leading lady | leading man | love interest | mysterious | street |
Deep Valley (1947) | Barry (Misterioso) | 1:27:15 - Libby talks to Barry | agitated | barn | conflict | convict | dark | father | fugitive | leading lady | leading man | love interest | mysterious | searching | worrying |
Deep Valley (1947) | Underscoring (Tense) | 1:28:00 - Barry prepares to attack | barn | conflict | convict | dark | fugitive | leading lady | leading man | love interest | stinger | tense | waiting |
Deep Valley (1947) | Deep Valley (Slowly) | 1:28:11 - Libby climbs the ladder | barn | conflict | convict | descending | fugitive | leading lady | leading man | love interest | tense | uneasy |
Deep Valley (1947) | Libby 3 (Tense) | 1:28:28 - Libby comes down the ladder | barn | conflict | conversing | convict | father | fugitive | leading lady | leading man | love interest | tense | uneasy | walking |
Deep Valley (1947) | Running (Extended) | 1:29:26 - Libby runs to the barn | advance plot | barn | convict | father | fugitive | hesitating | leading lady | leading man | love interest | mickey-mousing | running | tense | uneasy | yard |
Deep Valley (1947) | Barry (Very Slowly) | 1:30:02 - Libby climbs the ladder | advance plot | arriving | barn | climbing | convict | fugitive | leading lady | leading man | love interest | somber | uneasy | walking |
Deep Valley (1947) | Libby (Somber) + Barry (Somber) | 1:30:26 - Libby talks to Barry | advance plot | barn | combination of themes | comforting | convict | fugitive | leading lady | leading man | love interest | somber |
Deep Valley (1947) | Deep Valley (Quasi Appassionato) | 1:30:51 - Barry looks at Libby | advance plot | barn | comforting | conflicted | convict | fugitive | hopeful | leading lady | leading man | love interest |
Deep Valley (1947) | Barry (Drunk) | 1:31:10 - Barry talks to Libby | advance plot | anxious | anxious effect | barn | conversing | convict | fugitive | leading lady | leading man | love interest | worried | worrying |
Deep Valley (1947) | Deep Valley (Delicato) | 1:31:30 - Barry embraces Libby | advance plot | barn | comforting | convict | fugitive | hopeful | leading lady | leading man | love interest | street | tense |
Deep Valley (1947) | Libby 2 (Molto Expressivo) | 1:33:40 - Ellie walks to the barn | advance plot | barn | convict | eavesdropping | fugitive | leading lady | leading man | love interest | mother | sneaking | tense | walking | yard |
Deep Valley (1947) | Libby 2 (Misterioso) | 1:34:15 - Ellie climbs the ladder | advance plot | barn | climbing | convict | eavesdropping | fugitive | leading lady | leading man | love interest | mother | mysterious | sneaking | tense |
Deep Valley (1947) | Rushing away | 1:36:01 - Libby rushes out of the barn | barn | climax | convict | descending | dramatic | fugitive | leading lady | leading man | love interest | mother | rushing | rushing effect | tense |
Deep Valley (1947) | Libby 2 (Frantic) | 1:36:05 - Ellie calls after Libby | barn | begging | climax | convict | frantic | fugitive | leading lady | leading man | love interest | mother | pleading | tense |
Deep Valley (1947) | Libby (Running) | 1:36:13 - Libby and Barry run out of the barn | barn | begging | climax | convict | father | frantic | fugitive | leading lady | leading man | love interest | mother | pleading | running | rushing | tense | yard |
Deep Valley (1947) | Libby (Stormy) | 1:36:26 - Cliff looks for Ellie | barn | climax | convict | crying | dark | father | fugitive | hiding | leading lady | leading man | love interest | mother | running | rushing | sneaking | tense | yard |
Deep Valley (1947) | Barry (Drunk) | 1:36:39 - Barry steals a car | arguing | car | climax | convict | dark | fighting | fugitive | leading lady | leading man | love interest | running | rushing | street | tense | yelling |
Deep Valley (1947) | Barry | 1:36:57 - Jeff hits Barry | arguing | attacking | car | climax | convict | dark | fighting | fugitive | leading lady | leading man | love interest | punching | street | tense | yelling |
Deep Valley (1947) | Barry (Running) | 1:37:23 - Libby chases Barry | arguing | car | chasing | climax | convict | crying | dramatic | driving | fleeing | fugitive | leading lady | leading man | love interest | running | street |
Deep Valley (1947) | Molto Expressivo | 1:37:28 - Barry pushes Libby away | arguing | car | chasing | climax | convict | crying | dramatic | driving | falling | fleeing | fugitive | leading lady | leading man | love interest | running | street |
Deep Valley (1947) | Deep Valley (Climactic) | 1:37:35 - Libby on the ground | car | chasing | climax | convict | crying | dramatic | driving | fleeing | fugitive | leading lady | leading man | love interest | street |
Deep Valley (1947) | Fleeing | 1:38:08 - Barry makes a run for it | chasing | climax | convict | dramatic | fleeing | forest | fugitive | leading lady | leading man | love interest | mickey-mousing | police | running | shooting | transcribed by ear |
Deep Valley (1947) | Sneaking (Molto Rubato) | 1:40:51 - Libby runs to find Barry | death scene | forest | leading lady | mysterious | resolution | running | tense |
Deep Valley (1947) | Barry (Appassionato) | 1:41:02 - Libby arrives at the cabin | cabin | calling | death scene | leading lady | passionate | resolution | searching |
Deep Valley (1947) | Molto Expressivo | 1:41:09 - Libby looks for Barry | calling | death scene | forest | leading lady | passionate | resolution | searching |
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 |
Deep Valley (1947) | Breeze | 1:43:22 - Libby looks at Barry | convict | crying | death | death scene | ethereal | forest | fugitive | leading lady | leading man | love interest | magical | resolution | wind effect |
Deep Valley (1947) | Breeze + Love Theme | 1:43:32 - Libby embraces Barry | combination of themes | convict | crying | death | death scene | ethereal | forest | fugitive | leading lady | leading man | love interest | magical | resolution | wind effect |
Deep Valley (1947) | Love Theme (Full) | 1:44:14 - Libby appears over the horizon | dog | forest | leading lady | peaceful | resolution | silhouette | walking |
Deep Valley (1947) | Law (Working) | 1:44:28 - Libby looks at the worksite | calm | construction site | dog | leading lady | resolution | watching | worker | working |
Deep Valley (1947) | Libby 3 + Law | 1:44:32 - Jeff talks to Libby | calm | combination of themes | conversing | dog | forest | leading lady | leading man | peaceful | resolution |
Deep Valley (1947) | Deep Valley (Appassionato) | 1:44:57 - Libby looks off into the distance | dog | forest | leading lady | leading man | passionate | resolution | watching |
Deep Valley (1947) | Deep Valley (Sostenuto) | 1:45:05 - Jeff and Libby on the cliffside | dog | forest | leading lady | leading man | passionate | resolution | walking |
Dust Be My Destiny (1939) | Comedy fall | 0:13:08 - Joe falls over while milking the cow | barn | chromatic parallelism | chromatic scale | comical | falling | leading lady | leading man | lovers meet | mickey-mousing | prisoner |
Dust Be My Destiny (1939) | Dust Be My Destiny (Playful) | 0:13:38 - Mabel talks to Joe | barn | comical | common-tone diminished 7th | cow | laughing | leading lady | leading man | lovers meet | playful | prisoner | romantic |
Dust Be My Destiny (1939) | Joe fights cow | 0:13:56 - Joe fights cow (off-screen) | augmented triad | barn | chromatic parallelism | chromatic scale | comical | cow | diminished 7th chord | fighting | leading lady | leading man | lovers meet | mickey-mousing | prisoner |
Dust Be My Destiny (1939) | Dust Be My Destiny (Laughing) | 0:14:07 - Mabel laughs at Joe | barn | chromatic parallelism | comical | diminished 7th chord | laughing | leading lady | leading man | lovers meet | prisoner |
Dust Be My Destiny (1939) | Laughing | 0:14:10 - Mabel laughs at Joe | barn | chromatic parallelism | comical | diminished 7th chord | laughing | leading lady | leading man | lovers meet | mickey-mousing | prisoner |
Dust Be My Destiny (1939) | Dust Be My Destiny (Agitated) | 0:14:22 - Joe argues with Mabel | agitated | arguing | barn | fragmentation | leading lady | leading man | lovers meet | prisoner | sequence |
Dust Be My Destiny (1939) | Underscoring (Tense) | 0:14:40 - Charlie enters | barn | leading lady | leading man | lovers meet | prisoner | stinger | tense | underscoring | villain | warden |
Dust Be My Destiny (1939) | Dust Be My Destiny (Tense) | 0:14:53 - Joe talks to Charlie | barn | dark | dissonant | leading lady | leading man | lovers meet | prisoner | tense | tritone | villain | warden |
Dust Be My Destiny (1939) | Dust Be My Destiny (Pleading) | 0:17:41 - Mabel pleads for Joe | advance plot | intervallic expansion | leading lady | pleading | prison | sincere | warden |
Dust Be My Destiny (1939) | Dust Be My Destiny (Medical Report) | 0:17:58 - Warden talks about Charlie | advance plot | leading lady | oppressive | parallelism | prison | warden |
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 (Somber) | 0:18:36 - Mabel reacts | conflict | inversion | leading lady | prison | sigh gesture | somber |
Dust Be My Destiny (1939) | Underscoring (Romantic) | 0:21:46 - Mabel talks with Joe | barn | leading lady | leading man | love scene | pedal tone | romantic | underscoring |
Dust Be My Destiny (1939) | Dust Be My Destiny (In Love) | 0:22:04 - Mabel and Joe talk | 9th chord | added-note chord | barn | common-tone diminished 7th | leading lady | leading man | love scene | mode mixture | romantic | secondary dominant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Pensive) | 0:23:08 - Joe tells Mabel about his dreams | 11th chord | barn | chromatic mediant | dreaming | foreign key modulation | leading lady | leading man | love scene | mode mixture | pensive |
Dust Be My Destiny (1939) | Dust Be My Destiny (Expressivo) | 0:23:38 - Joe and Mabel talk | 9th chord | added-note chord | augmented sixth chord | barn | common-tone diminished 7th | leading lady | leading man | love scene | mode mixture | romantic | secondary dominant | sequence |
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 |
Dust Be My Destiny (1939) | Underscoring (Dark) | 0:25:03 - Charlie interrupts the lovers | barn | chromatic scale | conflict | dark | diminished 7th chord | hexatonic scale | leading lady | leading man | underscoring | villain | warden |
Dust Be My Destiny (1939) | Underscoring (Dramatic) | 0:25:23 - Charlie grabs Mabel's arm | barn | chromatic scale | conflict | diminished 7th chord | dramatic | leading lady | leading man | underscoring | villain | warden |
Dust Be My Destiny (1939) | Dust Be My Destiny (Fight) | 0:25:41 - Charlie and Joe fight | 42 chord | barn | chromatic parallelism | chromatic scale | chromatic wedge | conflict | dramatic | fighting | leading lady | leading man | linear chromaticism | mickey-mousing | octatonic scale | punching | villain | warden | whole-tone scale |
Dust Be My Destiny (1939) | Dust Be My Destiny (Running Away) | 0:25:55 - Joe and Mabel run | 64 chord | barn | conflict | diminution | dramatic | leading lady | leading man | running | sequence |
Dust Be My Destiny (1939) | Running | 0:26:05 - Joe and Mabel run | 9th chord | barn | conflict | dramatic | leading lady | leading man | mickey-mousing | octatonic | running |
Dust Be My Destiny (1939) | Turning around | 0:26:13 - Joe and Mabel turn around | 64 chord | barn | death | dramatic | leading lady | leading man | mickey-mousing | prisoner | turning |
Dust Be My Destiny (1939) | Dust Be My Destiny (Fateful Decision) | 0:26:17 - Joe and Mabel decide to run away together | barn | confused | deceptive resolution | fragmentation | hopeful | leading lady | leading man | mode mixture | runaway | turning point |
Dust Be My Destiny (1939) | Running away | 0:26:45 - Joe and Mabel run away | barn | conflict | diminished 7th chord | dramatic | leading lady | leading man | mickey-mousing | pedal tone | runaway | running |
Dust Be My Destiny (1939) | Arriving | 0:26:52 - Joe and Mabel settle into their new situation | 9th chord | arriving | calm | dramatic | freedom | leading lady | leading man | runaway | settling down | street | traveling | traveling scene | truck |
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 (Milkman) | 0:27:38 - Joe and Mabel talk to the milkman | advance plot | comical | glass | leading lady | leading man | milk | milkman | pizzicato | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (A Hotel) | 0:28:47 - Joe mentions going to a hotel | advance plot | altered dominant | concerned | leading lady | leading man | street |
Dust Be My Destiny (1939) | Here Comes the Bride (Modulating) | 0:29:02 - Joe and Mabel run to the courthouse | added-note chord | deceptive resolution | excited | familiar tune | foreign key modulation | fragmentation | leading lady | leading man | love scene | marriage | pump-up modulation | romance | romantic | running | sequence | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Waiting) | 0:29:38 - Joe and Mabel talk about getting married | added-note chord | augmented sixth chord | chromatic mediant | common-tone diminished 7th | foreign key modulation | leading lady | leading man | love scene | romantic | street | waiting |
Dust Be My Destiny (1939) | Dust Be My Destiny (Running Up and Down) | 0:30:12 - Man runs up the courthouse steps | 64 chord | chromatic parallelism | chromatic scale | courthouse | down | frantic | leading lady | leading man | love scene | mickey-mousing | mode mixture | producer | running | stairs | street | up |
Dust Be My Destiny (1939) | Here Comes the Bride (Triple) | 0:30:31 - Man talks to Joe and Mabel | 9th chord | 64 chord | chromatic parallelism | courthouse | familiar tune | leading lady | leading man | love scene | marriage | producer | pump-up modulation | romantic | sequence | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Got Each Other) | 0:30:49 - Mabel proclaims her love for Joe | courthouse | leading lady | leading man | love scene | producer | romantic | street |
Dust Be My Destiny (1939) | Fairy Music | 0:30:58 - Man takes their luggage | 64 chord | courthouse | happy | leading lady | leading man | love scene | producer | pump-up modulation | romantic | street |
Dust Be My Destiny (1939) | Here Comes the Bride | 0:31:19 - Crowd sings and claps at a wedding | crowd | happy | leading lady | leading man | marriage | on-screen music | source music | theater | wedding |
Dust Be My Destiny (1939) | Here Comes the Bride | 0:32:48 - Joe kisses Mabel | crowd | happy | leading lady | leading man | marriage | on-screen music | pianist | source music | theater | wedding |
Dust Be My Destiny (1939) | In a Moment of Weakness | 0:33:37 - Mabel looks at her wedding ring | develop character | happy | leading lady | leading man | radio | source music | theater |
Dust Be My Destiny (1939) | Radio Fanfare | 0:34:20 - Mabel talks to Joe | chromatic mediant | develop character | happy | leading lady | leading man | radio | source music | theater |
Dust Be My Destiny (1939) | Fleeing | 0:34:56 - Joe and Mabel flee | alley | chromatic scale | danger | down | escape | fearful | fleeing | leading lady | leading man | linear chromaticism | mickey-mousing | police | runaway | running | street | suspenseful |
Dust Be My Destiny (1939) | Agitato Risoluto | 0:35:11 - Joe and Mabel hide under the stairs | agitated | alley | chromatic parallelism | concerned | danger | escape | hiding | leading lady | leading man | pedal tone | runaway | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Injustice) | 0:35:25 - Joe and Mabel talk in the alley | 9th chord | alley | chromatic parallelism | escape | fearful | leading lady | leading man | runaway | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Fear and Devotion) | 0:35:50 - Joe and Mabel decide to stick together | alley | common-tone diminished 7th | devotion | dramatic | escape | fear | fragmentation | leading lady | leading man | love | mode mixture | obsessive | runaway | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Travel Montage) | 0:36:28 - A speeding train | added-note chord | foreign key modulation | frantic | hitch-hiking | leading lady | leading man | linear chromaticism | map | montage | pc set | runaway | sign | train | train | train whistle | traveling | traveling scene | truck | walking |
Dust Be My Destiny (1939) | Dust Be My Destiny (Wandering) | 0:37:16 - Joe and Mabel walk down the road | car | car horn | diminished 7th chord | leading lady | leading man | montage | oscillation | runaway | street | tired | traveling scene | walking |
Dust Be My Destiny (1939) | Dust Be My Destiny (Weary) | 0:37:38 - They rest by the side of the road | chromatic parallelism | conflict | leading lady | leading man | resting | runaway | street | tired |
Dust Be My Destiny (1939) | Underscoring (Dramatic) | 0:38:00 - Joe and Mabel argue | 9th chord | arguing | conflict | dissonant bass | dramatic | leading lady | leading man | runaway | street | underscoring |
Dust Be My Destiny (1939) | Dust Be My Destiny | 0:38:38 - Joe and Mabel part | common-tone diminished 7th | conflict | leading lady | leading man | leaving | runaway | somber | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Parting Ways) | 0:38:56 - Joe and Mabel part | altered dominant | common-tone diminished 7th | conflict | dark | leading lady | leading man | leaving | mode mixture | pedal tone | runaway | somber | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Running) | 0:39:33 - Mabel runs across the street | conflict | leading lady | leading man | mickey-mousing | runaway | running | somber | street | truck |
Dust Be My Destiny (1939) | Dust Be My Destiny (Regret) | 0:39:53 - Joe walks away sadly | conflict | dark | leading lady | leading man | parallelism | pedal tone | runaway | somber | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Reunited) | 0:40:03 - Joe runs to Mabel | 64 chord | altered dominant | foreign key modulation | joyful | leading lady | leading man | mickey-mousing | pump-up modulation | resolution | runaway | running | street |
Dust Be My Destiny (1939) | The Poster | 0:40:39 - Joe and Mabel see a sign for the train | chromatic sequence | comedy | comical | laughing | leading lady | leading man | runaway | sign | street |
Dust Be My Destiny (1939) | My Wild Irish Rose | 0:40:51 - Joe and Mabel in Nick's Diner | accompanied source music | altered dominant | common-chord modulation | diner | establish character | familiar tune | friend | happy | leading lady | leading man | mode mixture | parallel double period | popular song | radio | shopkeeper | singing | source music | ternary form |
Dust Be My Destiny (1939) | Dust Be My Destiny (Irish Rose) | 0:42:25 - They go to work in the kitchen | diner | establish character | friend | happy | leading lady | leading man | score to source | shopkeeper |
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 (Worried) | 0:46:02 - Mabel talks to the police | 11th chord | create suspense | leading lady | police | room | somber |
Dust Be My Destiny (1939) | Whistling (Suspenseful) | 0:46:25 - Mabel looks out the window | anxious | cheerful | concerned | create suspense | harmonic sequence | leading lady | leading man | on-screen music | police | polytonality | room | scored source music | source music | whistling |
Dust Be My Destiny (1939) | Underscoring (Dramatic) | 0:46:42 - Mabel yells to Joe | chromatic scale | create suspense | diminished 7th chord | dissonant bass | dramatic | escaping | gun | gunshot | leading lady | leading man | police | room | runaway | running | street | underscoring | yelling |
Dust Be My Destiny (1939) | Joe runs and falls | 0:46:50 - Joe runs and falls | chromatic scale | create suspense | diminished 7th chord | dissonant bass | dramatic | falling | leading lady | leading man | mickey-mousing | police | runaway | running | stinger | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Jail Break) | 0:49:16 - Mabel looks up and sees Joe | chromatic wedge | dissonant bass | jail | jail break | leading lady | leading man | linear chromaticism | tense | warden |
Dust Be My Destiny (1939) | Dust Be My Destiny (Stick Up) | 0:50:12 - Joe pulls out a gun | gun | half-diminished 7th chord | jail | jail break | leading lady | leading man | tense | warden |
Dust Be My Destiny (1939) | Dust Be My Destiny (The Escape) | 0:50:26 - Joe and Mabel leave the jail | 64 chord | chromatic parallelism | dark | escaping | foreign key modulation | friend | hopeful | jail | jail break | leading lady | leading man | shopkeeper |
Dust Be My Destiny (1939) | Dust Be My Destiny (Grandioso) | 0:50:50 - Joe and Mabel outside | 42 chord | 64 chord | deceptive resolution | escaping | friend | heroic | jail break | leading lady | leading man | pedal tone | shopkeeper | street | triumphant |
Dust Be My Destiny (1939) | Stinger | 0:51:01 - They see approaching headlights | 42 chord | danger | friend | jail break | leading lady | leading man | ominous | shopkeeper | siren | stinger | street |
Dust Be My Destiny (1939) | Speeding car | 0:51:08 - The car speeds off | car | chromatic scale | diminished 7th chord | dramatic | escape | friend | leading lady | leading man | mickey-mousing | shopkeeper | street | traveling |
Dust Be My Destiny (1939) | Dust Be My Destiny (Thankful) | 0:51:24 - Joe, Mabel, and Nick talk in the car | augmented sixth chord | escape | friend | leading lady | leading man | shopkeeper | thankful | train station |
Dust Be My Destiny (1939) | My Wild Irish Rose (Goodbye) | 0:51:35 - Joe and Mabel say goodbye to Nick | 9th chord | escape | familiar tune | foreign key modulation | friend | leading lady | leading man | linear chromaticism | mode mixture | popular song | shopkeeper | tender | train station |
Dust Be My Destiny (1939) | My Wild Irish Rose (Grandioso) | 0:52:06 - Joe and Mabel leave on a train | 9th chord | 64 chord | calm | escape | familiar tune | friend | leading lady | leading man | popular song | shopkeeper | sweet | tender | train station | triumphant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Radio) | 0:52:28 - Mabel in an apartment | conflict | leading lady | leading man | popular song | radio | room | score to source | somber | source music |
Dust Be My Destiny (1939) | Dust Be My Destiny (Arguing) | 0:55:00 - Mabel confronts Joe | agitated | arguing | conflict | dark | leading lady | leading man | parallelism | pc set | pleading | room |
Dust Be My Destiny (1939) | Dust Be My Destiny (Transformation) | 0:57:38 - Joe comes back to the apartment | dissonant bass | foreign key modulation | leading lady | leading man | linear chromaticism | love scene | mysterious | room | triumphant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Reunited) | 0:58:04 - Joe embraces Mabel | 9th chord | 64 chord | added-note chord | embracing | foreign key modulation | leading lady | leading man | love scene | romantic | room | triumphant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Dolceeessimo) | 1:08:53 - Joe and Mabel talk | advance plot | chromatic mediant | foreign key modulation | hopeful | intervallic expansion | leading lady | leading man | peaceful | room |
Dust Be My Destiny (1939) | Dust Be My Destiny (Emergency Room) | 1:11:01 - The hospital waiting room | 64 chord | advance plot | concern | hospital | leading lady | pedal tone | police | reporter |
Dust Be My Destiny (1939) | Dust Be My Destiny (Reunited) | 1:11:25 - Mabel embraces Joe after she meets him | 64 chord | advance plot | doctor | embracing | happy | hero | hospital | leading lady | leading man | nurse |
Dust Be My Destiny (1939) | Dust Be My Destiny (Simply) | 1:11:50 - Mabel and Joe talk | advance plot | doctor | hero | hospital | leading lady | leading man | nurse | peaceful |
Dust Be My Destiny (1939) | Dust Be My Destiny (Leaving Hospital) | 1:11:57 - Mabel and Joe start to leave | 11th chord | advance plot | hero | hospital | leading lady | leading man | peaceful | pedal tone | photographer | reporter |
Dust Be My Destiny (1939) | Dust Be My Destiny (Appassionato) | 1:12:09 - Mabel and Joe hide from the reporters | conflict | countermelody | hero | hiding | hospital | leading lady | leading man | passionate | underscoring |
Dust Be My Destiny (1939) | Dust Be My Destiny (Cornered) | 1:12:21 - Mabel and Joe decide what to do | 9th chord | conflict | hero | hospital | inversion | leading lady | leading man | pedal tone | tense |
Dust Be My Destiny (1939) | Dust Be My Destiny (Hiding) | 1:12:42 - Mabel talks with Joe about surrendering | 42 chord | conflict | diminished 7th chord | fragmentation | hero | hospital | leading lady | leading man | tense |
Dust Be My Destiny (1939) | Dust Be My Destiny (Disagreement) | 1:12:59 - Mabel and Joe argue | bright | conflict | dark | foreign key modulation | hero | hospital | leading lady | leading man |
Dust Be My Destiny (1939) | Dust Be My Destiny (Appassionatissimo) | 1:13:14 - Joe makes a run for it | chromatic parallelism | chromatic scale | climax | conflict | diminished 7th chord | dissonant bass | escaping | hospital | intervallic expansion | leading lady | leading man | runaway | sequence | tense |
Dust Be My Destiny (1939) | Dust Be My Destiny (Tragico) | 1:13:35 - Mabel turns Joe in to the police | confession | conflict | dark | hospital | leading lady | leading man | parallelism | pedal tone | suspect | tragic |
Dust Be My Destiny (1939) | Dust Be My Destiny (Delicate) | 1:22:18 - Mabel rises to testify for Joe | courtroom | crowd | delicate | judge | jury | leading lady | leading man | sequence | somber | suspect | trial |
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 |
Dust Be My Destiny (1939) | Dust Be My Destiny (Travel Montage) | 1:26:04 - Train approaches the screen | added-note chord | foreign key modulation | happy | leading lady | leading man | pc set | resolution | train | train | traveling |
Dust Be My Destiny (1939) | Dust Be My Destiny (Train) | 1:26:17 - Joe and Mabel on the train | 11th chord | added-note chord | happy | leading lady | leading man | resolution | sequence | train | train | traveling |
Dust Be My Destiny (1939) | Dust Be My Destiny (Hanging Hats) | 1:26:31 - Joe and Mabel toss their hats | 11th chord | chromatic mediant | foreign key modulation | happy | hat | hook | leading lady | leading man | mickey-mousing | resolution | throwing | train | traveling | whistle effect |
Dust Be My Destiny (1939) | Dust Be My Destiny (The End) | 1:26:45 - "The End" | closing credits | end title sequence | foreign key modulation | happy | leading lady | leading man | The End | train | traveling |
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 |
Each Dawn I Die (1939) | Freedom | 1:30:31 - Frank leaves the prison | artwork in score | chromatic mediant | conclusion | dissonant bass | freedom | hopeful | leading lady | leading man | optimistic | peaceful | The End | walking |
Flamingo Road (1949) | Vision of Salome | 0:02:12 - Exotic dancers | announcing | carnival | carny | dancer | dancing | establish setting | exotic | Gypsy minor scale | leading lady | mysterious | on-screen music | source music |
Flamingo Road (1949) | Arabian Riff | 0:02:36 - Exotic dancers | announcing | carnival | carny | dancer | dancing | establish setting | exotic | leading lady | mysterious | on-screen music | source music |
Flamingo Road (1949) | Vision of Salome | 0:03:12 - Two men argue | arguing | carnival | carny | dancer | establish setting | exotic | Gypsy minor scale | leading lady | mysterious | on-screen music | source music |
Flamingo Road (1949) | If I Could Be With You | 0:07:53 - Field hears music playing | carny | conversing | establish character | leading lady | leading man | on-screen music | parallel period | police | radio | room | sentimental | singer | singing | source music |
Flamingo Road (1949) | Lane (Moderato Grazioso) | NIF - not in film | conversing | cut from film | cut from film | leading lady | leading man | lovers meet | picardy third | police | room |
Flamingo Road (1949) | Underscoring (Lyrical) | NIF - not in film | 9th chord | altered dominant | conversing | cut from film | cut from film | leading lady | leading man | lovers meet | police | room | underscoring |
Flamingo Road (1949) | Lane (Poco Con Moto) | NIF - not in film | conversing | cut from film | cut from film | deceptive resolution | leading lady | leading man | lovers meet | parallelism | police | room |
Flamingo Road (1949) | Arabian Riff (Not in Film) | NIF - not in film | conversing | cut from film | cut from film | deceptive resolution | leading lady | leading man | lovers meet | pedal tone | police | room | source to score |
Flamingo Road (1949) | Underscoring (Lyrical) | NIF - not in film | chromatic parallelism | conversing | cut from film | cut from film | leading lady | leading man | lovers meet | police | room | underscoring |
Flamingo Road (1949) | Lane | NIF - not in film | conversing | cut from film | cut from film | leading lady | leading man | lovers meet | mode mixture | police | room |
Flamingo Road (1949) | If I Could Be With You (Timidly) | NIF - not in film | chromatic parallelism | conversing | cut from film | cut from film | leading lady | leading man | lovers meet | police | room | source to score |
Flamingo Road (1949) | If I Could Be With You (Lightly) | NIF - not in film | altered dominant | common-tone diminished 7th | cut from film | cut from film | flirting | leading lady | leading man | lovers meet | pedal tone | police | room |
Flamingo Road (1949) | Lane (Not in Film) | NIF - not in film | conversing | cut from film | cut from film | foreign key modulation | leading lady | leading man | lovers meet | mode mixture | police | room |
Flamingo Road (1949) | Traveling | NIF - not in film | added-note chord | chromatic mediant | common-tone diminished 7th | cut from film | cut from film | deceptive resolution | leading lady | leading man | lovers meet | pedal tone | police | room |
Flamingo Road (1949) | Put 'Em in a Box, Tie 'Em with a Ribbon, and Throw 'Em in the Deep Blue Sea | 0:12:05 - The Eagle Cafe | AABA structure | advance plot | conversing | leading lady | leading man | police | popular music | restaurant | source music | upbeat |
Flamingo Road (1949) | Can't We Be Friends | 0:13:38 - Lane and Field at the cafe | AABA structure | advance plot | conversing | leading lady | leading man | police | popular music | restaurant | sentimental | source music |
Flamingo Road (1949) | Lane (Sentimentale) | NIF - not in film | 9th chord | chromatic parallelism | conversing | cut from film | cut from film | falling in love scene | leading lady | leading man | police |
Flamingo Road (1949) | Lane (Molto Expressivo) | NIF - not in film | 11th chord | conversing | cut from film | cut from film | falling in love scene | leading lady | leading man | police |
Flamingo Road (1949) | If I Could Be With You (Dolce) | 0:17:22 - Lane and Field talk | conversing | falling in love scene | leading lady | leading man | love interest | pedal tone | police | porch | sentimental | source to score |
Flamingo Road (1949) | Goodnight | 0:17:45 - Lane and Field talk | blue note | conversing | falling in love scene | leading lady | leading man | love interest | peaceful | pedal tone | police | porch |
Flamingo Road (1949) | Lane (Dolce) | 0:17:58 - Lane flirts with Field | falling in love scene | flirting | leading lady | leading man | love interest | pedal tone | playful | police | porch | sweet |
Flamingo Road (1949) | If I Could Be With You (Ethereal) | 0:18:06 - Lane watches Field drive away | common-tone diminished 7th | falling in love scene | leading lady | leading man | leaving | love interest | pedal tone | police | porch | sentimental | source to score |
Flamingo Road (1949) | Cheatin' on Me | 0:19:12 - Lane works at the café | AABA structure | advance plot | café | leading lady | leading man | leaving | police | source music | upbeat | waitress | working |
Flamingo Road (1949) | If I Could Be With You | 0:26:58 - People gamble and dance | club | dancer | dance scene | dancing | fighting | gambling | leading lady | leading man | musician | on-screen music | playing | police | sentimental | sheriff | singer | singing | source music |
Flamingo Road (1949) | Driving | NIF - not in film | car | cut from film | driving | foreign key modulation | leading lady | leading man | love interest | love scene |
Flamingo Road (1949) | Tranquillo | 0:29:07 - Lane and Field talk at the lakeside | appoggiatura | conversing | lake | leading lady | leading man | love interest | love scene | romance | yearning |
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) | Titus 2 | 0:33:41 - Field sits down | breakup | café | conversing | dark | leading lady | leading man | mysterious | self-borrowing | waitress |
Flamingo Road (1949) | Titus (Dark) | 0:33:56 - Field talks to Lane | breaking up | breakup | café | dark | leading lady | leading man | mysterious | self-borrowing | waitress |
Flamingo Road (1949) | Titus 2 (Triste) | 0:34:10 - Field tells Lane he is getting married | breaking up | breakup | café | chromatic sequence | dark | leading lady | leading man | major 7th chord | mysterious | self-borrowing | somber | waitress |
Flamingo Road (1949) | Underscoring (Tense) | 0:34:30 - Lane responds to Field | breaking up | breakup | café | leading lady | leading man | mysterious | tense | underscoring | waitress |
Flamingo Road (1949) | If I Could Be With You (Triste) | 0:34:51 - Lane goes to the kitchen | breakup | café | dark | diminished 7th chord | foreign key modulation | leading lady | pondering | somber | waitress | working |
Flamingo Road (1949) | Lane (Triste) | 0:35:13 - Lane comes back and Field is gone | breakup | café | dark | employer | firing | leading lady | somber | waitress |
Flamingo Road (1949) | Titus (Ostinato) | NIF - not in film | advance plot | arguing | café | cut from film | cut from film | employer | leading lady | lying | ostinato | self-borrowing | waitress |
Flamingo Road (1949) | Lane (Not in Film 2) | NIF - not in film | 9th chord | advance plot | chromatic parallelism | conversing | cut from film | cut from film | leading lady | newspaper editor | office | whole-tone chord |
Flamingo Road (1949) | Titus 2 (Not in Film) | NIF - not in film | advance plot | chromatic parallelism | conversing | cut from film | cut from film | leading lady | newspaper editor | office | self-borrowing |
Flamingo Road (1949) | Titus 2 (Agitato) | 0:37:11 - Lane goes to confront Titus | agitated | angry | chromatic sequence | hurrying | leading lady | self-borrowing | street | transition | walking |
Flamingo Road (1949) | Agitato | 0:39:09 - Lane storms off angrily | agitated | angry | chromatic parallelism | chromatic scale | chromatic wedge | conflict | hurrying | leading lady | self-borrowing | sheriff | street | walking |
Flamingo Road (1949) | Titus 2 (Walking) | 0:39:17 - Lane storms off angrily | agitated | angry | chromatic parallelism | conflict | diminished 7th chord | hurrying | leading lady | mickey-mousing | self-borrowing | sheriff | street | walking |
Flamingo Road (1949) | Titus (Setup) | 0:39:31 - A car follows Lane | conflict | dark | leading lady | police | self-borrowing | setup | street | walking |
Flamingo Road (1949) | Titus + Agitato (Extended) | 0:39:55 - Police take Lane away | arresting | combination of themes | conflict | driving | leading lady | police | self-borrowing | street | tense | turbulent |
Flamingo Road (1949) | Titus 2 (Maestoso) | 0:41:11 - Women enter the prison | advance plot | dark | dramatic | leading lady | prison | prisoner | self-borrowing | walking |
Flamingo Road (1949) | Lane (Lonely) | 0:41:27 - Lane talks to a fellow prisoner | advance plot | conversing | foreign key modulation | leading lady | lonely | prison | prisoner | reverse picardy | somber |
Flamingo Road (1949) | Lane (Grazioso) | 0:41:46 - Lane talks to a fellow prisoner | advance plot | conversing | foreign key modulation | hopeful | leading lady | prison | prisoner | upbeat |
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) | Lute Mae (A Reminiscence) | 0:42:04 - A female prisoner talks about Lute Mae's | 13th chord | added-note chord | advance plot | altered dominant | bluesy | conversing | countermelody | Gershwinesque | leading lady | prison | prisoner | self-borrowing |
Flamingo Road (1949) | Lane (Fragmented) | 0:42:21 - Lane talks to a fellow prisoner | advance plot | conversing | fragmentation | leading lady | prison | prisoner | somber |
Flamingo Road (1949) | If I Could Be With You (Slowly) | 0:43:04 - Lane lies in bed | leading lady | montage | montage | prison | prisoner | staring | tragic |
Flamingo Road (1949) | You Must Have Been a Beautiful Baby | 0:43:13 - A woman sings and plays the piano | advance plot | conversing | employer | leading lady | on-screen music | room | sentimental | singer | singing | source music |
Flamingo Road (1949) | The Blue Room | 0:44:58 - Lane dresses for work | AABA structure | advance plot | club | conversing | leading lady | politician | sheriff | source music | upbeat | waitress |
Flamingo Road (1949) | Titus (Angry) | 0:45:24 - Titus sees Lane | advance plot | anger | angry | club | dark | leading lady | noticing | ominous | politician | retrograde | self-borrowing | sheriff | sinister | waitress |
Flamingo Road (1949) | Agitato (Angry) | 0:45:50 - Dan argues with Titus | advance plot | anger | angry | arguing | chromatic parallelism | chromatic scale | chromatic wedge | club | leading lady | politician | polychord | self-borrowing | sheriff | smashing | stinger | waitress |
Flamingo Road (1949) | Jalousie | 0:46:06 - Woman dances | club | conversing | dance scene | dancing | employer | leading lady | on-screen music | playing | sheriff | source music | upbeat | waitress |
Flamingo Road (1949) | Drinking whiskey | 0:49:50 - Dan drinks | chromatic parallelism | comical | distressed | drinking | leading lady | leading man | love interest | lovers meet | mickey-mousing | politician | quintal chord | room |
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) | Titus 2 (Agitato) | 0:50:41 - Lane ties Dan's tie | chromatic parallelism | conversing | leading lady | leading man | love interest | lovers meet | mysterious | politician | room | self-borrowing |
Flamingo Road (1949) | Indigestion | 0:50:48 - Lane complains of a hangover | chromatic parallelism | chromatic scale | comical | distressed | grumbling | 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) | If I Could Be With You (Misterioso) | 0:51:15 - Lane asks Dan about Field | chromatic parallelism | conversing | diminished 7th chord | leading lady | leading man | love interest | lovers meet | politician | room | uneasy |
Flamingo Road (1949) | Molto Grazioso | 0:51:40 - Dan notices Lane | conversing | delicate | flirting | leading lady | leading man | love interest | lovers meet | politician | room |
Flamingo Road (1949) | Lute Mae (Quasi Blues) | 0:51:46 - Dan flirts with Lane | 13th chord | added-note chord | conversing | countermelody | flirting | flirty | leading lady | leading man | love interest | lovers meet | politician | room | self-borrowing | sultry | thematic transference |
Flamingo Road (1949) | Slide whistle | 0:53:00 - Dan surprises Lute Mae | comical | employer | leading lady | leading man | love interest | mickey-mousing | politician | room | surprising | transition |
Flamingo Road (1949) | Lute Mae (Driving) | 0:53:02 - Lane drives Dan to the construction site | 13th chord | added-note chord | arriving | car | car | comical | common-chord modulation | driving | leading lady | leading man | love interest | politician | rushed | self-borrowing | transition | traveling |
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 (Bluesy) | 0:55:00 - Dan buys some cold drinks | 9th chord | altered dominant | bluesy | flirting | foreshadowing | leading lady | leading man | love interest | love scene | mode mixture | parallelism | politician | porch | self-borrowing |
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) | Through a Thousand Dreams | 0:56:41 - The Olympic City hotel | club | conversing | dance scene | dancing | dining | leading lady | leading man | love interest | on-screen music | politician | sentimental | sheriff | source music | wife |
Flamingo Road (1949) | Don't Take Your Love From Me | 0:58:50 - Dan and Lane sit at a table | ABAC structure | club | conversing | dance scene | leading lady | leading man | love interest | on-screen music | politician | sentimental | sheriff | source music | wife |
Flamingo Road (1949) | If I Could Be With You | 0:59:52 - A woman sings with the dance band | club | conversing | dance scene | dancing | dining | leading lady | leading man | love interest | on-screen music | politician | sentimental | sheriff | singer | singing | source music | wife |
Flamingo Road (1949) | I Guess I'll Have to Change My Plan | 1:01:40 - Lane and Dan talk at their table | club | conversing | dance scene | leading lady | leading man | love interest | politician | sentimental | sheriff | source music | wife |
Flamingo Road (1949) | Lute Mae (Tenderly) | 1:03:37 - Dan is grateful for Lane's gift to him | 13th chord | added-note chord | advance plot | comical | common-chord modulation | conversing | embracing | happy | husband | leading lady | leading man | maid | room | self-borrowing | tender | wife |
Flamingo Road (1949) | Flamingo Road (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 (Tense) | 1:04:16 - Titus enters the room | advance plot | combination of themes | conversing | leading lady | leading man | politician | room | self-borrowing | sheriff | tense | whole-tone scale |
Flamingo Road (1949) | Flamingo Road (Misterioso) | 1:04:33 - Titus talks to Dan | advance plot | combination of themes | conversing | distortion | fragmentation | leading lady | leading man | mysterious | politician | room | self-borrowing | sequence | sheriff |
Flamingo Road (1949) | Titus 2 (Threatening) | 1:04:45 - Titus threatens Lane | advance plot | chromatic parallelism | leading lady | room | self-borrowing | sheriff | threatening | threatening |
Flamingo Road (1949) | Titus | 1:04:55 - Titus insults Lane | advance plot | dark | leading lady | leading man | ominous | politician | room | self-borrowing | sheriff | threatening |
Flamingo Road (1949) | Titus 2 (Slowly) | 1:06:43 - Dan talks to Lane about Titus | advance plot | chromatic parallelism | leading lady | leading man | lying | room | self-borrowing | tense |
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) | Titus 2 (Buzzer) | 1:13:16 - Titus arrives | arriving | chromatic parallelism | dark | entering | leading lady | maid | ominous | politician | room | self-borrowing | sheriff | transition |
Flamingo Road (1949) | Titus (Ostinato) | 1:17:09 - Dan looks at some papers | brooding | conflict | dark | hopeful | husband | leading lady | leading man | ominous | politician | room | self-borrowing | wife |
Flamingo Road (1949) | Lane (Tragic) | 1:18:10 - Lane talks to Dan about Titus | angry | anxious | conflict | conversing | husband | leading lady | leading man | ostinato | politician | room | tragic | wife |
Flamingo Road (1949) | If I Could Be With You (Tragic) | 1:18:35 - Lane tells Dan about Field | confessing | conflict | diminished 7th chord | husband | leading lady | leading man | love | politician | room | tragic | wife |
Flamingo Road (1949) | Flamingo Road (Agitato) | 1:18:50 - Dan gets upset with Lane | 9th chord | accusing | angry | augmented sixth chord | conflict | fragmentation | husband | leading lady | leading man | politician | quartal chord | room | self-borrowing | wife |
Flamingo Road (1949) | Appassionato | 1:19:10 - Dan argues with Lane | arguing | chromatic parallelism | conflict | diminished 7th chord | harmonic sequence | husband | leading lady | leading man | passionate | politician | room | wife | yearning |
Flamingo Road (1949) | Flamingo Road (Molto Expressivo) | 1:19:32 - Dan leaves | conflict | husband | leading lady | leading man | leaving | politician | room | self-borrowing | tragic | wife |
Flamingo Road (1949) | Flamingo Road (Triste) | 1:19:43 - Lane watches Dan leave | altered dominant | conflict | husband | leading lady | leading man | politician | room | self-borrowing | somber | waiting | wife |
Flamingo Road (1949) | Somber Phone Call | 1:19:54 - Dan calls Lane from the station | calling | conflict | half-diminished 7th chord | husband | leading lady | leading man | politician | somber | tone cluster | train station | wife |
Flamingo Road (1949) | Titus (Triste 2) | 1:20:10 - Dan and Lane talk on the phone | calling | conflict | husband | leading lady | leading man | politician | room | somber | train station | wife |
Flamingo Road (1949) | Lane (Lonely) | 1:21:12 - Lane in her room | advance plot | leading lady | lonely | mickey-mousing | pondering | rising | room | somber | waiting |
Flamingo Road (1949) | Lane (Ominous) | 1:21:22 - A hand rings the doorbell | advance plot | leading lady | mysterious | ominous | pausing | pedal tone | ringing | room |
Flamingo Road (1949) | Lane (Descending the Staircase) | 1:21:31 - Lane descends the stairs | advance plot | delicate | descending | leading lady | leading man | love interest | mickey-mousing | mysterious | parallelism | room | walking |
Flamingo Road (1949) | If I Could Be With You (Triste) | 1:22:18 - Field enters the house | death scene | diminished 7th chord | drunk | drunk | foreign key modulation | leading lady | leading man | love interest | room | somber | stumbling |
Flamingo Road (1949) | Underscoring (Somber) | 1:22:33 - Field stumbles through the house | chromatic parallelism | conversing | death scene | drunk | drunk | leading lady | leading man | love interest | room | somber | underscoring |
Flamingo Road (1949) | If I Could Be With You (Drunk) | 1:22:58 - Field and Lane talk about their past love | arguing | chromatic parallelism | death scene | diminished 7th chord | drunk | leading lady | leading man | love interest | room | somber |
Flamingo Road (1949) | Titus (Ostinato 2) | 1:23:34 - Field and Lane talk about Titus and Dan | arguing | dark | death scene | dramatic | leading lady | leading man | love interest | ominous | ostinato | room | self-borrowing |
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 |
Flamingo Road (1949) | If I Could Be With You (Dead) | 1:24:41 - Lane sees Field has committed suicide | augmentation | death scene | discovering | gunshot | leading lady | leading man | love interest | reacting | room | suicide | surprise | tragic | violent |
Flamingo Road (1949) | Mob | 1:28:20 - A mob forms outside of Lane's home | advance plot | angry | anxious | augmented triad | chromatic parallelism | chromatic scale | friend | leading lady | minor-major 7th chord | mob | mobbing | ostinato | polyrhythm | room | tense | whole-tone chord |
Flamingo Road (1949) | Titus | 1:28:52 - Lane says Titus's name | advance plot | conversing | dark | friend | leading lady | mob | ominous | room | self-borrowing | zoom in |
Flamingo Road (1949) | Agitato (Angry) | 1:29:00 - Lane goes to confront Titus | advance plot | angry | car | chromatic parallelism | chromatic scale | chromatic wedge | dramatic | driving | leading lady | polychord | source and scoring overlap | tense |
Flamingo Road (1949) | The Girl With the Spanish Drawl | 1:29:10 - Lane arrives at Lute Mae's | arriving | climax | club | dancer | dancing | leading lady | musician | on-screen music | playing | source and scoring overlap | source music | upbeat |
Flamingo Road (1949) | Titus (Fragmented) + Titus 2 (Fragmented) | 1:29:47 - Lane confronts Titus | arguing | climax | club | combination of themes | dark | fragmentation | inversion | leading lady | motivic transformation | mysterious | ominous | retrograde | self-borrowing | sheriff |
Flamingo Road (1949) | Titus (Rising Tension) | 1:30:09 - Lane confronts Titus | arguing | climax | club | dark | half-diminished 7th chord | leading lady | ominous | self-borrowing | sequence | sheriff |
Flamingo Road (1949) | Underscoring (Dramatic) | 1:30:24 - Lane pulls a gun on Titus | arguing | climax | club | dark | demanding | dramatic | gun | leading lady | ominous | sheriff | stinger | threatening |
Flamingo Road (1949) | Titus (Slowly) | 1:30:42 - Lane holds Titus at gunpoint | arguing | climax | club | dark | demanding | dramatic | gun | leading lady | ominous | self-borrowing | sheriff | telephone | threatening |
Flamingo Road (1949) | Titus 2 (Ominous) | 1:30:55 - Titus pretends to make a phone call | calling | chromatic parallelism | climax | club | dark | deceiving | gun | leading lady | mysterious | self-borrowing | sheriff | telephone |
Flamingo Road (1949) | Underscoring (Dramatic) | 1:31:15 - Titus attacks Lane | attacking | breaking | chromatic parallelism | climax | club | dramatic | dropping | gun | leading lady | linear chromaticism | oscillation | sheriff | staggering | stinger | telephone | tense | throwing | underscoring |
Flamingo Road (1949) | Breaking door | 1:31:19 - Titus throws the phone at Lane | chromatic parallelism | climax | club | dramatic | gun | leading lady | mickey-mousing | sheriff | telephone | throwing |
Flamingo Road (1949) | Lane staggers | 1:31:22 - Lane staggers after being hit | climax | club | dramatic | leading lady | mickey-mousing | oscillation | sheriff | staggering |
Flamingo Road (1949) | Titus (Ostinato 3) | 1:31:25 - Titus holds a gun on Lane | climax | club | dramatic | fighting | gun | gunshot | leading lady | menacing | ostinato | self-borrowing | sequence | sheriff | struggling | tense | threatening |
Flamingo Road (1949) | Titus (Climax) | 1:31:43 - Lane struggles with Titus | chromatic parallelism | chromatic wedge | climax | club | dramatic | fighting | gun | gunshot | leading lady | major 7th chord | self-borrowing | sequence | sheriff | struggling | tense |
Flamingo Road (1949) | Struggling | 1:31:47 - Close-up on the gun | climax | close-up | club | dramatic | fighting | gun | gunshot | leading lady | major 7th chord | mickey-mousing | oscillation | sheriff | struggling | tense |
Flamingo Road (1949) | Titus 2 (Sinks) | 1:31:50 - Titus collapses to the floor | climax | club | death | dying | falling | gun | gunshot | leading lady | self-borrowing | sequence | sheriff | sinking | tragic |
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 |
Flamingo Road (1949) | If I Could Be With You (Ecstatic) | 1:33:37 - Lane walks away | added-note chord | altered dominant | artwork in score | chromatic parallelism | friend | husband | joyous | leading lady | leading man | leaving | prison | resolution | reuniting | romance | secondary dominant | The End | thematic transference | triumphant | wife |
Hell on Frisco Bay (1955) | Prison Gate | 0:01:25 - Steve exits the prison gate | conductor score | establish character | friend | gate | leading lady | leading man | leaving | prison | serious | walking |
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) | The Very Thought of You | 0:21:51 - Marcia singing at a club | club | conductor score | establish character | familiar tune | investigator | leading lady | leading man | on-screen music | pianist | popular music | romantic | singer | singing | source music |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:23:26 - Marcia talks to Steve | club | conductor score | conversing | establish character | investigator | leading lady | leading man | on-screen music | pianist | playing | popular music | sentimental | source music | source score |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:24:44 - Steve packs | advance plot | conductor score | leading lady | leading man | packing | room | troubled |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:25:00 - Marcia enters | advance plot | conductor score | entering | leading lady | leading man | room | sentimental |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:25:14 - Marcia and Steve argue | advance plot | arguing | conductor score | leading lady | leading man | room | tense |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:25:27 - Marcia and Steve talk | advance plot | agitated | conductor score | conversing | leading lady | leading man | room |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:25:56 - Marcia and Steve talk | advance plot | conductor score | conversing | leading lady | leading man | room | somber |
Hell on Frisco Bay (1955) | Walking | 0:26:31 - Marcia walks to the door | advance plot | conductor score | gangster | hurried | leading lady | leading man | mickey-mousing | room | walking |
Hell on Frisco Bay (1955) | Underscoring (Dramatic) | 0:27:50 - Steve fights Hammy | action scene | conductor score | dramatic | fighting | gangster | hurried | leading lady | leading man | room | strangling | tense | underscoring |
Hell on Frisco Bay (1955) | Underscoring (Tense) | 0:28:03 - The gangsters leave | action scene | conductor score | conversing | gangster | leading lady | leading man | leaving | room | tense | underscoring |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:28:43 - Marcia talks to Steve | action scene | conductor score | conversing | leading lady | leading man | leaving | room | somber |
Hell on Frisco Bay (1955) | Menace 2 | 0:28:55 - Marcia reacts to Steve's comment | action scene | conductor score | conversing | leading lady | leading man | leaving | room | upset |
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) | Hell on Frisco Bay | 1:01:41 - Steve talks to Marcia | conductor score | conversing | leading lady | leading man | love scene | room | tense | underscoring |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:01:53 - Marcia talks to Steve | conductor score | conversing | leading lady | leading man | love scene | room | somber |
Hell on Frisco Bay (1955) | Menace | 1:02:28 - Steve talks to Marcia | conductor score | conversing | dark | leading lady | leading man | love scene | room |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:02:45 - Marcia talks to Steve | conductor score | conversing | leading lady | leading man | love scene | romantic | room | tender |
Hell on Frisco Bay (1955) | Pleading | 1:03:30 - Marcia talks to Steve | conductor score | conversing | leading lady | leading man | love scene | room | tender |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:03:46 - Marcia talks to Steve | conductor score | conversing | dark | leading lady | leading man | love scene | room | tender |
Hell on Frisco Bay (1955) | It Had to Be You | 1:17:06 - Marcia sings at a club | advance plot | calm | club | jazz | leading lady | leading man | on screen music | pianist | singer | singing | source music |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:17:47 - Marcia and Steve talk | advance plot | calm | club | conductor score | conversing | leading lady | leading man | on-screen music | popular music | source music | source score |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:18:13 - Marcia and Steve talk | calm | club | conductor score | conversing | leading lady | leading man | love scene | source to score |
Hell on Frisco Bay (1955) | Underscoring (Dark) | 1:19:09 - Marcia and Steve talk | club | conductor score | conversing | dark | leading lady | leading man | love scene | ominous | underscoring |
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) | 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) | Kay | 1:29:11 - Steve enters with Kay | arriving | entering | investigator | leading lady | leading man | love interest | room | somber | turning point | witness |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:29:23 - Marcia calls the police | agitated | calling | investigator | leading lady | leading man | leaving | love interest | room | turning point | witness |
Hell on Frisco Bay (1955) | Underscoring (Tense) | 1:29:55 - Marcia talks to Kay | conversing | leading lady | love interest | room | tense | turning point | witness |
Hell on Frisco Bay (1955) | Steve | 1:33:17 - Marcia looks for Steve | action scene | dock | dramatic | leading lady | running | tense |
Hell on Frisco Bay (1955) | Amato | 1:33:23 - Amato takes Marcia hostage | action scene | dock | gangster | inspector | kidnapping | leading lady | leading man | ominous | tense |
Hell on Frisco Bay (1955) | Amato | 1:34:01 - Steve confronts Amato | action scene | dock | dramatic | gangster | inspector | kidnapping | leading lady | leading man | tense |
Hell on Frisco Bay (1955) | Amato | 1:34:08 - Steve confronts Amato | action scene | dock | dramatic | gangster | gun | gunshot | inspector | kidnapping | leading lady | leading man | shooting | tense |
Hell on Frisco Bay (1955) | Underscoring (Tense) | 1:35:05 - The police arrive | action scene | arriving | conversing | dock | leading lady | police | tense | underscoring |
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) | Something to Remember You By | 0:07:16 - Georgia enters | AABA structure | club | dancer | dancing | leading lady | music scene | on-screen music | popular music | singer | singing | source music | stage | upbeat |
Her Kind of Man (1946) | Something to Remember You By | 0:08:02 - Georgia sings | AABA structure | club | dancer | dancing | leading lady | leading man | music scene | on-screen music | popular music | sentimental | singer | singing | source music | stage |
Her Kind of Man (1946) | It Had to Be You | 0:12:33 - Steve whistles | establish character | gambler | leading lady | leading man | love interest | love scene | on-screen music | room | sentimental | singer | source music | whistling |
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) | Underscoring (Dark [Waxman]) | 0:17:02 - Steve fights Felix | action scene | arguing | conversing | criminal | dark | death | dramatic | gambler | gun | gunshot | leading lady | leading man | love interest | owner | punching | room | self-defense | shooting | singer | stinger | tense | underscoring |
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) | Gay White Way | 0:19:54 - Georgia looks at her jewelry | advance plot | cheery | conversing | crew | dancer | jewelry | leading lady | love interest | manager | on-screen music | piano | source music | stage |
Her Kind of Man (1946) | Speak to Me of Love | 0:28:06 - City skyline at night | balcony | conversing | leading lady | leading man | love interest | love scene | on-screen music | record player | reporter | romantic | singing | source music |
Her Kind of Man (1946) | It Had to Be You | 0:29:37 - Georgia and Don | balcony | cheery | conversing | gambler | leading lady | leading man | love interest | love scene | on-screen music | reporter | room | source music | whistling |
Her Kind of Man (1946) | Too Many Tears | 0:41:11 - Saratoga Casino | AABA structure | advance plot | club | conversing | crowd | gambler | leading lady | leading man | love interest | manager | on-screen music | source music | upbeat |
Her Kind of Man (1946) | It Had to Be You (Somber) | 0:44:48 - Georgia leaves | 9th chord | arguing | conflict | departing | gambler | leading lady | leading man | love interest | room | somber | underscoring |
Her Kind of Man (1946) | My Darling | 0:45:05 - Georgia and Don in a restaurant | conversing | crowd | leading lady | leading man | love interest | love scene | photograph | photographer | reporter | restaurant | romantic | source music | waiter |
Her Kind of Man (1946) | Can't We Talk It Over | 0:45:42 - Georgia and Don in a photograph | advance plot | club | conversing | crowd | dancing | husband | leading lady | newspaper | on-screen music | photograph | playing | source music | upbeat | waiter |
Her Kind of Man (1946) | It Had to Be You | 0:47:09 - Georgia gets ready for bed | advance plot | cheery | gambler | leading lady | leading man | love interest | on-screen music | preparing | room | source music | waiting | whistling |
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) | Here Comes the Bride | 0:49:40 - Steve proposes to Georgia | classical music | criminal | familiar tune | gambler | henchman | leading lady | leading man | love interest | love scene | proposing | reporter | romantic | room | tense |
Her Kind of Man (1946) | Body and Soul | 0:56:43 - Georgia sings in a night club | AABA structure | applauding | club | conductor | crowd | leading lady | musician | music scene | on-screen music | performing | performing | romantic | score to source | singer | singing | source music | watching | wife |
Her Kind of Man (1946) | Love Is Sweeping the Country | 0:58:02 - The crowd applauds | advance plot | club | conversing | criminal | crowd | gambler | henchman | husband | leading lady | leading man | on-screen music | owner | performing | reporter | singer | sister | source music | upbeat | wife |
Her Kind of Man (1946) | It Had to Be You (Sneaky) | 1:05:51 - Georgia hides Candy | advance plot | criminal | familiar tune | henchman | leading lady | leading man | mysterious | popular music | reporter | room | singer | sneaking | sneaky | source to score | wife |
Her Kind of Man (1946) | It Had to Be You (Mysterious) | 1:07:50 - Don leaves | advance plot | arriving | car | car | criminal | driving | familiar tune | gambler | henchman | leading lady | leading man | murderer | mysterious | popular music | signaling | singer | street | warehouse | wife |
Her Kind of Man (1946) | It Had to Be You | 1:09:05 - Georgia approaches the warehouse | advance plot | criminal | familiar tune | gambler | henchman | leading lady | leading man | murderer | neutral | popular music | score to source | singer | warehouse | whistling | wife |
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 |
Her Kind of Man (1946) | It Had to Be You (Mysterious) | 1:11:11 - Georgia leaves | advance plot | departing | familiar tune | gambler | leading lady | leading man | murderer | mysterious | popular music | singer | warehouse | wife |
Her Kind of Man (1946) | Underscoring (Dramatic [Steiner]) | 1:14:17 - Cop looks at his watch | climax | conversing | criminal | double-cross | dramatic | henchman | leading lady | leading man | parallelism | police | reporter | room | singer | stinger | telephone | tense | underscoring | watch | wife |
Her Kind of Man (1946) | Speeding | 1:14:21 - Policeman driving | car | chromatic parallelism | chromatic scale | chromatic sequence | climax | dramatic | driving | hurrying | leading lady | leading man | omnibus progression | police | reporter | rushing | singer | tense | wife | yelling |
Her Kind of Man (1946) | It Had to Be You (Tragic) | 1:17:10 - Georgia holds Steve | 9th chord | augmented triad | climax | comforting | conversing | corpse | cradling | criminal | crying | death | dying | familiar tune | gambler | henchman | leading lady | leading man | murderer | police | popular music | reporter | singer | street | tense | tragic | wife |
Her Kind of Man (1946) | Water | 1:17:41 - Steve's corpse | 9th chord | corpse | criminal | death | flowing | gambler | henchman | leading lady | leading man | murderer | panning shot | police | reporter | resolution | singer | street | swirling | tense | tragic | voice-over | water | water effect | wife |
Her Kind of Man (1946) | It Had to Be You (The End) | 1:18:02 - The End | added-note chord | criminal | dark | death | dramatic | end title sequence | gambler | henchman | leading lady | leading man | mode mixture | murderer | police | reporter | singer | street | The End | tragic | wife |
I Was a Communist for the FBI (1951) | Undercover Agent (Ominous) + Family | 0:38:46 - Matt leaves his apartment | advance plot | combination of themes | communist | dark | discovery | leading lady | letter | ominous | polychord | reacting | reading | self-borrowing | spy | street | teacher | tense | tritone oscillation |
I Was a Communist for the FBI (1951) | Ice Cold Katy | 0:53:21 - Matt follows Eve | advance plot | arguing | communist | jazz | leading lady | leading man | source music | spy | street | teacher | undercover agent | upbeat |
I Was a Communist for the FBI (1951) | Down the stairs | 0:57:47 - Eve sneaks down the stairs | communist | create suspense | descending | leading lady | leading man | mickey-mousing | sneaking | spy | staircase | stairs | teacher | tense | undercover agent |
I Was a Communist for the FBI (1951) | Underscoring (Tense) | 0:57:54 - Matt and Eve go down the stairs | communist | create suspense | leading lady | leading man | pc set | sneaking | spy | staircase | stairs | teacher | tense | tritone | undercover agent | underscoring |
I Was a Communist for the FBI (1951) | Sneaking | 0:58:02 - Matt and Eve sneak away | chromatic scale | communist | create suspense | hiding | leading lady | leading man | mickey-mousing | pc set | running | sneaking | spy | staircase | stairs | teacher | tense | undercover agent |
I Was a Communist for the FBI (1951) | Undercover Agent (Molto Misterioso) | 0:58:12 - The communists go upstairs | ascending | communist | create suspense | leading lady | leading man | ostinato | polychord | sequence | sneaking | spy | staircase | stairs | teacher | tense | tone cluster | tritone oscillation | undercover agent |
I Was a Communist for the FBI (1951) | FBI (Molto Marcato) | 0:59:03 - FBI man enters with a gun | agent | arresting | communist | gun | leading lady | leading man | murder scene | noble | room | sneaking | spy | stinger | street | teacher | tense | undercover agent |
I Was a Communist for the FBI (1951) | Undercover Agent (Misterioso) | 0:59:50 - Agent watches | car | communist | driving | escaping | leading lady | leading man | mysterious | polychord | spy | street | teacher | transition | tritone oscillation | undercover agent |
I Was a Communist for the FBI (1951) | Jumps off stairs | 1:03:23 - Matt jumps off of the staircase | communist | gun | gunshot | jumping | leading lady | leading man | mickey-mousing | shooting | shootout | shootout | spy | teacher | tense | tone cluster | train tracks | tritone | undercover agent |
I Was a Communist for the FBI (1951) | Running and hiding | 1:03:28 - Matt runs and takes cover | communist | hiding | leading lady | leading man | mickey-mousing | running | shootout | shootout | spy | teacher | tense | train tracks | undercover agent |
I Was a Communist for the FBI (1951) | Undercover Agent (Gunfight) | 1:03:34 - Train tracks | augmented triad | communist | dissonant bass | diving | dramatic | gun | gunshot | hiding | leading lady | leading man | mickey-mousing | minor-major 7th chord | polychord | running | shooting | shootout | shootout | spy | syncopation | teacher | tense | train tracks | tritone oscillation | undercover agent |
I Was a Communist for the FBI (1951) | Running | 1:03:57 - Communist runs | communist | dramatic | leading lady | leading man | mickey-mousing | running | shootout | shootout | spy | teacher | tense | train tracks | undercover agent | whole-tone chord |
I Was a Communist for the FBI (1951) | Commie is shot | 1:04:01 - Communist is shot and falls dead | chromatic scale | communist | death | dramatic | dying | falling | gun | gunshot | leading lady | leading man | mickey-mousing | pc set | shooting | shootout | shootout | spy | stinger | teacher | tense | tone cluster | train tracks | undercover agent |
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) | Stanley Introduction | 0:06:35 - A car arrives | 9th chord | arriving | car | chromatic scale | conversing | establish character | leading lady | leading man | love interest | stinger | tense |
In This Our Life (1942) | Stanley | 0:06:56 - Stanley talks with Peter | 9th chord | appoggiatura | car | circle of fifths | conversing | establish character | leading lady | leading man | love interest | sultry |
In This Our Life (1942) | Stanley B | 0:07:06 - Stanley talks with Peter | car | chromatic scale | chromatic sequence | conversing | dissonant bass | establish character | fragmentation | leading lady | leading man | love interest | sultry |
In This Our Life (1942) | Stanley | 0:07:23 - Stanley drives away | 9th chord | appoggiatura | car | circle of fifths | conversing | establish character | leading lady | leading man | love interest | sultry |
In This Our Life (1942) | Stanley (She Runs) | 0:07:32 - Stanley runs inside | arriving | chromatic parallelism | chromatic sequence | diminution | establish character | hurried | leading lady | mickey-mousing | room | running | sequence | street |
In This Our Life (1942) | Stanley (Rubato) | 0:11:58 - Stanley talks with Roy | conversing | establish character | leading lady | mysterious | pc set | room | sister | stinger |
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) | Expressivo | 0:12:28 - Stanley talks with Roy | chromatic scale | conversing | establish character | expressive | leading lady | plagal cadence | retardation | room | sister |
In This Our Life (1942) | Big Sweep | 0:12:41 - Stanley leaves | altered dominant | dramatic | establish character | leading lady | pc set | room | sister | stinger | tense | watching |
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) | Caring | 0:13:08 - Roy talks to Peter | 9th chord | advance plot | chromatic parallelism | conversing | leading lady | leading man | packing | parallelism | passionate | room | tender |
In This Our Life (1942) | Stanley (Peter Lies) | 0:13:28 - Peter talks about his trip | 9th chord | advance plot | appoggiatura | conversing | leading lady | leading man | lying | musical clue | packing | room | serious | somber |
In This Our Life (1942) | Roy (In Love) | 0:13:39 - Roy is relieved | 64 chord | advance plot | calm | chromatic sequence | conversing | dissonant bass | leading lady | leading man | room | sequential modulation | whole-tone chord |
In This Our Life (1942) | Discussion | 0:13:57 - Roy talks with Peter | 9th chord | advance plot | altered dominant | conversing | leading lady | leading man | passionate | reverse picardy | room | serious | somber |
In This Our Life (1942) | Roy (Rubato) | 0:14:34 - Roy talks with Peter | 9th chord | advance plot | chromatic parallelism | conversing | dark | fragmentation | leading lady | leading man | major 7th chord | playful | room |
In This Our Life (1942) | Pleadingly | 0:14:53 - Roy looks at Peter | advance plot | altered dominant | common-tone dominant 7th | conversing | leading lady | leading man | room | yearning |
In This Our Life (1942) | Roy (Lento) | 0:14:59 - Roy talks about their future | 64 chord | advance plot | common-chord modulation | conversing | dark | deceptive resolution | dissonant bass | embracing | leading lady | leading man | room | sweet |
In This Our Life (1942) | Stanley B (Agitato) | 0:15:19 - Peter replies to Roy | advance plot | agitated | arguing | chromatic scale | dissonant bass | half-diminished 7th chord | leading lady | leading man | room | tense | whole-tone chord |
In This Our Life (1942) | Roy (Morendo) | 0:15:43 - Roy responds to Peter | added-note chord | advance plot | augmented sixth chord | conversing | embracing | leading lady | leading man | room | serious | somber |
In This Our Life (1942) | Stanley (Maestoso) | 0:16:11 - Peter closes the door | advance plot | brash | dark | half-diminished 7th chord | leading lady | leading man | leaving | room | serious |
In This Our Life (1942) | Stanley (Valse Triste) | 0:16:22 - Roy looks out the window | 9th chord | advance plot | altered dominant | appoggiatura | circle of fifths | dark | leading lady | leading man | leaving | room | somber | waltz | watching | window |
In This Our Life (1942) | Stanley B (Valse Triste) | 0:16:33 - Craig arrives | 9th chord | advance plot | arriving | dark | dissonant bass | leading lady | leading man | somber | street | waltz | watching | window |
In This Our Life (1942) | Stanley | 0:16:44 - Craig comes inside | 9th chord | advance plot | appoggiatura | circle of fifths | dark | father | leading lady | leading man | room | somber | waltz |
In This Our Life (1942) | Stanley Introduction | 0:16:56 - Craig talks with Asa | 9th chord | advance plot | chromatic scale | conversing | father | fiancé | leading lady | room | tense | underscoring |
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 B (Poco Agitato) | 0:17:44 - Stanley packs her things | advance plot | agitated | chromatic sequence | fragmentation | leading lady | packing | room | tense |
In This Our Life (1942) | Stanley (Packing) | 0:17:51 - Stanley packs her things | 9th chord | advance plot | agitated | appoggiatura | circle of fifths | leading lady | packing | room | tense |
In This Our Life (1942) | Asa (Triste) | 0:21:45 - Asa arrives home | 64 chord | arriving | common-tone diminished 7th | conflict | father | leading lady | room | solemn | somber | tense |
In This Our Life (1942) | Stanley (Con Moto) | 0:22:19 - Roy talks about Stanley's letter | 13th chord | angry | bitter | chromatic scale | conflict | conversing | father | half-diminished 7th chord | leading lady | letter | parallelism | pc set | room |
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) | Expressivo | 0:22:51 - Roy talks to Asa | altered dominant | chromatic scale | conflict | conversing | expressive | father | leading lady | plagal cadence | retardation | room |
In This Our Life (1942) | Big Sweep (Turn) | 0:23:03 - Roy looks in the mirror | altered dominant | conflict | conversing | expressive | father | leading lady | room |
In This Our Life (1942) | Roy (Grazioso) | 0:23:08 - Roy looks in the mirror | 9th chord | conflict | conversing | countermelody | father | foreign key modulation | leading lady | mysterious | room |
In This Our Life (1942) | Caring | 0:23:19 - Asa talks to Roy | 9th chord | chromatic parallelism | conflict | conversing | father | leading lady | room | sentimental | underscoring |
In This Our Life (1942) | Asa (Ostinato) | 0:23:26 - Asa talks to Roy | chromatic parallelism | conflict | conversing | dark | father | leading lady | ostinato | room | sequential modulation | serious | whole-tone chord |
In This Our Life (1942) | Asa (Molto Expressivo) | 0:23:49 - Roy leaves | 64 chord | added-note chord | conflict | dark | father | leading lady | leaving | mode mixture | pedal tone | reverse picardy | room | somber |
In This Our Life (1942) | South American Way | 0:24:06 - A spinning record | AABA structure | advance plot | conversing | dancing | Latin-American | leading lady | leading man | love interest | popular music | record player | room | source music | upbeat |
In This Our Life (1942) | Stanley (Gloomy) | 0:28:32 - Roy walking in the park | 9th chord | advance plot | altered dominant | appoggiatura | chromatic parallelism | dark | depressed | leading lady | leading man | park | sigh gesture | sitting | tritone substitution |
In This Our Life (1942) | Roy (Rubato) | 0:29:00 - Roy talks to Craig | 9th chord | advance plot | chromatic parallelism | conversing | fragmentation | leading lady | leading man | major 7th chord | park | uneasy |
In This Our Life (1942) | Pleadingly | 0:29:23 - Roy talks to Craig | advance plot | altered dominant | common-tone dominant 7th | conversing | leading lady | leading man | park | uneasy |
In This Our Life (1942) | Stanley (Morendo) | 0:29:32 - Craig talks with Roy | 9th chord | advance plot | appoggiatura | chromatic parallelism | conversing | harmonic sequence | leading lady | leading man | park | somber |
In This Our Life (1942) | Roy (Encouragement) | 0:29:56 - Roy tries to cheer Craig up | 9th chord | advance plot | common-chord modulation | conversing | encouraging | leading lady | leading man | park | sequential modulation | uplifting |
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) | Here Comes the Bride (A Little Shimmer) | 0:31:40 - A convertible | 9th chord | 11th chord | 64 chord | car | courthouse | deceptive resolution | happy | leading lady | leading man | leaving | pump-up modulation | sequential modulation | street | wedding | wedding |
In This Our Life (1942) | Stanley (Stringy) | 0:32:14 - Stanley and Peter in the car | 9th chord | appoggiatura | car | circle of fifths | conversing | leading lady | leading man | sultry | wedding | wedding |
In This Our Life (1942) | Stanley (She Runs) | 0:32:24 - Stanley talks to Peter | car | chromatic parallelism | chromatic sequence | conversing | diminution | leading lady | leading man | playful | sequence | wedding | wedding |
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 |
In This Our Life (1942) | Java Jive | 0:32:41 - A dance hall | dance hall | dance scene | dancing | leading lady | leading man | on-screen music | popular music | source music | upbeat |
In This Our Life (1942) | This Time the Dream's on Me | 0:33:03 - Stanley and Peter sit at a table | AABA structure | conversing | dance hall | dance scene | dancing | leading lady | leading man | on-screen music | popular music | source music | upbeat |
In This Our Life (1942) | Flirting | 0:37:31 - Peter goes to Stanley | 9th chord | 64 chord | conversing | flirting | happy | leading lady | leading man | love scene | mode mixture | room |
In This Our Life (1942) | Stanley (Grazioso) | 0:37:56 - Stanley talks to Peter | 9th chord | added-note chord | appoggiatura | circle of fifths | conversing | flirting | happy | leading lady | leading man | love scene | pleasant | room | sultry |
In This Our Life (1942) | Driving | 0:38:19 - Roy and Craig in a car | 9th chord | calm | car | conversing | driving | leading lady | leading man | love interest | love scene | oscillation |
In This Our Life (1942) | Driving + Love Theme | 0:39:07 - Roy and Craig in a car | 9th chord | altered dominant | calm | car | combination of themes | conversing | driving | iii chord | leading lady | leading man | love interest | love scene | oscillation | pedal tone | romantic | suspension |
In This Our Life (1942) | Danger | 0:39:54 - A forest ranger | conversing | danger | fire | forest ranger | leading lady | leading man | love interest | love scene | minor-major 7th chord | outdoors | tense |
In This Our Life (1942) | Forest Fire | 0:40:10 - A forest fire | conversing | dangerous | diminished 7th chord | eerie | fire | leading lady | leading man | love interest | love scene | outdoors | pc set | polychord |
In This Our Life (1942) | Love Theme | 0:40:44 - Roy and Craig sit on the ground | 9th chord | altered dominant | artwork in score | calm | conversing | fire | iii chord | leading lady | leading man | love interest | love scene | outdoors | romantic | suspension |
In This Our Life (1942) | Blues in the Night | 0:42:47 - Stanley puts a record on the phonograph | arguing | blue note | blues | conflict | leading lady | leading man | record player | room | source music | upbeat |
In This Our Life (1942) | Blues in the Night (Transition) | 0:43:37 - Craig's office door | 9th chord | arriving | assistant | calm | friend | leading lady | love scene | office | pleasant | source to score |
In This Our Life (1942) | Roy (Expressivo) | 0:43:43 - Roy talks with Parry | 64 chord | assistant | calm | conversing | deceptive resolution | friend | leading lady | love scene | office | pleasant |
In This Our Life (1942) | Love Theme (Valse Sentimentale) | 0:44:06 - Roy and Craig embrace | 9th chord | altered dominant | calm | conversing | iii chord | leading lady | leading man | love scene | office | romantic | waltz |
In This Our Life (1942) | Love Theme (Valse Sentimentale) | 0:46:31 - Roy talks with her uncle | 9th chord | altered dominant | conversing | iii chord | leading lady | leading man | love scene | pleasant | proposal | room | tender | uncle | waltz |
In This Our Life (1942) | Funereal | 0:48:25 - Asa calls for the others | bad news | conversing | father | leading lady | leading man | room | solemn | stinger | turning point | uncle |
In This Our Life (1942) | Underscoring (Somber) | 0:48:46 - Asa relates the bad news | 9th chord | bad news | conversing | deceptive resolution | father | leading lady | leading man | room | sigh gesture | somber | turning point | uncle | underscoring |
In This Our Life (1942) | Underscoring (Dark) | 0:49:21 - Asa tells them Peter committed suicide | conversing | dark | father | leading lady | leading man | room | stinger | suicide | triadic transformation | turning point | uncle | underscoring |
In This Our Life (1942) | Stanley B (Agitato) | 0:49:32 - Uncle Fitzroy asks about Stanley | agitated | altered dominant | arguing | chromatic scale | chromatic sequence | dissonant bass | father | leading lady | leading man | room | suicide | tense | turning point | uncle | whole-tone chord |
In This Our Life (1942) | Roy (Morendo 2) | 0:49:54 - Roy reacts to the bad news | added-note chord | appoggiatura | augmented sixth chord | conversing | father | leading lady | leading man | mode change | room | serious | somber | suicide | turning point | uncle |
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 B (Slowly) | 0:52:05 - Roy at Stanley's bedside | 9th chord | advance plot | agitated | chromatic scale | chromatic sequence | conversing | dissonant bass | 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 (Valse Triste) | 0:52:42 - Stanley talks to Roy | 9th chord | advance plot | agitated | altered dominant | appoggiatura | circle of fifths | conversing | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley B (Valse Triste) | 0:52:48 - Stanley talks to Roy | 9th chord | advance plot | agitated | conversing | dissonant bass | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley | 0:52:56 - Stanley talks to Roy | 9th chord | advance plot | agitated | appoggiatura | circle of fifths | conversing | leading lady | room | sister | widow |
In This Our Life (1942) | Discussion | 0:53:04 - Stanley talks to Roy | 9th chord | advance plot | agitated | altered dominant | conversing | leading lady | room | sister | whole-tone chord | widow |
In This Our Life (1942) | Stanley B (Valse Triste) | 0:53:17 - Stanley cries | 9th chord | advance plot | agitated | chromatic scale | chromatic sequence | conversing | leading lady | room | sister | 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) | Stanley Introduction | 0:53:32 - Roy comforts Stanley | 9th chord | advance plot | chromatic scale | comforting | crying | leading lady | room | sister | tense | widow |
In This Our Life (1942) | Stanley | 0:53:46 - Roy comforts Stanley | 9th chord | advance plot | appoggiatura | calm | circle of fifths | comforting | leading lady | room | sister | widow |
In This Our Life (1942) | Stanley (Morendo) | 0:53:56 - Roy puts Stanley to bed | 9th chord | advance plot | calm | comforting | harmonic sequence | 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) | Blues in the Night | 0:54:51 - Stanley dresses | advance plot | blues | dressing | leading lady | record player | room | source music | upbeat | widow |
In This Our Life (1942) | How Do I Know It's Sunday | 0:57:12 - Stanley starts a record playing | AABA structure | advance plot | conversing | crying | dancing | father | flirting | leading lady | leading man | popular music | record player | room | sister | source music | upbeat | widow |
In This Our Life (1942) | Uncle Fitzroy | 1:04:26 - Uncle Fitzroy talks to Stanley | augmented sixth chord | conflict | conversing | crying | dancing | flirting | leading lady | room | solemn | uncle | whole-tone chord | widow |
In This Our Life (1942) | Anger | 1:04:56 - Stanley gets angry | angry | arguing | chromatic scale | conflict | leading lady | leaving | minor-major 7th chord | pc set | room | running | tense | uncle | upset | widow | yelling |
In This Our Life (1942) | Underscoring (Tense) | 1:05:14 - Craig in his office | advance plot | arriving | augmented triad | lawyer | leading lady | leading man | office | pc set | pedal tone | tense | underscoring |
In This Our Life (1942) | Stanley Introduction (Extended 2) | 1:05:31 - Stanley in Craig's office | 9th chord | advance plot | chromatic scale | conversing | lawyer | leading lady | leading man | office | reading | uneasy | whole-tone chord |
In This Our Life (1942) | Stanley (Extended) | 1:05:53 - Stanley talks to Craig | 9th chord | advance plot | appoggiatura | circle of fifths | conversing | lawyer | leading lady | leading man | office | solemn | uneasy |
In This Our Life (1942) | Stanley B (Slowly) | 1:06:13 - Stanley talks to Craig | 9th chord | advance plot | chromatic parallelism | chromatic scale | conversing | dissonant bass | lawyer | leading lady | leading man | office | uneasy |
In This Our Life (1942) | Stanley (Triste) | 1:06:29 - Stanley talks to Craig | 9th chord | advance plot | appoggiatura | circle of fifths | conversing | lawyer | leading lady | leading man | office | uneasy |
In This Our Life (1942) | Stanley (Misterioso) | 1:06:47 - Stanley hesitates at the door | advance plot | fragmentation | hesitating | lawyer | leading lady | leading man | mysterious | office | pc set |
In This Our Life (1942) | Stanley Introduction | 1:07:01 - Stanley talks to Craig | 9th chord | advance plot | chromatic scale | lawyer | leading lady | leading man | manipulating | office | passionate |
In This Our Life (1942) | Stanley | 1:07:11 - Stanley talks to Craig | 9th chord | advance plot | appoggiatura | circle of fifths | lawyer | leading lady | leading man | manipulating | office | uneasy |
In This Our Life (1942) | Stanley B (Slowly) | 1:07:19 - Stanley talks to Craig | advance plot | anxious | chromatic sequence | dissonant bass | lawyer | leading lady | leading man | manipulating | office | tense |
In This Our Life (1942) | Stanley (Dark) | 1:07:32 - Stanley leaves | 9th chord | advance plot | dark | lawyer | leading lady | leading man | manipulating | office | uneasy |
In This Our Life (1942) | South American Way | 1:07:39 - Stanley in a bar | advance plot | bar | bartender | dancing | drinking | jukebox | leading lady | upbeat | waiting |
In This Our Life (1942) | Fast Driving + Stanley | 1:08:53 - Stanley driving | car | car | child | combination of themes | crime scene | criminal | driving | drunk | leading lady | mysterious | oscillation | street | tense | uneasy | victim | walking | whole-tone scale |
In This Our Life (1942) | Underscoring (Dramatic) | 1:09:01 - Stanley has an accident | car | child | chromatic scale | crashing | crime scene | criminal | dramatic | driving | drunk | leading lady | pc set | street | victim | whole-tone chord | whole-tone scale |
In This Our Life (1942) | Car crash | 1:09:01 - Stanley hits two pedestrians | accident | car | car crash | crashing | crime scene | criminal | dramatic | driving | drunk | dying | falling | hit and run | leading lady | mickey-mousing | street | victim | whole-tone chord | whole-tone scale |
In This Our Life (1942) | Turning around | 1:09:06 - Stanley turns around | accident | car | car crash | chromatic scale | crime scene | criminal | dramatic | drunk | glaring | hit and run | leading lady | mickey-mousing | pc set | stinger | street | turning |
In This Our Life (1942) | Fast Driving | 1:09:12 - Stanley drives away | accident | car | car | car crash | crime scene | criminal | driving | drunk | fleeing | hit and run | leading lady | mysterious | oscillation | tense | whole-tone scale |
In This Our Life (1942) | Underscoring (Tense) | 1:09:25 - Policemen approach the house | arriving | chromatic parallelism | conversing | criminal | investigation scene | leading lady | mysterious | pedal tone | police | room | tense | walking | watching |
In This Our Life (1942) | Stanley (Descending Staircase) | 1:09:49 - Policemen enter the house | arriving | conversing | criminal | investigating | investigation scene | leading lady | mysterious | pc set | police | room | sneaking | tense | walking | watching |
In This Our Life (1942) | Stanley Introduction (Extended 3) | 1:12:42 - Stanley talks with Roy | 9th chord | advance plot | conversing | criminal | leading lady | lying | room | tense |
In This Our Life (1942) | Stanley (Molto Expressivo) | 1:12:57 - Stanley talks with Roy | 13th chord | advance plot | augmented sixth chord | calm | chromatic parallelism | conversing | criminal | leading lady | lying | room |
In This Our Life (1942) | Roy (Triste 2) | 1:13:12 - Roy talks with Minerva | advance plot | conversing | leading lady | maid | mother | questioning | room | solemn | somber |
In This Our Life (1942) | Minerva and Parry | 1:13:29 - Minerva talks with Roy | 9th chord | 11th chord | advance plot | blue note | calm | chromatic mediant | common-tone diminished 7th | conversing | foreign key modulation | leading lady | maid | mellow | mother | questioning | room | sentimental | solemn | spiritual |
In This Our Life (1942) | Stanley (Packing) | 1:14:36 - Newspaper headline about the accident | 9th chord | appoggiatura | arriving | circle of fifths | conflict | conversing | headline | lawyer | leading lady | leading man | mysterious | newspaper | office |
In This Our Life (1942) | Underscoring (Tense) | 1:15:04 - Craig refuses Parry's case | conflict | conversing | denying | lawyer | leading lady | leading man | office | ominous | refusing | tritone oscillation | underscoring |
In This Our Life (1942) | Stanley (Molto Accell) | 1:15:15 - Craig talks about Stanley | anxious | conflict | conversing | defending | denying | half-diminished 7th chord | lawyer | leading lady | leading man | office | pc set | refusing | sigh gesture | tense |
In This Our Life (1942) | Roy (Molto Moderato) | 1:15:51 - Roy leaves | added-note chord | angry | conflict | half-diminished 7th chord | lawyer | leading lady | leading man | leaving | office |
In This Our Life (1942) | You're a Lucky Guy | 1:16:20 - Stanley dances | AABA structure | advance plot | arriving | conversing | criminal | dancing | drinking | leading lady | popular music | record player | room | source music | upbeat |
In This Our Life (1942) | Autumn Nocturne | 1:17:45 - Stanley puts on a record | AABA structure | accusing | arguing | conflict | criminal | defending | leading lady | lying | popular music | record player | room | sentimental | source music |
In This Our Life (1942) | Fast Driving (Tense) | 1:20:10 - Craig's car pulls up to the jail | arriving | car | car | conflict | conversing | criminal | lawyer | leading lady | leading man | oscillation | pc set | street | tense | underscoring | uneasy |
In This Our Life (1942) | Stanley (Slowly 2) | 1:20:46 - Men playing checkers | checkers | conflict | criminal | dark | diminished 7th chord | dissonant bass | game | lawyer | leading lady | leading man | playing | prison | prisoner | somber | suspect | victim |
In This Our Life (1942) | Underscoring (Somber) | 1:21:07 - Parry in his jail cell | 9th chord | conflict | conversing | criminal | diminished 7th chord | lawyer | leading lady | leading man | prison | prisoner | sigh gesture | somber | suspect | underscoring | victim |
In This Our Life (1942) | Minerva and Parry | 1:21:28 - Parry in his jail cell | 9th chord | 11th chord | blue note | chromatic mediant | common-tone diminished 7th | conflict | conversing | criminal | foreign key modulation | lawyer | leading lady | leading man | lying | prison | prisoner | somber | suspect | tender | testifying | victim |
In This Our Life (1942) | Minerva and Parry (Triste) | 1:22:39 - Parry talks to Stanley | 64 chord | conflict | conversing | criminal | lawyer | leading lady | leading man | lying | mode change | prison | prisoner | solemn | somber | suspect | testifying | victim |
In This Our Life (1942) | Stanley Introduction (Extended 4) | 1:23:09 - Stanley and Craig leave the jail | 9th chord | car | conflict | criminal | lawyer | leading lady | leading man | leaving | street | tense |
In This Our Life (1942) | London Bridge is Falling Down (Molto Expressivo) | 1:23:33 - Craig talks to Stanley | car | children's song | conflict | conversing | criminal | familiar tune | lawyer | leading lady | leading man | somber |
In This Our Life (1942) | London Bridge is Falling Down (Mysterious) | 1:23:45 - Craig and Stanley argue | 9th chord | car | children's song | conflict | conversing | criminal | familiar tune | lawyer | leading lady | leading man | lying | mysterious | ominous |
In This Our Life (1942) | Stanley (Agitato) | 1:25:21 - Craig talks to Stanley | agitated | climax | conversing | criminal | father | lawyer | leading lady | leading man | mother | pc set | room | suspect |
In This Our Life (1942) | Underscoring (Tense) + South American Way | 1:25:34 - Stanley reacts | accusing | climax | criminal | father | lawyer | leading lady | leading man | lying | mother | mysterious | ominous | remembered source music | remembering | room | source and scoring overlap | source music | suspect | tense | underscoring |
In This Our Life (1942) | Stanley (Valse Triste) | 1:26:23 - Stanley confesses | 9th chord | altered dominant | appoggiatura | arguing | circle of fifths | climax | confessing | confession | criminal | crying | dramatic | father | lawyer | leading lady | leading man | mother | room | suspect | whole-tone chord |
In This Our Life (1942) | Stanley B (Slowly Extended) | 1:26:39 - Stanley confesses | 9th chord | agitated | arguing | chromatic scale | chromatic sequence | climax | confessing | confession | criminal | crying | dissonant bass | father | lawyer | leading lady | leading man | lying | mother | room | suspect |
In This Our Life (1942) | Expressivo (Extended) | 1:27:04 - Lavinia rises | added-note chord | arguing | chromatic scale | climax | criminal | emotional | father | lawyer | leading lady | leading man | mother | pleading | retardation | room | suspect |
In This Our Life (1942) | Big Sweep (Subtle) | 1:27:23 - Stanley reacts | 9th chord | climax | conversing | criminal | father | lawyer | leading lady | leading man | mother | pc set | plotting | room | suspect | tense | underscoring |
In This Our Life (1942) | Stanley (Extended) | 1:27:33 - Stanley goes upstairs | 9th chord | appoggiatura | circle of fifths | climax | conversing | criminal | crying | father | lawyer | leading lady | leading man | mother | room | somber | suspect | uneasy |
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 |
In This Our Life (1942) | Big Sweep | 1:28:57 - Stanley escapes | 11th chord | altered dominant | climax | criminal | dramatic | driving | escaping | lawyer | leading lady | leading man | pc set | room | underscoring | watching |
In This Our Life (1942) | Fast Driving | 1:29:17 - Stanley driving her car | criminal | driving | escaping | leading lady | oscillation | street | tense | transition | whole-tone scale |
In This Our Life (1942) | Stanley B (Agitato) | 1:29:27 - Stanley runs inside | agitated | butler | chromatic sequence | criminal | dissonant bass | half-diminished 7th chord | leading lady | room | running | street | transition |
In This Our Life (1942) | Stanley (Triste) | 1:29:42 - Stanley enters the house | 9th chord | agitated | appoggiatura | circle of fifths | criminal | leading lady | room | running | sigh gesture | somber | tense | transition | uncle |
In This Our Life (1942) | Anger (Agitato) | 1:31:34 - Stanley yells at her uncle | agitated | angry | arguing | conflict | criminal | distressed | leading lady | minor-major 7th chord | oscillation | room | uncle | yelling |
In This Our Life (1942) | Maestoso | 1:31:51 - Stanley runs off crying | conflict | criminal | crying | departing | dissonant bass | dramatic | leading lady | polychord | room | running | street | uncle | yelling |
In This Our Life (1942) | Stanley B (Very Agitated) | 1:32:15 - Stanley hides from the police | agitated | chromatic scale | conflict | criminal | dissonant bass | fragmentation | hiding | leading lady | mysterious | police | room | running | rushing | street |
In This Our Life (1942) | Underscoring (Dramatic) | 1:32:30 - Stanley dashes through the gate | conflict | criminal | dramatic | hiding | leading lady | police | running | rushing | street | underscoring |
In This Our Life (1942) | Police (Chase) | 1:32:36 - Stanley runs for her car | chromatic scale | conflict | criminal | dissonant bass | driving | fleeing | hiding | leading lady | ostinato | police | running | rushing | street | tense |
In This Our Life (1942) | Stanley (Chase) | 1:32:59 - The police chase after Stanley | 9th chord | acceleration | chase scene | chasing | chromatic scale | climax | criminal | desperate | dramatic | driving | fleeing | fragmentation | leading lady | police | street | tense |
In This Our Life (1942) | Stanley (Fleeing) | 1:33:12 - The police chase after Stanley | 64 chord | chase scene | chasing | chromatic mediant | climax | criminal | desperate | diminution | dramatic | driving | fleeing | leading lady | ostinato | police | sequential modulation | street | tense |
In This Our Life (1942) | Underscoring (Dramatic) | 1:33:29 - Two other policeman see Stanley | chase scene | chasing | chromatic scale | climax | criminal | dark | dramatic | driving | fleeing | half-diminished 7th chord | leading lady | pc set | police | street | tense | underscoring | watching |
In This Our Life (1942) | Stanley (Crying) | 1:33:37 - Stanley crying in her car | 9th chord | appoggiatura | chase scene | chasing | climax | criminal | crying | dark | dramatic | driving | fleeing | harmonic sequence | leading lady | police | somber | street | tense |
In This Our Life (1942) | Stanley + Stanley B (Rising Tension) | 1:33:49 - The police in hot pursuit | chase scene | chasing | chromatic scale | chromatic sequence | climax | combination of themes | criminal | desperate | dissonant bass | dramatic | driving | fleeing | half-diminished 7th chord | leading lady | police | street | tense |
In This Our Life (1942) | Stanley (Desperate) | 1:34:02 - The police in hot pursuit | 9th chord | chase scene | chasing | chromatic parallelism | climax | criminal | crying | desperate | dramatic | driving | fleeing | fragmentation | leading lady | police | street | tense |
In This Our Life (1942) | Underscoring (Dramatic) | 1:34:09 - Stanley's eyes in the rear-view mirror | 9th chord | acceleration | chase scene | chasing | climax | criminal | crying | desperate | dissonant bass | dramatic | driving | fleeing | leading lady | pc set | police | street | tense | tone cluster | underscoring |
In This Our Life (1942) | Car crash 2 | 1:34:17 - Stanley's car crashes | 9th chord | brash | car | car crash | chase scene | climax | crashing | criminal | dramatic | driving | dying | falling | fire | leading lady | mickey-mousing | police | street | tense |
In This Our Life (1942) | Stanley (Tragic) | 1:34:28 - Police run to Stanley's car | 9th chord | added-note chord | appoggiatura | brash | car | car crash | chase scene | climax | criminal | dramatic | dying | fire | half-diminished 7th chord | helping | leading lady | mournful | police | reporting | rescuing | rushing | sigh gesture | somber | street | tragic |
In This Our Life (1942) | Love Theme (Slowly) | 1:35:39 - Craig answers a phone call | comforting | conversing | leading lady | leading man | resolution | room | solemn | somber | tender | The End |
The Informer (1935) | Underscoring (Subtle) | 0:04:22 - Close-up on Katie | establish character | leading lady | linear chromaticism | mysterious | staring | street | underscoring |
The Informer (1935) | Katie | 0:04:31 - Katie walks down the street | establish character | foreign key modulation | leading lady | parallelism | seductive | staring | street | sultry | walking |
The Informer (1935) | Match strike | 0:05:03 - Man strikes a match on the lamp post | establish character | leading lady | lighting | match | mickey-mousing | playful | street |
The Informer (1935) | Underscoring (Tense) | 0:05:04 - Gypo sees the man and walks towards him | establish character | leading lady | leading man | mysterious | street | tense | underscoring | walking | whole-tone |
The Informer (1935) | Blowing smoke | 0:05:16 - Man blows smoke into Katie's face | blowing | establish character | leading lady | mickey-mousing | mysterious | smoke | street | whole-tone |
The Informer (1935) | Katie Calls Gypo | 0:05:38 - Katie says Gypo's name | conversing | diminished 7th chord | dissonant bass | establish character | leading lady | leading man | mickey-mousing | somber | staring | street |
The Informer (1935) | Katie (Tired and Sad) | 0:05:49 - Katie talks to Gypo | conversing | crying | diminished 7th chord | establish character | leading lady | leading man | parallelism | Scotch snap | sobbing gesture | somber | street |
The Informer (1935) | Yankee Doodle (Octatonic) | 0:06:21 - Katie looks at the poster about a trip to America | American | comical | conversing | dark | diminished 7th chord | establish character | leading lady | leading man | octatonic | parallelism | patriotic tune | source music | street |
The Informer (1935) | Katie (Hurt) | 0:06:58 - Katie is upset with Gypo and walks away upset | agitated | chromatic scale | crying | establish character | leading lady | leading man | leaving | street | tritone | upset |
The Informer (1935) | Katie (Triste) | 0:22:38 - Katie appears at the window | 64 chord | advance plot | antagonist | conversing | foreign key modulation | leading lady | leading man | parallelism | pub | sultry | watching |
The Informer (1935) | Blood Money (Four Coins) | 0:23:15 - Bartender puts four coins on the table | advance plot | antagonist | augmented triad | bartender | coin | counting | half-diminished 7th chord | leading lady | leading man | mickey-mousing | money | mysterious | placing | pub | tense |
The Informer (1935) | The Informer (Lying) | 0:23:40 - Gypo lies about where he got the money | advance plot | antagonist | chromatic sequence | conversing | diminished 7th chord | dissonant bass | half-diminished 7th chord | leading lady | leading man | lying | octatonic | pub | Scotch snap | tense |
The Informer (1935) | Blind Man + Blood Money | 0:24:45 - Blind man wanders in and Gypo gives him money | advance plot | antagonist | augmented triad | blind man | combination of themes | giving | leading lady | leading man | money | mysterious | ominous | street | walking |
The Informer (1935) | The Informer (Bold) | 0:25:26 - Gypo storms off down the street | 64 chord | advance plot | antagonist | bold | determined | hurrying | leading lady | leading man | Scotch snap | street | walking |
The Informer (1935) | Here Comes the Bride | 0:49:55 - Dream sequence of a voyage to America | 64 chord | advance plot | antagonist | boat | double exposure | dreaming | familiar tune | leading lady | leading man | pedal tone | romantic | ship | street | vision | wedding |
The Informer (1935) | Katie (Mistaken Identity) | 0:52:34 - Gypo thinks he sees Katie, but it's someone else | advance plot | antagonist | augmented sixth chord | hallucinating | hallucination | leading lady | leading man | party | sentimental | transcribed by ear |
The Informer (1935) | The Informer (Drunk) | 1:03:23 - Gypo walks down the street drunk | advance plot | antagonist | drunk | leading lady | leading man | marching | rebel | street |
The Informer (1935) | The Informer (Molto Agitato) | 1:03:45 - Katie worries for Gypo | advance plot | antagonist | chromatic parallelism | conversing | drunk | half-diminished 7th chord | leading lady | leading man | rebel | street |
The Informer (1935) | The Wearin' o' the Green (Fighting) | 1:03:51 - Gypo struggles with the rebels | 64 chord | advance plot | antagonist | chromatic parallelism | conversing | dominant 7th chord | drunk | familiar tune | fighting | folk song | fragmentation | leading lady | leading man | reassuring | rebel | sequence | street | struggling | syncopation |
The Informer (1935) | Blood Money (Ostinato) | 1:04:10 - The rebels overhear Gypo talking about the money | advance plot | antagonist | conversing | drunk | leading lady | leading man | money | mysterious | ostinato | rebel | street | whole-tone chord |
The Informer (1935) | Katie (Tragic) | 1:04:39 - Katie is left alone on the street | advance plot | appoggiatura | leading lady | minor-major 7th chord | money | somber | street | worrying |
The Informer (1935) | Blood Money (Ostinato) | 1:22:00 - Gypo confesses to Katie | antagonist | confessing | leading lady | leading man | love interest | love scene | money | ostinato | room | tense | traitor | whole-tone |
The Informer (1935) | Katie (Allegro Appassionato) | 1:22:20 - Gypo talks to Katie | antagonist | confessing | leading lady | leading man | love interest | love scene | room | sequence | tense | traitor |
The Informer (1935) | By the Fire | 1:22:36 - Gypo rests by the fire | antagonist | half-diminished 7th chord | leading lady | leading man | love interest | love scene | romantic | room | suspension | traitor | yearning |
The Informer (1935) | Katie (Dolcissimo) | 1:22:57 - Gypo talks to Katie | antagonist | chromatic sequence | leading lady | leading man | love | love interest | love scene | romantic | room | traitor | yearning |
The Informer (1935) | Katie (Begging) | 1:24:42 - Katie pleads for Gypo | 64 chord | advance plot | begging | leading lady | love interest | rebel | room | sequence | serious | tense |
The Informer (1935) | Begging | 1:25:13 - Katie pleads for Gypo | advance plot | begging | diminished 7th chord | dissonant bass | leading lady | love interest | pedal tone | rebel | room | sequence | serious | tense |
The Informer (1935) | The Informer (Begging) | 1:25:50 - Katie pleads for Gypo | advance plot | begging | dramatic | leading lady | love interest | main theme | rebel | room |
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 (Sympathetic) | 1:26:35 - Katie tells Dan where Gypo is | advance plot | eavesdropping | leading lady | love interest | main theme | rebel | room | spying | tense |
The Informer (1935) | Begging 2 | 1:26:41 - Katie begs for Gypo's life | advance plot | anxiety | begging | chromatic scale | despair | leading lady | love interest | rebel | room | sequence | tense |
The Informer (1935) | Katie (Furioso) | 1:26:55 - Katie becomes desperate | advance plot | anxiety | begging | chromatic parallelism | despair | dissonant bass | fragmentation | leading lady | love interest | rebel | room | sentence form | sequence | tense | whole-tone chord |
Key Largo (1948) | Largo Hotel (Quasi Misterioso) | 0:11:00 - Frank and Nora talk in the hotel | conversing | establish character | hotel | leading lady | leading man | mysterious | tense |
Key Largo (1948) | Rocco 2 | 0:11:30 - Frank and Nora talk about Rocco | conversing | establish character | harsh | hotel | leading lady | leading man |
Key Largo (1948) | McCloud | 0:11:41 - Nora talks about her husband George | conversing | establish character | heroic | hotel | leading lady | leading man | memorializing | noble |
Key Largo (1948) | Rocco 2 (Subito) | 0:12:07 - Nora sees Curly | dangerous | establish character | gangster | hotel | leading lady | mysterious | watching |
Key Largo (1948) | McCloud (Misterioso) | 0:12:13 - Nora walks downstairs | establish character | gangster | hotel | leading lady | mysterious | walking | watching |
Key Largo (1948) | Underscoring (Somber) | 0:13:51 - Frank talks with Mr. Temple | advance plot | conversing | father | hotel | leading lady | leading man | prelude | somber | underscoring |
Key Largo (1948) | McCloud (Noble) | 0:14:28 - Frank talks about George and the war | advance plot | death | father | heroic | hotel | leading lady | leading man | memory | noble | remembering | storytelling | war |
Key Largo (1948) | McCloud (Tense) | 0:14:56 - Nora and Frank talk about George | advance plot | agitated | death | father | hotel | leading lady | leading man | memory | mode change | remembering | storytelling | tense | war |
Key Largo (1948) | McCloud (Molto Expressivo) | 0:15:36 - Frank and Mr. Temple talk about George | advance plot | death | father | hotel | leading lady | leading man | memory | remembering | somber | storytelling | tender | war |
Key Largo (1948) | Burial Place | 0:16:11 - Frank talks about George's burial place | advance plot | death | father | hotel | hymn | leading lady | leading man | memory | remembering | somber | storytelling | tender | war |
Key Largo (1948) | McCloud (Bugle Call) + Taps | 0:16:31 - Mr. Temple asks Frank about George's burial place | advance plot | bugle call | combination of themes | death | father | heroic | hotel | leading lady | leading man | memory | noble | remembering | somber | storytelling | taps | war |
Key Largo (1948) | McCloud (Broad) | 0:17:00 - Nora and Frank go outside | advance plot | bright | death | father | hotel | leading lady | leading man | memory | remembering | somber | storytelling | tender | walking | war |
Key Largo (1948) | Nora | 0:17:32 - Nora and Frank walk to the boat | conversing | dock | falling in love scene | leading lady | leading man | romantic | triadic | wind |
Key Largo (1948) | Nora (Nervous) | 0:17:53 - Nora sees the gangsters | conversing | dock | falling in love scene | gangster | leading lady | leading man | nervous | wind |
Key Largo (1948) | Wind | 0:18:21 - Frank helps prepare for the storm | conversing | dock | falling in love scene | gangster | leading lady | leading man | storm | tense | wind |
Key Largo (1948) | Tosses rope | 0:18:32 - Frank tosses the rope to Nora | dock | falling in love scene | leading lady | leading man | mickey-mousing | rope | tense | throwing |
Key Largo (1948) | Nora (Con Moto) | 0:18:40 - Nora smiles at Frank | dock | falling in love scene | leading lady | leading man | romantic | smiling | watching |
Key Largo (1948) | Tosses rope 2 | 0:18:47 - Frank tosses the rope to Nora | dock | falling in love scene | leading lady | leading man | mickey-mousing | romantic | rope | throwing |
Key Largo (1948) | Seminoles | 0:19:11 - Seminole Indians arrive | advance plot | arriving | boat | conversing | dock | Indian | Indian | leading lady | leading man | rowing | serious |
Key Largo (1948) | Seminoles (Grandma) | 0:19:46 - Elderly Indian woman talks to Nora | advance plot | arriving | boat | conversing | dock | grandmother | Indian | Indian | leading lady | leading man | old woman | serious | smoking |
Key Largo (1948) | Seminoles (Brothers) | 0:20:29 - Nora talks with Seminole Indians | advance plot | arriving | boat | conversing | dock | Indian | Indian | leading lady | leading man | serious |
Key Largo (1948) | McCloud (Noble) | 0:21:22 - Nora and Frank talk about her life | advance plot | heroic | hotel | leading lady | leading man | memory | noble | remembering | storytelling |
Key Largo (1948) | Rocco 3 (Misterioso) | 0:28:45 - Sawyer starts moaning in the other room | boss | conflict | gangster | gun | hostage | hotel | leading lady | leading man | menacing | mysterious | threatening |
Key Largo (1948) | Rocco (Cut From Film) | NIF - not in film | boss | conversing | cut from film | cut from film | father | gangster | hostage | hotel | leading lady | leading man |
Key Largo (1948) | Rocco 2 (Cut From Film) | NIF - not in film | boss | conversing | cut from film | cut from film | father | gangster | hostage | hotel | leading lady | leading man |
Key Largo (1948) | Rocco 3 (Cut from Film) | NIF - not in film | boss | conversing | cut from film | cut from film | father | gangster | hostage | hotel | leading lady | leading man |
Key Largo (1948) | Tension | NIF - not in film | boss | conversing | cut from film | cut from film | father | gangster | hostage | hotel | leading lady | leading man |
Key Largo (1948) | Rocco (Tense 2) | NIF - not in film | boss | conversing | cut from film | cut from film | father | gangster | hostage | hotel | leading lady | leading man |
Key Largo (1948) | Rocco 2 (Misterioso) | NIF - not in film | boss | conversing | cut from film | cut from film | father | gangster | hostage | hotel | leading lady | leading man |
Key Largo (1948) | Rocco 3 (Cut From Film 2) | NIF - not in film | boss | conversing | cut from film | cut from film | father | gangster | hostage | hotel | leading lady | leading man |
Key Largo (1948) | McCloud (Cut From Film) | NIF - not in film | boss | conversing | cut from film | cut from film | father | gangster | hostage | hotel | leading lady | leading man |
Key Largo (1948) | Rocco 2 (Slowly) + McCloud (Tritone) | 0:32:57 - McCloud quotes FDR | angry | boss | combination of themes | conflict | conversing | father | gangster | hostage | hotel | leading lady | leading man | mysterious | quoting | stinger |
Key Largo (1948) | Underscoring (Dramatic) | 0:33:17 - Mr. Temple rises to attack Rocco | angry | arguing | attacking | boss | conflict | dramatic | father | gangster | hostage | hotel | laughing | leading lady | leading man | tense | underscoring |
Key Largo (1948) | Falling | 0:33:38 - Mr. Temple falls to the ground | angry | boss | conflict | dramatic | falling | father | gangster | hostage | hotel | landing | leading lady | leading man | mickey-mousing | tense |
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 |
Key Largo (1948) | Rocco 2 | 0:33:53 - Rocco talks to Nora | boss | conflict | dangerous | father | gangster | hostage | hotel | leading lady | leading man | mysterious | threatening |
Key Largo (1948) | McCloud (Tragic) | 0:34:05 - McCloud and Nora help Mr. Temple up | boss | conflict | father | gangster | helping | hostage | hotel | leading lady | leading man | mode change | solemn | somber |
Key Largo (1948) | Rocco 3 | 0:39:45 - Rocco looks at Nora | boss | conflict | creepy | father | gangster | hostage | hotel | leading lady | leading man | mysterious | tense | watching |
Key Largo (1948) | Rocco Whispers | 0:39:53 - Rocco whispers to Nora | boss | conflict | creepy | father | gangster | hostage | hotel | leading lady | leading man | mickey-mousing | mysterious | tense | whisper effect | whispering |
Key Largo (1948) | Rocco 3 | 0:40:06 - Rocco follows Nora | boss | conflict | creepy | father | following | gangster | hostage | hotel | leading lady | leading man | mysterious | tense |
Key Largo (1948) | Rocco Whispers | 0:40:10 - Rocco whispers to Nora | boss | conflict | creepy | father | gangster | hostage | hotel | leading lady | leading man | mickey-mousing | mysterious | tense | whisper effect | whispering |
Key Largo (1948) | Underscoring (Dramatic) | 0:40:21 - Nora spits in Rocco's face | angry | boss | conflict | father | gangster | hostage | hotel | leading lady | leading man | spitting | staring | stinger | underscoring |
Key Largo (1948) | McCloud (Dissonant) | 0:40:25 - McCloud walks over to Nora | angry | boss | conflict | dramatic | father | gangster | hostage | hotel | leading lady | leading man | protecting |
Key Largo (1948) | Rocco 3 (Angry) | 0:40:32 - Rocco gets angry | angry | boss | conflict | dramatic | father | gangster | hostage | hotel | leading lady | leading man | stinger | taunting |
Key Largo (1948) | Rocco 2 (Agitato) | 0:46:26 - Look of horror on Gaye's face | boss | conflict | father | fear | gangster | horror | hostage | hotel | leading lady | leading man | look of horror | moll | stinger | watching |
Key Largo (1948) | Underscoring (Tense) | 0:46:30 - Rocco tells McCloud to shoot him | boss | conflict | conversing | father | gangster | hostage | hotel | leading lady | leading man | moll | tense | underscoring |
Key Largo (1948) | Rocco 3 (Shrill) | 0:46:38 - Rocco mocks McCloud | boss | conflict | dangerous | father | gangster | gun | hostage | hotel | leading lady | leading man | moll | tense | threatening |
Key Largo (1948) | Tension (Violent) | 0:46:44 - McCloud decides whether to shoot | boss | conflict | dangerous | father | gangster | gun | hostage | hotel | leading lady | leading man | moll | tense | threatening | violence | violent |
Key Largo (1948) | Rocco + Tension | 0:46:48 - Rocco's grinning face | boss | combination of themes | conflict | dangerous | father | gangster | gun | hostage | hotel | leading lady | leading man | moll | staring | tense | threatening | violence | violent |
Key Largo (1948) | Rocco 3 + Tension + Laughing | 0:46:53 - Gangsters laugh at McCloud | boss | combination of themes | conflict | dangerous | father | gangster | gun | hostage | hotel | laughing | leading lady | leading man | mocking | moll | tense | violence | violent |
Key Largo (1948) | Tosses gun | 0:47:06 - McCloud tosses the gun onto a chair | boss | conflict | father | gangster | gun | hostage | hotel | leading lady | leading man | mickey-mousing | moll | tense | tossing | violence |
Key Largo (1948) | Rocco 3 (Extended) | 0:47:08 - Mr. Temple asks for the gun | boss | conflict | dangerous | father | gangster | gun | hostage | hotel | leading lady | leading man | moll | staring | tense | threatening | violence | violent |
Key Largo (1948) | McCloud (Triste) | 0:47:23 - Rocco mocks McCloud | boss | conflict | conversing | father | gangster | gun | hostage | hotel | leading lady | leading man | mode change | moll | serious | somber |
Key Largo (1948) | Scrambling | 0:47:31 - Deputy runs for the gun | boss | conflict | dangerous | father | gangster | gun | hostage | hotel | leading lady | leading man | mickey-mousing | moll | running | scrambling | tense | violent |
Key Largo (1948) | Rocco (Conflict) | 0:47:39 - Gaye looks terrified | boss | conflict | danger | father | fear | gangster | gun | horror | hostage | hotel | leading lady | leading man | look of horror | moll | staring | stinger | threatening | violence |
Key Largo (1948) | Underscoring (Dramatic) | 0:48:10 - Rocco shoots Deputy Sawyer | boss | conflict | death | dramatic | father | fear | gangster | gun | gunshot | horror | hostage | hotel | leading lady | leading man | look of horror | moll | shooting | stinger | tense |
Key Largo (1948) | Falling and dying | 0:48:19 - Deputy Sawyer falls dead off-screen | boss | conflict | death | dramatic | dying | falling | father | gangster | gun | gunshot | hostage | hotel | leading lady | leading man | mickey-mousing | moll | tense |
Key Largo (1948) | Ominous | 0:51:32 - Lights begin to go out in the hotel | boss | conversing | dark | develop character | father | gangster | hostage | hotel | leading lady | leading man | menacing | moll | ominous | preparing | storm | tense |
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) | Rocco 2 (Menacing) | 0:52:59 - Rocco stares at McCloud and Nora | advance plot | boss | dark | father | gangster | hostage | hotel | leading lady | leading man | menacing | staring |
Key Largo (1948) | Moanin’ Low | 0:56:55 - Gaye sings "Moanin' Low" | awkward | blues | bluesy | boss | develop character | father | gangster | hostage | hotel | leading lady | leading man | moll | nervous | on-screen music | singer | singing | source music |
Key Largo (1948) | Moanin’ Low (Quasi Appassionato) | 0:58:38 - McCloud gets a drink for Gaye | alcohol | bluesy | boss | crying | develop character | familiar tune | father | gangster | helping | hostage | hotel | leading lady | leading man | moll | somber | source to score |
Key Largo (1948) | Moanin’ Low (Tense) | 0:59:24 - Gaye takes a drink | alcohol | boss | develop character | drinking | familiar tune | father | gangster | hostage | hotel | leading lady | leading man | moll | slapping | tense | whole-tone |
Key Largo (1948) | Underscoring (Tense) | 0:59:37 - McCloud and Gaye exchange glances | boss | develop character | father | gangster | hostage | hotel | leading lady | leading man | moll | staring | tense | underscoring |
Key Largo (1948) | Rocco Pacing | 1:02:01 - Rocco paces back and forth | boss | develop character | father | gangster | hostage | hotel | leading lady | leading man | moll | nervous | ominous | pacing | sinister | walking |
Key Largo (1948) | Rocco 3 (Nervous) | 1:02:52 - Rocco yells at Gaye | arguing | boss | dark | develop character | father | gangster | hostage | hotel | leading lady | leading man | menacing | moll |
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 |
Key Largo (1948) | Underscoring (Tense) | 1:18:47 - They all walk to another room | boss | father | gangster | hostage | hotel | investigation scene | leading lady | leading man | moll | obeying | tense | underscoring |
Key Largo (1948) | Rocco Whispers | 1:24:08 - Rocco whispers in Nora's ear | advance plot | boss | gangster | hotel | leading lady | mysterious | tense | whisper effect | whispering |
Key Largo (1948) | McCloud (Slowly) | 1:24:14 - McCloud and Nora exchange glances | advance plot | hotel | leading lady | leading man | looking | love interest | somber |
Key Largo (1948) | Rocco (Leaving) | 1:25:33 - Gangsters leave the hotel with McCloud | advance plot | boss | father | gangster | hostage | hotel | leading lady | leading man | leaving | moll | ominous | walking |
Key Largo (1948) | Rocco (Tense) | 1:25:49 - Gangsters leave to board the boat | advance plot | boss | dock | father | gangster | hostage | leading lady | leading man | moll | tense | walking |
Key Largo (1948) | Hurrying | 1:26:02 - Gangsters walk to the boat | advance plot | boss | dock | father | gangster | hostage | hurrying | leading lady | leading man | mickey-mousing | moll | tense | walking |
Key Largo (1948) | Underscoring (Dramatic) | 1:26:10 - Gangsters board the boat with McCloud | advance plot | boarding | boss | dock | dramatic | gangster | hostage | leading lady | leading man | moll | storm | tense | underscoring | wind |
Key Largo (1948) | Underscoring (Somber) | 1:27:42 - Nora and Gaye enter the hotel | advance plot | conversing | hotel | leading lady | moll | somber | underscoring | walking |
Key Largo (1948) | McCloud (Tense) | 1:27:56 - Mr. Temple tries to make a phone call | advance plot | conversing | father | hotel | leading lady | moll | somber |
Key Largo (1948) | Moanin’ Low (Triste) | 1:38:30 - Gaye leaves | familiar tune | father | hotel | leading lady | moll | resolution | somber | thinking | waiting |
Key Largo (1948) | Relief | 1:38:40 - Nora answers the phone | answering | hopeful | hotel | leading lady | leading man | relieved | resolution | telephone |
Key Largo (1948) | McCloud (Tenderly) | 1:39:12 - Nora tells her father the good news | father | hopeful | hoping | hotel | leading lady | light | opening | relieved | resolution | sunlight | thinking | window |
The Letter (1940) | Leslie (Shimmery) | 0:02:57 - Leslie stands over the dead body | cloud | death | half-diminished 7th chord | home | leading lady | moon | murder | murderer | murder scene | mysterious | oscillation | parallelism | plantation | sequence | suspension | watching |
The Letter (1940) | Leslie (Revolver) | 0:03:43 - A pistol lies on the steps | changing meter | conversing | foreign key modulation | fragmentation | gun | harmonic sequence | home | leading lady | murderer | murder scene | oscillation | sequential modulation | servant | tense |
The Letter (1940) | Native 2 | 0:04:12 - Leslie talks to the workers | conversing | home | leading lady | murderer | murder scene | open fifth | pentatonic | servant | stinger | tense | underscoring |
The Letter (1940) | Leslie (Mysterioissimo) | 0:04:42 - A shadow appears | circle of fifths | common-chord modulation | foreign key modulation | fragmentation | home | leading lady | light | looking | murder scene | mysterious | oscillation | parallel fifths | servant | turning on |
The Letter (1940) | Leslie (Lacework) | 0:04:55 - Worker picks up Leslie's lacework | changing meter | crying | foreign key modulation | home | leading lady | murder scene | mysterious | oscillation | sequence | sequential modulation |
The Letter (1940) | Underscoring (Tense) | 0:12:42 - Leslie gets up | advance plot | home | leading lady | recounting | tense | underscoring | whole-tone | whole-tone chord |
The Letter (1940) | Leslie (The Story) | 0:13:14 - Leslie gives her story | advance plot | changing meter | home | leading lady | lying | oscillation | recounting | tense | whole-tone chord |
The Letter (1940) | Leslie (Rising) + Deception | 0:13:28 - Leslie continues her story | advance plot | augmented triad | chromatic parallelism | combination of themes | crying | dramatic | emotional | home | leading lady | oscillation | ostinato | passionate | pc set | recounting | sequence |
The Letter (1940) | Leslie (Risoluto) | 0:14:07 - Leslie continues her story | advance plot | augmented triad | chromatic parallelism | dramatic | fragmentation | home | leading lady | pc set | polychord | recounting | sequence | tense |
The Letter (1940) | Leslie (Tragic) | 0:14:31 - The scene of the crime | advance plot | changing meter | composer reference | dramatic | home | leading lady | oscillation | point of view | recounting | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie B (Screwyoso) | 0:14:42 - The bottom of the stairs | advance plot | common-chord modulation | dramatic | emotional | home | leading lady | point of view | recounting | sequence |
The Letter (1940) | Letter (Sarcastic) | 0:15:10 - Robert comforts Leslie | advance plot | chromatic sequence | conversing | dissonant bass | home | leading lady | mysterious | sequence |
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) | Murder | 0:18:36 - Leslie reacts to the mention of murder | advance plot | eating | home | leading lady | major 7th chord | murder | mysterious | oscillation | stinger | tense |
The Letter (1940) | Leslie (Shimmery 2) | 0:18:55 - Leslie stares at the full moon | changing meter | home | leading lady | love scene | moon | mysterious | oscillation | sequence | sequential modulation | staring | suspension |
The Letter (1940) | Leslie B (Appassionato) | 0:19:26 - Leslie closes the blinds | changing meter | dramatic | emotional | home | leading lady | linear chromaticism | love scene | sequence | walking |
The Letter (1940) | Letter (Sarcastic) | 0:19:45 - Robert looks at Leslie | chromatic sequence | dissonant bass | glance | home | leading lady | longing | love scene | mysterious | sequence | staring |
The Letter (1940) | Robert and Leslie | 0:20:07 - Leslie looks in the drawer | appoggiatura | embracing | home | husband | leading lady | love scene | love theme | pedal tone | romantic | sigh gesture | suspension |
The Letter (1940) | Kiss | 0:20:33 - Robert kisses Leslie | home | husband | kissing | leading lady | love scene | romantic | 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) | Leslie (The Story) | 0:22:26 - Leslie speaks with Howard | advance plot | changing meter | home | lawyer | leading lady | lying | oscillation | recounting | tense | whole-tone | whole-tone chord |
The Letter (1940) | Letter (Sarcastic) | 0:22:41 - Leslie and Howard leave | advance plot | chromatic sequence | dissonant bass | home | lawyer | leading lady | leaving | mysterious | passionate | sequence |
The Letter (1940) | Leslie (Ominous) | 0:22:58 - The site of the murder | advance plot | augmentation | call and response | Chinese | dramatic | leading lady | leaving | mysterious | plantation | reveal | shadow | spying | stinger | tense | watching | widow |
The Letter (1940) | Leslie (Walking) | 0:30:58 - Leslie in jail | 64 chord | advance plot | chromatic parallelism | fragmentation | leading lady | mysterious | oscillation | prison | walking |
The Letter (1940) | Leslie (Tense) | 0:34:20 - Howard tells Leslie about the letter | 9th chord | altered dominant | chromatic parallelism | conversing | lawyer | leading lady | letter | pivotal scene | prison | sequence | suspenseful | tense |
The Letter (1940) | Deception | 0:34:35 - Leslie lies about the letter | chromatic scale | deception | lawyer | leading lady | letter | lying | pc set | pivotal scene | prison | tense |
The Letter (1940) | Leslie (Rising) + Deception | 0:34:47 - Howard gives Leslie the letter | altered dominant | augmented triad | chromatic parallelism | combination of themes | deception | denying | lawyer | leading lady | letter | lying | oscillation | ostinato | pc set | pivotal scene | prison | reading | sequence | tense |
The Letter (1940) | Leslie (Risoluto) | 0:35:11 - Leslie reacts angrily to the letter | arguing | augmented triad | chromatic parallelism | deception | fragmentation | lawyer | leading lady | letter | lying | oscillation | pc set | pivotal scene | polychord | prison | sequence | tense |
The Letter (1940) | Denial | 0:35:39 - Leslie denies writing the letter | augmented triad | chromatic parallelism | deception | lawyer | leading lady | letter | lying | pivotal scene | prison | tense |
The Letter (1940) | Letter (Agitato) | 0:36:08 - Leslie talks to Howard | deception | lawyer | leading lady | letter | lying | pc set | pivotal scene | prison | sequence | tense |
The Letter (1940) | Letter (Frantic) | 0:36:16 - Leslie admits to writing the letter | chromatic sequence | deception | lawyer | leading lady | letter | lying | pivotal scene | prison | sequence | tense |
The Letter (1940) | Underscoring (Tense) | 0:36:22 - Leslie explains why she wrote the letter | deception | lawyer | leading lady | letter | lying | pivotal scene | prison | tense | whole-tone chord |
The Letter (1940) | Leslie (The Story) | 0:36:42 - Leslie lies to Howard | changing meter | deception | lawyer | leading lady | letter | lying | oscillation | pivotal scene | prison | tense | whole-tone chord |
The Letter (1940) | Underscoring (Tense) | 0:36:53 - Howard takes out the letter | deception | denying | lawyer | leading lady | letter | ominous | pivotal scene | prison | tense | tritone | tritone | whole-tone | whole-tone chord |
The Letter (1940) | Leslie (Risoluto) | 0:37:07 - Howard reads the letter to Leslie | anxious | augmented triad | buildup | chromatic parallelism | fearful | fragmentation | lawyer | leading lady | letter | oscillation | pc set | pivotal scene | polychord | prison | reading | sequence | tense |
The Letter (1940) | Leslie (Tragic) | 0:37:21 - Howard talks to Leslie | anxious | changing meter | climax | conversing | fearful | lawyer | leading lady | letter | oscillation | pivotal scene | prison | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie B (Screwyoso) | 0:37:34 - Howard talks to Leslie | anxious | chromatic sequence | conversing | fearful | lawyer | leading lady | letter | pivotal scene | prison | sequence | tense |
The Letter (1940) | Leslie (Shimmery 3) | 0:37:54 - Howard talks to Leslie | anxious | conversing | fearful | lawyer | leading lady | letter | oscillation | pivotal scene | prison | sequence | sequential modulation | stinger | suspension | tense |
The Letter (1940) | Collapse | 0:38:20 - Leslie collapses | anxious | collapsing | fainting | falling | fearful | half-diminished 7th chord | lawyer | leading lady | letter | mickey-mousing | pivotal scene | prison | suspension | tense |
The Letter (1940) | Leslie (Triste) | 0:38:57 - Howard helps Leslie recover | advance plot | calm | conversing | hospital | lawyer | leading lady | oscillation | sequence | sequential modulation | suspension |
The Letter (1940) | Leslie B (Con Moto) | 0:39:25 - Leslie asks Howard about the letter | advance plot | conversing | hospital | lawyer | leading lady | letter | sequence | tense |
The Letter (1940) | Leslie (Plotting) | 0:39:32 - Howard and Leslie plot their next move | 9th chord | advance plot | buildup | changing meter | chromatic sequence | fragmentation | hospital | lawyer | leading lady | letter | minor-major 7th chord | ominous | oscillation | plotting | tense |
The Letter (1940) | Law Office (The Plea) | 0:40:00 - Howard asks Leslie to be honest | 9th chord | advance plot | anxious | artwork in score | chromatic sequence | conversing | hospital | lawyer | leading lady | letter | refusing | tense |
The Letter (1940) | Leslie (Despair) | 0:40:33 - Leslie despairs | advance plot | anxious | changing meter | conversing | despair | dissonant bass | hospital | lawyer | leading lady | letter | oscillation | sequence | tense |
The Letter (1940) | Leslie (Rising) + Deception | 0:40:57 - Leslie talks to Howard | advance plot | angry | augmented triad | chromatic parallelism | combination of themes | conversing | deception | hospital | lawyer | leading lady | letter | sequence | staring | tense |
The Letter (1940) | Robert and Leslie | 0:41:12 - Howard says he will help Leslie | advance plot | appoggiatura | calm | chromatic mediant | crying | deception | hospital | lawyer | leading lady | letter | love theme | sigh gesture | somber | suspension | tender |
The Letter (1940) | Robert and Leslie (Triste) | 0:42:17 - Leslie and Howard talk about her husband | advance plot | appoggiatura | calm | chromatic mediant | crying | hospital | lawyer | leading lady | letter | love theme | resolution | sigh gesture | somber | suspension | tender |
The Letter (1940) | Sociable | 0:48:42 - People having dinner | ABA structure | cheerful | conversing | deceptive resolution | dinner | Dorian mode | foreign key modulation | happy | home | husband | lacework | lawyer | leading lady | party | whole-tone chord |
The Letter (1940) | Leslie (Uneasy) | 0:49:41 - They discuss the trial | dinner | home | husband | lawyer | leading lady | oscillation | pc set | planning | tense | tone cluster | trial | whole-tone chord |
The Letter (1940) | Sociable (Ending) | 0:49:58 - Pleasant conversation | cheerful | conversing | dinner | foreign key modulation | happy | home | husband | lawyer | leading lady | reverse picardy |
The Letter (1940) | Lento Mysterioso | 0:50:37 - Leslie and Howard alone | advance plot | altered dominant | home | lawyer | leading lady | mysterious | planning | sad | upper pedal tone | whole-tone chord |
The Letter (1940) | Underscoring (Tense) | 0:51:14 - Leslie talks to Howard | advance plot | altered dominant | dark | foreign key modulation | home | lawyer | leading lady | planning |
The Letter (1940) | Leslie (Ominous) | 0:51:41 - Howard gets up to leave | advance plot | call and response | diminished 7th chord | dissonant bass | home | lawyer | leading lady | ominous | stretto imitation | thinking |
The Letter (1940) | Mrs. Hammond | 0:51:49 - Howard and Leslie alone | advance plot | Chinese | home | lawyer | leading lady | mysterious | open fifth | pacing | parallel fifths | pentatonic | waiting |
The Letter (1940) | Leslie (Lacework 2) | 0:52:07 - Leslie does her lacework | advance plot | changing meter | conversing | foreign key modulation | home | lacework | lawyer | leading lady | mysterious | oscillation | sequence |
The Letter (1940) | Leslie B (Ethereal) | 0:52:33 - Howard and Leslie talk | advance plot | chromatic sequence | conversing | home | lawyer | leading lady | sequence | tense |
The Letter (1940) | Leslie (Tragic) | 0:52:55 - Howard and Leslie talk | advance plot | changing meter | conversing | home | lawyer | leading lady | oscillation | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie B | 0:53:10 - Howard and Leslie talk | advance plot | conversing | home | lawyer | leading lady | sequence | tense |
The Letter (1940) | Leslie (Leaving) | 0:53:20 - Howard and Leslie leave the house | added-note chord | fragmentation | lawyer | leading lady | leaving | mysterious | plantation | sequence | sequential modulation | transition |
The Letter (1940) | Leslie (Screwyoso) | 0:53:35 - Howard and Leslie walk away | lawyer | leading lady | leaving | oscillation | plantation | sequence | tense | transition |
The Letter (1940) | Mrs. Hammond (Grandioso) | 0:53:54 - Leslie approaches the car | antagonist | Chinese | Chinese | driving | lawyer | leading lady | mysterious | open fifth | parallel fifths | pedal tone | pentatonic | plantation | transition |
The Letter (1940) | Chinese Quarter | 0:54:15 - The car enters the Chinese Quarter | antagonist | Chinatown | Chinese | Chinese | driving | exotic | exoticism | lawyer | leading lady | open fifth | parallel fifths | parallelism | pentatonic | setting | transition |
The Letter (1940) | Chinese Shop | 0:55:30 - Howard and Leslie look around | antagonist | Chinatown | Chinese | Chinese | exotic | exoticism | lawyer | layering | leading lady | Lydian mode | mirroring | mysterious | open fifth | parallel fifths | parallelism | polytonality | quintal chord | tense | transition | waiting | walking |
The Letter (1940) | Mrs. Hammond (Mysterioso) | 0:56:29 - Howard and Leslie wait in the shop | antagonist | Chinatown | Chinese | Chinese | exotic | lawyer | leading lady | mysterious | open fifth | parallel fifths | parallelism | pedal tone | pentatonic | shop | tense | transition | waiting |
The Letter (1940) | Mrs. Hammond (Dagger) | 0:57:04 - Leslie looks at a Chinese dagger | antagonist | Chinatown | Chinese | Chinese | dagger | exotic | lawyer | leading lady | mysterious | open fifth | parallel fifths | parallelism | pedal tone | pentatonic | polytonality | shop | tense | transition | waiting |
The Letter (1940) | Mrs. Hammond (Slowly) | 0:57:27 - Howard and Leslie walk into the back room | antagonist | Chinatown | Chinese | Chinese | conflict | lawyer | leading lady | mysterious | pentatonic | quintal chord | shop | walking |
The Letter (1940) | Glass Curtains | 0:59:08 - Mrs. Hammond enters through the glass curtain | antagonist | Chinatown | Chinese | chromatic scale | conflict | curtain | entering | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | polyrhythm | shop | staring | tense | tinkling | tone cluster | waiting | whole-tone | whole-tone chord |
The Letter (1940) | Mrs. Hammond + Glass Curtains | 1:00:13 - Leslie faces Mrs. Hammond | antagonist | Chinatown | Chinese | Chinese | chromatic scale | combination of themes | conflict | conversing | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | paying | pc set | pentatonic | polyrhythm | shop | staring | tense | tinkling | tone cluster | waiting | whole-tone | whole-tone chord |
The Letter (1940) | Leslie + Glass Curtains | 1:01:27 - Leslie removes her shawl | antagonist | Chinatown | Chinese | Chinese | chromatic scale | combination of themes | conflict | conversing | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | oscillation | ostinato | parallelism | pc set | polyrhythm | sequence | shop | staring | tense | tinkling | tone cluster | waiting | whole-tone | whole-tone chord |
The Letter (1940) | Leslie B + Glass Curtains | 1:01:57 - Leslie approaches Mrs. Hammond | antagonist | Chinatown | Chinese | chromatic scale | combination of themes | conflict | confronting | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | polyrhythm | sequence | shop | staring | tense | tinkling | tone cluster | walking | whole-tone | whole-tone chord |
The Letter (1940) | Glass Curtains | 1:02:21 - Leslie faces Mr. Hammond | antagonist | Chinatown | Chinese | chromatic scale | conflict | confronting | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | polyrhythm | shop | staring | tense | tinkling | tone cluster | whole-tone | whole-tone chord |
The Letter (1940) | Mrs. Hammond (Contempt) + Glass Curtains | 1:02:40 - Leslie stoops down to pick up the letter | antagonist | Chinatown | Chinese | Chinese | chromatic scale | combination of themes | conflict | confronting | contempt | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | pentatonic | polyrhythm | shop | staring | stooping | tense | tinkling | tone cluster | whole-tone | whole-tone chord |
The Letter (1940) | Leslie B (Dark) + Glass Curtains | 1:02:50 - Leslie looks at the letter | antagonist | Chinatown | Chinese | chromatic scale | combination of themes | conflict | confronting | curtain | dark | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | polyrhythm | sequence | shop | staring | tense | tinkling | tone cluster | whole-tone | whole-tone chord |
The Letter (1940) | Mrs. Hammond (Solemn) + Glass Curtains | 1:03:08 - Leslie and Howard leave | antagonist | Chinatown | Chinese | Chinese | chromatic scale | combination of themes | conflict | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | pentatonic | polyrhythm | shop | solemn | staring | tinkling | tone cluster | whole-tone | whole-tone chord |
The Letter (1940) | Mrs. Hammond (Bitter) | 1:08:54 - Leslie sees Mrs. Hammond in the courtroom | 11th chord | antagonist | Chinese | Chinese | chromatic parallelism | confronting | courtroom | dark | husband | leading lady | trial |
The Letter (1940) | Sociable | 1:09:09 - Leslie and Robert meet with friends | 64 chord | celebrating | dinner music | drinking | foreign key modulation | happy | home | husband | lawyer | leading lady | party | pump-up modulation | reverse picardy |
The Letter (1940) | Leslie (Restless) | 1:14:42 - Robert asks about the letter | arguing | conflict | fragmentation | home | husband | lawyer | leading lady | lying | major 7th chord | sequence | tense |
The Letter (1940) | Leslie (Wild) | 1:14:57 - Robert waits for a response | 9th chord | arguing | augmented major 7th chord | chromatic parallelism | conflict | distress | fragmentation | home | husband | lawyer | leading lady | lying | sequence | tense |
The Letter (1940) | Distress | 1:15:08 - Robert confronts the lawyer | 9th chord | arguing | conflict | dissonant bass | distress | home | husband | lawyer | leading lady | tense |
The Letter (1940) | Leslie (Molto Agitato) | 1:15:28 - Robert argues with Leslie | arguing | chromatic parallelism | conflict | distress | home | husband | lawyer | leading lady | oscillation | pc set | sequence | tense |
The Letter (1940) | Underscoring (Dramatic) | 1:15:45 - Robert asks to see the letter | arguing | augmented triad | conflict | diminished 7th chord | dramatic | home | husband | lawyer | leading lady | letter | pc set | sequence | tense | underscoring |
The Letter (1940) | Robert and Leslie (Tragic) | 1:16:14 - Leslie tells Howard to give Robert the letter | conflict | home | husband | lawyer | leading lady | letter | love theme | reading | somber | tense |
The Letter (1940) | Leslie (Confession) | 1:16:36 - Leslie confesses to Robert | confessing | conflict | dark | half-diminished 7th chord | home | husband | lawyer | leading lady | letter | ostinato | recounting | sequence | serious | tritone | tritone oscillation |
The Letter (1940) | Mrs. Hammond (Confession) | 1:17:35 - Leslie confesses to Robert | Chinese | confessing | conflict | home | husband | lawyer | leading lady | letter | open fifth | parallel fifths | parallelism | pentatonic | recounting | serious | somber | tritone oscillation |
The Letter (1940) | Leslie (Rising) + Deception | 1:17:52 - Leslie confesses to Robert | augmented triad | chromatic parallelism | combination of themes | confessing | conflict | dramatic | home | husband | lawyer | leading lady | letter | oscillation | ostinato | recounting | sequence | tense |
The Letter (1940) | Leslie (Tragic) | 1:17:59 - Leslie confesses to Robert | changing meter | confessing | conflict | dramatic | home | husband | lawyer | leading lady | letter | murder | oscillation | recounting | sequence | sequential modulation | suspension |
The Letter (1940) | Leslie B (Ethereal) | 1:18:13 - Leslie confesses to Robert | chromatic sequence | confessing | conflict | dramatic | home | husband | lawyer | leading lady | letter | murder | oscillation | recounting | sequence |
The Letter (1940) | Leslie (Dramatic) | 1:18:32 - Leslie confesses to Robert | confessing | conflict | crying | dramatic | half-diminished 7th chord | home | husband | lawyer | leading lady | letter | murder | oscillation | recounting | sequence |
The Letter (1940) | Robert and Leslie (Mournful) | 1:19:00 - Robert cries after hearing the confession | conflict | crying | crying gesture | home | husband | lawyer | leading lady | letter | love theme | mournful | murder | pedal tone | retardation | sad | suspension |
The Letter (1940) | Foxtrot No. 1 | 1:19:49 - Leslie getting ready for the party | 9th chord | advance plot | calm | dance music | foxtrot | home | leading lady | sitting | source music |
The Letter (1940) | Mrs. Hammond + Foxtrot No. 1 | 1:20:02 - Ong is seen in the mirror | advance plot | antagonist | calm | combination of themes | dagger | dance music | dropping | foxtrot | home | leading lady | mysterious | open fifth | parallel fifths | pentatonic | source music |
The Letter (1940) | Foxtrot No. 1 B | 1:20:05 - Leslie getting ready for the party | added-note chord | advance plot | calm | dance music | foxtrot | home | leading lady | source music | walking |
The Letter (1940) | Leslie (Guilty) + Foxtrot No. 1 | 1:20:53 - Leslie looks at the full moon | advance plot | combination of themes | dagger | dramatic | home | leading lady | looking | moon | oscillation | polytonality | stinger | suspension |
The Letter (1940) | Mrs. Hammond + Foxtrot No. 1 B | 1:21:15 - Leslie looks around | advance plot | Chinese | combination of themes | dagger | dance music | foxtrot | home | leading lady | looking | mysterious | open fifth | parallel fifths | pentatonic | polymeter | polytonality | source music | tense |
The Letter (1940) | Foxtrot No.1 C | 1:21:36 - Leslie goes to the party | added-note chord | altered dominant | calm | conversing | dance music | dancing | foreign key modulation | foxtrot | friend | leading lady | party | party | plagal cadence | source music |
The Letter (1940) | Foxtrot No. 2 | 1:22:12 - Leslie joins the party | 9th chord | AABA structure | altered dominant | conversing | dance music | dancing | foxtrot | friend | happy | husband | leading lady | party | party | pump-up modulation | secondary dominant | source music |
The Letter (1940) | Foxtrot No. 3 | 1:23:25 - Robert talks to friends at the party | 9th chord | added-note chord | common-tone diminished 7th | contrasting period | conversing | dance music | drinking | foxtrot | friend | happy | husband | leading lady | party | party | source music |
The Letter (1940) | Leslie + Foxtrot No. 3 | 1:25:08 - Leslie looks out the window | added-note chord | climax | combination of themes | common-chord modulation | dance music | foreign key modulation | foxtrot | home | lacework | leading lady | obsession | obsessive | oscillation | sequence | source music | tense | thinking |
The Letter (1940) | Leslie (Distraught) | 1:25:39 - Leslie cries | augmented sixth chord | climax | crying | dramatic | emotional | foreign key modulation | home | leading lady | oscillation | sequence |
The Letter (1940) | Underscoring (Dark) | NIF - not in film | climax | dark | home | lacework | leading lady | leaving | pedal tone |
The Letter (1940) | Underscoring (Mysterious) | 1:26:07 - Leslie talks to Robert | climax | conversing | home | husband | leading lady | mysterious | open fifth | oscillation | pedal tone | staring | underscoring |
The Letter (1940) | Leslie (Ethereal) | 1:26:36 - Leslie and Robert look at each other | climax | home | husband | leading lady | oscillation | pc set | pedal tone | staring | tense |
The Letter (1940) | Underscoring (Tense) | 1:26:52 - Leslie talks to Robert | climax | conversing | home | husband | leading lady | staring | tense | underscoring |
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) | 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 |
The Letter (1940) | Leslie (Very Slow) | 1:29:01 - Leslie rejects Robert | augmented sixth chord | changing meter | climax | enharmonic respelling | home | leading lady | oscillation | sequence | somber | stern | weeping |
The Letter (1940) | Mrs. Hammond (Dirge) | 1:29:32 - Leslie heads towards the door | Chinese | climax | dark | dirge | home | leading lady | parallelism | somber | walking |
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 |
The Letter (1940) | Leslie (Climactic) | 1:30:02 - Leslie sees that the knife is gone | climax | dagger | door | home | leading lady | looking | oscillation | passionate | sequence |
The Letter (1940) | Shadow | 1:30:30 - Leslie leaves the house | chromatic parallelism | climax | leading lady | major triad | mysterious | plantation | polychord | shadow | walking |
The Letter (1940) | Native (Climactic) | 1:30:42 - Leslie walks through her garden | climax | crying | Dorian mode | exoticism | gamelan | Indonesian music | leading lady | mysterious | panning shot | parallelism | plantation | setting | somber | walking |
The Letter (1940) | Deception (Appassionato) | 1:31:18 - Close-up of Leslie | climax | crying | leading lady | mysterious | pc set | Phrygian mode | plantation | somber | walking |
The Letter (1940) | Leslie (The Moon) | 1:31:36 - Leslie sees the moon go behind a cloud | climax | cloud | crying | dramatic | half-diminished 7th chord | leading lady | looking | moon | oscillation | pc set | plantation | sequence |
The Letter (1940) | Mrs. Hammond (Ambush) | 1:31:55 - Leslie moves through the gate | Aeolian mode | antagonist | Chinese | climax | dark | leading lady | mysterious | open fifth | parallel fifths | parallelism | pentatonic | plantation | walking |
The Letter (1940) | Leslie (Deliberate) | 1:32:48 - Mrs. Hammond approaches Leslie with a knife | antagonist | changing meter | Chinese | climax | dagger | leading lady | oscillation | plantation | somber | walking |
The Letter (1940) | Mrs. Hammond (Revenge) | 1:33:01 - Mrs. Hammond stabs Leslie | 64 chord | antagonist | Chinese | Chinese | climax | dagger | leading lady | murder | open fifth | parallel fifths | parallelism | pentatonic | plantation | somber | walking |
The Letter (1940) | Leslie (Reckoning) | 1:33:42 - Mrs. Hammond walks away | 11th chord | antagonist | augmentation | body | changing meter | Chinese | climax | death | leading lady | moon | oscillation | plantation | policeman | somber | suspension |
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 | 0:07:42 - Shelly wakes up | actor | augmentation | calm | deceleration | establish character | fragmentation | leading lady | ostinato | owner | room | waking |
Lightning Strikes Twice (1951) | Shelly (Traveling) + Shelly 2 | 0:10:13 - Shelly drives through the desert | actor | bright | car | cheerful | combination of themes | desert | double exposure | driving | foreign key modulation | leading lady | map | montage | motor effect | ostinato | sequential modulation | traveling | traveling scene | wheel | zoom in |
Lightning Strikes Twice (1951) | Menace (Ominous) | 0:17:50 - Newspaper headline about Trev | 9th chord | 64 chord | actor | conversing | dark | establish character | headline | leading lady | leading man | newspaper | ominous | room | suspect |
Lightning Strikes Twice (1951) | Trev (Screwy) | 0:18:19 - Trev hands a candle to Shelly | actor | candle | chromatic scale | conversing | establish character | leading lady | leading man | mysterious | room | suspect | tense | uneasy | whole-tone chord |
Lightning Strikes Twice (1951) | Shelly (Concerned) | 0:18:30 - Shelly looks at Trev | actor | candle | concerned | conversing | establish character | leading lady | leading man | room | sigh gesture | suspect | tense | thinking |
Lightning Strikes Twice (1951) | Shelly 2 (Worried) | 0:18:41 - Shelly walks to her room | actor | candle | concerned | countermelody | establish character | leading lady | room | walking | worried |
Lightning Strikes Twice (1951) | Shelly 3 | 0:18:52 - Shelly puts down her candle | actor | augmented sixth chord | candle | common-chord modulation | concerned | establish character | leading lady | leading man | room | sequence | suspect | unpacking | walking | worried |
Lightning Strikes Twice (1951) | Shelly 2 (Misterioso) | 0:19:14 - Shelly gets ready for bed | actor | added-note chord | candle | concerned | establish character | leading lady | leading man | oscillation | pedal tone | preparing | room | suspect | thinking | thoughtful | worried |
Lightning Strikes Twice (1951) | Blows out candle | 0:19:35 - Shelly blows out a candle | actor | blowing | candle | establish character | leading lady | light | mickey-mousing | mysterious | room | turning off |
Lightning Strikes Twice (1951) | Fear | 0:19:42 - Shelly lies down in the dark | actor | chromatic parallelism | darkness | establish character | fear | leading lady | leading man | listening | room | suspect | tense | thinking | whole-tone chord |
Lightning Strikes Twice (1951) | Shelly and Trev | NIF - not in film | 9th chord | actor | blowing | candle | cut from film | establish character | leading lady | leading man | light | room | suspect | suspension | tense | turning off |
Lightning Strikes Twice (1951) | Shelly and Trev (Smile) | 0:20:20 - Shelly looks at Trev | actor | calm | chromatic parallelism | establish character | foreign key modulation | leading lady | leading man | looking | morning | peaceful | room | sleeping | smiling | staring | suspect | thinking | waking |
Lightning Strikes Twice (1951) | Shelly and Trev (Molto Expressivo) | 0:23:31 - Shelly makes a promise | actor | conversing | countryside | departing | horse | leading lady | leading man | promise | somber | suspect | transition |
Lightning Strikes Twice (1951) | Shelly (Traveling) + Shelly 2 (Allegretto) | 0:23:40 - Shelly travels to Tumblewood Ranch | actor | added-note chord | arriving | bright | car | cheerful | combination of themes | countryside | cut from film | desert | driving | horse | leading lady | leading man | ostinato | ranch | sequential modulation | suspect | transition | traveling | walking |
Lightning Strikes Twice (1951) | Shelly + Shelly 2 (Molto Misterioso) | 0:24:05 - Shelly looks around the ranch | actor | arriving | calm | combination of themes | fragmentation | leading lady | mysterious | ostinato | ranch | sequential modulation | transition | walking |
Lightning Strikes Twice (1951) | Shelly 2 (Dolce) | 0:24:34 - Shelly walks around the ranch | 9th chord | actor | arriving | brother | calm | conversing | countermelody | leading lady | ranch | rancher | transition | walking |
Lightning Strikes Twice (1951) | Shelly 3 (Dolce) | 0:24:43 - Shelly sees Liza | actor | arriving | brother | calm | common-chord modulation | conversing | enharmonic respelling | feeding | goat | leading lady | Neapolitan | ranch | rancher | transition | watching |
Lightning Strikes Twice (1951) | Molto Agitato | 0:32:50 - String gets angry | actor | anger | arguing | brother | chromatic parallelism | chromatic scale | chromatic wedge | conflict | dramatic | half-diminished 7th chord | leading lady | oscillation | pc set | priest | rancher | room | tense |
Lightning Strikes Twice (1951) | Menace (Poco Meno) | 0:33:06 - String argues | actor | anger | arguing | brother | chromatic parallelism | conflict | diminished 7th chord | leading lady | priest | rancher | room | tense |
Lightning Strikes Twice (1951) | Anger | 0:33:15 - String gets angry | actor | anger | arguing | brother | conflict | crying | dramatic | leading lady | oscillation | priest | rancher | room | tense | tone cluster | whole-tone chord | yelling |
Lightning Strikes Twice (1951) | Father Paul | 0:33:25 - Liza comforts String | actor | anger | brother | comforting | conflict | crying | dark | leading lady | priest | rancher | room | somber | tense |
Lightning Strikes Twice (1951) | Chiapanecas | 0:33:40 - People dancing outside | actor | advance plot | congregation | conversing | dancer | dancing | leading lady | Mexican | on-screen music | performer | playing | priest | ranch | source music | upbeat |
Lightning Strikes Twice (1951) | Trev (Triste) | 0:38:59 - Trev enters the store | actor | advance plot | arriving | leading lady | leading man | looking | somber | staring | store | suspect | watching | whispering | worker |
Lightning Strikes Twice (1951) | Searching | 0:40:06 - Shelly looks for Trev | actor | advance plot | agitated | leading lady | rancher | searching | street | walking |
Lightning Strikes Twice (1951) | Trev (Misterioso) | 0:40:30 - Shelly and Liza talk | actor | advance plot | conversing | glass | leading lady | mysterious | rancher | street | underscoring | uneasy | walking |
Lightning Strikes Twice (1951) | Shelly (Gallop) | 0:40:52 - Shelly riding on a horse | actor | arriving | countryside | galloping | galloping effect | horse | leading lady | riding | transition | upbeat |
Lightning Strikes Twice (1951) | Shelly (Dolce) + Shelly 2 | 0:41:00 - Shelly gets off of her horse | actor | arriving | calm | combination of themes | horse | leading lady | ranch | transition | walking | worker |
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 (Gallop 2) + Shelly 2 | 0:42:19 - Shelly riding on a horse | actor | arriving | calm | combination of themes | countryside | galloping | galloping effect | horse | leading lady | riding | transition | traveling | upbeat |
Lightning Strikes Twice (1951) | Shelly (Legato) + Shelly 2 (Legato) | 0:42:32 - Shelly gets off of her horse | actor | arriving | calm | combination of themes | countryside | hiking | horse | leading lady | leading man | love interest | suspect | transition | walking |
Lightning Strikes Twice (1951) | Stumbling | 0:42:50 - Shelly slips on a rock and almost falls | actor | cliff | countryside | danger | dramatic | falling in love scene | leading lady | leading man | love interest | mickey-mousing | slipping | stumbling | suspect |
Lightning Strikes Twice (1951) | Fear (Vertigo) | 0:42:57 - Shelly talks with Trev | actor | cliff | conversing | countryside | danger | falling in love scene | fear | heights | leading lady | leading man | love interest | suspect | tense | underscoring |
Lightning Strikes Twice (1951) | Shelly (Expressivo) + Shelly 2 (Expressivo) | 0:43:13 - Shelly talks with Trev | actor | calm | cliff | combination of themes | conversing | countryside | falling in love scene | leading lady | leading man | love interest | romance | suspect | tense |
Lightning Strikes Twice (1951) | Shelly 2 (Dolce) | 0:43:38 - Shelly talks with Trev | actor | cliff | conversing | countryside | falling in love scene | leading lady | leading man | love interest | romance | romantic | suspect |
Lightning Strikes Twice (1951) | Shelly 3 (Appassionato) | 0:43:47 - Shelly talks with Trev | actor | cliff | conversing | countryside | falling in love scene | leading lady | leading man | love interest | romance | romantic | suspect |
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) | Underscoring (Tense) | 0:44:51 - Shelly talks with Trev | actor | cliff | conversing | countryside | falling in love scene | leading lady | leading man | love interest | suspect | suspenseful | tense | underscoring |
Lightning Strikes Twice (1951) | Shelly and Trev (Taken Aback) | 0:45:08 - Shelly reacts to Trev's question | actor | arguing | cliff | countryside | falling in love scene | leading lady | leading man | love interest | reacting | somber | suspect |
Lightning Strikes Twice (1951) | Shelly (Menacing) | 0:45:23 - Shelly talks with Trev | actor | arguing | cliff | countryside | falling in love scene | leading lady | leading man | love interest | menacing | reacting | 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) | Stumbling 2 | 0:46:03 - Shelly starts back along path | actor | cliff | climbing | countryside | danger | dramatic | falling in love scene | hiking | leading lady | leading man | love interest | slipping | stumbling | suspect |
Lightning Strikes Twice (1951) | Rock falls | 0:46:09 - A rock falls on the path | actor | cliff | countryside | danger | dramatic | falling | falling in love scene | leading lady | leading man | love interest | mickey-mousing | rock | suspect |
Lightning Strikes Twice (1951) | Fear | 0:46:12 - Shelly is scared and can't move | actor | cliff | clinging | countryside | dark | falling in love scene | fear | heights | leading lady | leading man | love interest | suspect | tense |
Lightning Strikes Twice (1951) | Trev (Triste 2) | 0:46:33 - Trev climbs to help Shelly | actor | cliff | climbing | countryside | danger | falling in love scene | helping | heroic | leading lady | leading man | love interest | rescue | rescuing | romantic | somber | suspect | tense |
Lightning Strikes Twice (1951) | Rescue | 0:47:42 - Trev rescues Shelly | actor | cliff | climbing | countryside | dramatic | falling in love scene | helping | leading lady | leading man | love interest | rescue | rescuing | suspect | tense | triumphant |
Lightning Strikes Twice (1951) | Shelly and Trev (Appassionato) | 0:47:56 - Trev embraces Shelly | actor | cliff | countryside | falling in love scene | hugging | kissing | leading lady | leading man | love interest | romantic | suspect |
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) | Menace (Molto Misterioso) | 0:50:38 - Liza leaves the room | actor | car | leading lady | leaving | luggage | mysterious | packing | ranch | rancher | somber | tense | transition |
Lightning Strikes Twice (1951) | Shelly (Traveling) + Shelly 2 (Allegretto) | 0:51:09 - Shelly drives away from the Tumble Moon ranch | actor | car | combination of themes | driving | leading lady | luggage | ranch | rancher | transition | traveling | upbeat |
Lightning Strikes Twice (1951) | Shelly 2 (Dolce) | 0:51:36 - Shelly arrives at the Nolan ranch | actor | arriving | calm | leading lady | ranch | transition | walking |
Lightning Strikes Twice (1951) | Shelly 3 (Dolce) | 0:51:45 - Shelly walks to the ranch house | actor | arriving | butler | calm | conversing | leading lady | ranch | stinger | transition | waiting | walking |
Lightning Strikes Twice (1951) | Shelly and Trev (Expressivo) | 0:52:14 - Shelly sees Trev's portrait | actor | butler | leading lady | looking | portrait | ranch | solemn | transition | waiting |
Lightning Strikes Twice (1951) | Underneath a Western Sky | 0:56:48 - A chuckwagon dinner | actor | advance plot | calm | campfire | chuckwagon | conversing | cowboy song | crowd | drinking | eating | father | flirting | food | friend | leading lady | love interest | mother | on-screen music | owner | playing | ranch | source music |
Lightning Strikes Twice (1951) | Too Much Love | 0:59:02 - Shelly looks at Trev's portrait | actor | advance plot | calm | conversing | flirting | friend | leading lady | love interest | party | popular music | portrait | ranch | source music |
Lightning Strikes Twice (1951) | Mi Caballero | 1:00:08 - People dancing outside | actor | advance plot | crowd | dancing | friend | Latin American | leading lady | love interest | on-screen music | party | playing | ranch | source music | upbeat |
Lightning Strikes Twice (1951) | Underscoring (Dark) | 1:02:38 - Harvey drives | actor | arriving | car | conflict | danger | dark | driving | friend | leading lady | love interest | ranch | stopping | tense | underscoring |
Lightning Strikes Twice (1951) | Shelly (Worried) | 1:03:05 - Harvey gets out of the car | actor | arriving | car | concerned | conflict | conversing | dark | friend | leading lady | love interest | ranch | tense | worried |
Lightning Strikes Twice (1951) | Slipping | 1:03:21 - Shelly slips | actor | car | conflict | dark | friend | leading lady | love interest | mickey-mousing | ranch | slipping | stumbling |
Lightning Strikes Twice (1951) | Shelly (Agitato) | 1:03:34 - Shelly runs away | actor | agitated | calm | conflict | embracing | escaping | friend | hurrying | leading lady | leading man | love interest | ranch | reuniting | suspect |
Lightning Strikes Twice (1951) | Emotion | 1:05:10 - Shelly cries | actor | comforting | conversing | crying | leading lady | leading man | love interest | love scene | ranch | somber | suspect |
Lightning Strikes Twice (1951) | Menace (Nightmare) | 1:05:38 - Trev tells Shelly of a recurring dream | actor | comforting | conversing | crying | dark | leading lady | leading man | love interest | love scene | ranch | solemn | suspect | tense |
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 and Trev (Molto Tranquillo) | 1:07:22 - Trev and Shelly get out of the car | actor | calm | conversing | embracing | 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 (Misterioso) | 1:09:40 - Shelly and Myra talk | actor | advance plot | conversing | leading lady | mother | mysterious | owner | room | tense |
Lightning Strikes Twice (1951) | Allargando | 1:10:03 - Shelly learns that Liza loves Trev | actor | advance plot | concerned | conversing | dark | leading lady | mother | owner | room | tense |
Lightning Strikes Twice (1951) | Ave Maria (Religioso) | 1:10:24 - Justice of the Peace sign | actor | chapel | classical | familiar tune | justice of the peace | leading lady | leading man | love interest | marrying | religious | ring | Schubert | source music | suspect | tender | wedding | wedding |
Lightning Strikes Twice (1951) | El Pregon de Santiago | 1:11:53 - Johnny plays the guitar and sings | actor | Cuban | friend | guitar | husband | leading lady | leading man | on-screen music | party | performer | room | serenading | singing | suspect | upbeat |
Lightning Strikes Twice (1951) | La Paloma | 1:12:40 - Johnny sings briefly | actor | friend | guitar | husband | leading lady | leading man | Mexican | on-screen music | party | performer | room | serenading | singing | suspect | upbeat |
Lightning Strikes Twice (1951) | Pulls doorknob | 1:16:03 - Shelly pulls off the doorknob | actor | danger | doorknob | husband | leading lady | leading man | love scene | mickey-mousing | mysterious | pulling | room | suspect | suspicion | tense |
Lightning Strikes Twice (1951) | Mournful (Quasi Misterioso) | 1:16:09 - Trev talks with Shelly | actor | calm | conversing | fear | husband | leading lady | leading man | love scene | room | suspect | suspicion | worrying |
Lightning Strikes Twice (1951) | Shelly and Trev (Dolce) | 1:16:52 - Trev embraces Shelly | actor | calm | conversing | embracing | happy | husband | leading lady | leading man | love scene | relief | room | suspect |
Lightning Strikes Twice (1951) | Shelly (Molto Grazioso) + Shelly 2 | 1:17:01 - Shelly smiles at Trev | actor | calm | conversing | embracing | happy | husband | leading lady | leading man | love scene | room | suspect |
Lightning Strikes Twice (1951) | Underscoring (Somber) | 1:17:15 - Trev stares at Shelly | actor | dark | husband | leading lady | leading man | love scene | reacting | room | somber | suspect | underscoring |
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 |
Lightning Strikes Twice (1951) | Shelly and Trev (Smile) | 1:17:51 - Shelly gets ready for bed | actor | husband | leading lady | leading man | love scene | romantic | room | suspect | undressing |
Lightning Strikes Twice (1951) | Menace (Expressivo) | 1:18:00 - Shelly is worried | actor | concern | danger | hearing voices | leading lady | mad scene | room | tense | worried | worrying |
Lightning Strikes Twice (1951) | Mournful | 1:18:16 - Shelly is worried | actor | concern | cut from film | danger | hearing voices | leading lady | mad scene | room | tense | worried | worrying |
Lightning Strikes Twice (1951) | Menace (Molto Misterioso) | 1:18:21 - Shelly panics | actor | concerned | crying | hearing voices | leading lady | mad scene | panicking | room | violence | worried | worrying |
Lightning Strikes Twice (1951) | Spider | 1:18:41 - Trev hits a spider | actor | bug effect | fear | hitting | husband | leading lady | leading man | mad scene | room | running | scurrying | spider | suspect | tense |
Lightning Strikes Twice (1951) | Mournful (Scared) | 1:18:45 - Shelly is afraid of Trev | actor | crying | fear | husband | leading lady | leading man | mad scene | room | somber | suspect | worrying |
Lightning Strikes Twice (1951) | Afraid | 1:19:02 - Shelly leaves Trev in fear | actor | crying | dramatic | escaping | fanfare | fear | husband | leading lady | leading man | mad scene | room | self-borrowing | stinger | suspect | worrying |
Lightning Strikes Twice (1951) | Shelly (Escaping) | 1:19:17 - Shelly flees from Trev | actor | dramatic | escaping | fear | fleeing | husband | leading lady | leading man | mad scene | room | running | suspect | unlocking |
Lightning Strikes Twice (1951) | Shelly 2 (Fleeing) | 1:19:32 - Shelly runs to the car | actor | chasing | dramatic | driving | fear | fleeing | husband | leading lady | leading man | mad scene | ranch | running | running effect | suspect |
Lightning Strikes Twice (1951) | Shelly (Fleeing) | 1:19:41 - Trev sees Shelly drive away | actor | dramatic | driving | fear | fleeing | husband | leading lady | leading man | mad scene | ranch | running effect | suspect |
Lightning Strikes Twice (1951) | Shelly (Molto Agitato) | NIF - not in film | actor | agitated | arriving | car | cut from film | dark | driving | leading lady | ranch | tense | turning point |
Lightning Strikes Twice (1951) | Menace (Expressivo) | 1:22:56 - Liza looks out the window | actor | arriving | car | dark | leading lady | looking | menacing | murderer | obsessive | ranch | rancher | room | turning point | watching | worrying |
Lightning Strikes Twice (1951) | Shelly (Frantic) | NIF - not in film | actor | conflict | crying | cut from film | dark | frantic | leading lady | murderer | rancher | room |
Lightning Strikes Twice (1951) | Menace (Frantic) | NIF - not in film | actor | arguing | conflict | cut from film | dark | frantic | leading lady | murderer | rancher | room |
Lightning Strikes Twice (1951) | Menace (Attack) | NIF - not in film | actor | attacking | attempted murder | conflict | cut from film | dark | frantic | leading lady | murderer | rancher | room | strangling |
Lightning Strikes Twice (1951) | Shelly (Attack) | NIF - not in film | actor | arriving | attacking | attempted murder | conflict | cut from film | dark | frantic | friend | husband | leading lady | leading man | murderer | rancher | room | rushing | strangling |
Lightning Strikes Twice (1951) | Shelly 2 (Attack) | NIF - not in film | actor | arriving | attacking | attempted murder | conflict | cut from film | dark | frantic | friend | husband | leading lady | leading man | murderer | rancher | room | rushing | strangling |
Lightning Strikes Twice (1951) | Shelly 3 (Attack) | NIF - not in film | actor | arriving | attacking | attempted murder | conflict | cut from film | dark | frantic | friend | husband | leading lady | leading man | murderer | rancher | room | rushing | strangling |
Lightning Strikes Twice (1951) | Trev (Realization) | 1:26:36 - Close-up on Trev's face | actor | anger | chasing | climax | close-up | dark | friend | husband | leading lady | leading man | menacing | murderer | rancher | realizing | room | zoom in |
Lightning Strikes Twice (1951) | Underscoring (Dramatic) | 1:26:47 - Trev runs after Liza | actor | anger | chasing | climax | dramatic | friend | husband | leading lady | leading man | murderer | rancher | room | running | underscoring |
Lightning Strikes Twice (1951) | Escape | 1:26:51 - Liza runs away | actor | brother | chasing | climax | dark | escaping | friend | husband | leading lady | leading man | murderer | ranch | rancher | room | tense |
Lightning Strikes Twice (1951) | Escape (Getaway) | 1:27:08 - Trev runs back inside | actor | brother | chasing | climax | dramatic | escaping | friend | husband | leading lady | leading man | murderer | ranch | rancher | room | tense |
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 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 |
The Life of Vergie Winters (1934) | Lullaby + Funeral March | 0:02:32 - Vergie in her jail cell | classical music | combination of themes | funeral | funeral march | leading lady | plagal cadence | pondering | prison | prisoner | sequence | somber | source music | suspect | watching |
The Life of Vergie Winters (1934) | Lullaby (Slowly) | 0:04:07 - Vergie working in a shop window | 64 chord | establish character | leading lady | peaceful | plagal cadence | shop | working |
The Life of Vergie Winters (1934) | Lullaby (Hospital Scene) | 0:27:51 - The sign for a hospital | advance plot | calm | child | childbirth | conversing | fragmentation | hospital | leading lady | lullaby | peaceful | plagal cadence |
The Life of Vergie Winters (1934) | Semper Fidelis | 0:30:32 - A march is played outside | advance plot | celebrating | cheering | child | common-chord modulation | conversing | crowd | gossiper | leading lady | leading man | march | patriotic tune | politician | source music | spouse | street | upbeat |
The Life of Vergie Winters (1934) | Lullaby (Not in Score) | 0:32:18 - Vergie and John look at a baby picture | AABA structure | calm | common-chord modulation | conversing | cuddling | leading lady | leading man | love interest | love scene | lullaby | peaceful | room | score to source | secret love | transcribed by ear |
The Life of Vergie Winters (1934) | Lullaby (Park) | 0:36:28 - Nurse and baby in the park | AABA structure | added-note chord | advance plot | calm | child | common-chord modulation | conversing | leading lady | lullaby | nurse | park | peaceful | waiting |
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 (Sentimental) | 0:53:43 - Vergie talks with John by the lake | conversing | leading lady | leading man | love scene | outside | pedal tone | secret love | secret lover | tender |
The Life of Vergie Winters (1934) | Lullaby (Flowing) | 0:53:59 - John talks with Vergie by the lake | altered dominant | conversing | diminished 7th chord | happy | leading lady | leading man | love scene | outside | pedal tone | reassuring | secret love | secret lover |
The Life of Vergie Winters (1934) | Lullaby (Somber) | 0:54:14 - Vergie listens to John | altered dominant | conversing | leading lady | leading man | love scene | outside | secret love | secret lover | somber |
The Life of Vergie Winters (1934) | Lullaby (Quasi Appassionato) | 0:54:24 - John expresses his love for Vergie | conversing | direct modulation | dissonant bass | fragmentation | half-diminished 7th chord | leading lady | leading man | love scene | outside | passionate | secret love | secret lover |
The Life of Vergie Winters (1934) | Lullaby (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) | A Boy and a Girl | 1:07:00 - John and Vergie listen to the radio | advance plot | altered dominant | common-chord modulation | conversing | leading lady | leading man | listening | room | secret lover | sentimental | simulated source music | source to score | transcribed by ear |
The Life of Vergie Winters (1934) | Lullaby (Dolce) | 1:08:00 - Vergie talks with John | 9th chord | advance plot | common-chord modulation | conversing | leading lady | leading man | room | score to source | secret lover | tender |
The Life of Vergie Winters (1934) | Lullaby (Cello Solo) | 1:08:38 - Vergie talks with John | added-note chord | advance plot | common-chord modulation | confident | hopeful | hoping | leading lady | leading man | room | secret lover | sweet | warm |
The Life of Vergie Winters (1934) | Lullaby (Passionate) | 1:09:39 - John and Vergie embrace | 9th chord | advance plot | embracing | leading lady | leading man | pedal tone | romantic | room | secret lover | tense |
The Life of Vergie Winters (1934) | Lullaby + Here Comes the Bride | 1:10:07 - Vergie imagines the wedding | added-note chord | bride | calm | chromatic mediant | combination of themes | common-chord modulation | daughter | double exposure | familiar tune | groom | leading lady | leading man | peaceful | secret lover | ternary form | transcribed by ear | walking | wedding | wedding | wedding music |
The Life of Vergie Winters (1934) | Lullaby (Dark) | 1:17:11 - Newspaper headline about John's murder | dark | leading lady | secret lover | serious | transition |
The Life of Vergie Winters (1934) | Lullaby (Ending) + Funeral March (Ending) | 1:18:06 - Vergie in her jail cell | classical music | combination of themes | crying | funeral | funeral march | leading lady | prisoner | somber | suspect |
The Life of Vergie Winters (1934) | Lullaby (Very Ethereal) | 1:19:04 - Vergie exits the prison | daughter | dissonant bass | husband | leading lady | pedal tone | prison | prisoner | resolution | somber | suspect | tense | walking |
Rockabye (1932) | Improvised Lullaby | 0:11:04 - Elizabeth sings a lullaby | advance plot | calm | daughter | doll | leading lady | lullaby | mother | on-screen music | room | singing | source music |
Rockabye (1932) | Sleep, My Sweet | 0:11:20 - Judy sings with her daughter | advance plot | calm | daughter | humming | leading lady | lullaby | mother | on-screen music | room | score to source | singing | source music |
Rockabye (1932) | Out of the Blue | 0:33:38 - People at a party | advance plot | calm | club | conversing | friend | leading lady | on-screen music | pianist | playing | playwright | singer | singing | source music |
Rockabye (1932) | Till the Real Thing Comes My Way | 0:33:55 - Judy at the party | advance plot | club | conversing | dancing | friend | leading lady | love interest | on-screen music | pianist | playing | playwright | source music | upbeat |
Rockabye (1932) | Out of the Blue (Piano Improvisation) | 0:35:57 - Judy and Jacobs talk | AABA structure | advance plot | calm | club | conversing | leading lady | love interest | on-screen music | playwright | score to source borrowing | source music |
Rockabye (1932) | Till the Real Thing Comes My Way | 0:39:24 - Judy sings a song | AABA structure | advance plot | club | dancing | leading lady | love interest | on-screen music | pianist | singing | source music | upbeat |
Rockabye (1932) | Till the Real Thing Comes My Way | 0:40:21 - Judy sings on top of a truck | advance plot | leading lady | love interest | on-screen music | pianist | singing | source music | street | upbeat |
Rockabye (1932) | You've Got What Gets Me | 0:55:05 - Judy at a party | ABAB structure | advance plot | celebrating | cheerful | leading lady | maid | mother | party | source music |
Rockabye (1932) | Rockin' Chair | 0:59:16 - Judy talks to her manager | AABA structure | advance plot | conversing | drinking | leading lady | manager | party | somber | source music |
Rockabye (1932) | Till the Real Thing Comes My Way | 1:01:37 - Judy sings at a party | advance plot | cheerful | leading lady | love interest | on-screen music | party | playwright | singing | source music |
Out of the Fog (1941) | Stella Runs | 0:11:35 - Stella runs out of the restaurant | boyfriend | criminal | departing | dock | emotional | establish character | evaded cadence | leading lady | leading man | restaurant | running | transcribed by ear | watching |
Out of the Fog (1941) | Stella and George | 0:11:54 - George talks to Stella | AABA structure | arguing | boyfriend | conversing | dock | establish character | leading lady | romantic | transcribed by ear |
Out of the Fog (1941) | Underscoring (Subtle) | 0:13:05 - A boy runs in | arguing | boyfriend | conversing | dock | establish character | leading lady | underscoring | uneasy |
Out of the Fog (1941) | Stella and George (Tender) | 0:13:24 - George talks to Stella | boyfriend | conversing | crying | departing | dock | establish character | evaded cadence | leading lady | tender | transcribed by ear |
Out of the Fog (1941) | Drab | 0:24:36 - Stella in bed | advance plot | father | ignoring | knocking | leading lady | room | smoking | somber | tense | thinking | whispering |
Out of the Fog (1941) | Trade Winds | 0:28:40 - Stella enters a drugstore | AABA structure | advance plot | child | conversing | criminal | leading lady | leading man | popular music | shopping | source music | store | upbeat | worker |
Out of the Fog (1941) | South American Way | 0:30:00 - Stella listens to the radio | advance plot | conversing | leading lady | mother | popular music | radio | room | source music | upbeat |
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 |
Out of the Fog (1941) | Comparsa Negra No.1 | 0:35:38 - People dancing in a conga line | ABAC structure | bartender | club | conversing | criminal | crowd | dancer | dance scene | dancing | eating | Latin music | leading lady | leading man | musician | on-screen music | parallel double period | playing | source music | upbeat |
Out of the Fog (1941) | No Digas | 0:37:46 - Cuban dancers and musicians | AABA structure | bartender | club | conversing | criminal | crowd | dancer | dance scene | dancing | Latin music | leading lady | leading man | musician | on-screen music | playing | source music | upbeat |
Out of the Fog (1941) | Gangster | 0:39:07 - Stella and Goff at the harbor | AABA structure | blue note | bluesy | conversing | criminal | dock | leading lady | leading man | love scene | sultry |
Out of the Fog (1941) | Russian Barcarolle (Ominous) | 0:40:09 - Stella talks to Goff | conversing | criminal | dock | leading lady | leading man | love scene | ominous |
Out of the Fog (1941) | Underscoring (Dark) | 0:40:27 - Stella reacts | criminal | dark | dock | leading lady | leading man | love scene | reacting | stinger | walking |
Out of the Fog (1941) | Gangster | 0:40:37 - Goff calls after Stella | blue note | bluesy | conversing | criminal | dock | leading lady | leading man | love scene | sultry |
Out of the Fog (1941) | Russian Barcarolle (Tense) | 0:40:54 - Goff talks to Stella | conversing | criminal | dark | dock | leading lady | leading man | love scene |
Out of the Fog (1941) | Underscoring (Dramatic) | 0:41:03 - Stella slaps Goff | criminal | dock | dramatic | leading lady | leading man | love scene | reacting | slapping | stinger | underscoring |
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 |
Out of the Fog (1941) | Stella and George (Extended) | 0:41:45 - George talks to Stella | arguing | boyfriend | conversing | foreign key modulation | leading lady | love scene | room | tender |
Out of the Fog (1941) | Father and Daughter (Tender) | 0:51:32 - Maps of Cuba | advance plot | arriving | conversing | father | fisherman | leading lady | mirror shot | packing | room | tender | tense |
Out of the Fog (1941) | Drab (Extended) | 0:51:50 - Stella talks with her father | advance plot | conversing | father | fisherman | foreign key modulation | leading lady | packing | room | sequence | somber | uneasy |
Out of the Fog (1941) | Russian Barcarolle (Dark) | 0:52:49 - Jonah reacts | advance plot | conversing | dark | father | fisherman | leading lady | room |
Out of the Fog (1941) | Drab | 0:53:05 - Stella talks with her father | advance plot | conversing | father | fisherman | leading lady | room | sequence | somber | uneasy |
Out of the Fog (1941) | Russian Barcarolle (Troubled) | 0:53:43 - Stella talks with her father | advance plot | bold | conversing | dark | father | fisherman | leading lady | ominous | room |
Out of the Fog (1941) | Father and Daughter (Short) | 0:54:23 - Stella and Jonah embrace | advance plot | conversing | departing | father | fisherman | leading lady | room | tender |
Out of the Fog (1941) | Speeding Car | 1:12:30 - A car racing down the street | action scene | car | double exposure | dramatic | driving | leading lady | point-of-view shot | police | rushed | rushing | street | tense |
Out of the Fog (1941) | Morgue | 1:12:37 - The morgue | action scene | arriving | conversing | corpse | death | fear | leading lady | morgue | ominous | police | tense |
Out of the Fog (1941) | Russian Barcarolle (Dead) | 1:13:15 - Stella sees Goff's body | action scene | arguing | corpse | crying | dark | death | fear | leading lady | morgue | ominous | police |
Out of the Fog (1941) | Speeding Car (Extended) | 1:13:32 - A car racing down the street | action scene | car | crowd | double exposure | dramatic | driving | leading lady | minor-major 7th chord | point-of-view shot | police | questioning | reporter | rushed | rushing | street | tense |
Out of the Fog (1941) | Russian Barcarolle (Ethereal) | 1:23:47 - Jonah talks to Stella | conversing | dock | ethereal | father | fisherman | leading lady | peaceful | resolution | walking |
Out of the Fog (1941) | Russian Barcarolle (Tango) | 1:24:07 - Stella and Jonah walk away | chromatic mediant | conversing | dock | exotic | father | fisherman | foreign key modulation | leading lady | peaceful | pedal tone | resolution | street | tango | walking |
Out of the Fog (1941) | Russian Barcarolle (The End) | 1:24:24 - The dock at night | conversing | dock | end title sequence | father | fisherman | grand | leading lady | peaceful | perfect authentic cadence | resolution | street | The End | walking |
Kid Galahad (1937) | Swing for Sale | 0:04:26 - Dancing at a party | AABA structure | crowd | dancing | establish character | leading lady | leading man | manager | party | partying | source music | transcribed by ear | upbeat |
Kid Galahad (1937) | The Ring | 0:06:38 - People at a party | AABA structure | crowd | establish character | leading lady | leading man | manager | party | partying | source music | transcribed by ear | upbeat |
Kid Galahad (1937) | Stride Piano Improvisation 1 | 0:08:50 - People at a party | blues scale | crowd | dancing | establish character | leading lady | leading man | manager | on-screen music | party | source music | stride piano | transcribed by ear | upbeat |
Kid Galahad (1937) | The Prizefighter and the Lady | 0:09:36 - Ward helps Louise | AABA structure | crowd | dancing | establish character | leading lady | leading man | manager | on-screen music | party | source music | stride piano | transcribed by ear | upbeat |
Kid Galahad (1937) | Stride Piano Improvisation 2 | 0:13:24 - People dance at a party | crowd | dancing | establish character | leading lady | leading man | manager | party | partying | source music | transcribed by ear | upbeat |
Kid Galahad (1937) | The Escape | 0:33:23 - Nick punches man on street | advance plot | boxer | car | hurried | hurrying | leading lady | leading man | not by Steiner | street | transcribed by ear |
Kid Galahad (1937) | The Moon Is In Tears Tonight (Love's Sorrow) | 0:53:05 - Ward professes his love for Marie | conversing | heartbroken | leading lady | leading man | love scene | newspaper | not by Steiner | romantic | room | transcribed by ear |
Kid Galahad (1937) | The Split Up | 0:56:59 - Louise and Nick break up | appoggiatura | conversing | heartbroken | leading lady | love scene | manager | not by Steiner | romantic | room | transcribed by ear |
Kid Galahad (1937) | The Moon Is In Tears Tonight (Tender) | 0:57:14 - Louise thinks of Ward | conversing | leading lady | love scene | manager | not by Steiner | room | tender | transcribed by ear |
Kid Galahad (1937) | The Split Up | 0:57:45 - Louise says goodbye to Nick | appoggiatura | conversing | heartbroken | leading lady | love scene | manager | not by Steiner | romantic | room | transcribed by ear |
Kid Galahad (1937) | The Moon Is in Tears Tonight | 1:08:40 - Louise sings in a night club | leading lady | music scene | night club | on-screen music | playing music | sentimental | singing | source music | transcribed by ear |
Kid Galahad (1937) | Sand In My Shoes | 1:10:15 - Ward, Marie, and Louise talk in the club | advance plot | cheerful | conversing | dancing | leading lady | leading man | night club | on-screen music | sister | source music | transcribed by ear |
Kid Galahad (1937) | Kid Galahad (Tender) | 1:39:15 - Nick speaks his final words | 9th chord | 64 chord | added-note chord | appoggiatura | climax | death | dying | fanfare | foreign key modulation | leading lady | leading man | manager | mode mixture | pedal tone | room | sister | somber | stretto imitation |
Traveling Husbands (1931) | Someone | 0:16:31 - Music is played in a hotel ballroom | advance plot | cheerful | dancing | hotel | leading lady | popular song | salesman | source music | transcribed by ear |
Traveling Husbands (1931) | Bicycle Built for Two | 0:20:51 - Music is played in a bar room | AABC structure | advance plot | bar | calm | conversing | eating | leading lady | popular song | source music | transcribed by ear |
Traveling Husbands (1931) | Sidewalks of New York | 0:21:01 - Music is played in a bar room | advance plot | bar | calm | conversing | eating | leading lady | popular song | source music | transcribed by ear |
Traveling Husbands (1931) | There's a Sob in My Heart (Strings) | 0:23:03 - Music is played in a night club | AABA structure | comment on score | dance scene | dancing | leading lady | night club | popular song | source music | transcribed by ear | upbeat |
Traveling Husbands (1931) | Dance | 0:26:27 - Music is played in a night club | AB structure | dance scene | dancing | Latin-American | leading lady | night club | salesman | source music | tango | transcribed by ear | upbeat |
Traveling Husbands (1931) | There's a Sob in My Heart (Radio Dance Band) | 0:32:46 - Music is played on the radio | AABA structure | chromatic mediant | comedy | comment on score | dancing | leading lady | popular song | radio | room | salesman | source music | transcribed by ear | upbeat |
Traveling Husbands (1931) | There's a Sob in My Heart (Dixieland) | 0:34:27 - Music is played in a night club | banjo | countermelody | dancing | Dixieland | double exposure | drums | improvisation | jazz | leading lady | montage | night club | popular song | salesman | source music | taxi | transcribed by ear | trombone | upbeat |
Traveling Husbands (1931) | Hello Beautiful | 0:35:04 - Music is played in a taxi | AABA structure | banjo | dancing | drums | leading lady | montage | night club | popular song | salesman | source music | taxi | transcribed by ear | trombone | upbeat |
Traveling Husbands (1931) | Millie | 0:35:09 - Hot jazz is played in a night club | AABA structure | banjo | dancing | Dixieland | drums | jazz | leading lady | montage | night club | popular song | salesman | source music | taxi | transcribed by ear | trombone | upbeat |
Traveling Husbands (1931) | There's a Sob in My Heart (Arabian) | 0:38:56 - Music is played on the radio | advance plot | Arabian | dancing | exoticism | leading lady | popular song | radio | romantic | room | salesman | source music | transcribed by ear |
Traveling Husbands (1931) | Chimes | 0:49:36 - A tune is played on church bells | advance plot | calm | church bell | leading lady | leading man | room | salesman | source music | transcribed by ear | waiting |
Traveling Husbands (1931) | Chimes 2 | 0:51:50 - A tune is played on church bells | advance plot | calm | church bell | leading lady | leading man | room | salesman | source music | transcribed by ear | waiting |
Traveling Husbands (1931) | There's a Sob in My Heart (Slow Waltz) | 0:57:47 - Music is played on the radio | AABA structure | advance plot | arguing | calm | leading lady | leading man | mode mixture | popular song | radio | room | salesman | source music | transcribed by ear |
Traveling Husbands (1931) | Ring Around the Rosy | 1:09:30 - Men sing and dance | children's song | dancing | exciting | leading lady | leading man | on-screen music | resolution | room | salesman | singing | source music | transcribed by ear |
Traveling Husbands (1931) | There's a Sob in My Heart (Sentimental) | 1:10:39 - People are sad as the radio plays | AABA structure | altered dominant | augmented sixth chord | countermelody | crying | leading lady | leading man | popular song | radio | resolution | room | salesman | sentimental | somber | transcribed by ear |
The Unfaithful (1947) | Chris | 0:01:26 - Chris arrives at home | 9th chord | arriving | Beverly Hills | calm | establish character | foreign key modulation | house | leading lady |
The Unfaithful (1947) | Chris 2 | 0:01:40 - Chris runs through the house | establish character | graceful | joyful | leading lady | room | running |
The Unfaithful (1947) | Unfaithful (Chris) | 0:01:46 - Chris answers the phone | establish character | foreshadowing | leading lady | mode change | peaceful | room |
The Unfaithful (1947) | Stride Piano | 0:03:20 - Larry arrives at the party | establish character | jazz | lawyer | leading lady | on-screen music | party | sister | source music | upbeat |
The Unfaithful (1947) | Deep Night | 0:05:47 - Roger argues with Paula | AABA structure | antagonist | arguing | establish character | lawyer | leading lady | on-screen music | party | sister | somber | source music |
The Unfaithful (1947) | Chris | 0:07:27 - Chris drives home | 9th chord | calm | car | driving | leading lady | street | transition |
The Unfaithful (1947) | Chris 2 (Minor) | 0:07:37 - Chris arrives home | 9th chord | antagonist | car | cheerful | dark | driving | house | leading lady | sequential modulation | suspension | transition |
The Unfaithful (1947) | Chris (Dark) | 0:07:46 - Chris continues driving | 9th chord | advance plot | antagonist | calm | danger | dissonant bass | foreign key modulation | house | leading lady | ominous | sequential modulation | shadow | tritone | tritone oscillation | walking |
The Unfaithful (1947) | Danger | 0:08:19 - A man in the shadows | advance plot | antagonist | danger | fear | house | leading lady | monophonic | shadow | sinister | walking |
The Unfaithful (1947) | Unfaithful (Attack) | 0:08:40 - The man attacks Chris | advance plot | antagonist | attacking | chromatic scale | criminal | danger | fighting | house | leading lady | ostinato | pc set | sequence | shadow | sinister | victim | whole-tone |
The Unfaithful (1947) | Chris screams | 0:08:53 - Chris screams | advance plot | antagonist | criminal | danger | house | leading lady | mickey-mousing | pc set | screaming | shadow | sinister | victim |
The Unfaithful (1947) | Unfaithful (Somber) | 0:22:24 - Bob comforts Chris | 9th chord | augmented sixth chord | comfort | comforting | common-chord modulation | husband | leading lady | love scene | mode mixture | ostinato | pedal tone | room | somber | victim |
The Unfaithful (1947) | Unfaithful (Tragic) | 0:24:34 - Mrs. Tanner walks down the street | advance plot | antagonist | husband | leading lady | newspaper | ostinato | panicked | panicking | pedal tone | police station | street | transition | trolley | victim | widow |
The Unfaithful (1947) | Oh But I Do | 0:32:27 - Ladies talk at a restaurant | AABA structure | advance plot | calm | conversing | husband | lawyer | leading lady | on-screen music | restaurant | sister | source music | transition | victim |
The Unfaithful (1947) | Deep Night | 0:35:15 - Larry, Chris, and Bob at a restaurant | AABA structure | advance plot | calm | conversing | husband | lawyer | leading lady | on-screen music | restaurant | source music | transition | victim |
The Unfaithful (1947) | Chris | 0:43:45 - Chris pulls up in a cab | 9th chord | added-note chord | driving | foreign key modulation | law office | leading lady | office | peaceful | spinning | transition |
The Unfaithful (1947) | Chris 2 | 0:43:56 - Chris goes to Larry's office | 9th chord | law office | leading lady | office | peaceful | pedal tone | sequential modulation | transition | walking |
The Unfaithful (1947) | Unfaithful (Dramatic) | 0:44:05 - Chris goes to Larry's office | advance plot | arriving | fanfare | heroic | law office | leading lady | mode mixture | office |
The Unfaithful (1947) | Unfaithful (Ostinato) | 0:50:56 - Chris leaves Larry's office | advance plot | exiting | law office | lawyer | leading lady | office | pedal tone | somber |
The Unfaithful (1947) | Unfaithful (Drone) | 0:51:08 - Chris enters the art shop | advance plot | arriving | leading lady | ostinato | shop | shopkeeper | somber |
The Unfaithful (1947) | Stinger | 0:52:10 - Chris reacts | advance plot | leading lady | shop | shopkeeper | stinger | surprise | suspenseful | zoom in |
The Unfaithful (1947) | Unfaithful (Distressed) | 0:52:17 - The maid turns on a lamp | 9th chord | advance plot | arriving | foreign key modulation | forlorn | leading lady | maid | obsession | ostinato | pc set | room | tense |
The Unfaithful (1947) | Unfaithful (Agitated) | 0:53:11 - Chris sees the place where the body was | advance plot | distressed | fearful | leading lady | obsession | ostinato | room | sequential modulation | staring |
The Unfaithful (1947) | Attorney (Doorbell) | 0:53:31 - Chris takes off her jacket | advance plot | arriving | enharmonic respelling | heroic | lawyer | leading lady | room | stinger | surprise |
The Unfaithful (1947) | Unfaithful (Somber 2) | 1:00:01 - Chris thinks | 9th chord | advance plot | altered dominant | augmented sixth chord | chromatic mediant | common-chord modulation | conversing | foreign key modulation | husband | leading lady | mode mixture | ostinato | room | somber | tender |
The Unfaithful (1947) | Unfaithful (Ominous) | 1:09:06 - Chris on the phone | advance plot | lawyer | leading lady | monophonic | office | phone call | room | tense | thinking |
White Heat (1949) | Moll | 0:06:40 - Verna sleeps | calm | establish character | gangster | leading lady | leading man | moll | murderer | room | sleeping | snoring | waking |
White Heat (1949) | Verna | 0:06:56 - Verna gets up | arguing | bluesy | complaining | dark | establish character | gangster | leading lady | leading man | moll | mother | murderer | rising | room | victim | waking |
White Heat (1949) | Rushing | 0:10:49 - A gangster comes in the door | advance plot | arguing | dark | gangster | leading lady | leading man | moll | mother | murderer | punching | room | storm | tense | victim | wind |
White Heat (1949) | Plotting | 0:11:21 - Cody packs up money in a suitcase | conversing | dark | gangster | leading lady | leading man | love scene | moll | money | murderer | packing | room | tense | transition |
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) | Underscoring (Dark) | 0:12:14 - Zuckie pleads with Cody | conversing | dark | death | funereal | gangster | leading lady | leading man | moll | mother | murderer | murder scene | pleading | room | underscoring | victim |
White Heat (1949) | Zuckie's Death | 0:12:29 - Cody ignores Zuckie | crying | dark | death | departing | funereal | gangster | leading lady | leading man | moaning | moll | mother | murderer | murder scene | pleading | room | somber | victim |
White Heat (1949) | Plotting (Extended) | 0:12:45 - Ma warns Cody that Zuckie may talk | dark | death | gangster | leading lady | leading man | moll | mother | murderer | murder scene | mysterious | plotting | victim | warning | yard |
White Heat (1949) | Underscoring (Dramatic) | 0:12:57 - Cody orders Cotton to shoot Zuckie | commanding | dark | death | dramatic | gangster | gun | leading lady | leading man | moll | mother | murderer | murder scene | stinger | underscoring | victim | yard |
White Heat (1949) | Plotting (Ugly) | 0:13:06 - Cotton goes to kill Zuckie | dark | death | gangster | gun | leading lady | leading man | moll | mother | murderer | murder scene | mysterious | victim | walking | yard |
White Heat (1949) | Zuckie's Death | 0:13:32 - Gangsters get in the car | dark | death | departing | funereal | gangster | gun | leading lady | leading man | moll | mother | murderer | murder scene | somber | victim | walking | yard |
White Heat (1949) | Cody (Molto Marcato) | 0:13:59 - Cody walks to the car | bold | dark | departing | gangster | leading lady | leading man | moll | mother | murderer | murder scene | victim | violent | walking | yard |
White Heat (1949) | Driving | 0:14:09 - The gangsters drive away | dark | departing | driving | gangster | leading lady | leading man | menacing | moll | mother | murderer | rushing | self-borrowing | street | transition |
White Heat (1949) | Danger (Con Moto) | 0:17:39 - Cody argues with Verna | agitated | arguing | conflict | gangster | leading lady | leading man | moll | murderer | room | tense |
White Heat (1949) | Verna falls | 0:18:05 - Verna falls off the chair | agitated | chair | conflict | couch | falling | gangster | kicking | landing | leading lady | leading man | mickey-mousing | moll | murderer | room | tense |
White Heat (1949) | Danger (Escaping) | 0:23:32 - Verna and Ma rush out | action scene | agent | dramatic | escaping | gangster | leading lady | leading man | moll | mother | murderer | room | rushing | street | wound |
White Heat (1949) | Agitato (Escaping) | 0:23:37 - Evans struggles on the ground | action scene | agent | agitated | car | dramatic | driving | escaping | gangster | gun | gunshot | leading lady | leading man | moll | mother | murderer | shooting | street | struggling | tense | wound |
White Heat (1949) | Driving (Extended) | 0:23:46 - The gangsters speed away | action scene | agent | car | chasing | dark | dramatic | gangster | leading lady | leading man | menacing | moll | mother | murderer | speeding | street | wound |
White Heat (1949) | Speed (Frantic) | 0:24:11 - The gangsters speed away | car | chase scene | chasing | dramatic | frantic | leading lady | leading man | moll | mother | murderer | rushing | self-borrowing | speeding | street | tense |
White Heat (1949) | Speed (Frantic) | 0:24:26 - The gangsters speed away | car | chase scene | chasing | dramatic | frantic | leading lady | leading man | moll | mother | murderer | self-borrowing | speeding | street | tense |
White Heat (1949) | Speed (Desperate) | 0:24:44 - The gangsters speed away | car | chase scene | chasing | dramatic | frantic | leading lady | leading man | moll | mother | murderer | self-borrowing | speeding | street | tense |
White Heat (1949) | Pursuit (Fleeing) | 0:24:50 - Ernie chases the gangsters | agent | car | chase scene | chasing | dramatic | frantic | leading lady | leading man | moll | mother | motor effect | murderer | speeding | street | tense |
White Heat (1949) | Agents + Pursuit (Rising) | 0:24:58 - Ernie chases the gangsters | agent | car | chase scene | chasing | combination of themes | dramatic | frantic | leading lady | leading man | moll | mother | murderer | speeding | street | tense |
White Heat (1949) | Speed (Desperate 2) | 0:25:03 - The gangsters speed away | agent | car | chase scene | chasing | dramatic | drive-in theater | frantic | leading lady | leading man | moll | mother | murderer | self-borrowing | speeding | tense |
White Heat (1949) | Plotting (Mysterious) | 0:29:13 - Verna and Ma leave the police station | agent | leading lady | leading man | moll | mother | mysterious | police station | transition | walking |
White Heat (1949) | Underscoring (Tense) | 0:42:03 - Ma talks to the gangsters | advance plot | conversing | gangster | leading lady | love interest | moll | mother | room | tense | underscoring |
White Heat (1949) | Cody (Expressivo) | 0:42:17 - Ma talks to Big Ed | advance plot | conversing | gangster | leading lady | love interest | moll | mother | room | tense |
White Heat (1949) | Agitato | 0:42:32 - Verna leaves the room | advance plot | agitated | conversing | departing | gangster | leading lady | love interest | moll | mother | room | tense | underscoring |
White Heat (1949) | Big Ed | 0:42:41 - Big Ed leaves the room | advance plot | gangster | leading lady | love interest | moll | mother | room | tense | walking |
White Heat (1949) | Underscoring (Dramatic) | 0:42:52 - Big Ed talks to Verna | advance plot | anger | angry | arguing | dramatic | gangster | leading lady | love interest | moll | porch | underscoring |
White Heat (1949) | Moll (Arguing) | 0:43:06 - Verna argues with Big Ed | anger | arguing | gangster | leading lady | love interest | love scene | moll | porch | tense | uneasy |
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) | Five O'Clock Whistle | 1:11:01 - Verna watches Ed | advance plot | conversing | gangster | leading lady | love interest | moll | popular music | radio | room | source music | upbeat |
White Heat (1949) | Underscoring (Tense) | 1:13:20 - Big Ed walks up the stairs | action scene | dark | gangster | leading lady | love interest | moll | room | tense | underscoring | walking |
White Heat (1949) | Danger (Agitato) | 1:13:33 - Verna sits up | action scene | anxiety | danger | gangster | leading lady | listening | love interest | moll | room | tense |
White Heat (1949) | Underscoring (Tense) | 1:13:57 - Verna sneaks out of her bedroom | action scene | leading lady | moll | room | sneaking | tense | underscoring |
White Heat (1949) | Plotting (Sneaking) | 1:14:09 - Verna sneaks down the stairs | action scene | descending | leading lady | mickey-mousing | moll | mysterious | room | sneaking | stairs | tense |
White Heat (1949) | Underscoring (Tense) | 1:14:13 - Verna looks for a way out | action scene | leading lady | moll | room | sneaking | tense | underscoring |
White Heat (1949) | Running to window | 1:14:22 - Verna runs to the window | action scene | dramatic | leading lady | mickey-mousing | moll | opening | room | running | stinger | tense | window |
White Heat (1949) | Underscoring (Dramatic) | 1:14:27 - Verna opens the window | action scene | dramatic | leading lady | mickey-mousing | moll | room | running | stinger | tense | underscoring | window |
White Heat (1949) | Jumping out window | 1:14:31 - Verna jumps out of the window | action scene | descending | dramatic | jumping | leading lady | mickey-mousing | moll | tense | window | yard |
White Heat (1949) | Madness (Agitato) | 1:15:59 - Cody looks at Verna | agitated | anger | death | gangster | leading lady | leading man | lying | moll | murderer | murder scene | staring | stinger | tense | yard |
White Heat (1949) | Cody (Malevolent) | 1:16:18 - Cody pushes Verna | dark | gangster | gun | leading lady | leading man | moll | murderer | murder scene | pushing | yard |
White Heat (1949) | Underscoring (Mysterious) | 1:16:51 - Cody and Verna climb through the window | gangster | gun | leading lady | leading man | moll | murderer | murder scene | mysterious | room | sneaking | sneaking effect | tense | underscoring | window |
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) | Big Ed's Death | 1:18:41 - Big Ed runs | dark | death | dramatic | dying | falling | gangster | gun | gunshot | leading lady | leading man | love interest | mickey-mousing | moll | murder | murderer | murder scene | room | running | rushing | shooting | violence |
White Heat (1949) | Underscoring (Dramatic) | 1:19:20 - Big Ed's body falls down the stairs | dark | death | dramatic | falling | fugitive | gangster | leading lady | leading man | love interest | mickey-mousing | moll | murderer | murder scene | panning shot | room | stairs | staring | statue | stinger | undercover agent | underscoring | watching |
White Heat (1949) | Panning | 1:19:32 - Camera pans to the group | beans | dramatic | fugitive | gangster | leading lady | leading man | love interest | mickey-mousing | moll | murderer | panning shot | room | throwing | transition | undercover agent | waiting |
White Heat (1949) | Danger (Sneaky) | 1:31:56 - Hank puts the transmitter on the truck | advance plot | fugitive | gangster | hiding | leading lady | leading man | moll | murderer | sneaking | tense | transmitter | truck | undercover agent | yard |
White Heat (1949) | Cody 3 (Tense) | 1:32:12 - Cody approaches the truck | advance plot | conversing | fugitive | gangster | leading lady | leading man | lying | moll | murderer | tense | transmitter | truck | undercover agent | yard |
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) | Appearing | 0:02:54 - The woman in white appears | appearing | establish character | forest | leading lady | leading man | magical | magical effect | mickey-mousing | mysterious |
The Woman in White (1948) | Ann | 0:03:00 - The woman in white talks to Walter | calling | conversing | establish character | forest | leading lady | leading man | mysterious |
The Woman in White (1948) | Ann 2 | 0:03:15 - The woman in white talks to Walter | calm | conversing | establish character | forest | leading lady | leading man |
The Woman in White (1948) | The Carman's Whistle (Rubato) | 0:03:23 - Walter talks to the woman in white | calm | conversing | establish character | forest | leading lady | leading man |
The Woman in White (1948) | The Carman's Whistle (Accompaniment) | 0:03:29 - Walter talks to the woman in white | calm | conversing | establish character | forest | leading lady | leading man |
The Woman in White (1948) | Ann (Quasi Misterioso) | 0:03:36 - Walter talks to the woman in white | conversing | establish character | forest | leading lady | leading man | mysterious |
The Woman in White (1948) | Ann (Poco Agitato) | 0:03:55 - The woman in white talks to Walter | agitated | conversing | establish character | forest | leading lady | leading man |
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) | The Carman's Whistle (Accompaniment) | 0:04:26 - The woman in white talks to Walter | conversing | establish character | forest | leading lady | leading man | mysterious |
The Woman in White (1948) | The Carman's Whistle (Arriving) + Ann | 0:06:22 - The woman in white appears | arriving | calm | combination of themes | establish character | garden | leading lady | leading man | mansion | sneaking | tense | tremolo | walking |
The Woman in White (1948) | Limmeridge | 0:06:41 - Walter arrives at the mansion | arriving | bold | butler | establish character | leading lady | leading man | mansion |
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) | Limmeridge 2 | 0:19:36 - Walter walks outside | establish character | garden | leading lady | leading man | mansion | noble | walking | watching |
The Woman in White (1948) | Ann (Poco Agitato) | 0:20:03 - Walter sees Laura | conversing | establish character | garden | leading lady | leading man | mansion | tense | 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) | Ann (Poco Agitato) | 0:22:39 - Laura talks about a mysterious woman | butler | conversing | establish character | family | leading lady | leading man | mysterious | room | tense | walking |
The Woman in White (1948) | Fosco | 0:22:53 - Closeup on Fosco's face | butler | conversing | establish character | family | leading lady | leading man | room | tense | walking |
The Woman in White (1948) | The Carman's Whistle | 0:23:04 - Walter talks about the woman in white | butler | conversing | establish character | family | leading lady | leading man | room | tense | walking |
The Woman in White (1948) | Underscoring (Mysterious) | 0:23:16 - Fosco gets up to leave | butler | conversing | establish character | family | leading lady | leading man | mysterious | 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) | Improvisation | 0:28:47 - A monkey plays the harpsichord | advance plot | conversing | harpsichord | leading lady | leading man | monkey | on-screen music | playing | room | source music | startled |
The Woman in White (1948) | Ann (Misterioso) | 0:29:34 - Fosco sees Laura outside | advance plot | conversing | leading lady | leading man | mysterious | room | tense | watching |
The Woman in White (1948) | Limmeridge | 0:30:46 - Marian talks to Walter | advance plot | conversing | cousin | leading lady | leading man | noble | refined | room |
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) | Fosco (Spying) | 0:31:31 - Fosco spies on Laura and Walter | advance plot | garden | leading lady | leading man | mysterious | point-of-view shot | snooping | spying | watching |
The Woman in White (1948) | Pavan (Garden) | 0:33:09 - Marian talks to Fosco | arguing | conversing | cousin | falling in love scene | garden | instrument effect | leading lady | leading man | mysterious | Renaissance music | somber | watching |
The Woman in White (1948) | Pavan (Agitato) | 0:33:43 - Walter argues with Laura | agitated | arguing | argument | falling in love scene | garden | leading lady | leading man |
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) | Laura runs | 0:34:56 - Laura runs off | falling in love scene | garden | hurried | leading lady | leading man | mickey-mousing | running | rushing |
The Woman in White (1948) | Fosco (Ominous) | 0:35:03 - Fosco's carriage approaches | arriving | carriage | dark | garden | leading lady | leading man | ominous | transition |
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) | Underscoring (Mysterious) | 0:36:22 - Laura greets Sir Percival | advance plot | conversing | fiancé | leading lady | mansion | mysterious | underscoring |
The Woman in White (1948) | The Self Banished (Slowly) | 0:36:40 - Laura leaves with Sir Percival | advance plot | calm | cousin | fiancé | leading lady | mansion | walking |
The Woman in White (1948) | The Self Banished (Con Moto) | 0:36:48 - Marian walks outside | advance plot | agitated | calm | cousin | leading lady | leading man | mansion | walking |
The Woman in White (1948) | Underscoring (Mysterious) | 0:38:37 - Marian talks to Walter | advance plot | bad news | conversing | cousin | dark | garden | leading lady | leading man | mysterious | stinger | underscoring |
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 | 0:40:45 - The woman in white talks to Walter | advance plot | conversing | garden | leading lady | leading man | mysterious | tense |
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 (Quasi Misterioso) | 0:41:28 - The woman in white talks to Walter | advance plot | conversing | garden | leading lady | leading man | mysterious |
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) | Hypnosis | 0:42:04 - The woman in white talks to Walter | advance plot | conversing | garden | leading lady | leading man | tense | underscoring |
The Woman in White (1948) | Fosco (Misterioso) | 0:42:23 - The woman in white talks about Fosco | advance plot | conversing | garden | leading lady | leading man | tense |
The Woman in White (1948) | Ann (Molto Misterioso) | 0:42:52 - Walter talks to the woman in white | advance plot | agitated | conversing | garden | leading lady | leading man | mysterious |
The Woman in White (1948) | Underscoring (Dark) | 0:43:00 - The woman in white talks to Walter | advance plot | conversing | dark | garden | leading lady | leading man | ominous | stinger | underscoring |
The Woman in White (1948) | Ann | 0:43:08 - The woman in white talks to Walter | advance plot | agitated | conversing | garden | leading lady | leading man | mysterious |
The Woman in White (1948) | Ann 2 | 0:43:17 - The woman in white talks to Walter | advance plot | conversing | garden | leading lady | leading man | tender |
The Woman in White (1948) | The Carman's Whistle (Rubato) | 0:43:24 - The woman in white talks to Walter | advance plot | conversing | garden | 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) | Fosco (Slowly) | 0:43:36 - Walter and the woman in white approach the house | advance plot | garden | leading lady | leading man | tense | walking |
The Woman in White (1948) | Appearing | 0:43:56 - The woman in white runs from Fosco | advance plot | garden | leading lady | leading man | magical | mysterious | running |
The Woman in White (1948) | Ann | 0:43:58 - The woman in white runs away | advance plot | garden | leading lady | leading man | mysterious | running |
The Woman in White (1948) | Underscoring (Mysterious) | 0:45:40 - Laura enters the mansion | butler | conflict | conversing | cousin | fiancé | leading lady | mansion | mysterious | tense | underscoring |
The Woman in White (1948) | Ann (Poco Agitato) | 0:46:06 - Walter talks to Marian | arguing | conflict | cousin | leading lady | leading man | mansion | tense |
The Woman in White (1948) | Fairlie (Moderato) | 0:46:16 - Marian argues with Walter | agitated | arguing | conflict | cousin | leading lady | leading man | mansion |
The Woman in White (1948) | Ann (Agitato Quasi Misterioso) | 0:46:28 - Walter argues with Marian | arguing | butler | conflict | cousin | leading lady | leading man | mansion | mysterious | stinger |
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) | Ann (Molto Marcato) | 0:50:03 - Walter storms out of the room | angry | antagonist | butler | conflict | cousin | departing | fiancé | leading lady | leading man | mansion |
The Woman in White (1948) | Pavan B | 0:50:44 - A carriage arrives | arriving | carriage | conversing | cousin | grand | headline | leading lady | mansion | montage | montage | newspaper | Renaissance music | servant | transition |
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) | Hypnosis | 0:51:33 - The servants greet Marian | advance plot | arriving | butler | conversing | cousin | leading lady | mansion | servant | tense |
The Woman in White (1948) | Fosco (Misterioso 2) | 0:51:57 - Marian learns that the countess is in the house | advance plot | arriving | butler | conversing | cousin | leading lady | mansion | servant | stinger | tense |
The Woman in White (1948) | Pavan (Garden 2) | 0:55:17 - Marian talks to Mr. Fairlie | advance plot | conversing | cousin | father | leading lady | room | somber |
The Woman in White (1948) | Laura (At Dinner) | 0:55:43 - Sitting at the dining table | advance plot | antagonist | butler | cigarette | conversing | cousin | eating | happy | husband | leading lady | light | mansion | monkey | servant | smoking | somber |
The Woman in White (1948) | Underscoring (Mysterious) | 0:56:12 - Sir Percival and a monkey | advance plot | antagonist | butler | cigarette | conversing | cousin | husband | leading lady | mansion | monkey | mysterious | servant | smoking | stinger | underscoring |
The Woman in White (1948) | Ann (Misterioso Rubato) | 0:58:22 - The countess excuses herself | advance plot | antagonist | butler | conversing | cousin | departing | husband | leading lady | mansion | mysterious | servant | somber |
The Woman in White (1948) | Fosco (Spying) | 0:58:37 - Marian writes in her journal | advance plot | cousin | journal | leading lady | mysterious | room | somber | thinking | voice-over | writing |
The Woman in White (1948) | Pavan (Agitato 2) | 0:58:59 - Laura enters Marian's room | advance plot | conversing | cousin | greeting | leading lady | passionate | room | tense |
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) | The Self Banished (Tenderly) | 1:00:22 - Laura talks to Marian | advance plot | conversing | cousin | leading lady | room | tender |
The Woman in White (1948) | Pavan (Distressed) | 1:00:51 - Laura talks to Marian | advance plot | agitated | conversing | cousin | distressed | leading lady | room |
The Woman in White (1948) | Pavan (Agitato) | 1:01:02 - Laura talks to Marian | advance plot | agitated | conversing | cousin | leading lady | room |
The Woman in White (1948) | Asylum | 1:01:26 - Laura suffers from a headache | aching | advance plot | agitated | conversing | cousin | headache | illness | illness effect | leading lady | pain | room | somber | tense | victim |
The Woman in White (1948) | Asylum (Molto Expressivo) | 1:01:37 - Laura talks to Marian | advance plot | calm | conversing | cousin | headache | illness | leading lady | pain | recovering | recovery | room | victim |
The Woman in White (1948) | Pavan (Slow) | 1:01:49 - Marian closes the door | advance plot | cousin | departing | leading lady | room | somber | victim |
The Woman in White (1948) | Sneaking | 1:02:12 - Marian leaves wearing a cloak | advance plot | antagonist | conversing | cousin | criminal | eavesdropping | father | husband | leading lady | leading man | room | sneaking | somber | tense |
The Woman in White (1948) | Fosco (Misterioso Slowly) | 1:04:48 - Count Fosco leaves the room | advance plot | antagonist | conversing | cousin | criminal | eavesdropping | father | husband | leading lady | leading man | lightning | mysterious | room | sneaking | storm | tense |
The Woman in White (1948) | Pavan (Basses) | 1:05:32 - Marian gets dressed | advance plot | antagonist | cousin | criminal | dressing | leading lady | leading man | mysterious | room | shadow | somber | stinger | surprising |
The Woman in White (1948) | Fosco (Misterioso Moderato) | 1:08:24 - Fosco is startled by a noise | antagonist | butler | conflict | conversing | cousin | criminal | leading lady | leading man | mysterious | room |
The Woman in White (1948) | Fosco (Marcato) | 1:08:44 - Fosco talks to the servant | antagonist | arguing | butler | confining | conflict | conversing | cousin | criminal | dark | leading lady | leading man | mysterious | prisoner | room |
The Woman in White (1948) | Underscoring (Dramatic) | 1:09:11 - Marian is locked in | antagonist | confining | conflict | conversing | cousin | criminal | dark | dramatic | husband | leading lady | leading man | prisoner | room | underscoring |
The Woman in White (1948) | Asylum (Dark) | 1:09:26 - Fosco talks to Sir Percival | aching | antagonist | conflict | conversing | criminal | dark | headache | husband | illness | leading lady | leading man | pain | plotting | prisoner | room |
The Woman in White (1948) | Asylum (Dolce) | 1:09:46 - Laura senses someone in the room | advance plot | appearing | calm | conversing | headache | illness | leading lady | pain | room | superimposed shot | victim |
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) | Appearing | 1:10:28 - The woman in white disappears | advance plot | antagonist | criminal | doctor | hiding | husband | leading lady | leading man | magical | mysterious | room | running | superimposed shot | victim |
The Woman in White (1948) | Ann (Poco Agitato) | 1:11:46 - Laura mentions the woman in white | agitated | antagonist | conflict | conversing | criminal | doctor | headache | husband | illness | leading lady | leading man | pain | room | servant | victim |
The Woman in White (1948) | Fosco | 1:12:05 - Fosco talks to the maid | agitated | anger | antagonist | conflict | criminal | doctor | headache | husband | illness | leading lady | leading man | pain | room | searching | servant | tense | victim | walking |
The Woman in White (1948) | Fosco (Molto Agitato) | 1:12:15 - Fosco walks | agitated | anger | antagonist | conflict | criminal | dark | doctor | headache | husband | illness | leading lady | leading man | pain | room | rushing | searching | servant | tense | victim | walking |
The Woman in White (1948) | Fosco (Sneaking) | 1:13:18 - The countess sneaks into Laura's room | advance plot | helping | illness | leading lady | mysterious | room | servant | sleeping | sneaking | tense | victim | wife |
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) | Fosco (Sneaking) | 1:13:48 - The maid leaves | advance plot | departing | helping | illness | leading lady | mysterious | room | servant | sleeping | sneaking | tense | victim | wife |
The Woman in White (1948) | Underscoring (Mysterious) | 1:13:57 - The countess looks around | advance plot | helping | illness | leading lady | mysterious | room | sleeping | sneaking | tense | underscoring | victim | wife |
The Woman in White (1948) | Ann (Waltz) | 1:14:30 - The countess opens a secret door | advance plot | foreshadowing | helping | leading lady | room | secret passageway | sneaking | tender | victim | waltz | 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) | Hypnosis (Misterioso con moto) | 1:16:57 - The countess talks to the woman in white | conversing | death scene | leading lady | mysterious | room | tense | 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) | Ann | 1:17:56 - The woman in white talks to Laura | conversing | death scene | leading lady | mysterious | room | victim | wife |
The Woman in White (1948) | Hypnosis | 1:18:17 - The woman in white hears Fosco's voice | death scene | hearing voices | leading lady | madness | mysterious | room | tense | victim | wife |
The Woman in White (1948) | Fosco (Misterioso) | 1:18:29 - The woman in white hears Sir Percival's voice | antagonist | arriving | criminal | death scene | hearing voices | husband | leading lady | madness | mysterious | room | screaming | shock | surprise | tense | victim | wife |
The Woman in White (1948) | Appearing | 1:18:48 - The woman in white clutches her heart | antagonist | criminal | death scene | dying | husband | leading lady | mickey-mousing | room | screaming | shock | surprise | tense | victim | wife |
The Woman in White (1948) | Ann (Dead) | 1:18:55 - The woman in white lies dead | antagonist | conversing | criminal | dark | death scene | dying | husband | leading lady | murderer | room | somber | victim | wife |
The Woman in White (1948) | Ann (Slowly) | 1:19:46 - The countess enters | angry | antagonist | criminal | dark | death scene | glaring | husband | leading lady | room | shaking | victim | wife |
The Woman in White (1948) | Come, Sweet Death (Funeral) | 1:20:13 - Mourners at a funeral | cemetery | church | cousin | crowd | funeral | funeral | husband | leading lady | leading man | mourning | priest | reading | somber | victim |
The Woman in White (1948) | Ann (Misterioso) | 1:21:57 - Marian talks to Walter | cemetery | cousin | crying | funeral | funeral | leading lady | leading man | mysterious | somber | spying |
The Woman in White (1948) | Pavan (Misterioso) | 1:23:21 - Marian and Walter leave | cousin | dark | forest | leading lady | leading man | leaving | serious | spy | spying | transition |
The Woman in White (1948) | Asylum + Ann | 1:24:50 - Close-up on Count Fosco | antagonist | asylum | combination of themes | criminal | dark | husband | hypnosis | hypnotist | hypnotizing | leading lady | leading man | lighting change | mad scene | murderer | mysterious | thematic transference | victim |
The Woman in White (1948) | Asylum + Ann + Hypnosis | 1:25:26 - Laura looks at Sir Percival | antagonist | asylum | combination of themes | criminal | dark | husband | hypnosis | hypnotist | hypnotizing | leading lady | leading man | mad scene | murderer | mysterious | victim |
The Woman in White (1948) | Pavan (Distressed) | 1:25:43 - Laura confronts Sir Percival | antagonist | arguing | asylum | criminal | dark | husband | hypnosis | hypnotist | leading lady | leading man | mad scene | murderer | victim |
The Woman in White (1948) | Asylum + Ann + Hypnosis | 1:26:10 - Count Fosco hypnotizes Laura | antagonist | asylum | combination of themes | criminal | dark | husband | hypnosis | hypnotist | hypnotizing | leading lady | leading man | mad scene | murderer | shrill | staring | victim |
The Woman in White (1948) | Ann | 1:26:55 - Laura speaks to Count Fosco | antagonist | asylum | criminal | husband | hypnosis | hypnotist | hypnotizing | leading lady | leading man | mad scene | murderer | mysterious | staring | victim |
The Woman in White (1948) | Ann (Waltz) | 1:27:14 - Laura dashes away | antagonist | asylum | conversing | criminal | husband | hypnosis | hypnotist | leading lady | leading man | leaving | mad scene | murderer | nurse | tender | victim |
The Woman in White (1948) | Asylum + Ann + Hypnosis | 1:27:35 - Laura hears Count Fosco's voice in her head | asylum | combination of themes | hearing voices | hypnosis | leading lady | mad scene | mysterious | sneaking | tense | victim |
The Woman in White (1948) | Ann | 1:28:02 - Laura exchanges the keys | asylum | hypnosis | key | leading lady | mad scene | mysterious | sneaking | tense | victim |
The Woman in White (1948) | Ann 2 | 1:28:39 - The nurse takes Laura to her room | antagonist | asylum | criminal | husband | hypnosis | hypnotist | leading lady | leading man | leaving | mad scene | murderer | nurse | tender | victim | walking |
The Woman in White (1948) | Pavan (Garden) | 1:31:13 - Walter talks with Marian | conversing | criminal | friend | husband | leading lady | leading man | love scene | murderer | noble | room | spy | spying |
The Woman in White (1948) | Underscoring (Dramatic) | 1:31:28 - Marian sees Sir Percival spying on them | conversing | dramatic | friend | leading lady | leading man | love scene | lyrical | room | stinger | underscoring |
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 (Sleeping) | 1:34:27 - Laura in her bed in the asylum | asylum | comedy | dark | key | leading lady | mysterious | patient | sleeping | victim | wife | worker | working |
The Woman in White (1948) | Appearing | 1:34:51 - Laura emerges from her room | asylum | escape | escaping | hiding | leading lady | magical | mickey-mousing | mysterious | patient | sneaking | victim | wife |
The Woman in White (1948) | Ann | 1:34:57 - Laura sneaks down the hallway | asylum | escape | escaping | hiding | leading lady | mysterious | patient | sneaking | victim | wife |
The Woman in White (1948) | Appearing | 1:35:26 - Laura takes a key | asylum | escape | escaping | hiding | key | leading lady | mickey-mousing | mysterious | patient | sneaking | victim | wife |
The Woman in White (1948) | Ann | 1:35:32 - Laura heads for the exit | asylum | escape | escaping | hiding | key | leading lady | mysterious | patient | sneaking | victim | wife |
The Woman in White (1948) | Appearing | 1:35:44 - Laura appears outside | asylum | escape | escaping | leading lady | mickey-mousing | mysterious | patient | sneaking | street | victim | wife |
The Woman in White (1948) | Ann | 1:35:51 - Laura exits the asylum gate | asylum | escape | escaping | leading lady | mysterious | patient | sneaking | street | victim | wife |
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 |
The Woman in White (1948) | Underscoring (Dramatic) | 1:36:15 - Laura screams when she sees Sir Percival | conflict | criminal | dramatic | hitting | husband | leading lady | leading man | murderer | patient | screaming | street | struggling | underscoring | victim | wife |
The Woman in White (1948) | Fight | 1:36:33 - Walter fights the spy | conflict | criminal | dramatic | fighting | husband | leading lady | leading man | murderer | patient | punching | spy | street | victim | wife |
The Woman in White (1948) | Fosco (Dark) | 1:36:50 - Sir Percival on the ground | conflict | criminal | dark | husband | leading lady | leading man | murderer | ominous | patient | spy | street | victim | walking | wife |
The Woman in White (1948) | Pavan (Distressed) | 1:37:17 - Walter reads a note from Marian | advance plot | dark | leading lady | leading man | note | patient | reading | room | victim | wife |
The Woman in White (1948) | Fosco (Molto Moderato) | 1:38:43 - Fosco looks at Marian | advance plot | criminal | friend | leading lady | leading man | love interest | menacing | murderer | pacing | room | somber |
The Woman in White (1948) | Underscoring (Tense) | 1:39:05 - The butler enters | advance plot | butler | conversing | criminal | friend | leading lady | leading man | love interest | murderer | room | tense | underscoring |
The Woman in White (1948) | Fosco (Molto Moderato) | 1:39:33 - Fosco talks to Marian | advance plot | conversing | criminal | friend | leading lady | leading man | love interest | menacing | murderer | room | somber |
The Woman in White (1948) | Underscoring (Tense) | 1:44:06 - The countess enters | climax | conversing | criminal | dark | friend | leading lady | leading man | love interest | murderer | necklace | ominous | room | transcribed by ear | wife |
The Woman in White (1948) | Ann (Not in Score) | 1:44:24 - Count Fosco talks to the Countess | climax | conversing | criminal | friend | leading lady | leading man | love interest | murderer | mysterious | necklace | room | transcribed by ear | wife |
The Woman in White (1948) | Fosco (Screwy) | 1:44:42 - The Countess walks across the room | climax | criminal | friend | leading lady | leading man | love interest | murderer | mysterious | necklace | room | sneaking | walking | wife |
The Woman in White (1948) | Fosco (Sneaking) | 1:44:51 - The Countess walks across the room | climax | criminal | friend | leading lady | leading man | love interest | murderer | mysterious | necklace | room | sneaking | walking | wife |
The Woman in White (1948) | Adagio | 1:45:00 - The Countess picks up a knife | climax | conversing | criminal | friend | knife | leading lady | leading man | love interest | murderer | necklace | room | somber | wife |
The Woman in White (1948) | Fosco (Soft) | 1:45:18 - The Count talks to Marian | arriving | climax | conversing | criminal | friend | leading lady | leading man | love interest | murderer | mysterious | necklace | room | wife |
The Woman in White (1948) | Stabbing | 1:45:23 - The Countess stabs Count Fosco | climax | criminal | dramatic | dropping | friend | knife | leading lady | leading man | love interest | mickey-mousing | murder | murderer | murdering | necklace | revenge | room | stabbing | violent | wife |
The Woman in White (1948) | Fosco (Dying) | 1:45:34 - The Countess picks up the necklace | arriving | climax | criminal | death | dramatic | dying | falling | friend | knife | leading lady | leading man | love interest | murder | murderer | necklace | revenge | rising | room | stinger | tense | victim | violent | wife |
The Woman in White (1948) | Ann (Quasi Misterioso) | 1:46:05 - Various close-ups | climax | criminal | death | dying | friend | knife | leading lady | leading man | love interest | murder | murderer | necklace | revenge | room | somber | victim | watching | wife |
The Woman in White (1948) | Ann (Waltz 2) | 1:46:13 - A close-up on the Countess | criminal | death | embracing | friend | leading lady | leading man | love interest | murder | murderer | necklace | reacting | resolution | revenge | room | tender | victim | waltz | wife |
The Woman in White (1948) | The Self Banished (The End) | 1:47:51 - Walter with the children | book | child | conversing | embracing | father | greeting | husband | kissing | leading lady | leading man | mother | resolution | tender | The End | voice-over | wife | yard |
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) | Dance | 0:08:10 - Elsie and Don Arturo at a club | AB structure | calm | club | conversing | establish character | leading lady | love interest | sophisticated | source music | tango |
Transgression (1931) | Waltz | 0:18:26 - People at a party | advance plot | calm | club | gambling | leading lady | linear chromaticism | love interest | parallel double period | sophisticated | source music | waltz |
Transgression (1931) | Igualada | 0:23:20 - Elsie and Don Arturo talking | calm | club | conversing | dance scene | dancing | leading lady | love interest | sophisticated | source music | tango |
Transgression (1931) | Igualada | 0:24:58 - Elsie and Don Arturo dancing | calm | club | conversing | dance scene | dancing | leading lady | love interest | sophisticated | source music | tango |
Transgression (1931) | There's a Sob In My Heart (Ballroom) | 0:28:18 - Robert arrives at the party | AABA structure | augmented sixth chord | calm | club | conversing | dancing | husband | leading lady | party | self-borrowing | sophisticated | source music |
Transgression (1931) | Flute Solo | 0:43:22 - Don Arturo opens the door | calm | conversing | leading lady | love interest | love scene | room | source music |
Transgression (1931) | Serenade | 0:44:16 - Elsie and Don Arturo talking | ABAC structure | calm | conversing | embracing | kissing | leading lady | love interest | love scene | romantic | room | source music |
Transgression (1931) | Gong | 0:50:00 - Don Arturo is shot | death | dying | gun | gunshot | leading lady | love interest | murder | murderer | murdering | murder scene | room | tense | victim |
Transgression (1931) | Main Title (Ending) | 1:09:15 - The End | embracing | end title sequence | gentle | happy | husband | leading lady | pleasant | The End | transcribed by ear |
Is My Face Red? (1932) | Sailing of the Olympic (Commotion) | 0:16:39 - Four people talk at once to Mildred | advance plot | arguing | argument | boat | chromatic sequence | eavesdropping | hurried | leading lady | leading man | metric dissonance | parallelism | tense | transcribed by ear |
Is My Face Red? (1932) | Mildred Waltz | 0:19:03 - Mildred talks with William | ABA structure | altered dominant | augmented sixth chord | boat | calm | conversing | diminished 7th chord | leading lady | leading man | lovers meet | transcribed by ear |
Is My Face Red? (1932) | Mildred Waltz | 0:20:18 - Mildred has a drink with William | ABA structure | advance plot | altered dominant | augmented sixth chord | boat | calm | diminished 7th chord | drinking | leading lady | leading man | transcribed by ear |
Is My Face Red? (1932) | Sidewalks of New York (Lights) | 0:21:04 - New York City skyline | calm | diminished 7th chord | drinking | leading lady | leading man | New York | octatonic | popular music | setting | transcribed by ear | transition |
Is My Face Red? (1932) | Mildred Waltz (Tipsy) | 0:21:09 - Mildred is drunk | advance plot | altered dominant | augmented triad | boat | drinking | drunk | leading lady | leading man | transcribed by ear |
Is My Face Red? (1932) | Mildred Waltz | 0:21:43 - Mildred talks with William | advance plot | augmented sixth chord | boat | calm | conversing | diminished 7th chord | leading lady | leading man | transcribed by ear |
Is My Face Red? (1932) | Hurrying | 0:22:00 - Mildred and William hurry off | advance plot | boat | hurried | hurrying | jumping | leading lady | leading man | transcribed by ear | up |
Is My Face Red? (1932) | Mildred Waltz (Rushing) | 0:22:05 - Mildred and William leave | advance plot | boat | hurried | hurrying | leading lady | leading man | mode mixture | Neapolitan | transcribed by ear |
Is My Face Red? (1932) | Scenes Metropolitaine | 0:43:51 - Montage of activities in the city | ABCA structure | augmented triad | boat | boxing | Chinatown | diminished 7th chord | excited | gambling | leading lady | leading man | metric dissonance | montage | New York | night club | parallelism | transcribed by ear | transition | whole-tone |
Is My Face Red? (1932) | Mildred Waltz | 0:44:47 - Mildred and William ride in a motorboat | ABA structure | advance plot | boat | calm | leading lady | leading man | sailing | transcribed by ear |
Is My Face Red? (1932) | Comin' Thro' the Rye | 0:46:54 - A man exercises to music on a boat | advance plot | boat | calm | exercising | leading lady | leading man | source music | transcribed by ear |
Is My Face Red? (1932) | Guilty | 0:47:40 - A radio orchestra plays on a soundstage | advance plot | band | broadcast | calm | dance music | leading lady | leading man | on-screen music | radio | source music | stage | transcribed by ear | walking |
Ladies of the Jury (1932) | El Capitan March | 0:28:41 - Jurors deliberate | advance plot | conversing | juror | jury room | leading lady | march | radio | source music | upbeat |
Ladies of the Jury (1932) | There's a Sob in My Heart (Radio) | 0:45:27 - Jurors deliberate | AABA structure | advance plot | conversing | dancing | juror | jury room | leading lady | radio | self-borrowing | sentimental | source music |
Secrets of the French Police (1932) | Valse Lente | 0:10:24 - A man and a flower girl talk in a cafe | AB structure | advance plot | cheerful | conversing | flower | leading lady | leading man | restaurant |
Secrets of the French Police (1932) | Berceuse | 0:13:09 - The flower girl talks with her father | advance plot | conversing | father | leading lady | restaurant | somber | waltz |
State’s Attorney (1932) | Blues (Piano) | 0:18:14 - People talking in a club | advance plot | blue note | club | conversing | gangster | leading lady | leading man | mistress | score to source | source music | upbeat |
The Roadhouse Murder (1932) | Lady With a Past Fox Trot | 0:35:34 - Chick and Mary talking | AABA structure | cheerful | conversing | dancing | diner | girlfriend | leading lady | leading man | love scene | on-screen music | reporter | romantic | self-borrowing | source music |
Thirteen Women (1932) | The Swami | 0:07:16 - The swami | Aeolian mode | antagonist | conversing | establish character | fortune | fortune teller | leading lady | parallelism | predicting | room | somber | swami | transcribed by ear |
Thirteen Women (1932) | Thirteen Women (Destiny) | 0:07:52 - Ursula talks to the swami | antagonist | common-chord modulation | conversing | destiny | establish character | fortune teller | harmonic sequence | leading lady | predicting | relative key | room | somber | swami | transcribed by ear |
Thirteen Women (1932) | The Swami (Past Life) | 0:08:18 - The swami talks to Ursula | antagonist | chromaticism | chromatic parallelism | conversing | establish character | fortune teller | leading lady | room | somber | swami | transcribed by ear |
Thirteen Women (1932) | Ursula (Romance) | 0:08:37 - The swami kisses Ursula | antagonist | embracing | establish character | fortune teller | kissing | leading lady | romantic | room | secondary dominant | swami | transcribed by ear | waltz |
Thirteen Women (1932) | Ursula (Horoscope) | 0:08:56 - The swami talks to Ursula | antagonist | conversing | establish character | fate | fortune teller | leading lady | mysterious | predicting | quintal chord | room | somber | swami | transcribed by ear |
Thirteen Women (1932) | Ursula (Fate) | 0:09:11 - The swami predicts Ursula's fate | antagonist | conversing | dark | establish character | fate | fortune teller | half-diminished 7th chord | leading lady | mickey-mousing | mysterious | predicting | room | somber | stinger | swami | train whistle | transcribed by ear |
Thirteen Women (1932) | The Swami (Rising Tension) | 0:09:53 - The swami shrinks from Ursula's gaze | antagonist | conversing | establish character | fate | fortune teller | leading lady | mysterious | parallelism | room | swami | tense | transcribed by ear |
Thirteen Women (1932) | Ursula (Hypnotic) | 0:10:05 - Ursula hypnotizes the swami | antagonist | diminished 7th chord | establish character | fortune teller | hypnotic | hypnotizing | leading lady | mysterious | room | seductive | sleeping | swami | transcribed by ear |
Thirteen Women (1932) | The Swami (Sleeping) | 0:10:46 - Ursula leaves the swami | antagonist | establish character | fortune teller | leading lady | mysterious | room | sleeping | swami | transcribed by ear | whole-tone | whole-tone chord |
Thirteen Women (1932) | Ursula (Horoscope) | 0:10:57 - Ursula looks at the horoscope | advance plot | antagonist | appoggiatura | horoscope | leading lady | march-like | mysterious | reading | room | transcribed by ear |
Thirteen Women (1932) | Ursula (Agitato) | 0:11:16 - Ursula tears up the horoscope | accented dissonance | advance plot | agitated | antagonist | destroying | horoscope | leading lady | room | tearing | tense | transcribed by ear |
Thirteen Women (1932) | Ursula (Dark) | 0:11:28 - Ursula reads a horoscope | 64 chord | advance plot | antagonist | dark | funeral march | horoscope | leading lady | reading | room | transcribed by ear |
Thirteen Women (1932) | Ursula (Exotic) | 0:11:45 - Ursula forges the swami's signature | advance plot | antagonist | dark | exotic | exoticism | forging | Gypsy major scale | horoscope | leading lady | mysterious | ostinato | room | signing | transcribed by ear |
Thirteen Women (1932) | Ursula (Exotic) | 0:32:54 - Burns enters the house | advance plot | entering | exotic | exoticism | Gypsy major scale | leading lady | love interest | ostinato | room | transcribed by ear |
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 |
Thirteen Women (1932) | Ursula (Mysterious Waltz) | 0:33:37 - Ursula talks to Burns | 64 chord | advance plot | chromatic parallelism | conversing | half-diminished 7th chord | leading lady | love interest | mode mixture | romantic | room | transcribed by ear | waltz |
Thirteen Women (1932) | Ursula (Exotic 2) | 0:33:52 - Ursula talks to Burns | advance plot | conversing | dark | exotic | exoticism | Gypsy major scale | leading lady | love interest | mysterious | ostinato | room | transcribed by ear |
Thirteen Women (1932) | Ursula (Exotic) | 0:34:06 - Ursula argues with Burns | advance plot | arguing | dark | exotic | exoticism | Gypsy major scale | leading lady | love interest | mysterious | ostinato | room | transcribed by ear |
Thirteen Women (1932) | Ursula (The End) | 0:59:03 - Ursula jumps to her death | chromatic scale | climax | dark | dramatic | dying | jumping | leading lady | murderer | The End | train | transcribed by ear |
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 |
Blind Adventure (1933) | When You're Far Away | 0:26:45 - Rose and Richard crash a party | AABA structure | advance plot | conversing | leading lady | leading man | lying | party | popular song | romantic | source music |
Blind Adventure (1933) | Marcellene | 0:32:12 - Rose and Richard go downstairs | ABAC structure | advance plot | calm | conversing | leading lady | leading man | lying | party | popular song | source music |
Headline Shooter (1933) | You Can Depend on Me | 0:05:21 - Bathing beauties walk past | AABA structure | announcing | beauty contestant | conversing | drunk | establish character | filming | film staff | leading lady | leading man | modeling | on-screen music | pageant | photographer | pleasant | radio announcer | source music |
Headline Shooter (1933) | Tell Me is It Love? | 0:21:50 - Bill and Jane at a bar | advance plot | bar | conversing | drunk | leading lady | leading man | parallel double period | pleasant | source music |
Headline Shooter (1933) | Isn't This a Night For Love | 0:22:10 - Bill and Jane talk at a bar | AABA structure | advance plot | bar | conversing | leading lady | leading man | romantic | source music |
Headline Shooter (1933) | Come Easy, Go Easy, Love | 0:46:07 - Bill talks to reporters | AABA structure | advance plot | calm | conversing | fiancé | leading lady | leading man | reporter | restaurant | source music |
Sing and Like It (1934) | Indiana | 0:01:30 - Ruby changes the radio station | ABAC structure | boss | conversing | establish character | gangster | jazz | leading lady | leading man | listening | moll | radio | room | source music | upbeat |
Sing and Like It (1934) | Dinah | 0:02:34 - Ruby and Fenny listen to the radio | AABA structure | arguing | boss | conversing | establish character | gangster | gum | jazz | leading lady | leading man | listening | moll | radio | room | source music | upbeat |
Sing and Like It (1934) | It's Sunday Down in Caroline | 0:04:11 - Fenny prepares for a meeting | AABA structure | boss | conversing | establish character | gangster | jazz | laughing | leading lady | leading man | moll | plotting | radio | room | source music | upbeat |
Sing and Like It (1934) | Your Mother | 0:10:15 - Annie sings on stage | AABA structure | ballad | boss | crying | gangster | leading lady | listening | musician | music scene | on-screen music | piano | robbery | score to source | sentimental | singer | singing | source music | stage | stealing |
Sing and Like It (1934) | Your Mother | 0:13:55 - Annie sings on stage | AABA structure | ballad | boss | crying | gangster | leading lady | listening | musician | music scene | on-screen music | piano | sentimental | singer | singing | source music | stage |
Sing and Like It (1934) | Your Mother | 0:23:01 - Call board for a dress rehearsal | AABA structure | arguing | ballad | boss | conversing | gangster | leading lady | listening | musician | music scene | on-screen music | piano | sentimental | singer | singing | source music | stage |
Sing and Like It (1934) | Liebesträume | 0:34:46 - Ruby enters the room | advance plot | calm | classical music | conversing | gangster | leading lady | moll | musician | on-screen music | piano | playing | room | secondary dominant | source music |
Sing and Like It (1934) | Your Mother | 0:35:20 - Toots plays the piano | advance plot | ballad | gangster | leading lady | moll | musician | on-screen music | piano | playing | room | sentimental | singing | source music | teasing | tone cluster |
Sing and Like It (1934) | Liebesträume | 0:35:31 - Toots plays the piano | advance plot | calm | classical music | conversing | gangster | leading lady | moll | musician | on-screen music | piano | playing | room | secondary dominant | source music |
Sing and Like It (1934) | Hearts and Flowers | 0:36:11 - Toots plays the piano | advance plot | conversing | gangster | leading lady | moll | musician | on-screen music | parallel period | piano | playing | popular song | room | sentimental | source music |
Sing and Like It (1934) | Your Mother | 0:44:50 - Annie sings with a tenor | AABA structure | actor | advance plot | ballad | boss | gangster | leading lady | on-screen music | piano | sentimental | singer | singing | source music | stage |
Sing and Like It (1934) | King Kong March | 0:58:31 - Annie's name in lights | 9th chord | 11th chord | 13th chord | added-note chord | advance plot | arriving | binary form | boss | common-tone diminished 7th | critic | crowd | dressing room | fanfare | fanfare | gangster | leading lady | lobby | mode mixture | neon lights | parallelism | self-borrowing | singer | street | theater | worker |
Sing and Like It (1934) | Your Mother | 1:04:54 - A man conducts the pit orchestra | AABA structure | ballad | boss | conducting | conductor | critic | crowd | crying | dancing | gangster | gun | leading lady | moll | musical | musician | music scene | on-screen music | performer | performing | playing | sentimental | singer | singing | source music | theater | threatening | watching |
Sing and Like It (1934) | Your Mother (Curtain Call) | 1:07:57 - The audience applauds | AABA structure | applauding | boss | bowing | cheering | conducting | conductor | critic | crowd | gangster | leading lady | moll | musical | musician | music scene | on-screen music | performer | playing | secondary dominant | singer | source music | theater | transcribed by ear | upbeat |
Sing and Like It (1934) | Makes You Forget Your Troubles | 1:08:27 - A man pours champagne | AABA structure | announcing | boss | celebrating | common-tone diminished 7th | conversing | crowd | drinking | gangster | leading lady | moll | party | party | room | singer | source music | upbeat |
Sing and Like It (1934) | At Sunset | 1:09:46 - The crowd leaves the party | boss | conversing | gangster | leading lady | moll | parallel double period | party | party | room | sentimental | singer | source music |
Gridiron Flash (1934) | Swing it Sister | 0:21:09 - Eddie at a party | conversing | friend | leading lady | leading man | party | popular music | room | upbeat |
Gridiron Flash (1934) | Gridiron Flash | 1:02:36 - The scoreboard | added-note chord | athlete | celebrating | countermelody | crowd | football | football game | leading lady | leading man | march | resolution | The End | upbeat |
Hat, Coat, and Glove (1934) | Tonight is Mine | 0:11:24 - Dorothea plays the piano | advance plot | conversing | leading lady | leading man | mode mixture | on-screen music | piano | playing | pleasant | room | source music |
Hat, Coat, and Glove (1934) | Wonderful | 0:39:29 - Robert tells Dorothea goodbye | 11th chord | ABAC structure | added-note chord | advance plot | calm | club | common-tone diminished 7th | conversing | lawyer | leading lady | leading man | meeting | self-borrowing | source music | transcribed by ear |
Murder on the Blackboard (1934) | Scale | 0:28:06 - Hildegarde whistles | advance plot | detective | leading lady | leading man | major scale | music notes | neutral | on-screen music | school | singing | sleuth | source music |
Murder on the Blackboard (1934) | The Clue | 0:28:13 - Hildegarde whistles | advance plot | detective | leading lady | leading man | music notes | neutral | on-screen music | school | sleuth | source music | whistling |
Murder on the Blackboard (1934) | The Clue | 0:32:55 - Hildegarde whistles | advance plot | leading lady | leading man | neutral | on-screen music | school | sleuth | source music | whistling |
Murder on the Blackboard (1934) | The Clue | 0:40:59 - Hildegarde whistles | advance plot | leading lady | neutral | on-screen music | school | school principal | sleuth | source music | whistling |
Murder on the Blackboard (1934) | The Clue | 0:56:42 - Hildegarde whistles | advance plot | detective | hospital | leading lady | neutral | on-screen music | professor | sleuth | source music | victim | whistling |
Murder on the Blackboard (1934) | The Clue | 1:08:29 - Hildegarde whistles | advance plot | café | detective | leading lady | leading man | neutral | on-screen music | sleuth | source music | whistling |
Star of Midnight (1935) | Midnight in Manhattan (Exotic) | 0:09:14 - Clay and Donna in the audience | advance plot | altered dominant | conversing | countermelody | exotic | exotic | leading lady | leading man | mode mixture | on-screen music | score to source | source music | theater |
Star of Midnight (1935) | What a Night | 0:37:08 - Clay in a restaurant | ABAC structure | advance plot | conversing | detective | leading lady | leading man | producer | restaurant | sentimental | source music |
Star of Midnight (1935) | If This Isn't Love | 0:46:25 - Clay talks with Donna | ABAC structure | advance plot | conversing | detective | leading lady | leading man | restaurant | sentimental | source music |
Star of Midnight (1935) | Midnight in Manhattan (Restaurant) | 0:55:00 - Detective talks on the phone | advance plot | conversing | detective | leading lady | leading man | parallel double period | restaurant | score to source | sentimental | source music |
Star of Midnight (1935) | Midnight in Manhattan B | 0:55:55 - Clay and Donna talk in a restaurant | advance plot | conversing | detective | leading lady | leading man | restaurant | sentimental | source music | suspension |
Star of Midnight (1935) | I'm in Love All Over Again | 0:58:13 - Clay and Donna talk with Mr. Classon | AABA structure | advance plot | conversing | detective | leading lady | leading man | restaurant | sentimental | source music |
Star of Midnight (1935) | Improvisation | 1:00:53 - Clay plays the piano | advance plot | detective | leading lady | leading man | piano | playing | room | source music |
Star of Midnight (1935) | Midnight in Manhattan (Phonograph) | 1:14:27 - Clay plays a record on the phonograph | advance plot | conversing | detective | leading lady | leading man | parallel double period | phonograph | room | score to source | sentimental | source music |
Star of Midnight (1935) | Midnight in Manhattan (Phonograph) | 1:19:18 - Clay goes to answer the door | advance plot | conversing | detective | leading lady | leading man | phonograph | room | score to source | sentimental | source music |
Star of Midnight (1935) | Midnight in Manhattan (Phonograph) | 1:20:25 - Clay goes to answer the door | advance plot | conversing | detective | leading lady | leading man | phonograph | room | score to source | sentimental | source music |
Star of Midnight (1935) | Midnight in Manhattan (Phonograph) | 1:21:40 - Clay enters the room | advance plot | conversing | detective | leading lady | leading man | murderer | phonograph | room | score to source | sentimental | source music |
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 |
We're Only Human (1935) | Old Lavender (Gentle) | 0:22:34 - A man scoops up some pasta | 64 chord | advance plot | altered dominant | buying | detective | food | leading lady | leading man | love interest | ordering | peaceful | pedal tone | reporter | store | worker | working |
We're Only Human (1935) | Old Lavender | 0:22:44 - Packaged-up food | 9th chord | added-note chord | advance plot | altered dominant | buying | common-chord modulation | detective | direct modulation | food | harmonic sequence | leading lady | leading man | light | love interest | optimistic | ordering | reporter | store | worker | working |
We're Only Human (1935) | Old Lavender (Celeste Solo) | 0:23:14 - Pete and Sally buying food | advance plot | buying | detective | direct modulation | food | leading lady | leading man | love interest | ordering | peaceful | reporter | store | street | worker | working |
We're Only Human (1935) | Lullaby (Adagio) | 0:23:36 - Pete watches the car drive away | conflict | conversing | detective | diminished 7th chord | direct modulation | dissonant bass | food | leading lady | leading man | love interest | reacting | reporter | street | tense |
We're Only Human (1935) | Isn't This a Night For Love (Moonlight) | 0:23:59 - Pete and Sally having dinner | AABA structure | conversing | date | detective | dinner | leading lady | leading man | love interest | love scene | reporter | romantic | room | source music |
We're Only Human (1935) | Isn't This a Night For Love (Dance Band) | 0:33:11 - Pete walks into a diner | AABA structure | advance plot | arguing | conversing | detective | diner | leading lady | leading man | reporter | sentimental | source music |
We're Only Human (1935) | Midnight in Manhattan (Warm) | 0:36:50 - Mary and Pete in a restaurant | advance plot | altered dominant | arguing | conversing | detective | leading lady | leading man | mode mixture | Neapolitan | reporter | restaurant | sentimental | source music |
We're Only Human (1935) | Mildred Waltz | 0:46:46 - Pete looks at police sketches | ABA structure | advance plot | altered dominant | augmented sixth chord | calm | conversing | detective | diminished 7th chord | leading lady | leading man | reporter | room |
We're Only Human (1935) | Waiting | 0:47:49 - Sally leaves | advance plot | calm | conversing | departing | detective | leading lady | leading man | reporter | room |
We're Only Human (1935) | Kong 3 | 1:01:06 - Pete leaves | car | chromatic parallelism | climax | conflict | departing | detective | diminished 7th chord | dramatic | hurried | leading lady | leading man | pedal tone | reporter | rushing | sequence | street | victim |
We're Only Human (1935) | Game 1 | 1:01:21 - Driving in a car | car | car | chromatic sequence | climax | conflict | detective | dissonant bass | dramatic | driving | hurried | leading lady | leading man | pedal tone | reporter | rushing | victim | wipe |
We're Only Human (1935) | Game 2 | 1:01:56 - Witness threatens to kill the criminals | acceleration | arguing | car | car | chromatic parallelism | climax | conflict | detective | dramatic | driving | hurried | leading lady | leading man | pedal tone | reporter | rushing | threat | threatening | victim |
We're Only Human (1935) | Russian Waltz (Poco Agitato) | 1:02:12 - Getting out the car | car | chromatic scale | climax | conflict | dark | detective | leading lady | leading man | reporter | sneaking | tense | victim | yard |
We're Only Human (1935) | Game 3 | 1:02:23 - Approaching the house | chromatic parallelism | chromatic parallelism | climax | conflict | detective | leading lady | leading man | mysterious | pc set | reporter | sneaking | tense | victim | yard |
We're Only Human (1935) | Russian Waltz (Pizzicato) | 1:02:55 - Spying on the house | climax | conflict | detective | leading lady | leading man | mysterious | reporter | sneaking | tense | victim | yard |
We're Only Human (1935) | Saroff | 1:03:07 - They argue | arguing | chromatic scale | climax | conflict | detective | leading lady | leading man | mysterious | reporter | tense | victim | whole-tone | whole-tone chord | yard |
We're Only Human (1935) | Lost Patrol 1 | 1:03:12 - A man runs | climax | conflict | detective | dramatic | fleeing | frantic | gunshot | leading lady | leading man | reporter | running | shooting | victim | whole-tone | whole-tone chord | yard |
We're Only Human (1935) | The Informer (Burning Poster) + Blood Money | 1:03:25 - A man falls to the ground | climax | conflict | crawling | detective | diminished 7th chord | dying | gunshot | leading lady | leading man | mysterious | octatonic | reporter | Scotch snap | shooting | tense | tone cluster | victim | yard |
We're Only Human (1935) | The Wearin' o' the Green (Fighting) | 1:03:42 - Pete prepares to advance | chromatic parallelism | climax | conflict | detective | dramatic | fragmentation | gunshot | leading lady | leading man | reporter | running | sequence | shooting | tense | underscoring | victim | yard |
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 |
Girl of the Rio (1932) | Querida | 0:06:40 - Don Jose admires a woman | ABAC structure | arriving | celebrity | conversing | crowd | establish character | laughing | leading lady | leading man | night club | on-screen music | performing | romantic | singer | singing | source music | Spanish |
Girl of the Rio (1932) | Yo Con tu Amor | 0:12:26 - Don Jose talks with Dolores | advance plot | celebrity | conversing | flirting | leading lady | leading man | night club | parallel double period | romantic | singer | source music | Spanish |
Girl of the Rio (1932) | Was it Wrong? | 0:15:41 - Johnny rolls a pair of dice | conversing | crowd | dancing | flirting | leading lady | leading man | love interest | lovers meet | night club | on-screen music | performing | romantic | singer | source music | syncopation | terrace | upbeat |
Girl of the Rio (1932) | Baile | 0:23:15 - A close-up on Dolores | advance plot | conversing | dancing | departing | leading lady | manager | on-screen music | performing | room | singer | source music | upbeat |
Girl of the Rio (1932) | Querida | 0:38:14 - Dolores sings and plays the guitar | ABAC structure | advance plot | conversing | crowd | leading lady | night club | on-screen music | plotting | prison | romantic | singer | singing | source music | terrace | whistling |
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 |
Without Honor (1949) | Twilight (Violin Solo) | 0:02:44 - Jane in the kitchen | cooking | doorbell | establish setting | food | kitchen | leading lady | somber |
Without Honor (1949) | Expressivo | 0:03:57 - Jane talks with Dennis | adulterer | affair | conversing | establish character | leading lady | leading man | love interest | room | uneasy |
Without Honor (1949) | Ecstatic | 0:04:07 - Jane talks with Dennis | adulterer | affair | conversing | establish character | excited | leading lady | leading man | love interest | room |
Without Honor (1949) | Ecstatic (Molto Expressivo) | 0:04:21 - Jane talks with Dennis | adulterer | affair | conversing | establish character | excited | leading lady | leading man | love interest | room |
Without Honor (1949) | Appassionato 2 | 0:04:37 - Jane talks with Dennis | adulterer | affair | conversing | establish character | leading lady | leading man | love interest | room | uneasy |
Without Honor (1949) | Molto Misterioso | 0:05:03 - Jane walks to the door | adulterer | affair | conversing | establish character | leading lady | leading man | love interest | mysterious | room | tense |
Without Honor (1949) | Dog | 0:05:12 - Jane finds the dog | adulterer | affair | conversing | dog | establish character | leading lady | leading man | light | love interest | mysterious | playful | room |
Without Honor (1949) | Tempo di Gavotte | 0:05:30 - Jane talks with Dennis | adulterer | affair | conversing | establish character | leading lady | leading man | light | love interest | playful | room |
Without Honor (1949) | Twilight (Triste) | NIF - not in film | adulterer | affair | conversing | cut from film | establish character | leading lady | leading man | love interest | room |
Without Honor (1949) | Appassionato 2 (Molto Agitato) | NIF - not in film | adulterer | affair | conversing | cut from film | establish character | leading lady | leading man | love interest | room |
Without Honor (1949) | Twilight (Poco Agitato) | NIF - not in film | adulterer | affair | conversing | cut from film | establish character | leading lady | leading man | love interest | room |
Without Honor (1949) | Molto Expressivo | NIF - not in film | adulterer | affair | conversing | cut from film | establish character | leading lady | leading man | love interest | room |
Without Honor (1949) | Twilight (Misterioso) | NIF - not in film | adulterer | affair | conversing | cut from film | establish character | leading lady | leading man | love interest | room |
Without Honor (1949) | Triste | 0:07:37 - Dennis tells Jane their relationship is over | adulterer | affair | breaking up | breakup | crying | death scene | kitchen | leading lady | leading man | love interest | somber |
Without Honor (1949) | Appassionato 2 (Agitato) | 0:07:57 - Jane tells Dennis she still loves him | adulterer | affair | arguing | breaking up | breakup | crying | death scene | kitchen | leading lady | leading man | love interest | passionate | somber |
Without Honor (1949) | Appassionato (Broad) | 0:08:11 - Jane cries | adulterer | affair | arguing | breaking up | breakup | crying | death scene | kitchen | leading lady | leading man | love interest | passionate | somber |
Without Honor (1949) | Desperation | 0:08:20 - Jane talks to Dennis | adulterer | affair | arguing | breaking up | breakup | crying | death scene | dramatic | kitchen | leading lady | leading man | love interest | underscoring |
Without Honor (1949) | Appassionato (Molto Expressivo) | 0:08:35 - Jane cries | adulterer | affair | arguing | breaking up | breakup | crying | death scene | kitchen | leading lady | leading man | love interest | passionate | somber |
Without Honor (1949) | Twilight (Agitato) | 0:08:54 - Jane talks to Dennis | adulterer | affair | arguing | breaking up | breakup | crying | death scene | kitchen | leading lady | leading man | love interest | mysterious | ominous | tense |
Without Honor (1949) | Underscoring (Agitated) | 0:09:10 - Jane threatens to kill herself | adulterer | affair | arguing | breaking up | breakup | crying | dark | death scene | dramatic | kitchen | leading lady | leading man | love interest | suicide | underscoring |
Without Honor (1949) | Underscoring (Dramatic) | 0:09:23 - Jane and Dennis struggle | addicent | adulterer | death | death scene | dramatic | fighting | kitchen | knife | leading lady | leading man | love interest | skewer | struggling | underscoring |
Without Honor (1949) | Twilight (Maestoso) | 0:09:36 - Dennis on the ground | addicent | adulterer | death | death scene | dramatic | dying | kitchen | knife | leading lady | leading man | love interest | ominous | reacting | skewer | standing | struggling |
Without Honor (1949) | Twilight (Washing Machine) | 0:10:14 - Dennis by the washing machine | addicent | adulterer | death | death scene | dramatic | dying | kitchen | knife | leading lady | leading man | love interest | motor effect | ominous | reacting | skewer | struggling | washing machine |
Without Honor (1949) | Underscoring (Tense) | 0:10:30 - Jane looks at Dennis's body | addicent | adulterer | corpse | death | death scene | kitchen | knife | leading lady | leading man | love interest | reacting | skewer | tense | thinking | underscoring |
Without Honor (1949) | Fingers | 0:10:54 - Jane's fingers start twitching | addicent | adulterer | corpse | crazed | death | death scene | hand | kitchen | knife | leading lady | leading man | love interest | mysterious | reacting | skewer | tense | thinking | twitching |
Without Honor (1949) | Twilight (Bloody Hand) | 0:11:04 - Blood on Jane's hand | addicent | adulterer | blood | dark | death | death scene | hand | kitchen | leading lady | leading man | love interest | reacting | thinking | washing |
Without Honor (1949) | Twilight (Molto Expressivo) | 0:11:25 - Jane tries to get the blood off her hand | addicent | adulterer | blood | death | death scene | hand | kitchen | leading lady | leading man | love interest | somber | washing |
Without Honor (1949) | Twilight (Dark) | 0:11:59 - Jane closes the door to the laundry room | blood | dark | death scene | kitchen | leading lady | washing |
Without Honor (1949) | Underscoring (Tense) | 0:12:11 - Jane wipes blood off of the floor | blood | death scene | kitchen | leading lady | ominous | tense | underscoring | washing |
Without Honor (1949) | Here Comes the Bride (Misterioso) | 0:12:40 - Jane's wedding picture | advance plot | audible thoughts | leading lady | mysterious | photograph | room | thinking |
Without Honor (1949) | Underscoring (Tense) | 0:12:58 - Jane walks forward | advance plot | leading lady | room | telephone | tense | thinking | underscoring |
Without Honor (1949) | Agitation | 0:13:26 - Jane puts down the phone | advance plot | agitated | leading lady | preparing | room | telephone | thinking | underscoring |
Without Honor (1949) | Appassionato 2 (Molto Agitato) | 0:13:39 - Jane changes her clothes | advance plot | agitated | changing | clothes | leading lady | room |
Without Honor (1949) | Twilight (Molto Agitato) | 0:14:01 - Jane looks in the mirror | advance plot | agitated | changing | clothes | leading lady | room |
Without Honor (1949) | Appassionato 2 (Listesso) | 0:14:15 - Jane puts on lipstick | advance plot | agitated | changing | leading lady | mirror | room |
Without Honor (1949) | Appassionato (Broad) | 0:14:20 - Jane puts on a necklace | advance plot | agitated | changing | leading lady | mirror | room |
Without Honor (1949) | Desperation (Wedding Ring) | 0:14:29 - Jane tries to take off her wedding ring | advance plot | changing | dramatic | leading lady | mirror | ring | room | underscoring |
Without Honor (1949) | Underscoring (Tense) | 0:14:37 - Jane stares at herself in the mirror | advance plot | audible thoughts | blaming | crying | leading lady | mirror | room | tense | thinking | underscoring |
Without Honor (1949) | Fidgeting | 0:15:21 - | advance plot | calling | conversing | doorbell | fidgeting | leading lady | room | telephone | tense | underscoring | walking |
Without Honor (1949) | Girl Scouts | 0:15:50 - Girl scouts at the door | advance plot | child | conversing | leading lady | light | room | scout |
Without Honor (1949) | Twilight (Very Slow) | 0:16:06 - Jane stops suddenly | advance plot | child | dark | door | leading lady | ominous | room | scout | walking |
Without Honor (1949) | Girl Scouts (Mysterious) | 0:16:31 - The girl scouts offer to help | advance plot | child | conversing | leading lady | mysterious | room | scout |
Without Honor (1949) | Chromatic Clarinet | 0:16:42 - Jane talks to the girl scouts | advance plot | child | leading lady | reacting | room | scout | tense | underscoring | walking |
Without Honor (1949) | Underscoring (Dramatic) | 0:16:50 - Jane brings her purse | advance plot | child | dramatic | leading lady | reacting | room | scout | walking |
Without Honor (1949) | Fidgeting | 0:17:03 - Jane talks to the girl scouts | advance plot | child | conversing | fidgeting | leading lady | room | scout | tense | underscoring |
Without Honor (1949) | Girl Scouts (Extended) | 0:17:22 - The girl scouts leave | advance plot | child | leading lady | light | reacting | room | scout | thinking | underscoring | walking |
Without Honor (1949) | Twilight (Adagio) | 0:17:41 - Jane walks | advance plot | dark | leading lady | ominous | reacting | room | thinking | walking |
Without Honor (1949) | Unidentified dance tune | 0:19:04 - Bill turns on the radio | advance plot | antagonist | brother | conversing | leading lady | leading man | popular music | reacting | room | source music | upbeat |
Without Honor (1949) | Underscoring (Dramatic) | 0:21:29 - Bill heads towards the laundry room | antagonist | brother | conflict | corpse | door | dramatic | kitchen | leading lady | leading man | reacting | rushing | tense | underscoring |
Without Honor (1949) | Twilight (Tense) | 0:21:51 - Jane cleans off Bill's sleeve | antagonist | brother | cleaning | conflict | conversing | corpse | door | kitchen | leading lady | leading man | opening | tense |
Without Honor (1949) | Cleaning | 0:21:57 - Jane cleans off Bill's sleeve | antagonist | brother | cleaning | cleaning effect | conflict | conversing | corpse | door | kitchen | leading lady | leading man | mickey-mousing | tense |
Without Honor (1949) | Underscoring (Tense) | 0:22:07 - Bill tosses the towel | antagonist | brother | conflict | conversing | corpse | door | kitchen | leading lady | leading man | tense | tossing | underscoring |
Without Honor (1949) | Misterioso | 0:22:17 - Jane reacts | antagonist | brother | conflict | kitchen | leading lady | leading man | mysterious | taunting | tense |
Without Honor (1949) | Rubato | 0:22:34 - Bill talks with Jane | antagonist | brother | conflict | dramatic | kitchen | leading lady | leading man | memory | rushing | taunting | tense |
Without Honor (1949) | Tension | 0:22:52 - Jane gives Bill a drink | antagonist | brother | conflict | kitchen | leading lady | leading man | memory | taunting | tense | underscoring | uneasy |
Without Honor (1949) | Valse Triste | 0:23:06 - Bill talks with Jane | antagonist | brother | conflict | kitchen | leading lady | leading man | memory | recounting | somber | uneasy | waltz |
Without Honor (1949) | Valse Triste (Poco Appassionato) | 0:23:31 - Bill grabs Jane's arm | antagonist | brother | conflict | dramatic | grabbing | kitchen | leading lady | leading man | memory | reacting | recounting | tense | waltz |
Without Honor (1949) | Jerks hand | 0:23:41 - Jane jerks her arm away | antagonist | brother | conflict | dramatic | escaping | kitchen | leading lady | leading man | mickey-mousing | reacting | stinger |
Without Honor (1949) | Valse Triste (Misterioso) | NIF - not in film | antagonist | brother | conflict | cut from film | kitchen | leading lady | leading man |
Without Honor (1949) | Valse Triste (Ominous) | 0:24:46 - Bill looks at Jane | antagonist | brother | conflict | leading lady | leading man | ominous | reacting | room | solemn | taunting |
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 |
Without Honor (1949) | Tunes Radio | 0:26:26 - Bill turns on the radio | antagonist | brother | conflict | conversing | leading lady | leading man | radio | room | source music | upbeat |
Without Honor (1949) | Unidentified dance tune 2 | 0:27:06 - Bill turns on the radio | antagonist | brother | conflict | leading lady | leading man | popular music | radio | reacting | room | source music | taunting | upbeat |
Without Honor (1949) | First Call | 0:27:58 - Jane looks at Bill | antagonist | brother | bugle call | conflict | leading lady | leading man | radio | room | source music | taunting | upbeat |
Without Honor (1949) | Unidentified dance tune 3 | 0:28:30 - Bill tunes the radio | antagonist | brother | conflict | leading lady | leading man | popular music | radio | room | source music | taunting | upbeat |
Without Honor (1949) | Andante and Variations | 0:29:28 - Bill talks to Jane | antagonist | arriving | brother | calm | classical music | conflict | conversing | leading lady | leading man | radio | room | source music | taunting | wife | zoom in |
Without Honor (1949) | Prelude in D-Flat Major, Op. 28, No. 15 | 0:33:17 - Mrs. Williams talks to Jane | antagonist | brother | calm | classical music | conflict | conversing | leading lady | leading man | radio | room | source music | wife |
Without Honor (1949) | Unidentified dance tune 4 | 0:34:19 - Bill tunes the radio | antagonist | brother | calling | conflict | conversing | dialing | leading lady | leading man | popular music | radio | room | source music | telephone | upbeat | wandering | wife |
Without Honor (1949) | Underscoring (Tense) | 0:37:33 - Jane climbs out the window | action scene | escaping | hiding | leading lady | running | tense | underscoring | window | yard |
Without Honor (1949) | Jumping down | 0:37:38 - Jane jumps to the ground | action scene | descending | jumping | leading lady | mickey-mousing | tense | window | yard |
Without Honor (1949) | Lullaby + Underscoring (Tense) | 0:37:46 - Jane runs to the road | | action scene | combination of themes | escaping | hiding | ice cream truck | leading lady | running | scored source music | source music | street | tense | underscoring |
Without Honor (1949) | Underscoring (Tense) | 0:38:12 - Jane gets sprayed by a hose | action scene | bus | conversing | leading lady | neighbor | street | tense | underscoring |
Without Honor (1949) | Chasing bus | 0:38:22 - Jane runs after the bus | action scene | bus | chasing | dramatic | falling | leading lady | mickey-mousing | running | street |
Without Honor (1949) | Appassionato 2 (Dramatic) | 0:38:33 - Jane tries to catch the bus | action scene | bus | chasing | dramatic | leading lady | street | waving |
Without Honor (1949) | Twilight (Rubato) | 0:39:03 - Jane stands in the road | action scene | car | husband | leading lady | leading man | solemn | street | walking |
Without Honor (1949) | Misterioso (Molto Rubato) | 0:43:10 - Bill talks with Fred | antagonist | brother | conflict | conversing | husband | leading lady | leading man | reveal | room | secret | tense | warning |
Without Honor (1949) | Expressivo (Slowly) | 0:43:25 - Jane walks slowly past | conflict | conversing | leading lady | reveal | room | secret | solemn | wife |
Without Honor (1949) | Chromatic Clarinet | 0:43:47 - Jane walks slowly over | conflict | conversing | leading lady | reveal | room | secret | solemn | wife |
Without Honor (1949) | Triste (Appassionato) | 0:47:41 - Mrs. Williams talks to Jane | conflict | conversing | leading lady | reveal | revealing | room | secret | solemn | wife | yelling |
Without Honor (1949) | Desperation (Triste) | 0:48:15 - Jane sinks down slowly | conflict | conversing | descending | leading lady | realizing | reveal | room | secret | sinking | sitting | solemn | wife |
Without Honor (1949) | Appassionato (Molto Expressivo) | 0:48:38 - Mrs. Williams talks to Jane | conflict | denying | expressive | leading lady | reveal | room | secret | wife |
Without Honor (1949) | Twilight (Ethereal) | 0:48:53 - Jane talks about love | conflict | denying | ethereal | leading lady | reveal | room | secret | wife |
Without Honor (1949) | Valse Triste (Andante Doloroso) | 0:49:07 - Fred enters | antagonist | brother | conflict | entering | husband | leading lady | leading man | reacting | reveal | room | secret | somber | thinking | wife |
Without Honor (1949) | Underscoring (Tense) | 0:49:48 - Bill talks to Fred | antagonist | brother | conflict | conversing | husband | leading lady | leading man | reveal | room | secret | tense | thinking | wife |
Without Honor (1949) | Tension (Molto Misterioso) | 0:50:03 - Bill stares at Jane | anger | antagonist | brother | conflict | conversing | demanding | dramatic | husband | leading lady | leading man | reveal | room | secret | slapping | tense | wife |
Without Honor (1949) | Agitation (Appassionato) | 0:52:28 - Jane cries | agitated | antagonist | brother | climax | confessing | confession | crying | demanding | husband | leading lady | leading man | room | tense | wife |
Without Honor (1949) | Confession | 0:52:54 - Jane confesses | agitated | antagonist | brother | climax | confessing | confession | crying | husband | leading lady | leading man | room | wife |
Without Honor (1949) | Appassionato 2 | 0:53:24 - Jane laughs | antagonist | brother | climax | confession | crying | husband | laughing | leading lady | leading man | passionate | room | wife |
Without Honor (1949) | Underscoring (Dramatic) | 0:53:45 - Jane screams | antagonist | blood | brother | climax | confession | dramatic | handprint | husband | leading lady | leading man | room | screaming | tense | underscoring | wife |
Without Honor (1949) | Desperation (The Scream) | 0:53:50 - They look at the bloody handprint | antagonist | blood | brother | climax | confession | departing | dramatic | handprint | husband | investigating | leading lady | leading man | room | screaming | searching | tense | wife | yard |
Without Honor (1949) | Appassionato 2 (Agitato) | 0:54:14 - Jane exits the house | climax | leading lady | searching | tense | wandering | yard |
Without Honor (1949) | Appassionato (Broad) | 0:54:27 - Bill talks on the phone | antagonist | brother | calling | climax | leading lady | leading man | room | searching | telephone | tense | wandering | yard |
Without Honor (1949) | Desperation | 0:54:35 - The orchard | climax | leading lady | orchard | searching | tense |
Without Honor (1949) | Twilight (Bloody Hand) | 0:54:40 - Jane looks around the orchard | climax | leading lady | orchard | searching | tense |
Without Honor (1949) | Twilight (Molto Expressivo) | 0:54:55 - Jane is startled | climax | leading lady | orchard | searching | tense |
Without Honor (1949) | Twilight (Resolution) | 0:55:26 - Jane walks out of the orchard | antagonist | brother | calm | child | conversing | husband | leading lady | leading man | orchard | resolution | scout | street |
Without Honor (1949) | Doloroso | 0:57:10 - Mrs. Williams talks to Jane | antagonist | apologizing | brother | climax | conversing | husband | leading lady | leading man | room | solemn | wife |
Without Honor (1949) | Twilight (Somber) | 0:57:48 - Mrs. Williams forgives Jane | antagonist | bathroom | brother | climax | forgiveness | husband | leading lady | leading man | razor blade | room | somber | thinking | wife |
Without Honor (1949) | Tension (Extended) | 0:58:12 - Mrs. Williams talks to Fred and Bill | antagonist | bathroom | brother | climax | conversing | forgiveness | husband | leading lady | leading man | razor blade | room | tense | wife |
Without Honor (1949) | Valse Triste (Suicide) | 0:58:33 - Jane stares in the mirror | antagonist | attempted suicide | bathroom | brother | climax | conversing | husband | knocking | leading lady | leading man | razor blade | room | somber | suicide | wife |
Without Honor (1949) | Valse Triste (Molto Appassionato) | 0:58:58 - Jane stares down | antagonist | attempted suicide | bathroom | brother | climax | conversing | dramatic | husband | knocking | leading lady | leading man | razor blade | room | suicide | wife |
Without Honor (1949) | Appassionato 2 (Molto Expressivo) | 0:59:06 - Jane cuts her wrist | antagonist | attempted suicide | bathroom | breaking | brother | climax | committing suicide | conversing | cutting | dramatic | entering | grabbing | husband | knocking | leading lady | leading man | razor blade | room | running | suicide | wife | yelling |
Without Honor (1949) | Twilight (Rubato) | 0:59:24 - Mrs. Williams helps Jane | antagonist | attempted suicide | brother | climax | doctor | helping | husband | leading lady | leading man | razor blade | room | serious | somber | struggling | suicide | wife |
The Most Dangerous Game (1932) | Piano Noise | 0:23:59 - Martin falls on the piano | brother | castle | count | drunk | establish character | leading lady | leading man | neutral | on-screen music | source music | stumbling |
The Most Dangerous Game (1932) | Russian Waltz | 0:24:22 - Zaroff plays the piano | brother | castle | conversing | count | dog | drunk | establish character | leading lady | leading man | on-screen music | piano | playing | recounting | score to source | somber | source music | warning |
The Most Dangerous Game (1932) | Russian Waltz (Upstairs) | 0:26:51 - Eve goes up the stairs | advance plot | ascending | brother | castle | conversing | count | departing | drunk | leading lady | leading man | mickey-mousing | mute | mysterious | servant | source to score | stairs | tense | walking |
The Most Dangerous Game (1932) | Zaroff (Stinger) | 0:27:05 - A closeup on Ivan | advance plot | brother | castle | close-up | conversing | count | drunk | leading lady | leading man | mute | mysterious | servant | stinger | tense |
The Most Dangerous Game (1932) | Russian Waltz (Zoom In) | 0:27:16 - Zaroff looks up at Eve | advance plot | brother | castle | close-up | conversing | count | departing | drunk | frantic | leading lady | leading man | mute | ominous | servant | stinger | zoom in |
The Most Dangerous Game (1932) | Russian Waltz (Whole Tone) + The Iron Door | 0:29:10 - Bob wakes up | barking | bed | castle | combination of themes | door | knocking | leading lady | leading man | mysterious | opening | sleeping | turning point | waking |
The Most Dangerous Game (1932) | Underscoring (Mysterious) | 0:29:31 - Bob gets up | barking | castle | leading lady | leading man | mysterious | rising | turning point | underscoring |
The Most Dangerous Game (1932) | Emotions | 0:29:42 - Eve comes in | agitated | candle | castle | conversing | fear | leading lady | leading man | tense | turning point |
The Most Dangerous Game (1932) | Emotions 2 | 0:29:59 - Eve talks with Bob | agitated | candle | castle | conversing | fear | leading lady | leading man | tense | turning point |
The Most Dangerous Game (1932) | The Iron Door (Mysterioso) | 0:30:12 - Bob talks with Eve | candle | castle | conversing | foreshadowing | leading lady | leading man | mysterious | stinger | turning point |
The Most Dangerous Game (1932) | Russian Waltz (Sneaking) | 0:30:29 - Bob and Eve sneak downstairs | candle | castle | descending | leading lady | leading man | mysterious | sneaking | tense | turning point | walking |
The Most Dangerous Game (1932) | The Approach (Sneaking) | 0:30:39 - Bob and Eve sneak downstairs | candle | castle | descending | leading lady | leading man | mysterious | sneaking | tense | turning point | walking |
The Most Dangerous Game (1932) | Zaroff (Very Mysterious) | 0:30:58 - Bob and Eve enter the trophy room | candle | castle | descending | leading lady | leading man | mickey-mousing | mysterious | sneaking | turning point | walking |
The Most Dangerous Game (1932) | Russian Waltz (Adagio) + The Iron Door | 0:31:06 - Bob and Eve descend the stairs | candle | castle | dark | descending | leading lady | leading man | ominous | searching | sneaking | turning point | walking |
The Most Dangerous Game (1932) | Zaroff (Sneaking) | 0:31:29 - Bob and Eve look around | candle | castle | descending | leading lady | leading man | mysterious | searching | sneaking | turning point | walking |
The Most Dangerous Game (1932) | Decapitated Head | 0:31:35 - Eve sees a decapitated head | candle | castle | dramatic | head | jump scare | leading lady | leading man | screaming | stinger | turning point |
The Most Dangerous Game (1932) | Emotions (Agitato) | 0:37:04 - The iron door | action scene | agitated | castle | descending | door | fear | leading lady | opening | running | rushing | screaming | tense |
The Most Dangerous Game (1932) | Emotions 2 (Agitato) | 0:37:23 - Eve runs to Bob | action scene | agitated | arriving | castle | conversing | count | fear | leading lady | leading man | mute | prisoner | servant | tense | villain |
The Most Dangerous Game (1932) | Russian Waltz (Meno) + The Iron Door | 0:37:30 - Zaroff talks about the game | action scene | castle | combination of themes | conversing | count | leading lady | leading man | mute | prisoner | servant | tense | villain |
The Most Dangerous Game (1932) | Underscoring (Tense) | 0:37:49 - Zaroff talks about the game | action scene | castle | conversing | count | leading lady | leading man | mute | prisoner | servant | tense | underscoring | villain |
The Most Dangerous Game (1932) | Zaroff (Molto Moderato) + The Iron Door | 0:38:01 - Zaroff talks about the game | action scene | castle | combination of themes | conversing | count | leading lady | leading man | mute | prisoner | servant | tense | villain |
The Most Dangerous Game (1932) | Courage + The Iron Door | 0:38:17 - Bob and Eve leave | action scene | agitated | castle | combination of themes | count | departing | leading lady | leading man | mute | prisoner | servant | tense | villain |
The Most Dangerous Game (1932) | Russian Waltz (Maestoso) | 0:38:32 - Bob and Eve are taken to the jungle | action scene | conversing | fanfare | jungle | leading lady | leading man | mute | ominous | preparing | prisoner | releasing | servant | walking |
The Most Dangerous Game (1932) | Emotions (Dramatic) | 0:39:00 - Bob and Eve take one last look back | action scene | dramatic | jungle | leading lady | leading man | looking | walking |
The Most Dangerous Game (1932) | Courage (Tone Cluster) | 0:41:32 - Bob builds a trap | action scene | jungle | knife | leading lady | leading man | mysterious | preparing | stinger | tense | trap | victim |
The Most Dangerous Game (1932) | Russian Waltz (Poco Agitato) | 0:42:12 - The Count approaches | action scene | count | dark | hiding | hunting | jungle | knife | leading lady | leading man | sneaking | stalking | tense | trap | victim | villain | waiting | watching |
The Most Dangerous Game (1932) | Zaroff (Poco Agitato) | 0:42:25 - Bob and Eve hide in a cave | action scene | agitated | count | hiding | hunting | jungle | knife | leading lady | leading man | sneaking | stalking | tense | trap | victim | villain | waiting | watching |
The Most Dangerous Game (1932) | Courage (Hiding) | 0:42:33 - Bob and Eve watch and wait | action scene | combination of themes | count | hiding | hunting | jungle | knife | leading lady | leading man | mysterious | sneaking | stalking | tense | trap | victim | villain | waiting | watching |
The Most Dangerous Game (1932) | The Count Approaches | 0:42:44 - The Count approaches slowly | action scene | approaching | arrow | count | dark | hiding | hunting | jungle | knife | leading lady | leading man | shooting | sneaking | stalking | tense | trap | victim | villain | waiting | watching |
The Most Dangerous Game (1932) | Tree falling | 0:43:14 - A tree falls | action scene | arrow | count | dark | dramatic | falling | jungle | knife | leading lady | leading man | mickey-mousing | shooting | trap | victim | villain |
The Most Dangerous Game (1932) | Emotions (Agitato Mysterioso) | 0:43:29 - Eve reacts to the arrow | action scene | agitated | count | hiding | hunting | jungle | knife | leading lady | leading man | sneaking | stalking | tense | victim | villain | waiting | watching |
The Most Dangerous Game (1932) | Emotions 2 (Agitato Mysterioso) | 0:43:44 - Bob and Eve watch and wait | action scene | agitated | count | hiding | hunting | jungle | knife | leading lady | leading man | sneaking | stalking | tense | victim | villain | waiting | watching |
The Most Dangerous Game (1932) | Zaroff (Hunting) + The Iron Door | 0:43:48 - Zaroff talks to Bob | action scene | combination of themes | count | dark | hiding | hunting | jungle | knife | leading lady | leading man | mysterious | sneaking | stalking | victim | villain | waiting | watching |
The Most Dangerous Game (1932) | Russian Waltz (Andante) | 0:44:07 - Close up on Zaroff | action scene | count | dark | departing | hiding | jungle | knife | leading lady | leading man | ominous | sneaking | victim | villain | waiting | watching |
The Most Dangerous Game (1932) | Courage (Allegro) | 0:44:26 - Bob prepare to leave | action scene | agitated | departing | hiding | jungle | knife | leading lady | leading man | sneaking | tense | victim | waiting | watching |
The Most Dangerous Game (1932) | Courage (Moderato) | 0:44:51 - Bob tells Eve to come out | action scene | calm | hiding | jungle | knife | leading lady | leading man | sneaking | unsettled | victim | waiting | watching |
The Most Dangerous Game (1932) | Mysterioso Dramatico | 0:45:01 - Bob and Eve look for Zaroff | action scene | conversing | fanfare | heroic | jungle | leading lady | leading man | preparing | tense | victim | watching |
The Most Dangerous Game (1932) | Russian Waltz (Low Brass) | 0:45:12 - Bob talks with Eve | action scene | conversing | jungle | leading lady | leading man | preparing | tense | victim | watching |
The Most Dangerous Game (1932) | Emotions (Running Away) | 0:45:17 - Eve runs away | action scene | agitated | chasing | fleeing | following | jungle | leading lady | leading man | running | tense | victim |
The Most Dangerous Game (1932) | Emotions 2 (Running Away) | 0:45:34 - Eve jumps over a crevice | action scene | agitated | chasing | fleeing | following | jungle | leading lady | leading man | running | tense | victim |
The Most Dangerous Game (1932) | Underscoring (Dramatic) | 0:45:41 - Bob catches Eve | action scene | agitated | catching | conversing | convincing | jungle | leading lady | leading man | tense | underscoring | victim |
The Most Dangerous Game (1932) | Russian Waltz (Fog Hollow) + The Iron Door | 0:45:46 - Bob and Eve see Fog Hollow | action scene | combination of themes | fog | jungle | leading lady | leading man | ominous | preparing | victim |
The Most Dangerous Game (1932) | Rock Falling | 0:46:09 - A rock falls into a crevice | action scene | dramatic | falling | jungle | leading lady | leading man | mickey-mousing | rock | splashing | stinger | tumbling | victim |
The Most Dangerous Game (1932) | The Approach (Quasi Mysterioso) | 0:46:16 - Bob jumps over the crevice | action scene | agitated | jungle | leading lady | leading man | plotting | preparing | tense | trap | victim | working |
The Most Dangerous Game (1932) | Zaroff (Hiding) | 0:46:48 - Bob and Eve hide from Zaroff | action scene | combination of themes | count | hiding | jungle | leading lady | leading man | preparing | sneaking | tense | trap | victim | villain |
The Most Dangerous Game (1932) | The Iron Door (Trembling) | 0:47:20 - A branch trembles | action scene | approaching | count | gun | hiding | hunting | jungle | leading lady | leading man | shaking | shooting | tense | trap | trembling | trembling effect | tricking | victim | villain |
The Most Dangerous Game (1932) | Zaroff (Allegro) | 0:47:43 - The Count approaches | action scene | approaching | count | dark | gun | hiding | hunting | jungle | leading lady | leading man | shaking | shooting | tense | trap | trembling | tricking | victim | villain |
The Most Dangerous Game (1932) | Trap Falling | 0:47:47 - The trap collapses | action scene | count | dramatic | falling | gun | jumping | jungle | leading lady | leading man | mickey-mousing | stinger | trap | victim | villain |
The Most Dangerous Game (1932) | Zaroff (Deliberate) | 0:47:51 - Bob and Eve scramble away | action scene | count | dark | escaping | gun | hiding | hunting | jungle | leading lady | leading man | pursuing | running | scrambling | tense | victim | villain |
The Most Dangerous Game (1932) | The Fog | 0:48:02 - Bob and Eve in the fog | action scene | count | dark | escaping | gun | hunting | jungle | leading lady | leading man | pursuing | running | tense | victim | villain |
The Most Dangerous Game (1932) | Russian Waltz (Tense) | 0:48:21 - The Count talks to Bob | action scene | conversing | count | dark | gun | jungle | leading lady | leading man | taunting | tense | victim | villain |
The Most Dangerous Game (1932) | The Iron Door (Horn Call) | 0:48:50 - Zaroff blows his hunting horn | action scene | count | dark | horn | horn call | jungle | leading lady | leading man | playing | scored source music | score to source | source music | tense | victim | villain |
The Most Dangerous Game (1932) | The Chase (Quasi Mysterioso) | 0:49:16 - Bob and Eve in the fog | barking | castle | chase scene | chasing | dog | dramatic | fog | jungle | leading lady | leading man | preparing | running | servant | tense | victim |
The Most Dangerous Game (1932) | Courage + Russian Waltz + Iron Door | 0:49:23 - Bob and Eve running away | chase scene | combination of themes | dark | dramatic | fog | jungle | leading lady | leading man | ominous | preparing | running | victim |
The Most Dangerous Game (1932) | The Approach (Risoluto) | 0:49:30 - Bob creates a spear trap | chase scene | dramatic | fanfare | jungle | leading lady | leading man | preparing | spear | trap | victim |
The Most Dangerous Game (1932) | The Chase (Tremolo) + The Iron Door (Horn Call) | 0:49:40 - The Count blows his hunting horn | chase scene | chasing | combination of themes | count | dog | dramatic | fog | horn | jungle | leading lady | leading man | playing | running | scored source music | score to source | servant | source music | tense | victim | villain |
The Most Dangerous Game (1932) | The Chase + Courage | 0:50:01 - Bob and Eve stumbling through the fog | chase scene | combination of themes | dramatic | fog | jungle | leading lady | leading man | running | stumbling | tense | victim |
The Most Dangerous Game (1932) | The Chase (Tense) + The Iron Door (Horn Call) | 0:50:16 - Bob and Eve in the water | barking | chase scene | chasing | combination of themes | dog | dramatic | fog | jungle | leading lady | leading man | running | scored source music | servant | source music | stumbling | tense | victim |
The Most Dangerous Game (1932) | The Chase (Allegro) | 0:51:09 - Count Zaroff running | agitated | chase scene | chasing | count | dark | dog | dramatic | fanfare | fog | jungle | leading lady | leading man | running | servant | stumbling | victim | villain |
The Most Dangerous Game (1932) | Russian Waltz (Chasing) | 0:51:28 - Count Zaroff in pursuit | agitated | chase scene | chasing | count | dark | dog | dramatic | fog | jungle | leading lady | leading man | running | servant | victim | villain |
The Most Dangerous Game (1932) | The Approach (Fear) | 0:51:35 - Bob and Eve stop | agitated | chase scene | crocodile | dark | dramatic | fear | jungle | leading lady | leading man | running | stopping | victim |
The Most Dangerous Game (1932) | The Crocodile + Courage | 0:51:36 - A crocodile | chase scene | combination of themes | crocodile | dark | jungle | leading lady | leading man | running | stumbling | victim |
The Most Dangerous Game (1932) | The Chase + Russian Waltz (Augmented) | 0:52:02 - Dogs running through the swamp | agitated | barking | chase scene | chasing | combination of themes | count | dog | dramatic | jungle | leading lady | leading man | ominous | running | servant | victim | villain |
The Most Dangerous Game (1932) | The Chase (Furioso) | 0:52:13 - Eve runs towards a log | agitated | barking | chase scene | chasing | count | dark | dog | dramatic | falling | jungle | leading lady | leading man | log | mickey-mousing | running | servant | victim | villain |
The Most Dangerous Game (1932) | The Iron Door (Slow) | 0:52:19 - Eve falls on a log | chase scene | chasing | dark | jungle | leading lady | leading man | log | ominous | running | standing | victim |
The Most Dangerous Game (1932) | Emotions (Allegro) | 0:52:24 - Eve and Bob run over the log | agitated | barking | chase scene | chasing | dog | jungle | leading lady | leading man | log | running | tense | victim |
The Most Dangerous Game (1932) | Emotions 2 (Allegro) | 0:52:39 - Eve and Bob climb a tree | agitated | barking | chase scene | chasing | climbing | dog | jungle | leading lady | leading man | running | tense | tree | victim |
The Most Dangerous Game (1932) | Zaroff (Heavy) | 0:52:45 - The dogs bark up the tree | agitated | barking | chase scene | chasing | climbing | count | dark | dog | jungle | leading lady | leading man | running | servant | tense | tree | victim | villain |
The Most Dangerous Game (1932) | Russian Waltz (Dark) | 0:52:53 - Eve and Bob hiding in a tree | agitated | barking | chase scene | count | dark | dog | hiding | jungle | leading lady | leading man | servant | tense | tree | victim | villain |
The Most Dangerous Game (1932) | The Approach | 0:52:59 - Eve and Bob hiding in a tree | agitated | barking | chase scene | count | dark | dog | hiding | jungle | leading lady | leading man | servant | tense | tree | victim | villain |
The Most Dangerous Game (1932) | The Chase (Accelerando) + The Iron Door | 0:53:02 - The dogs bark up the tree | agitated | barking | chase scene | chasing | combination of themes | count | dark | dog | escaping | hiding | jumping | jungle | leading lady | leading man | lifting | log | mickey-mousing | running | servant | tense | tree | victim | villain | vine |
The Most Dangerous Game (1932) | The Chase + The Iron Door | 0:53:33 - Bob and Eve run along a clifftop | chase scene | cliff | combination of themes | dramatic | jungle | leading lady | leading man | running | tense | victim |
The Most Dangerous Game (1932) | The Approach (Risoluto) | 0:53:38 - Bob and Eve hide in the trees | barking | chase scene | cliff | climbing | cutting | dog | dramatic | hiding | jumping | jungle | leading lady | leading man | running | tense | victim |
The Most Dangerous Game (1932) | The Chase (Running) + The Iron Door | 0:54:08 - Bob runs through the jungle | chase scene | chasing | close-up | combination of themes | count | dramatic | jungle | leading lady | leading man | point-of-view shot | running | servant | tense | victim | villain |
The Most Dangerous Game (1932) | Zaroff (Running) | 0:54:15 - A close-up on Zaroff | chase scene | chasing | close-up | count | dramatic | jungle | leading lady | leading man | point-of-view shot | running | servant | tense | victim | villain |
The Most Dangerous Game (1932) | The Waterfall | 0:54:20 - Rushing water | chase scene | chasing | dog | falling | flowing | jungle | leading lady | leading man | mickey-mousing | planning | river | running | shirt | splashing | tense | trap | victim | water effect | waterfall |
The Most Dangerous Game (1932) | Courage + Russian Waltz + Iron Door | 0:54:46 - Bob and Eve run towards the waterfall | chase scene | chasing | combination of themes | dramatic | jungle | leading lady | leading man | preparing | river | tense | victim | waterfall |
The Most Dangerous Game (1932) | The Approach (Risoluto) | 0:54:59 - Count Zaroff by the river | chase scene | chasing | count | dramatic | hiding | jungle | leading lady | leading man | river | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | The Chase (Tremolo) + The Iron Door (Horn Call) | 0:55:08 - Count Zaroff approaching the waterfall | chase scene | chasing | combination of themes | count | dramatic | hiding | jungle | leading lady | leading man | river | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Dog attacking | 0:55:19 - A dog rushes at Bob | attacking | climax | count | dog | dramatic | fighting | jungle | leading lady | leading man | mickey-mousing | river | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Zaroff (Dog Fight) | 0:55:24 - Bob fights a dog | attacking | climax | count | dog | dramatic | fighting | jungle | leading lady | leading man | river | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Russian Waltz (Dog Fight) | 0:55:33 - A barking dog | attacking | climax | count | dog | dramatic | fighting | jungle | leading lady | leading man | river | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Dog falling 2 | 0:55:37 - Bob kills the dog | attacking | climax | count | dog | dramatic | falling | fighting | jungle | leading lady | leading man | mickey-mousing | river | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Dog attacking | 0:55:42 - A dog rushes at Bob | attacking | climax | count | dog | dramatic | fighting | jungle | leading lady | leading man | mickey-mousing | river | running | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Falling off cliff | 0:55:47 - Bob and the dog fall off the cliff | climax | count | death | dog | dramatic | dying | falling | gun | gunshot | jungle | leading lady | leading man | mickey-mousing | river | servant | shooting | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Emotions | 0:55:59 - Eve reacts to Bob's fall | capturing | climax | count | dramatic | jungle | leading lady | reacting | river | servant | tense | victim | villain | watch | waterfall |
The Most Dangerous Game (1932) | Russian Waltz (Moderato Quasi Maestoso) | 0:56:11 - Zaroff looks at his watch | capturing | climax | count | dramatic | jungle | leading lady | river | servant | tense | victim | villain | watch | waterfall |
The Most Dangerous Game (1932) | Zaroff (Risolutissimo) + The Iron Door | 0:56:17 - Eve is captured | capturing | climax | close-up | combination of themes | count | jungle | leading lady | ominous | river | servant | victim | villain | walking | waterfall |
The Most Dangerous Game (1932) | The Iron Door (Climax) | 0:56:25 - A close-up on Eve | climax | close-up | count | jungle | leading lady | ominous | reacting | river | servant | victim | villain | waterfall |
The Most Dangerous Game (1932) | Emotions (Agitato) | 1:00:32 - Bob is almost hit by a knife | castle | count | death | dodging | dramatic | escaping | gun | knife | leading lady | leading man | preparing | running | servant | tense | victim | villain |
The Most Dangerous Game (1932) | Emotions 2 (Agitato) | 1:00:45 - Bob and Eve escaping | arrow | castle | count | death | dramatic | escaping | gun | leading lady | leading man | rising | running | tense | victim | villain |
The Most Dangerous Game (1932) | Russian Waltz (Meno) + The Iron Door | 1:00:50 - The Count rises | castle | combination of themes | dark | death | escaping | gun | knife | leading lady | leading man | rising | running | servant | victim |
The Most Dangerous Game (1932) | Underscoring (Tense) | 1:01:01 - Tartar throws a knife | castle | death | escaping | gun | gunshot | knife | leading lady | leading man | servant | shooting | tense | throwing | victim |
The Most Dangerous Game (1932) | Underscoring (Dramatic) | 1:01:05 - Tartar falls dead to the ground | castle | corpse | death | dramatic | dying | escaping | falling | gun | gunshot | knife | leading lady | leading man | servant | underscoring | victim |
The Most Dangerous Game (1932) | Zaroff (Risoluto) | 1:01:10 - Zaroff at the window | arrow | boat | castle | count | dramatic | escaping | leading lady | leading man | rising | tense | victim | villain |
The Most Dangerous Game (1932) | Russian Waltz (The Window) | 1:01:15 - Zaroff at the window | arrow | boat | castle | count | dramatic | escaping | fanfare | leading lady | leading man | rising | tense | victim | villain |
The Most Dangerous Game (1932) | Courage (Allegro con Fuoco) + The Iron Door | 1:01:23 - The boat leaves the dock | arrow | boat | castle | count | death | dramatic | dying | escaping | leading lady | leading man | motor effect | preparing | tense | victim | villain |
The Most Dangerous Game (1932) | Russian Waltz (Impossible) | 1:01:37 - Zaroff collapses | arrow | boat | castle | collapsing | count | dark | death | dying | falling | leading lady | leading man | mickey-mousing | victim | villain |
The Most Dangerous Game (1932) | Underscoring (Dramatic) | 1:01:44 - Dogs barking | barking | boat | castle | count | death | dog | dramatic | dying | leading lady | leading man | tense | underscoring | victim | villain |
The Most Dangerous Game (1932) | Falling out of window | 1:01:53 - Zaroff falls out of the window | boat | castle | count | death | dramatic | dying | escaping | falling | leading lady | leading man | mickey-mousing | tense | victim | villain |
The Most Dangerous Game (1932) | Russian Waltz (Climax) | 1:01:55 - The boat speeding away | boat | castle | dark | death | escaping | fanfare | leading lady | leading man | victim |
Caged (1950) | Caged (Waiting) | 0:56:52 - Marie waits by the parole office | advance plot | announcing | dissonant bass | fidgeting | guard | leading lady | prison | prisoner | running | shadow | sigh gesture | tense | waiting |
Caged (1950) | Prison Alarm (The Scream) | 1:00:42 - Marie covers her ears | alarm | alarm effect | anxiety | chromatic parallelism | chromatic scale | dramatic | fidgeting | guard | hysteria | leading lady | mad scene | prison | prisoner | screaming | tense | tone cluster | whole-tone chord |
Caged (1950) | Hysteria | 1:00:55 - Marie runs down the hall | alarm | anxiety | chromatic parallelism | chromatic scale | dissonant bass | dramatic | escaping | guard | hysteria | leading lady | mad scene | pc set | polychord | prison | prisoner | running | tense |
Caged (1950) | Falling | 1:01:18 - Marie falls to the ground | diminished 7th chord | dramatic | falling | guard | leading lady | mad scene | mickey-mousing | octatonic scale | prison | prisoner | throwing |
Caged (1950) | Marie 2 (Melancholy) | 1:01:25 - Marie returns to her cell | conversing | guard | leading lady | mad scene | melancholy | prison | prisoner | returning | solemn |
Caged (1950) | Jingle Bells | 1:08:01 - Woman plays harmonica | advance plot | Christmas | conversing | guard | harmonica | leading lady | listening | on-screen music | playing | prison | prisoner | source music | upbeat | warden |
Caged (1950) | Bird in a Cage | 1:08:07 - Woman plays harmonica | advance plot | Christmas | conversing | dancing | guard | harmonica | leading lady | listening | on-screen music | playing | prison | prisoner | singing | source music | upbeat | warden |
Caged (1950) | Marie (Misterioso) | 1:17:04 - Shadows on a staircase | augmented sixth chord | descending | guard | leading lady | mad scene | prison | prisoner | shadow | solemn | solitary | walking |
Caged (1950) | Isolation Ward (Dark) | 1:17:27 - Shadows on Marie's face | dark | departing | dissonant bass | guard | isolation | leading lady | mad scene | mysterious | ominous | oscillation | polychord | prison | prisoner | shadow | solitary | staring | uneasy | walking |
Caged (1950) | Water Dripping | 1:17:52 - Marie in solitary | audible thoughts | dark | dripping | guard | hysteria | isolation | leading lady | mad scene | melodic cell | mickey-mousing | mysterious | pacing | pc set | prison | prisoner | tense | thinking | uneasy | water | water effect |
Caged (1950) | Water Dripping + Caged (Tense) | NIF - not in film | 9th chord | chromatic parallelism | chromatic sequence | combination of themes | cut from film | dark | dissonant bass | hysteria | isolation | leading lady | mad scene | melodic cell | mickey-mousing | mysterious | ostinato | prison | prisoner | sigh gesture | tense | uneasy | water effect |
Caged (1950) | Water Dripping (Molto Expressivo) | 1:18:15 - Marie in solitary | 9th chord | crying | dissonant bass | dripping | hysteria | isolation | leading lady | mad scene | mickey-mousing | mickey-mousing | minor-major 7th chord | mysterious | prison | prisoner | tense | uneasy | water | water effect | wipe | yelling |
Caged (1950) | Harper Whistles | 1:19:30 - Harper whistles | advance plot | guard | leading lady | neutral | on-screen music | prison | source music | telephone | waiting | whistling |
Caged (1950) | He Leadeth Me | 1:27:53 - Women in prison | advance plot | calm | conversing | crying | hymn | leading lady | prison | prisoner | singing | source music |
Caged (1950) | Rock of Ages | 1:30:31 - Women in prison | advance plot | calm | conversing | guard | hymn | leading lady | prison | prisoner | singing | source music | watching |
Caged (1950) | Underscoring (Dramatic) | 1:32:09 - Superintendent office door | advance plot | bold | conversing | leading lady | leaving | mode mixture | prison | prisoner | unpacking | walking |
Caged (1950) | Underscoring (Tense) | 1:32:21 - Marie unpacks her belongings | advance plot | chromatic parallelism | leading lady | leaving | prison | prisoner | tense | underscoring | unpacking | whole-tone chord |
Caged (1950) | Molto Expressivo (Rubato) | 1:32:37 - Marie checks out | advance plot | chromatic parallelism | conversing | guard | leading lady | leaving | prison | prisoner | solemn | underscoring |
Caged (1950) | Marie (Checking Out) | 1:32:47 - Marie opens an envelope | advance plot | chromatic parallelism | chromatic wedge | dramatic | guard | leading lady | leaving | looking | polychord | prison | prisoner | ring | solemn | throwing |
Caged (1950) | Molto Expressivo (Slowly) | 1:32:59 - Marie's mugshot | advance plot | leading lady | leaving | looking | mode mixture | mug shot | Neapolitan | prison | prisoner | solemn | throwing | warden |
Caged (1950) | Molto Expressivo (Con Moto) | 1:34:42 - Marie leaves Mrs. Benton's office | climax | dramatic | ex-convict | guard | leading lady | leaving | prison | prisoner | stinger | uneasy | warden |
Caged (1950) | Molto Expressivo (Quasi Blues) | 1:35:01 - Marie leaves the prison | added-note chord | bluesy | bluesy | car | climax | ex-convict | freedom | leading lady | leaving | prison | smoking | street | warden | watching |
Lightning Strikes Twice (1951) | Father Paul (Slow) | 1:29:00 - Shelly and Myra wait for the news | actor | bell effect | car crash | countryside | death | funereal | leading lady | mother | owner | police | resolution | somber | waiting |
Lightning Strikes Twice (1951) | Liza (Triste) | 1:29:20 - Father Paul climbs up | actor | arriving | car crash | climbing | countryside | death | husband | leading lady | leading man | mother | owner | police | priest | resolution | somber |
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 |
Lightning Strikes Twice (1951) | Shelly (The End) + Shelly 2 (The End) | 1:30:00 - Trev and Shelly drive away together | actor | calm | comforting | countryside | driving | embracing | end title sequence | husband | leading lady | leading man | peace | peaceful | resolution | resolved | The End |
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 |
All This, and Heaven Too (1940) | Henriette (The End) | 2:22:31 - The End | countermelody | deceptive resolution | end title sequence | grand | leading lady | looking | minister | mode mixture | plagal cadence | school | snow | teacher | The End |
Mara Maru (1952) | Misterioso | 0:12:16 - Gregory talks to Stella | arguing | conversing | establish character | leading lady | leading man | mysterious | room | stinger | tense |
Mara Maru (1952) | Underscoring (Tense) | 0:12:54 - Gregory talks to Stella | arguing | conversing | establish character | leading lady | leading man | room | tense | underscoring |
Mara Maru (1952) | Lovers | 0:13:15 - Stella talks to Gregory | conversing | establish character | leading lady | leading man | room | sentimental |
Mara Maru (1952) | Appassionato | 0:13:27 - Stella argues with Gregory | arguing | conversing | establish character | leading lady | leading man | passionate | room |
Mara Maru (1952) | Stella (Molto Expressivo) | 0:13:53 - Gregory grabs Stella's arm | conversing | embracing | establish character | leading lady | leading man | romantic | room | waltz |
Mara Maru (1952) | Gregory (Quasi Misterioso) | 0:38:51 - Stella talks to Benedict | | advance plot | antagonist | conversing | leading lady | mysterious | room |
Mara Maru (1952) | Lovers | 0:39:18 - Stella talks to Benedict | | advance plot | antagonist | conversing | leading lady | room | sentimental |
Mara Maru (1952) | Appassionato | 0:39:32 - Benedict talks to Stella | | advance plot | antagonist | conversing | leading lady | passionate | room |
Mara Maru (1952) | Stella | 0:56:49 - Stella appears as a reflection in the window | conversing | leading lady | leading man | love interest | love scene | reflection shot | relfection | romantic | sailing | ship | ship |
Mara Maru (1952) | Appassionato (Molto Expressivo) | 0:58:03 - Gregory takes Stella's arm | conversing | leading lady | leading man | love interest | love scene | passionate | sailing | ship | ship |
Mara Maru (1952) | Ortega | 0:58:27 - Gregory talks to Stella about Ortega | conversing | cross | leading lady | leading man | love interest | love scene | mysterious | sailing | ship | ship | tense |
Mara Maru (1952) | Grabbing | 0:58:53 - Gregory talks to Stella | conversing | leading lady | leading man | love interest | love scene | sailing | ship | ship | tense |
Mara Maru (1952) | Benedict | 0:59:00 - Benedict enters | antagonist | conversing | dramatic | leading lady | leading man | love interest | love scene | sailing | ship | ship | tense |
Mara Maru (1952) | Sailing (Extended) | 0:59:29 - The churning sea | antagonist | conversing | leading lady | love interest | ocean | panning shot | sailing | ship | ship | transition | uneasy |
Mara Maru (1952) | Dropping anchor | 1:00:18 - The anchor drops | action scene | anchor | antagonist | bodyguard | captain | dramatic | dropping | falling | leading lady | leading man | love interest | mickey-mousing | private eye | ship | ship |
Mara Maru (1952) | Gregory (Heroic) | 1:00:31 - Gregory gets ready to dive | action scene | antagonist | bodyguard | captain | conversing | diving suit | heroic | leading lady | leading man | love interest | preparing | private eye | ship | ship | tense | worker | working |
Mara Maru (1952) | Descending | 1:00:51 - Gregory descends the ladder | action scene | antagonist | bodyguard | bubbles | captain | close-up | dark | descending | diver | diving | diving suit | heavy | leading lady | leading man | love interest | ocean | private eye | ship | ship | stinger | suspenseful | underwater | worker | working |
Mara Maru (1952) | Walking underwater | 1:01:46 - Gregory walks on the ocean floor | action scene | antagonist | bodyguard | captain | close-up | diver | diving | leading lady | leading man | love interest | mickey-mousing | ocean | private eye | ship | ship | suspenseful | swimming | tense | underwater | walking | worker |
Mara Maru (1952) | Underwater (Walking) | 1:02:03 - Gregory walks underwater | action scene | antagonist | bodyguard | captain | diver | diving | leading lady | leading man | love interest | ocean | point-of-view shot | private eye | ship | ship | suspenseful | swimming | tense | underwater | walking | worker |
Mara Maru (1952) | Benedict (Sabotage) | 1:02:14 - Ranier sneaks away | action scene | antagonist | bodyguard | captain | close-up | diver | diving | leading lady | leading man | love interest | mysterious | ocean | private eye | radio | sabotaging | saboteur | ship | ship | sneaking | suspenseful | swimming | traitor | underscoring | underwater | worker |
Mara Maru (1952) | Underwater (Dramatic) | 1:02:42 - Manuelo talks to Benedict | action scene | antagonist | bodyguard | captain | conversing | dark | diver | diving | leading lady | leading man | love interest | ocean | private eye | ship | ship | suspenseful | swimming | traitor | underwater | worker | working |
Mara Maru (1952) | Surfacing | 1:02:55 - Gregory rises from the water | action scene | antagonist | assisting | bodyguard | breaking | captain | diver | heroic | hopeful | leading lady | leading man | love interest | mickey-mousing | ocean | private eye | radio | rising | sabotaging | saboteur | ship | ship | sneaking | surfacing | traitor | underwater | worker | working |
Mara Maru (1952) | On Deck (Minor) | 1:03:17 - Gregory boards the ship | action scene | antagonist | assisting | bodyguard | captain | dark | diver | leading lady | leading man | love interest | ominous | private eye | radio | rising | sabotaging | saboteur | ship | ship | sneaking | surfacing | traitor | worker | working |
Mara Maru (1952) | Benedict (Misterioso) | 1:06:32 - Benedict talks with Stella | antagonist | conversing | leading lady | love interest | mysterious | plotting | reveal character | ship | ship | tense | turning point |
Mara Maru (1952) | Benedict (Bored to Death) | 1:07:34 - Benedict threatens to kill Gregory | antagonist | conversing | dark | leading lady | love interest | mysterious | ominous | plotting | reveal character | ship | ship | stinger | tense | threat | turning point |
Mara Maru (1952) | Appassionato (Tenderly 2) | 1:07:51 - Stella approaches | arguing | captain | conversing | leading lady | leading man | love interest | love scene | rushing | sailing | ship | ship | uneasy | walking | warning |
Mara Maru (1952) | Appassionato (Extended) | 1:08:25 - Stella talks with Gregory | arguing | captain | conversing | leading lady | leading man | love interest | love scene | passionate | sailing | ship | ship | warning |
Mara Maru (1952) | Stella | 1:09:02 - Stella tells Gregory she loves him | arguing | captain | embracing | leading lady | leading man | love interest | love scene | romantic | sailing | ship | ship |
Mara Maru (1952) | Dropping anchor | 1:11:18 - The anchor drops | action scene | anchor | antogonist | dramatic | dropping | falling | leading lady | love interest | mickey-mousing | private eye | ship | ship |
Mara Maru (1952) | Benedict (Poco Accellerando) | 1:11:34 - Benedict goes outside | action scene | antogonist | captain | departing | diver | leading lady | leading man | love interest | private eye | ship | ship | turbulent | walking | worker |
Mara Maru (1952) | Appassionato (Molto Expressivo) | 1:11:48 - Crew on deck of the ship | action scene | antogonist | arguing | captain | conversing | diver | diving suit | leading lady | leading man | love interest | passionate | preparing | private eye | ship | ship | worker |
Mara Maru (1952) | Gregory (Close-Up) | 1:12:20 - A close-up of Gregory | action scene | antogonist | captain | close-up | diver | diving suit | dramatic | leading lady | leading man | looking | love interest | preparing | private eye | ship | ship | tense | worker |
Mara Maru (1952) | Descending | 1:12:27 - Gregory descends into the water | action scene | antogonist | bubbles | captain | close-up | dark | descending | diver | diving | diving suit | heavy | leading lady | leading man | love interest | ocean | point-of-view shot | private eye | ship | ship | suspenseful | underwater | worker | working |
Mara Maru (1952) | Tugging | 1:16:39 - Gregory tugs at the air hose | action scene | antogonist | beam | boat | captain | dark | diver | diving | diving suit | dramatic | hose | leading lady | leading man | love interest | mickey-mousing | ocean | private eye | pulling | rain | raining | ship | storm | treasure | tugging | underwater | worker | working | yelling |
Mara Maru (1952) | Gauge rising | 1:16:54 - Rising air pressure on a gauge | action scene | antogonist | boat | captain | diver | dramatic | gauge | leading lady | leading man | love interest | mickey-mousing | private eye | rain | raining | rising | ship | storm | tense | worker |
Mara Maru (1952) | Gauge falling | 1:17:42 - Falling air pressure on a gauge | action scene | antogonist | boat | captain | descending | diver | dramatic | falling | gauge | leading lady | leading man | love interest | mickey-mousing | private eye | rain | relief | ship | storm | worker |
Mara Maru (1952) | Gregory (Signaling) | 1:18:19 - Gregory signals to come up | action scene | antogonist | boat | captain | carrying | dark | diver | diving | diving suit | fanfare | leading lady | leading man | love interest | ocean | private eye | rain | ship | signaling | storm | swimming | treasure | underwater | wind | worker |
Mara Maru (1952) | Surfacing | 1:18:26 - Gregory rises to the surface | action scene | antogonist | assisting | boat | captain | close-up | diver | diving suit | heroic | hopeful | leading lady | leading man | love interest | mickey-mousing | ocean | private eye | rain | rising | ship | storm | surfacing | treasure | underwater | wind | worker | working | yelling |
Mara Maru (1952) | On Deck | 1:18:55 - Gregory emerges from the water | action scene | antogonist | assisting | boat | captain | conversing | diver | diving suit | heroic | hopeful | leading lady | leading man | love interest | private eye | rain | ship | storm | treasure | triumphant | wind | worker | working | yelling |
Mara Maru (1952) | Underscoring (Dramatic) | 1:19:10 - Gregory falls to the deck floor | action scene | antogonist | boat | captain | diver | diving suit | dramatic | falling | leading lady | leading man | love interest | private eye | rain | ship | storm | treasure | underscoring | wind | worker | yelling |
Mara Maru (1952) | Underscoring (Dramatic) | 1:19:37 - The cross in a treasure chest | action scene | antogonist | breaking | captain | cross | dark | diver | dramatic | dropping | leading lady | leading man | love interest | private eye | rain | reveal | ship | storm | throwing | treasure | underscoring | wind | worker | yelling |
Mara Maru (1952) | Cross (Distorted) | 1:19:49 - The cross is revealed | action scene | antogonist | arguing | captain | cross | dark | diver | hymn-like | leading lady | leading man | love interest | private eye | rain | ship | storm | tense | treasure | wind | worker | yelling |
Mara Maru (1952) | Underscoring (Tense) | 1:20:01 - Benedict grabs the cross | action scene | antogonist | arguing | captain | cross | diver | dramatic | falling | leading lady | leading man | love interest | ordering | private eye | punching | rain | ship | storm | tense | treasure | underscoring | wind | worker |
Mara Maru (1952) | Underscoring (Dramatic) | 1:20:13 - Fortuno grabs Gregory | action scene | antogonist | captain | cross | diver | dramatic | leading lady | leading man | love interest | private eye | rain | ship | storm | tense | treasure | underscoring | wind | worker | yelling |
Mara Maru (1952) | Rushing | 1:20:29 - Benedict runs in to check the compass | action scene | antogonist | captain | cross | diver | dramatic | hurrying | leading lady | leading man | love interest | private eye | rain | running | rushing | rushing effect | ship | storm | tense | treasure | wind | worker | yelling |
Mara Maru (1952) | Underscoring (Tense) | 1:21:01 - Gregory gives orders | action scene | antogonist | captain | cross | diver | dramatic | fanfare | leading lady | leading man | love interest | ordering | private eye | rain | ship | storm | tense | treasure | wind | worker | yelling |
Mara Maru (1952) | Very Stormy | 1:21:22 - A waves splashes onboard | action scene | antogonist | captain | cross | diver | dramatic | leading lady | leading man | love interest | private eye | rain | ship | storm | tense | treasure | walking | wave | wave effect | wind | worker |
Mara Maru (1952) | Gregory + Raising Anchor | 1:21:31 - The anchor is raised | action scene | anchor | antogonist | captain | combination of themes | diver | dramatic | leading lady | leading man | love interest | mickey-mousing | private eye | rising | ship | ship | worker |
Mara Maru (1952) | Gregory (Determined) | 1:21:45 - Gregory goes to the wheelhouse | action scene | antogonist | captain | conversing | determined | diver | leading lady | leading man | love interest | private eye | rain | sailing | ship | storm | walking | wind | worker |
Mara Maru (1952) | Stella (Appassionato) | 1:22:28 - Gregory talks to Stella | captain | conversing | leading lady | leading man | love interest | love scene | rain | romantic | ship | storm | wind |
Mara Maru (1952) | Hurrying | 1:23:36 - People running from the boat | antogonist | chase scene | chasing | cross | escaping | fleeing | frantic | hurrying | leading lady | leading man | love interest | private eye | rain | rock | running | ship | ship wreck | storm | wave | wind | worker |
Mara Maru (1952) | The Escape | 1:23:42 - People running from the boat | antogonist | chase scene | chasing | corpse | cross | dark | death | dramatic | escaping | fleeing | frantic | gun | gunshot | hurrying | leading lady | leading man | love interest | mickey-mousing | murder | murderer | private eye | rain | rock | running | ship | ship wreck | shooting | stinger | storm | wind | worker |
Mara Maru (1952) | The Wind | 1:24:04 - Wind rushing through the trees | chase scene | chasing | cross | dramatic | escaping | fleeing | frantic | gun | hurrying | jungle | leading lady | leading man | love interest | rain | running | storm | wind | wind effect | worker |
Mara Maru (1952) | Gregory (Running) | 1:24:20 - Gregory runs from Benedict | chase scene | chasing | cross | dramatic | escaping | fleeing | frantic | gun | heroic | hurrying | jungle | leading lady | leading man | love interest | rain | running | running effect | storm | wind | worker |
Mara Maru (1952) | Underscoring (Dramatic) | 1:24:27 - Gregory runs from Benedict | chase scene | chasing | cross | dramatic | escaping | fleeing | frantic | gun | hurrying | jungle | leading lady | leading man | love interest | rain | running | rushing effect | storm | wind | worker |
Mara Maru (1952) | The Wind | 1:24:31 - Gregory runs from Benedict | chase scene | chasing | cross | dramatic | escaping | fleeing | frantic | gun | hurrying | jungle | leading lady | leading man | love interest | rain | running | storm | wind | wind effect | worker |
Mara Maru (1952) | Struggling 2 (Escape) | 1:25:17 - Gregory emerges from the jungle | calm | chase scene | cross | escaping | jungle | leading lady | leading man | love interest | tense | walking | wind | worker |
Mara Maru (1952) | Cross | 1:26:54 - Manuelo holds the cross | arguing | calm | cross | hut | hymn-like | leading lady | leading man | love interest | religious | turning point | worker |
Mara Maru (1952) | Cross (Tense) | 1:27:07 - Gregory grabs Manuelo | arguing | cross | falling | hut | hymn-like | leading lady | leading man | love interest | religious | slapping | tense | turning point | worker |
Mara Maru (1952) | Cross (Maestoso) | 1:27:18 - Gregory slaps Manuelo | arguing | cross | hut | hymn-like | leading lady | leading man | love interest | majestic | reacting | slapping | tense | turning point | worker |
Mara Maru (1952) | Underscoring (Tense) | 1:27:44 - Gregory follows after Manuelo | arguing | following | hut | jungle | leading lady | leading man | love interest | searching | tense | thinking | turning point | underscoring |
Mara Maru (1952) | Benedict | 1:31:19 - Benedict arrives at the church | antagonist | arriving | bodyguard | car | departing | driver | leading lady | love interest | murderer | mysterious | spying | street | tense | transition | watching |
Mara Maru (1952) | Mara Maru (Ethereal) | 1:36:15 - Gregory meets Stella and Manuelo | arriving | catacomb | cave | leading lady | leading man | love interest | martyr | mysterious | reacting | resolution | solemn | tunnel | victim | worker |
Mara Maru (1952) | Gregory (Expressivo) | 1:36:22 - Stella and Gregory look at each other | catacomb | cave | comforting | conversing | corpse | cross | death | dying | leading lady | leading man | love interest | martyr | resolution | solemn | somber | tunnel | victim | worker |
Mara Maru (1952) | Cross (Cello Solo) | 1:36:55 - Manuelo mourns Ortega's death | catacomb | cave | corpse | cross | crying | death | hymn-like | leading lady | leading man | looking | love interest | martyr | reacting | resolution | solemn | somber | thinking | tunnel | victim | worker |
Mara Maru (1952) | The End | 1:37:33 - Gregory gives the cross to Manuelo | catacomb | cave | corpse | cross | crying | death | deciding | departing | end title sequence | fade-out | leading lady | leading man | looking | love interest | map | martyr | reacting | redmption | religious | religious | resolution | The End | thinking | triumphant | tunnel | victim | worker |
Bachelor Apartment (1931) | Waltz no. 2 | 0:05:36 - People entering a ballroom | advance plot | arriving | calm | conversing | leading lady | source music | telephone | waltz |
Half Shot at Sunrise (1930) | Whistling the Blues Away [verse] | 0:21:03 - Tommy and Annette sing to each other | car | leading lady | leading man | love interest | on-screen music | playful | singing | soldier | song and dance scene | source music | street | whistling |
Half Shot at Sunrise (1930) | Whistling the Blues Away | 0:21:44 - Tommy and Annette sing to each other | AABA structure | car | dancing | leading lady | leading man | love interest | on-screen music | playful | singing | soldier | song and dance scene | source music | street | whistling |
Half Shot at Sunrise (1930) | Whistling the Blues Away | 0:24:56 - A scene in the park | AABA structure | car | driving | leading lady | leading man | love interest | park | playful | soldier | source to score | transition |
Half Shot at Sunrise (1930) | Whistling the Blues Away | 0:26:14 - Tommy sings to Annette | AABA structure | car | comical | leading lady | leading man | love interest | on-screen music | park | playful | score to source | singing | soldier | song and dance scene | source music |
Half Shot at Sunrise (1930) | Whistling the Blues Away (Waltz) | 0:27:06 - Tommy, Annette, and Gilbert dance | car | countermelody | dancing | dramatic | leading lady | leading man | love interest | park | soldier | song and dance scene | source to score | waltz |
Half Shot at Sunrise (1930) | Whistling the Blues Away | 0:36:19 - Annette puts on some perfume | advance plot | comical | dousing | leading lady | love interest | park | perfume | playful | preparing | walking |
Hook, Line and Sinker (1930) | Three Little Words | 0:56:38 - Wilbur and Mary talk | AABA structure | cash register | conversing | dancing | hotel | jazz | leading lady | leading man | love scene | party | performing | storm | upbeat |
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 |