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) | 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) | 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) | 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) | 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) | 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) | 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) | 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) | 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) | Desperation (Dark) | 1:13:56 - Henriette watches the Duke leaving | 9th chord | advance plot | altered dominant | dark | dissonant bass | duke | leading man | leaving | parallelism | point-of-view shot | room | watching |
All This, and Heaven Too (1940) | Henriette (Agitato) | 1:14:39 - The Duke paces anxiously | 9th chord | advance plot | agitated | conflicted | dissonant bass | duke | half-diminished 7th chord | leading man | pacing | pondering | room | turbulent |
All This, and Heaven Too (1940) | The Duchess (The Letter) | 1:14:48 - A letter is pushed under the door | 9th chord | advance plot | agitated | chromatic parallelism | conflicted | deceptive resolution | duke | fragmentation | leading man | letter | pacing | pondering | room | turbulent |
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) | 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) | 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) | 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) | Henriette | 1:45:41 - A carriage arrives | arriving | carriage | child | duke | grand | leading man | pleasant | street | transition | traveling |
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) | Gossip 2 | 1:47:20 - Henriette sees her landlady gossiping | 9th chord | chromatic parallelism | dissonant bass | duke | gossiper | gossiping | harsh | landlady | leading man | minor second | reunion scene | room | tense | watching |
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) | 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) | Dying (Molto Expressivo) | 2:14:46 - The Duke talks to Pierre | caretaker | chromatic parallelism | confessing | conversing | death bed | death scene | diminished 7th chord | duke | dying | leading man | love | pedal tone | room | sigh gesture | somber |
All This, and Heaven Too (1940) | Henriette (Confession of Love) | 2:15:34 - The Duke confesses his love | added-note chord | caretaker | chromatic mediant | common-tone modulation | confessing | conversing | death bed | death scene | duke | dying | foreign key modulation | leading man | love | mode mixture | room | somber |
The Amazing Dr. Clitterhouse (1938) | Una Voce Poco Fa | 0:00:54 - A woman plays the piano | calm | leading man | listening | on-screen music | party | pianist | room | singer | singing | sneaking | source music | stealing | thief |
The Amazing Dr. Clitterhouse (1938) | The Last Rose of Summer | 0:03:14 - A woman sings | calm | doctor | folk song | Irish | leading man | listening | on-screen music | party | pianist | room | singer | singing | sneaking | source music | stealing | thief |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor | 0:20:05 - Dr. Clitterhouse enters Hotel Sequin | 42 chord | advance plot | chromatic parallelism | dark | dissonant bass | doctor | half-diminished 7th chord | leading man | lobby | mysterious | quartal chord | sign | thief | walking |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Meeting) | 0:21:30 - Dr. Clitterhouse is taken upstairs | 64 chord | advance plot | chromatic parallelism | conversing | doctor | fragmentation | gangster | leading man | lobby | mysterious | pedal tone | sequence | thief |
The Amazing Dr. Clitterhouse (1938) | Eine kleine Nachtmusik | 0:35:00 - Phonograph plays Mozart record | advance plot | doctor | gangster | leading man | Mozart | neutral | plotting | record player | room | source music | thief |
The Amazing Dr. Clitterhouse (1938) | Eine kleine Nachtmusik | 0:41:57 - Phonograph plays Mozart record | advance plot | doctor | gangster | leading man | moll | Mozart | neutral | plotting | record player | room | source music | thief |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Comical) | 0:46:08 - Doctor examines a criminal | 64 chord | chromatic parallelism | comical | criminal | doctor | examining | fragmentation | gangster | leading man | pedal tone | robbery | rooftop | sequence | thief | underscoring |
The Amazing Dr. Clitterhouse (1938) | Underscoring (Tense) | 0:47:04 - Doctor talks with the criminals | augmented major 7th chord | chromatic parallelism | criminal | dissonant bass | doctor | examining | gangster | leading man | ostinato | pc set | robbery | rooftop | tense | thief | underscoring | walking | working |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Examination) | 0:47:16 - The doctor writes in his notebook | criminal | dissonant bass | doctor | examining | gangster | leading man | robbery | rooftop | subtle | thief | underscoring |
The Amazing Dr. Clitterhouse (1938) | How Dry I Am (Nervous) | 0:47:20 - Criminals talking | 64 chord | conversing | criminal | doctor | gangster | leading man | nervous | parallelism | pedal tone | robbery | rooftop | source music | thief |
The Amazing Dr. Clitterhouse (1938) | Spiraling down | 0:47:38 - Doctor goes down the stairs | 9th chord | criminal | descending | diminished 7th chord | doctor | gangster | leading man | mickey-mousing | mysterious | robbery | spiraling | store | tense | thief | walking |
The Amazing Dr. Clitterhouse (1938) | Underscoring (Dramatic) | 0:47:48 - Rocks opens the safe | breaking in | criminal | diminished 7th chord | doctor | dramatic | enharmonic modulation | gangster | leading man | lock | opening | robbery | safe | safe-cracking | stinger | store | tense | thief | underscoring | unlocking | vault | wedge |
The Amazing Dr. Clitterhouse (1938) | Flashlight | 0:48:20 - Doctor shines flashlight on Rocks | anger | annoyance | criminal | doctor | flashlight | gangster | leading man | mickey-mousing | ominous | robbery | shining | store | tense | thief | whole-tone chord |
The Amazing Dr. Clitterhouse (1938) | Rocks (Annoyed) | 0:48:25 - Rocks is annoyed by flashlight | anger | angry | annoyance | criminal | doctor | flashlight | gangster | leading man | ominous | robbery | shining | store | tense | thief | tritone | whole-tone chord |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Giving Orders) | 0:48:32 - Doctor gives orders to the criminals | 64 chord | anger | annoyance | chromatic parallelism | commanding | criminal | doctor | fragmentation | gangster | leading man | ordering | pedal tone | robbery | sequence | store | tense | thief |
The Amazing Dr. Clitterhouse (1938) | Rocks (Double Cross) | 0:48:56 - Rocks thinks of a double-cross | antagonist | chromatic parallelism | criminal | diminished 7th chord | doctor | double-cross | dramatic | gangster | leading man | murderer | murdering | plotting | robbery | sinister | store | thief | trapping |
The Amazing Dr. Clitterhouse (1938) | Locked in vault | 0:49:06 - Dr. Clitterhouse locked in safe | anxious | chromatic parallelism | chromatic scale | criminal | doctor | double-cross | dramatic | gangster | leading man | murderer | murdering | panicking | polychord | pounding | robbery | safe | store | tense | thief | trapping | vault | yelling |
The Amazing Dr. Clitterhouse (1938) | The Motor | 0:49:21 - Rocks starts the refrigeration motor | antagonist | anxious | criminal | diminished 7th chord | doctor | double-cross | dramatic | gangster | gauge | leading man | lowering | machine | mickey-mousing | motor | murderer | murdering | ostinato | panicking | pedal tone | pounding | robbery | spinning | store | temperature | tense | thief | trapping | whirling | yelling |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor + The Motor | 0:49:36 - Dr. Clitterhouse in safe | anxious | combination of themes | criminal | doctor | double-cross | dramatic | gangster | gauge | leading man | machine | motor | murderer | murdering | ostinato | panicking | pedal tone | robbery | spinning | store | tense | thief | trapping | whirling |
The Amazing Dr. Clitterhouse (1938) | The Motor (Getting Colder) | 0:49:43 - The vault gets colder | anxious | chromatic scale | criminal | dissonant bass | doctor | double-cross | dramatic | gangster | gauge | leading man | lowering | machine | motor | murderer | murdering | ostinato | panicking | pedal tone | pounding | robbery | spinning | store | temperature | tense | thief | trapping | whirling | yelling |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor + The Motor | 0:50:11 - Butch comes back | anxious | combination of themes | criminal | doctor | double-cross | dramatic | gangster | hurrying | leading man | motor | murderer | ostinato | robbery | store | temperature | tense | thief |
The Amazing Dr. Clitterhouse (1938) | Rocks (Sneaking) + The Motor | 0:50:14 - Rocks sneaks around in the dark | antagonist | anxious | combination of themes | criminal | diminished 7th chord | doctor | double-cross | dramatic | gangster | leading man | motor | murderer | ostinato | robbery | sneaking | store | temperature | tense | thief |
The Amazing Dr. Clitterhouse (1938) | I Wanna Go Back to Bali | 0:53:48 - Gangsters meet in an apartment | advance plot | conversing | criminal | dance music | doctor | gangster | hero | leading man | lying | playful | radio | room | thief |
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) | 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 |
The Amazing Dr. Clitterhouse (1938) | Cauldron 1 (End title) | 1:26:33 - The End | beaker | bubbling | chromatic mediant | chromatic scale | closing credits | doctor | end title | foreign key modulation | leading man | mode mixture | ominous | plagal cadence |
Angels With Dirty Faces (1938) | The Gangster (Fingerprints) | 0:06:17 - Montage of juvenile detention and prison life | digging | dramatic | establish character | fingerprints | foreign key modulation | headline | leading man | main title | marching | montage | mug shot | newspaper | prison | prisoner | reformatory | sequence | serious | working |
Angels With Dirty Faces (1938) | Bootlegging | 0:06:46 - Bootlegging liquor | alcohol | boat | dock | establish character | gangster | leading man | mickey-mousing | montage | sneaking | sneaky |
Angels With Dirty Faces (1938) | Running and shooting | 0:06:52 - Police chase gangsters and Rocky shoots | agent | augmented triad | chasing | dissonant bass | dominant 7th chord | dramatic | establish character | gangster | gun | gunshot | leading man | mickey-mousing | montage | newspaper | quartal chord | running | shooting | street | zoom out |
Angels With Dirty Faces (1938) | Roulette | 0:07:01 - Roulette wheel spins | club | double exposure | establish character | frantic | gambling | gangster | leading man | mickey-mousing | montage | parallelism | pedal tone | sequence | spinning |
Angels With Dirty Faces (1938) | Night Club Music | 0:07:05 - Rocky gambles in a nightclub | altered dominant | club | dancing | double exposure | drinking | establish character | frantic | gambling | gangster | leading man | mickey-mousing | montage | pouring |
Angels With Dirty Faces (1938) | Underscoring (Mysterious) | 0:07:26 - Rocky talks with his lawyer | advance plot | conversing | dark | dissonant bass | gangster | lawyer | leading man | mysterious | prison | prisoner | underscoring |
Angels With Dirty Faces (1938) | Sanctus | 0:09:13 - Church interior with boys singing in a choir loft | boys choir | church | conducting | gangster | leading man | music scene | nun | on-screen music | organ | priest | religious | serious | singer | singing | solemn | source music |
Angels With Dirty Faces (1938) | In My Merry Oldsmobile | 0:12:55 - Rocky and Jerry singing | cheerful | church | gangster | hymn | laughing | leading man | music scene | on-screen music | popular music | priest | singing | source music |
Angels With Dirty Faces (1938) | When a Prince of a Fella Meets a Cinderella | 0:16:49 - Rocky goes to a night club | advance plot | cheerful | conversing | gambling | gangster | lawyer | leading man | night club | parallel double period | popular music | source music |
Angels With Dirty Faces (1938) | Monday Morning | 0:18:15 - Rocky talks to Frazier in his office | advance plot | cheerful | conversing | gangster | lawyer | leading man | popular music | room | source music |
Angels With Dirty Faces (1938) | So Help Me (If I Don't Love You) | 0:19:36 - Rocky leaves the nightclub | advance plot | conversing | gangster | lawyer | leading man | popular music | room | sentimental | source music |
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) | Underscoring (Dramatic) | NIF - not in film | chromatic parallelism | chromatic scale | chromatic sequence | conflict | cut from film | diminished 7th chord | dissonant bass | evading | following | gangster | leading man | linear chromaticism | setup | shop | street | underscoring | walking |
Angels With Dirty Faces (1938) | Underscoring (Tense) | 0:39:58 - Rocky in the drug store | conflict | conversing | gangster | leading man | ominous | setup | shop | telephone | tritone | underscoring |
Angels With Dirty Faces (1938) | Pushing forward | 0:40:26 - Man pulls a gun on the cashier | advancing | chromatic parallelism | chromatic scale | conflict | dominant 7th chord | gangster | gun | leading man | mickey-mousing | ominous | pedal tone | pushing | shop |
Angels With Dirty Faces (1938) | Backing up | 0:40:37 - Rocky pulls a gun on the man following him | backing up | conflict | gangster | gun | leading man | mickey-mousing | ominous | sequence | shop |
Angels With Dirty Faces (1938) | Closes door | 0:40:48 - Rocky shuts the phone booth door | closing | conflict | door | gangster | leading man | mickey-mousing | shop | tense |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 0:40:50 - Gangsters shoot their own man in phone booth | chromatic sequence | conflict | death | diminished 7th chord | falling | gangster | gun | gunshot | half-diminished 7th chord | leading man | mickey-mousing | murderer | polychord | shooting | shop | sneaking | tense | voice-exchange |
Angels With Dirty Faces (1938) | Sneaking away | 0:41:02 - Rocky sneaks away | conflict | diminished 7th chord | gangster | leading man | mickey-mousing | shop | sneaking | tense |
Angels With Dirty Faces (1938) | Stickup | 0:42:30 - Rocky points a gun at Frazier | 64 chord | advance plot | assaulting | dramatic | gangster | garage | grabbing | lawyer | leading man | mickey-mousing |
Angels With Dirty Faces (1938) | The Gangster (Elevator Music) | 0:42:40 - Elevator goes up | advance plot | chromatic parallelism | elevator | gangster | half-diminished 7th chord | lawyer | leading man | mickey-mousing | rising | room | tense |
Angels With Dirty Faces (1938) | From Me to You | 0:58:56 - Boys in pool hall | betting | develop character | gambling | gang | leading man | playful | playing | pool | pool hall | priest | ragtime | source music | teenager |
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) | The Cartoon | 1:04:49 - Jerry looks at newspaper cartoon of Rocky | 9th chord | advance plot | cartoon | chromatic parallelism | comical | leading man | priest | reading | room |
Angels With Dirty Faces (1938) | The Cook | 1:05:06 - The cook hands a package to Jerry | advance plot | comical | conversing | cook | Irish | leading man | parallel fifths | priest | room |
Angels With Dirty Faces (1938) | Sanctus (Mysterioso) | 1:05:33 - Jerry looks at note from Rocky | advance plot | charity | classical music | common-chord modulation | friendship | leading man | letter | mode mixture | money | mysterious | pedal tone | priest | room | sacred | source to score | thinking |
Angels With Dirty Faces (1938) | Underscoring (Mysterious) | 1:05:58 - Jerry goes to meet Rocky | advance plot | arriving | gangster | leading man | mickey-mousing | mysterious | pedal tone | priest | room | underscoring | waiting |
Angels With Dirty Faces (1938) | Underscoring (Mysterious) | 1:09:33 - Jerry leaves | 42 chord | gangster | leading man | leaving | money | montage | mysterious | priest | room | turning point |
Angels With Dirty Faces (1938) | Tossing money | 1:09:33 - Jerry throws Rocky's money on the table | 42 chord | gangster | leading man | mickey-mousing | money | mysterious | priest | room | tossing | turning point |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:09:49 - Jerry talks to newspaper editor | conversing | diminution | leading man | montage | montage | newspaper editor | newspaper office | parallelism | priest | sign | tense |
Angels With Dirty Faces (1938) | Newspaper Editor | 1:10:09 - A newspaper editor accepts Jerry's story | accepting | conversing | heroic | leading man | montage | montage | newspaper editor | newspaper office | priest | secondary dominant |
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) | Underscoring (Dramatic) | 1:16:29 - Rocky shoots Mac and Frazier | agitated | attacking | casino | chaos | chasing | chromatic parallelism | chromatic scale | climbing | conflict | crowd | death | dissonant bass | dramatic | dying | escaping | falling | fighting | gangster | gun | gunshot | half-diminished 7th chord | hurrying | jumping | landing | lawyer | leading man | mickey-mousing | pedal tone | police | rooftop | room | running | sequence | shooting | sneaking | sneaky | street | tone cluster | underscoring |
Angels With Dirty Faces (1938) | Mac gets shot | 1:16:35 - Mac gets shot and dies | agitated | chromatic parallelism | chromatic scale | conflict | death | dramatic | dying | falling | gangster | gun | gunshot | lawyer | leading man | mickey-mousing | room | shooting |
Angels With Dirty Faces (1938) | Frazier gets shot | 1:16:56 - Frazier gets shot and dies | agitated | casino | chromatic scale | conflict | death | dramatic | dying | falling | gangster | gun | gunshot | lawyer | leading man | mickey-mousing | shooting |
Angels With Dirty Faces (1938) | Going down a ladder | 1:17:32 - Rocky goes down an escape ladder | agitated | chromatic scale | climbing | conflict | descending | down | dramatic | escaping | gangster | hurrying | ladder | leading man | mickey-mousing | street |
Angels With Dirty Faces (1938) | Going up a ladder | 1:17:41 - Rocky climbs up an escape ladder | agitated | ascending | chromatic parallelism | climbing | conflict | dramatic | gangster | ladder | leading man | mickey-mousing | pedal tone | sequence | street | up |
Angels With Dirty Faces (1938) | Running on wall | 1:17:55 - Rocky runs on wall | agitated | chromatic scale | conflict | dramatic | gangster | half-diminished 7th chord | leading man | mickey-mousing | rooftop | running | sequence |
Angels With Dirty Faces (1938) | Breaking in | 1:18:11 - Rocky enters the building | conflict | down | gangster | jumping | landing | leading man | mickey-mousing | room | sneaking | sneaky |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:19:00 - Rocky is trapped in a building | 42 chord | agitated | chromatic parallelism | chromatic scale | conflict | dissonant bass | dramatic | escaping | fleeing | gangster | half-diminished 7th chord | leading man | major 7th chord | police | running | sequence | stairwell | tone cluster | underscoring |
Angels With Dirty Faces (1938) | Going down stairs | 1:19:05 - Rocky runs down the stairs | agitated | chromatic scale | conflict | down | dramatic | gangster | half-diminished 7th chord | leading man | mickey-mousing | running | stairs | stairwell |
Angels With Dirty Faces (1938) | Going up stairs | 1:19:27 - Rocky runs up the stairs | agitated | chromatic parallelism | chromatic scale | conflict | dissonant bass | dramatic | gangster | leading man | major 7th chord | mickey-mousing | running | sequence | stairs | stairwell | up |
Angels With Dirty Faces (1938) | Tear Gas | 1:19:48 - Tear gas spreads throughout the room | agitated | breaking | breaking | breathing | building | chromatic parallelism | chromatic scale | conflict | dissonant bass | dramatic | gangster | gun | gunshot | hurrying | leading man | mickey-mousing | pedal tone | police | quartal chord | running | shooting | smoke | street | tear gas | throwing | window |
Angels With Dirty Faces (1938) | Machine Gun | 1:20:24 - Policeman shoots at Rocky with machine gun | agitated | building | chromatic parallelism | conflict | death | dramatic | falling | gangster | gun | gunshot | hiding | leading man | police | polychord | shooting | street | underscoring |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:20:39 - Policemen shoot tear gas in through the window | agitated | appoggiatura | building | conflict | dramatic | gangster | gun | gunshot | leading man | mickey-mousing | police | shooting | street | tone cluster | underscoring |
Angels With Dirty Faces (1938) | Launching tear gas | 1:20:51 - Policemen shoot tear gas in through the window | agitated | building | conflict | dramatic | gangster | gun | gunshot | launching | leading man | mickey-mousing | police | shooting | street | tear gas | tone cluster |
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 |
Angels With Dirty Faces (1938) | Jerry + Tear Gas | 1:21:14 - Rocky staggers through tear gas and Jerry arrives | agitated | arriving | building | chromatic parallelism | combination of themes | conflict | dissonant bass | dramatic | gangster | heroic | hurrying | leading man | mickey-mousing | priest | quartal chord | smoke | staggering | street | tear gas |
Angels With Dirty Faces (1938) | Jerry (Pleading) | 1:21:26 - Jerry talks to the cops | building | conflict | deceptive resolution | heroic | hopeful | leading man | pleading | priest | street |
Angels With Dirty Faces (1938) | Tear Gas (Desperate) | 1:21:40 - Rocky tries to hold off the cops | agitated | building | chromatic parallelism | chromatic scale | conflict | dissonant bass | dramatic | gangster | gun | gunshot | leading man | mickey-mousing | pedal tone | police | priest | quartal chord | shooting | smoke | staggering | street | tear gas |
Angels With Dirty Faces (1938) | Jerry (Maestoso) | 1:22:13 - Jerry enters the building | building | conflict | entering | foreign key modulation | heroic | hopeful | leading man | pedal tone | priest | street | walking |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:23:10 - Jerry and Rocky confront one another | 42 chord | agitated | arguing | building | conflict | dramatic | entering | gangster | leading man | priest | underscoring | wedge | yelling |
Angels With Dirty Faces (1938) | Jerry (Agitato) | 1:23:21 - Jerry and Rocky talk | agitated | arguing | building | conflict | diminished 7th chord | gangster | leading man | pedal tone | priest |
Angels With Dirty Faces (1938) | Jerry (Slowly) | 1:23:44 - Jerry goes to the window | building | conflict | coughing | gangster | leading man | menacing | priest | smoke | tear gas | walking |
Angels With Dirty Faces (1938) | The Gangster (Triste) | 1:23:57 - Rocky uses Jerry as a hostage | 9th chord | building | chromatic parallelism | conflict | coughing | dark | double-cross | foreign key modulation | fragmentation | gangster | hostage | leading man | linear chromaticism | major 7th chord | menacing | polychord | priest | smoke | somber | street | tear gas | walking |
Angels With Dirty Faces (1938) | Jerry (Hostage) | 1:25:07 - Rocky pushes Jerry | augmented sixth chord | conflict | double-cross | gangster | hostage | leading man | mysterious | priest | pushing | street | tense |
Angels With Dirty Faces (1938) | Rocky runs | 1:25:13 - Rocky makes a run for it | agitated | chromatic scale | conflict | falling | gangster | gun | gunshot | hostage | leading man | octatonic | priest | running | sequence | shooting | street | whole-tone chord |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:25:20 - Rocky throws his gun | capturing | chromatic scale | conflict | dissonant bass | dramatic | gangster | gun | leading man | police | sequence | street | throwing | underscoring |
Angels With Dirty Faces (1938) | The Gangster (Captured) | 1:25:31 - Rocky is captured | capturing | conflict | gangster | leading man | police | somber | street | taunting |
Angels With Dirty Faces (1938) | Jerry (Somber) | 1:31:04 - Rocky leaves his cell for his execution | altered dominant | climax | conversing | gangster | gentle | leading man | pc set | priest | prison | reverse picardy | stinger | tone cluster |
Angels With Dirty Faces (1938) | Jerry (Upset) | 1:31:40 - Jerry follows Rocky out of his cell | agitated | climax | conversing | gangster | leading man | police | priest | prison |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:31:44 - Rocky punches a guard | agitated | chromatic parallelism | chromatic scale | chromatic wedge | climax | fighting | gangster | half-diminished 7th chord | leading man | police | priest | prison | punching | tense | underscoring |
Angels With Dirty Faces (1938) | The Gangster (Funebre) | 1:31:55 - Rocky is taken away | 64 chord | climax | gangster | leading man | police | priest | prison | pushing | somber |
Angels With Dirty Faces (1938) | Funebre | 1:32:03 - Jerry and Rocky walk down the hall | climax | dirge | execution chamber | gangster | leading man | marching | police | priest | prison | somber | tense | walking |
Angels With Dirty Faces (1938) | Jerry (Goodbye) | 1:33:12 - Jerry says goodbye to Rocky | added-note chord | climax | conversing | dissonant bass | execution chamber | gangster | leading man | priest | prison | serious | sigh gesture | somber |
Angels With Dirty Faces (1938) | Funebre (Sigh) | 1:33:19 - Rocky heads towards electric chair | added-note chord | climax | dirge | execution chamber | gangster | leading man | marching | priest | prison | sigh gesture | somber | tense | walking |
Angels With Dirty Faces (1938) | Underscoring (Tense) | 1:33:36 - Rocky pleads for his life | begging | climax | cowardice | crowd | crying | death | execution | execution chamber | gangster | leading man | pleading | police | priest | prison | shadow | tense | tone cluster | underscoring | wailing |
Angels With Dirty Faces (1938) | Sanctus (Mournful) | 1:34:12 - Jerry cries after Rocky dies | added-note chord | climax | crying | death | dissonant bass | execution chamber | leading man | mourning | pedal tone | priest | prison | redemption | reverse picardy | sacred | somber |
Angels With Dirty Faces (1938) | Jerry (Triste) | 1:35:23 - Jerry visits the boys | conversing | death | foreign key modulation | leading man | pedal tone | picardy third | priest | resolution | room | somber | teenager |
Angels With Dirty Faces (1938) | Sanctus (Maestoso) | 1:36:06 - Jerry and the boys walk up the stairs | angelic | ascending | chromatic mediant | foreign key modulation | leading man | priest | resolution | room | stairs | teenager | The End | transcendence | triumphant | up |
Are These Our Children? (1931) | Dreams B | 0:01:33 - Two young people in love | common-chord modulation | common-tone diminished 7th | conductor score | conversing | establish character | gentle | leading lady | leading man | lovers | love scene | snuggling | street |
Are These Our Children? (1931) | Dreams | 0:02:11 - Eddie and Mary talk | 11th chord | AABA structure | comment on score | conductor score | establish character | gentle | leading lady | leading man | leaving | lovers | love scene | mode mixture | street | waiting |
Are These Our Children? (1931) | Dreams (Whistling) | 0:03:29 - Eddie walks home | cheerful | establish character | gentle | leading man | love scene | on-screen music | score to source | source and scoring overlap | source music | street | transcribed by ear | walking | whistling |
Are These Our Children? (1931) | Dreams (Whistling 2) | 0:03:59 - Eddie walks home | advance plot | cheerful | leading man | on-screen music | source music | street | transcribed by ear | walking | whistling |
Are These Our Children? (1931) | Dreams (Marcia Maestoso) | 0:08:58 - Eddie dreams | applauding | common-chord modulation | double exposure | dreaming | dream sequence | fragmentation | leading man | meter change | montage | reciting | thematic transformation | transcribed by ear | triumphant |
Are These Our Children? (1931) | Dreams (Comical) | 0:09:17 - Eddie's dream ends abruptly | comical | double exposure | dream sequence | explosion | laughing | leading man | montage | student | transcribed by ear |
Are These Our Children? (1931) | Hold That Tiger | 0:13:15 - Young people dancing | advance plot | cheerful | conversing | dance hall | friend | leading man | on-screen music | source music |
Are These Our Children? (1931) | Makes You Forget Your Troubles | 0:17:38 - Young people talking at a dance | advance plot | cheerful | conversing | dance hall | leading man | love interest | on-screen music | seductive | singing | source music |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Whistling) | 0:18:46 - Eddie whistles on his way home | cheerful | leading man | on-screen music | source music | street | transcribed by ear | transition | walking | whistling |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Eddie Sings) | 0:19:13 - Eddie sings to himself | cheerful | leading man | on-screen music | singing | source music | street | transcribed by ear | transition | walking |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Eddie Sings) | 0:19:30 - Eddie arrives home | advance plot | arriving | cheerful | leading man | on-screen music | room | singing | source music | transcribed by ear |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Eddie Sings) | 0:20:44 - Eddie eats | advance plot | cheerful | eating | humming | leading man | on-screen music | room | source music | transcribed by ear |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Dream Sequence) | 0:20:51 - Eddie dreams | advance plot | augmented sixth chord | cheerful | double exposure | dreaming | dream sequence | eating | fragmentation | frantic | half-diminished 7th chord | humming | leading man | room | scored source music | sequence | source music |
Are These Our Children? (1931) | Dreams (Whole Tone) | 0:21:11 - A view of the city | dreaming | leading man | montage | pedal tone | room | somber | whole-tone scale |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Whistling) | 0:23:11 - Eddie walks away | advance plot | cheerful | leading man | on-screen music | source music | street | transcribed by ear | walking | whistling |
Are These Our Children? (1931) | Introduction | 0:24:14 - Boys in the washroom | advance plot | conversing | dance hall | friend | leading man | mysterious | transcribed by ear |
Are These Our Children? (1931) | Dreams (Washroom Sequence) | 0:24:25 - Eddie talks with his friends | advance plot | chromatic parallelism | common-tone diminished 7th | conversing | dance hall | friend | leading man | score to source | somber | source music | transcribed by ear |
Are These Our Children? (1931) | Moonbeams | 0:25:39 - Eddie dances with Flo | added-note chord | altered dominant | common-tone diminished 7th | dance hall | dance scene | dancing | leading man | love interest | mode mixture | on-screen music | parallel double period | romantic | source music | waltz |
Are These Our Children? (1931) | Moonbeams (Dream Sequence) | 0:27:23 - Eddie takes Flo home | added-note chord | advance plot | double exposure | dream sequence | entering | friend | hectic | kissing | leading man | mode mixture | romantic | source to score | street | transcribed by ear | waltz |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Moderato) | 0:27:59 - Eddie walks outside | cheerful | leading man | leaving | source to score | street | transition |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Whistling) | 0:28:36 - Eddie arrives home | cheerful | leading man | on-screen music | source music | street | transition | walking | whistling |
Are These Our Children? (1931) | Dreams (Montage) | 0:29:57 - Eddie drinks | angry | diminished 7th chord | double exposure | dreaming | dream sequence | drinking | fragmentation | gun | hectic | leading man | montage | pedal tone | room | sequence |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Listesso Tempo) | 0:30:13 - Eddie commits a crime | angry | chromatic scale | double exposure | dreaming | dream sequence | fragmentation | hectic | leading man | montage | room |
Are These Our Children? (1931) | Moonbeams (Flashback) | 0:30:18 - Eddie dances with Flo | dance hall | dancing | double exposure | dream sequence | flashback | hectic | leading man | love interest | montage | room | waltz |
Are These Our Children? (1931) | Underscoring (Dark) | 0:30:25 - Eddie attacks boy | arguing | clock | dark | diminished 7th chord | double exposure | dream sequence | fighting | kissing | leading man | love interest | mickey-mousing | montage | ominous | pedal tone | stinger | ticking |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Flo Sings) | 0:32:32 - Flo sings | advance plot | cheerful | leading man | love interest | singing | source music | train | train | traveling |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Eddie Sings) | 0:40:40 - The boys leave the scene of the crime | friend | leading man | murderer | murder scene | nervous | singing | source music | street | walking |
Are These Our Children? (1931) | St. James Infirmary | 0:41:24 - Young people lounging around | advance plot | Dixieland | friend | lazy | leading man | lounging | love interest | murderer | radio | room | source music |
Are These Our Children? (1931) | St. James Infirmary | 0:42:08 - Young people talking | advance plot | conversing | Dixieland | friend | lazy | leading man | love interest | murderer | radio | room | source music |
Are These Our Children? (1931) | Hey! Hey! | 0:50:14 - Eddie and Flo dance | 9th chord | AABA structure | altered dominant | augmented sixth chord | cheerful | dance hall | dance scene | dancing | friend | leading man | love interest | murderer | on-screen music | source music |
Are These Our Children? (1931) | Makes You Forget Your Troubles | 0:50:55 - Young people dancing | AABA structure | arguing | augmented sixth chord | cheerful | common-tone diminished 7th | dance hall | dance scene | dancing | friend | leading man | love interest | murderer | on-screen music | source music |
Are These Our Children? (1931) | Stars and Stripes Forever | 0:52:14 - Young people cavorting in the street | advance plot | cheerful | dancing | drunk | friend | leading man | love interest | murderer | on-screen music | singing | source music | street |
Are These Our Children? (1931) | Makes You Forget Your Troubles | 0:53:07 - Drunken young people | advance plot | cheerful | dancing | drunk | friend | hallway | leading man | love interest | murderer | on-screen music | singing | source music |
Are These Our Children? (1931) | Dreams (Risoluto 2) | 0:53:55 - Newspaper headlines | advance plot | arresting | dark | detective | double exposure | fragmentation | friend | headline | leading man | love interest | murderer | newspaper | ominous | room | sequential modulation | spinning | thematic transformation | underscoring |
Are These Our Children? (1931) | Dreams (Eddie’s Prayer) | 1:22:14 - Eddie behind bars | added-note chord | climax | crying | dramatic | jail | leading man | murderer | praying | prisoner | religious | sacred |
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) | 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) | Here Comes the Bride | 0:19:52 - Mortimer at the window seat | advance plot | familiar tune | groom | leading man | on-screen music | room | source music | upbeat | whistling |
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) | Jonathan | 0:23:14 - Mortimer reacts to the reveal | calling | conversing | dialing | diminished 7th chord | groom | leading man | ominous | pc set | quartal chord | reveal | room | sinister | stinger | telephone effect | thinking | turning point |
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) | Break the News to Mother | 0:29:30 - Mortimer listens to Teddy sing | advance plot | brother | cheerful | crazy person | familiar tune | groom | leading man | on-screen music | room | singing | source music |
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) | Jonathan 2 | 0:40:30 - Jonathan enters the house | arriving | chromatic scale | chromatic wedge | close-up | criminal | dark | dissonant bass | establish character | leading man | observing | ominous | pc set | room | walking | zoom in |
Arsenic and Old Lace (1944) | Scar | 0:40:54 - The scar on Jonathan's face | close-up | criminal | dark | establish character | horn flare | leading man | observing | ominous | pc set | polychord | room | scar |
Arsenic and Old Lace (1944) | Home Sweet Home (Ominous) | 0:41:03 - Jonathan looks around the house | added-note chord | augmented triad | brother | conversing | crazy person | criminal | dark | dissonant bass | distortion | doctor | establish character | familiar tune | leading man | observing | ominous | room |
Arsenic and Old Lace (1944) | Scar (Misterioso) | 0:41:31 - They see the food | brother | conversing | crazy person | criminal | doctor | establish character | leading man | mysterious | observing | pc set | polychord | room |
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) | Underscoring (Tense) | 0:49:45 - Jonathan follows Dr. Einstein | advance plot | altered dominant | brother | conversing | crazy person | criminal | digging | dissonant bass | doctor | familiar tune | leading man | march | murderer | on-screen music | patriotic tune | pc set | plotting | room | source and scoring overlap | tense | tone cluster | whistling |
Arsenic and Old Lace (1944) | When Johnny Comes Marching Home | 0:49:45 - Dr. Einstein spies on Teddy | advance plot | brother | crazy person | criminal | dark | digging | doctor | familiar tune | leading man | march | murderer | on-screen music | patriotic tune | room | source and scoring overlap | tense | whistling |
Arsenic and Old Lace (1944) | Scar (Dark) | 0:50:14 - Jonathan and Dr. Einstein watch Teddy dig | advance plot | brother | conversing | crazy person | criminal | dark | digging | dissonant bass | doctor | familiar tune | leading man | march | murderer | on-screen music | patriotic tune | room | source and scoring overlap | watching | whistling |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:50:20 - Jonathan and Dr. Einstein talk | advance plot | brother | crazy person | criminal | digging | doctor | familiar tune | leading man | march | murderer | Neapolitan | on-screen music | parallel 63s | patriotic tune | pedal tone | plotting | room | source and scoring overlap | tense | whistling |
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) | Underscoring (Tense) | 0:54:30 - Jonathan goes up the stairs | advance plot | brother | crazy person | darkness | leading man | murderer | mysterious | room | sneaking | tense | tone cluster | underscoring | walking |
Arsenic and Old Lace (1944) | Underscoring (Dark) | 0:56:27 - Einstein looks around in the dark | advance plot | brother | crazy person | dark | darkness | descending | doctor | leading man | match | murderer | plotting | room | sneaking | underscoring |
Arsenic and Old Lace (1944) | Blows out match | 0:56:48 - Einstein blows out the match | advance plot | blowing | brother | crazy person | darkness | doctor | extinguishing | leading man | match | mickey-mousing | murderer | room | tense | whole-tone scale |
Arsenic and Old Lace (1944) | Jonathan 2 (Dark) | 0:57:04 - Jonathan exits | advance plot | brother | chromatic scale | chromatic wedge | conversing | crazy person | dark | darkness | dissonant bass | doctor | falling | leading man | murderer | mysterious | pc set | polychord | room | stinger |
Arsenic and Old Lace (1944) | Underscoring (Tense) | 0:58:10 - Someone knocks at the door | advance plot | brother | chromatic scale | conversing | corpse | crazy person | darkness | doctor | knocking | leading man | murderer | pc set | room | sequence | sneaking | tense | underscoring |
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) | Symphony No. 5: I | 1:27:02 - Teddy plays the bugle | advance plot | crazy person | familiar tune | groom | leading man | playing | room | singing | startled |
Arsenic and Old Lace (1944) | Molto Agitato | 1:29:57 - Jonathan ties Mortimer to a chair | 9th chord | brother | captive | chromatic parallelism | conflict | crazy person | diminished 7th chord | doctor | dramatic | fear | gagging | leading man | mickey-mousing | murderer | room | stinger | tying | victim |
Arsenic and Old Lace (1944) | The Victim | 1:30:11 - Mortimer tied up in a chair | brother | captive | conflict | crazy person | doctor | fear | leading man | murderer | ominous | parallel fifths | quartal chord | room | tense | tone cluster | torturing | tritone | victim |
Arsenic and Old Lace (1944) | Knives | 1:31:05 - Mortimer looks at the knives | acceleration | brother | captive | chromatic parallelism | close-up | conflict | crazy person | diminution | doctor | fear | layering | leading man | murderer | ominous | oscillation | ostinato | pc set | polychord | room | tense | tone cluster | torturing | victim |
Arsenic and Old Lace (1944) | Panic | 1:31:48 - Einstein agrees to do the torture | alcohol | brother | captive | chromatic parallelism | chromatic scale | conflict | crazy person | doctor | dramatic | fear | leading man | murderer | oscillation | panicked | panicking | polychord | room | sequence | split-third chord | tense | torturing | victim |
Arsenic and Old Lace (1944) | Scar (Fast) | 1:32:11 - Einstein finds some wine | alcohol | brother | captive | conflict | crazy person | doctor | dramatic | fear | hurrying | leading man | murderer | panicking | polychord | room | tense | torturing | victim |
Arsenic and Old Lace (1944) | How Dry I Am (Mysterious) | 1:32:25 - Einstein and Jonathan start to drink the wine | alcohol | brother | captive | conflict | crazy person | doctor | drinking | familiar tune | fear | leading man | murderer | mysterious | polychord | room | victim | whole-tone chord |
Arsenic and Old Lace (1944) | Underscoring (Tense) | 1:32:35 - They toast to Mortimer | alcohol | brother | captive | clinking | conflict | crazy person | doctor | fear | glass effect | leading man | murderer | mysterious | pc set | polychord | room | tense | toasting | underscoring | victim |
Arsenic and Old Lace (1944) | Bugle Call | 1:32:56 - Teddy plays the bugle | brother | bugle | bugle call | captive | conflict | crazy person | doctor | dramatic | fear | leading man | murderer | on-screen music | playing | room | source music | victim |
Arsenic and Old Lace (1944) | Bugle Call | 1:49:14 - Mortimer blows the bugle | bugle | bugle call | climax | dramatic | leading man | on-screen music | playing | room | source music |
Arsenic and Old Lace (1944) | Happy Land | 1:50:41 - Mortimer sings | bugle call | climax | leading man | on-screen music | room | singing | source music | upbeat |
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) | Underscoring (Mysterious) | 0:05:09 - A fish in a stream | countryside | doctor | establish setting | fish | fishing | flashback | leading man | mysterious | underscoring | voice-over |
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) | Loyalton 2 (Andante) | 0:22:47 - Lewis helps a patient | advance plot | doctor | gentle | healing | helping | leading man | patient | room | sickness | somber | tender |
Beyond the Forest (1949) | Underscoring (Gentle) | 0:23:29 - Lewis arrives home | advance plot | arriving | doctor | gentle | leading man | room | tender | underscoring |
Beyond the Forest (1949) | Lewis (Triste) | 0:23:53 - Lewis at home | advance plot | arriving | doctor | leading man | room | tender | tense |
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) | Lewis (Moderato Quasi Rubato) | 0:42:23 - Lewis talks to some men | advance plot | calm | conversing | doctor | leading man | room | somber | source and scoring overlap | street | townsfolk | walking | warm |
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) | 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) | 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) | 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 (Sombre) | 1:17:53 - Lewis talks to a patient | advance plot | conversing | doctor | leading man | mysterious | office | patient | working |
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) | 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) | 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) | 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) | Underscoring (Tense) | 0:01:01 - Sign for the Sternwood mansion | arriving | butler | establish character | leading man | mansion | private eye | room | tense | underscoring |
The Big Sleep (1946) | Walking | 0:01:26 - Carmen walks down the stairs | arriving | daughter | deceptive resolution | descending | establish character | femme fatale | leading man | mysterious | parallelism | pedal tone | private eye | room | walking |
The Big Sleep (1946) | Flirtation | 0:01:42 - Carmen flirts with Marlowe | chromatic parallelism | chromatic scale | comical | daughter | establish character | femme fatale | flirting | half-diminished 7th chord | leading man | private eye | room |
The Big Sleep (1946) | Marlowe | 0:02:01 - Marlowe gives Carmen a fake name | added-note chord | comical | common-tone dominant 7th | daughter | establish character | femme fatale | flirting | leading man | private eye | room |
The Big Sleep (1946) | Marlowe (Sly) | 0:02:12 - Marlowe and Carmen talk | daughter | establish character | femme fatale | flirting | leading man | mysterious | private eye | room |
The Big Sleep (1946) | Carmen falls | 0:02:20 - Carmen falls into Marlowe's arms | daughter | diminished 7th chord | establish character | falling | femme fatale | flirting | leading man | mickey-mousing | playful | private eye | room | whole-tone chord |
The Big Sleep (1946) | Carmen | 0:02:21 - Carmen in Marlowe's arms | daughter | establish character | femme fatale | flirting | half-diminished 7th chord | leading man | mysterious | oscillation | private eye | room | whole-tone chord |
The Big Sleep (1946) | Sternwood | 0:02:31 - Carmen walks away | 9th chord | added-note chord | altered dominant | bluesy | daughter | establish character | femme fatale | leading man | Neapolitan | private eye | retardation | room | seductive | walking |
The Big Sleep (1946) | Underscoring (Tense) | 0:02:45 - Marlowe goes to meet Sternwood | 9th chord | altered dominant | butler | chromatic scale | establish character | leading man | private eye | room | tense | underscoring | walking |
The Big Sleep (1946) | Walking | 0:13:02 - Marlowe leaves the mansion | butler | leading man | mysterious | parallelism | pedal tone | private eye | room | transition | walking |
The Big Sleep (1946) | Chevalier Audubon | 0:13:14 - Marlowe writes on note card | advance plot | heroic | leading man | library | private eye | researching | writing |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 0:13:20 - Marlowe goes to talk to librarian | advance plot | leading man | library | mysterious | pedal tone | private eye | researching | writing |
The Big Sleep (1946) | Walking | 0:13:39 - Marlowe walks down the street | advance plot | calm | investigating | leading man | parallelism | pedal tone | private eye | street | walking |
The Big Sleep (1946) | Marlowe (Grazioso) | 0:13:46 - Marlowe puts on a disguise | added-note chord | advance plot | disguise | disguising | half-diminished 7th chord | leading man | mysterious | private eye | street |
The Big Sleep (1946) | Walking (Extended) | 0:15:03 - Marlowe walks across the street | advance plot | calm | chromatic sequence | foreign key modulation | fragmentation | investigating | leading man | parallelism | pedal tone | private eye | street | walking |
The Big Sleep (1946) | Waiting | 0:18:15 - Marlowe talks to lady in bookstore | added-note chord | altered dominant | book shop | chromatic scale | conversing | leading man | love interest | love scene | mode mixture | mysterious | oscillation | private eye | romantic |
The Big Sleep (1946) | Marlowe (Agitato) | 0:19:05 - Marlowe gets in his car | added-note chord | car | following | leading man | mysterious | private eye | rain | street | tense | transition |
The Big Sleep (1946) | Car | 0:19:13 - Car arrives at Geiger's house | car | driving | leading man | mysterious | private eye | rain | street | tense | transition |
The Big Sleep (1946) | Marlowe (Misterioso) | 0:19:40 - Marlowe pulls up in his car | arriving | car | half-diminished 7th chord | investigating | leading man | mysterious | private eye | rain | street | tense | transition |
The Big Sleep (1946) | Marlowe 2 | 0:19:47 - Marlowe spies on the house | car | chromatic scale | investigating | investigation scene | leading man | mysterious | private eye | rain | street | tense | waiting |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 0:20:17 - Marlowe gets out to see the second car | car | investigating | investigation scene | leading man | mysterious | pedal tone | private eye | rain | street | tense | walking |
The Big Sleep (1946) | Carmen | 0:20:39 - Marlowe sees Carmen's name on the car registration | car | half-diminished 7th chord | investigating | investigation scene | leading man | mysterious | name on screen | oscillation | private eye | rain | street | tense | whole-tone chord |
The Big Sleep (1946) | Action | 0:21:04 - Marlowe runs to the house | action scene | antagonist | chromatic parallelism | chromatic scale | chromatic sequence | chromatic wedge | diminished 7th chord | dramatic | hurrying | leading man | pc set | private eye | running | street | tense | underscoring |
The Big Sleep (1946) | Marlowe (Heroic) | 0:21:28 - Marlowe enters the house | 9th chord | action scene | breaking in | heroic | inversion | leading man | private eye | running | street |
The Big Sleep (1946) | Underscoring (Mysterious) | 0:23:44 - Marlowe investigates the crime scene | chromatic scale | investigating | investigation scene | leading man | mysterious | private eye | room | underscoring |
The Big Sleep (1946) | Marlowe (Augmented) | 0:23:56 - Marlowe investigates the crime scene | altered dominant | augmentation | investigating | investigation scene | leading man | mickey-mousing | mysterious | private eye | room | snapping | thinking |
The Big Sleep (1946) | Underscoring (Mysterious) | 0:24:05 - Marlowe advances | chromatic scale | investigating | investigation scene | leading man | mickey-mousing | mysterious | private eye | room | searching | whole-tone chord |
The Big Sleep (1946) | Underscoring (Mysterious) | NIF - not in film | added-note chord | alternation | deleted scene | deleted scene | half-diminished 7th chord | investigating | investigation | leading man | mickey-mousing | mysterious | private eye | room | searching | underscoring | whole-tone chord |
The Big Sleep (1946) | Turns light on | NIF - not in film | deleted scene | deleted scene | investigating | investigation | leading man | light | light switch | mickey-mousing | mysterious | private eye | room | searching | turning on | whole-tone chord |
The Big Sleep (1946) | Turns light on | NIF - not in film | deleted scene | deleted scene | investigating | investigation | leading man | light | light switch | mickey-mousing | mysterious | private eye | room | searching | turning on | whole-tone chord |
The Big Sleep (1946) | Water running | NIF - not in film | deleted scene | deleted scene | faucet | flowing | half-diminished 7th chord | investigating | investigation | leading man | mickey-mousing | mysterious | oscillation | private eye | room | searching | water |
The Big Sleep (1946) | Walking | NIF - not in film | deleted scene | deleted scene | investigating | investigation | leading man | mysterious | parallelism | pedal tone | private eye | room | searching | tense |
The Big Sleep (1946) | Underscoring (Tense) | NIF - not in film | deleted scene | deleted scene | investigating | investigation | leading man | mysterious | private eye | room | searching | tense |
The Big Sleep (1946) | Carmen (Clues) | NIF - not in film | clue | deleted scene | deleted scene | half-diminished 7th chord | investigating | investigation | key | leading man | mysterious | oscillation | private eye | room | searching | tense | whole-tone chord |
The Big Sleep (1946) | Walking (Extended) | NIF - not in film | deleted scene | deleted scene | foreign key modulation | investigating | investigation | leading man | mysterious | parallelism | pedal tone | private eye | room | searching | tense | walking |
The Big Sleep (1946) | Marlowe (Investigating) | NIF - not in film | added-note chord | deleted scene | deleted scene | dramatic | investigating | investigation | leading man | private eye | room | searching | sequential modulation | tense |
The Big Sleep (1946) | Underscoring (Dramatic) | NIF - not in film | deleted scene | deleted scene | diminished 7th chord | dramatic | investigating | investigation | leading man | private eye | room | searching | tense |
The Big Sleep (1946) | Underscoring (Mysterious) | 0:24:09 - Marlowe searches for clues | investigating | investigation scene | leading man | mysterious | pc set | private eye | room | searching | secret code | whole-tone chord |
The Big Sleep (1946) | Turning page | 0:24:20 - Marlowe turns the page in the code book | chromatic scale | clue | investigating | investigation scene | leading man | mysterious | private eye | room | searching | secret code | turning | whole-tone chord |
The Big Sleep (1946) | Carmen (Foreboding) | 0:24:22 - Marlowe sees the name Sternwood in a code book | added-note chord | clue | foreboding | investigating | investigation scene | leading man | name on screen | private eye | room | searching | secret code |
The Big Sleep (1946) | Marlowe (Thinking) | 0:24:26 - Marlowe tries to solve the mystery | added-note chord | chromatic parallelism | chromatic scale | clue | investigating | investigation scene | leading man | mysterious | private eye | room | secret code | thinking |
The Big Sleep (1946) | Marlowe (Risoluto) | 0:24:39 - Marlowe searches for clues | added-note chord | chromatic parallelism | fragmentation | investigating | investigation scene | leading man | private eye | resolved | room | searching |
The Big Sleep (1946) | Underscoring (Dramatic) | 0:24:57 - Dead body on the floor | corpse | death | dramatic | femme fatale | investigating | investigation scene | leading man | private eye | room | searching | stinger | tense | underscoring |
The Big Sleep (1946) | Carmen (Drugged) | NIF - not in film | deleted scene | femme fatale | helping | investigation | leading man | mysterious | oscillation | ostinato | private eye | room | tense | tritone oscillation | whole-tone chord |
The Big Sleep (1946) | Turns light off | NIF - not in film | deleted scene | femme fatale | investigation | leading man | light | light switch | mysterious | private eye | room | tense | turning off | whole-tone chord |
The Big Sleep (1946) | Walking (The Car) | NIF - not in film | car | deleted scene | driving | femme fatale | foreign key modulation | leading man | parallelism | pedal tone | private eye | room | sequential modulation | tense | transition |
The Big Sleep (1946) | Carmen | NIF - not in film | arriving | butler | chromatic mediant | deleted scene | femme fatale | leading man | private eye | room | tense | transition |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 0:25:05 - Marlowe arrives at Carmen's house | arriving | butler | departing | dissonant bass | femme fatale | inserted scene | leading man | not in score | private eye | reused recording | room | tense | transition |
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) | Hurrying | 0:27:25 - Marlowe goes back to Geiger's house | chromatic sequence | half-diminished 7th chord | investigating | investigation scene | leading man | mysterious | parallelism | private eye | street | walking |
The Big Sleep (1946) | Marlowe (Misterioso) | 0:27:44 - Marlowe returns to the scene of the crime | arriving | investigating | investigation scene | leading man | mysterious | private eye | room |
The Big Sleep (1946) | Marlowe 2 (Blood Stain) | 0:27:54 - Marlowe discovers that the body is missing | 11th chord | chromatic scale | investigating | investigation scene | leading man | private eye | room | tense |
The Big Sleep (1946) | Marlowe (Sneaking) | 0:28:16 - Marlowe investigates the crime scene | dark | dissonant bass | investigating | investigation scene | leading man | mysterious | private eye | room | sneaking | tritone |
The Big Sleep (1946) | Marlowe (Major) | 0:28:47 - Marlowe's name on his apartment door | arriving | leading man | mode mixture | mysterious | name on screen | noble | private eye | room | sequential modulation | transition |
The Big Sleep (1946) | Entering | NIF - not in film | arriving | augmented sixth chord | deleted scene | entering | gentle | leading man | not in score | parallel 63s | parallelism | private eye | room | transition | walking |
The Big Sleep (1946) | Marlowe (Melancholy) | NIF - not in film | added-note chord | arriving | deleted scene | leading man | melancholy | not in score | private eye | room | transition |
The Big Sleep (1946) | Underscoring (Tense) | 0:28:58 - Marlowe tries to crack the code | leading man | pc set | private eye | researching | room | tense | threat | transition | tritone | writing |
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) | Marlowe (Ear Music) | 0:38:26 - Marlowe talks with Agnes | arguing | book shop | chromatic scale | fragmentation | investigation scene | leading man | private eye | secretary | tense | whole-tone chord |
The Big Sleep (1946) | Hurrying | 0:38:45 - Marlowe walks to a cab | car | car | driver | hurrying | investigation scene | leading man | mysterious | private eye | taxi | tense | walking |
The Big Sleep (1946) | Marlowe (Taxi) | 0:39:05 - Marlowe talks to the lady cab driver | 9th chord | car | car | chromatic scale | driver | driving | following | investigation scene | leading man | mysterious | private eye | taxi | tense |
The Big Sleep (1946) | Station Wagon | 0:39:16 - Marlowe follows a station wagon | car | car | driver | driving | following | investigation scene | leading man | mysterious | private eye | taxi | tense |
The Big Sleep (1946) | Walking 2 | 0:39:25 - Marlowe walks to the house | half-diminished 7th chord | investigating | investigation scene | leading man | mysterious | pc set | private eye | street | tense | walking |
The Big Sleep (1946) | Hurrying | 0:39:41 - Marlowe walks back to the cab | fragmentation | hurrying | investigation scene | leading man | mysterious | parallelism | private eye | sequence | street | tense | walking |
The Big Sleep (1946) | Girl Driver | 0:39:53 - Marlowe pays the lady cab driver | bluesy | chromatic parallelism | chromatic sequence | flirting | investigation scene | leading man | love interest | private eye | seductive | street |
The Big Sleep (1946) | Marlowe (Ear Music) | 0:46:52 - Marlowe thinks | advance plot | chromatic scale | fragmentation | leading man | mysterious | private eye | room | tense | thinking | whole-tone chord |
The Big Sleep (1946) | Marlowe (Decisive) | 0:47:04 - Marlowe walks out the door | added-note chord | advance plot | bold | decisive | leading man | leaving | pedal tone | private eye | room |
The Big Sleep (1946) | Marlowe 2 (Waiting) | 0:47:11 - Marlowe waits in his car | 9th chord | car | driving | investigation scene | leading man | mysterious | private eye | tense | waiting |
The Big Sleep (1946) | Car | 0:47:32 - Another car arrives | arriving | driving | investigation scene | leading man | mysterious | ostinato | private eye | street | tense | waiting |
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 (Mysterious) | 0:48:15 - Marlowe talks to Joe Brody | blackmailer | chromatic parallelism | conversing | criminal | gun | investigation scene | leading man | mysterious | private eye | room | suspect | underscoring |
The Big Sleep (1946) | Marlowe (Augmented) | 0:48:55 - Joe pulls a gun on Marlowe | altered dominant | augmentation | blackmailer | conversing | criminal | gun | investigation scene | leading man | mysterious | private eye | room | suspect |
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) | Running out | 0:56:36 - Marlowe runs after the killer | assassin | chase scene | chasing | chromatic scale | combination of themes | dramatic | gun | gunshot | leading man | mickey-mousing | murder | murderer | private eye | room | running | stairs | stinger |
The Big Sleep (1946) | Down the Stairs + The Chase + Marlowe (Action) | 0:56:39 - Marlowe chases the killer | assassin | chase scene | chasing | chromatic parallelism | chromatic scale | descending | dissonant bass | dramatic | gun | gunshot | heroic | layering | leading man | murderer | private eye | room | running | stairs | tense |
The Big Sleep (1946) | Underscoring (Dramatic) | 0:56:54 - Killer shoots at Marlowe | assassin | chase scene | chasing | chromatic scale | dramatic | leading man | murderer | pc set | private eye | running | shooting | street | tense | underscoring | whole-tone | whole-tone chord | whole-tone scale |
The Big Sleep (1946) | Marlowe (Action) | 0:57:01 - Marlowe runs to his car | 64 chord | assassin | augmented sixth chord | chase scene | chasing | common-tone diminished 7th | dramatic | fragmentation | heroic | leading man | murderer | private eye | running | sequential modulation | street | tense |
The Big Sleep (1946) | The Pursuit | 0:57:09 - Marlowe pursues killer in his car | assassin | car | chase scene | chasing | chromatic scale | dissonant bass | driving | gun | hiding | leading man | murderer | ostinato | private eye | pursuing | street | syncopation | tense |
The Big Sleep (1946) | Marlowe (Sinister) | 0:58:24 - Marlowe takes Carol to Geiger's house | arriving | assassin | conflict | dark | gun | leading man | murderer | private eye | punching | sinister | stinger | street | whole-tone chord |
The Big Sleep (1946) | Marlowe (Misterioso) | 0:59:14 - Marlowe ties up Carol | assassin | corpse | dark | half-diminished 7th chord | investigating | investigation scene | leading man | murderer | mysterious | pc set | private eye | room | rope | stinger | tying up |
The Big Sleep (1946) | Marlowe (Ear Business) | 0:59:42 - Marlowe pulls on his ear | added-note chord | corpse | fragmentation | investigating | investigation scene | leading man | mysterious | private eye | room | thinking |
The Big Sleep (1946) | Marlowe 2 (Dialing) | 0:59:47 - Marlowe walks to the phone | calling | chromatic scale | corpse | dialing | half-diminished 7th chord | investigating | investigation scene | leading man | mysterious | private eye | room | spinning | tense |
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) | Marlowe (Phone Call) | NIF - not in film | advance plot | bold | calling | cut from film | deleted scene | deleted scene | dialing | leading man | phone | private eye | room | sequence | tense | whole-tone chord |
The Big Sleep (1946) | Carmen | NIF - not in film | advance plot | burning | calling | cut from film | deleted scene | deleted scene | half-diminished 7th chord | leading man | mysterious | phone | private eye | room | tense | whole-tone chord |
The Big Sleep (1946) | Carmen (Clues) | NIF - not in film | advance plot | calling | cut from film | deleted scene | deleted scene | leading man | mysterious | phone | private eye | room | tense | whole-tone chord |
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) | Wotta Life | 1:08:09 - Marlowe talks to Mars | 12-bar blues | advance plot | club | criminal | investigating | leading man | private eye | source music | suspect | 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 (Not in Film) | NIF - not in film | 9th chord | 11th chord | advance plot | conversing | cut from film | femme fatale | leading man | private eye | room |
The Big Sleep (1946) | Drops hat | NIF - not in film | 9th chord | advance plot | cut from film | dropping | femme fatale | hat | leading man | mickey-mousing | private eye | room |
The Big Sleep (1946) | Sternwood (Extended) | NIF - not in film | added-note chord | advance plot | altered dominant | chromatic scale | conversing | cut from film | femme fatale | leading man | private eye | room | whole-tone chord |
The Big Sleep (1946) | Underscoring (Tense) | NIF - not in film | advance plot | chromatic parallelism | conversing | cut from film | diminished 7th chord | femme fatale | leading man | oscillation | private eye | room | tritone | underscoring | whole-tone chord |
The Big Sleep (1946) | You! | NIF - not in film | advance plot | chromatic scale | conversing | cut from film | femme fatale | fragmentation | leading man | private eye | room | tone cluster |
The Big Sleep (1946) | Marlowe (Major) | NIF - not in film | advance plot | chromatic parallelism | conversing | cut from film | femme fatale | leading man | mode mixture | pc set | private eye | room |
The Big Sleep (1946) | Bites hand | NIF - not in film | advance plot | biting | chromatic parallelism | cut from film | femme fatale | leading man | mickey-mousing | pc set | private eye | room | stinger |
The Big Sleep (1946) | Carmen (Not in Film) | NIF - not in film | advance plot | conversing | cut from film | femme fatale | leading man | oscillation | private eye | room | whole-tone chord |
The Big Sleep (1946) | Marlowe (Thinking) | 1:20:49 - Marlowe sits in a diner | 11th chord | added-note chord | advance plot | café | chromatic parallelism | fragmentation | leading man | mysterious | private eye | tense | thinking |
The Big Sleep (1946) | Coin in phone | 1:21:04 - Marlowe puts a coin in the phone | advance plot | café | coin | diminished 7th chord | dropping | leading man | mickey-mousing | mysterious | phone call | private eye | telephone |
The Big Sleep (1946) | Phone dialing | 1:21:07 - Marlowe dials a phone number | 11th chord | advance plot | café | dialing | leading man | mickey-mousing | mysterious | ostinato | phone call | private eye | telephone | tense |
The Big Sleep (1946) | Underscoring (Mysterious) | 1:21:19 - Marlowe speaks on the phone | advance plot | café | chromatic scale | conversing | leading man | mysterious | pc set | phone call | 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) | Walking (Interrupted) | 1:22:27 - Marlowe walks down the street | investigating | investigation scene | leading man | parallelism | pedal tone | private eye | street | tense | walking |
The Big Sleep (1946) | Marlowe (Investigating) | 1:22:38 - Marlowe looks at car registration | added-note chord | investigating | investigation scene | leading man | mysterious | private eye | punching | sequence | street | tense |
The Big Sleep (1946) | Jones | 1:23:24 - Jones enters | advance plot | chromatic parallelism | leading man | mysterious | parallelism | pedal tone | private eye | street | tense | walking |
The Big Sleep (1946) | Marlowe (Beaten) | 1:23:35 - Jones helps Marlowe up | advance plot | chromatic parallelism | dazed | half-diminished 7th chord | leading man | lifting | mickey-mousing | pain | private eye | rising | street | whole-tone chord | whole-tone scale |
The Big Sleep (1946) | Marlowe (Dazed) | 1:23:48 - Marlowe recovers | advance plot | conversing | dazed | leading man | pain | private eye | street | whole-tone chord |
The Big Sleep (1946) | Recovering | 1:24:06 - Jones helps Marlowe up | advance plot | augmented triad | conversing | impressionism | leading man | mysterious | pain | private eye | street | whole-tone chord | whole-tone scale |
The Big Sleep (1946) | Marlowe (Sostenuto) | 1:24:25 - Marlowe cleans up | advance plot | half-diminished 7th chord | leading man | pain | private eye | recovering | room | somber | tender | weary |
The Big Sleep (1946) | Walking (Hesitant) | 1:26:55 - Marlowe walks into a building | fragmentation | hallway | investigation scene | leading man | neutral | pain | parallelism | pedal tone | private eye | sequential modulation | walking |
The Big Sleep (1946) | Jones (Eavesdropping) | 1:27:22 - Marlowe hears Jones talking to someone | chromatic parallelism | eavesdropping | hallway | investigation scene | leading man | mysterious | parallelism | pedal tone | private eye | sneaking | tense |
The Big Sleep (1946) | Glass drops | 1:29:49 - Jones drops his glass | breaking | death | death scene | dropping | glass | leading man | mickey-mousing | murder | mysterious | pc set | poison | private eye | room | victim | violent |
The Big Sleep (1946) | Jones falls | 1:29:50 - Jones falls and dies | chromatic parallelism | death | death scene | dying | falling | leading man | major 7th chord | mickey-mousing | murder | mysterious | pc set | poison | private eye | room | victim | violent |
The Big Sleep (1946) | Underscoring (Tense) | 1:30:01 - Marlowe investigates the crime scene | dark | death | death scene | dying | leading man | murder | private eye | room | tense | underscoring | victim |
The Big Sleep (1946) | Marlowe (Risoluto) | 1:30:12 - Marlowe makes a phone call | added-note chord | bold | conversing | death scene | fragmentation | leading man | phone call | private eye | room | victim |
The Big Sleep (1946) | Underscoring (Tense) | 1:30:24 - Marlowe makes a phone call | conversing | death scene | leading man | pc set | phone call | private eye | room | tense | underscoring | victim | whole-tone chord |
The Big Sleep (1946) | Wrong Address | 1:30:46 - Marlowe ends the phone call | 9th chord | altered dominant | chromatic parallelism | conversing | death | death scene | half-diminished 7th chord | leading man | phone call | private eye | room | somber | victim |
The Big Sleep (1946) | Jones (Dolce) | 1:31:04 - Marlowe sits down on the couch | chromatic parallelism | death | death scene | leading man | mourning | parallelism | pedal tone | private eye | room | somber | victim |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 1:31:23 - Marlowe gets up to answer the phone | added-note chord | conversing | death scene | informer | leading man | mysterious | pedal tone | phone call | private eye | room |
The Big Sleep (1946) | Underscoring (Tense) | 1:31:48 - Marlowe talks to Agnes on the phone | conversing | death scene | informer | leading man | pc set | phone call | private eye | room | tense | underscoring |
The Big Sleep (1946) | Jones (Triste) | 1:32:02 - Marlowe leaves the office | death scene | informer | leading man | mourning | mysterious | parallelism | pedal tone | private eye | room | somber |
The Big Sleep (1946) | Door slam | 1:33:12 - Marlowe closes the car door | closing | half-diminished 7th chord | hurried | informer | leading man | mickey-mousing | private eye | slamming | street | tense | traveling scene |
The Big Sleep (1946) | Hurrying (Car) | 1:33:13 - Marlowe drives in a car | added-note chord | car | driving | hurried | leading man | parallelism | private eye | sequential modulation | street | tense | traveling scene |
The Big Sleep (1946) | Underscoring (Tense) | 1:33:20 - Marlowe backs the car up | car | driving | leading man | private eye | street | tense | traveling scene | underscoring |
The Big Sleep (1946) | Hurrying (Car) | 1:33:25 - Marlowe continues driving | added-note chord | car | driving | fragmentation | hurried | leading man | parallelism | picardy third | private eye | sequential modulation | street | tense | traveling scene |
The Big Sleep (1946) | Marlowe (Dramatic) | 1:33:37 - Marlowe looks at sign | 9th chord | altered dominant | car | dramatic | investigating | leading man | private eye | street | tense | traveling scene |
The Big Sleep (1946) | Hurrying (Car) | 1:33:50 - Marlowe drives off the road | car | chromatic scale | driving | fragmentation | hurried | leading man | private eye | sequence | street | tense | traveling scene |
The Big Sleep (1946) | He skids | 1:33:53 - Marlowe's car skids to a stop | car | chromatic scale | leading man | mickey-mousing | private eye | skidding | street | tense | traveling scene |
The Big Sleep (1946) | Underscoring (Tense) | 1:35:26 - Marlowe talks to two thugs | conflict | criminal | investigating | leading man | lying | murderer | pc set | private eye | shop | tense | underscoring |
The Big Sleep (1946) | Jones (Suspenseful) | 1:35:47 - Marlowe talks to two thugs | conflict | criminal | dark | diminution | investigating | leading man | lying | murderer | mysterious | parallelism | pedal tone | private eye | shop | suspenseful |
The Big Sleep (1946) | Marlowe (Ear Music) | 1:36:04 - Marlowe talks to two thugs | conflict | criminal | danger | fragmentation | investigating | leading man | lying | murderer | mysterious | private eye | shop | tense | whole-tone chord |
The Big Sleep (1946) | Marlowe (Gets Hit) | 1:36:20 - The thug punches Marlowe | chromatic scale | conflict | criminal | danger | dramatic | leading man | mickey-mousing | murderer | private eye | punching | shop | whole-tone chord |
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) | Marlowe (Hiding) | 1:41:50 - Marlowe crouches behind a car | action scene | criminal | hiding | leading man | mysterious | outside | private eye |
The Big Sleep (1946) | Marlowe (Shoots) | 1:42:07 - Marlowe shoots off to the side | action scene | gun | gunshot | leading man | outside | private eye | shooting | tense |
The Big Sleep (1946) | Marlowe (Echo) | 1:42:20 - Canino shoots at Marlowe | action scene | criminal | gun | gunshot | half-diminished 7th chord | hiding | leading man | outside | private eye | shooting | tense |
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) | Marlowe (Danger) | 1:48:32 - Men approach the house | climax | fear | hiding | leading man | mysterious | ominous | pc set | planning | private eye | room | tense | tone cluster | underscoring | waiting |
The Big Sleep (1946) | Marlowe (Misterioso) | 1:48:55 - Marlowe sneaks up behind Mars | climax | criminal | fear | hiding | leading man | mysterious | private eye | room | sneaking | tense |
The Big Sleep (1946) | Marlowe 2 | 1:49:05 - Marlowe holds a gun on Mars | climax | criminal | fear | leading man | mysterious | ominous | private eye | room | sneaking | tense |
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) | La Adelita | 0:09:56 - A Mexican village at night | arriving | bar | bartender | conversing | establish setting | folk music | leading man | musician | on-screen music | performing | sailor | salesperson | selling | source music | street | 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) | Mi Mariposa | 0:15:21 - Harry talks to the bartender | advance plot | arguing | art song | bar | bartender | calm | conversing | leading man | on-screen music | sailor | source music |
The Breaking Point (1950) | Eres Mujer | 0:15:56 - Harry talks to Duncan | AABA structure | advance plot | bar | calm | conversing | criminal | leading man | on-screen music | performing | sailor | source music | tango | whispering |
The Breaking Point (1950) | En Mi Canto de Amor | 0:21:43 - Harry talks to Duncan | advance plot | bar | conversing | criminal | leading man | planning | pleasant | sailor | source music |
The Breaking Point (1950) | Make Love With a Guitar | 0:33:28 - Harry arrives home | advance plot | arriving | calm | child | conversing | leading man | musician | neighbor | on-screen music | room | sailor | source music | street | wife | yard |
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) | Humming | 0:54:33 - Wesley and Harry work on the boat | arriving | calm | criminal | friend | harbor | humming | leading man | on-screen music | sailor | source music | transition | walking | working |
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 |
His Greatest Gamble (1934) | Bavardage | 0:01:10 - The beach | AABA structure | beach | casino | establish character | establish place | establish setting | gambler | gambling | leading man | luggage | pleasant | roulette wheel | transcribed by ear | upbeat |
His Greatest Gamble (1934) | Morning Glory Waltz (Tender) | 0:02:35 - Philip in the casino | casino | child | conversing | establish character | gentle | leading man | leaving | transcribed by ear | waltz |
His Greatest Gamble (1934) | Home Sweet Home | 0:03:14 - Philip and Alice go home | child | establish character | gentle | humming | leading man | on-screen music | room | sleeping | source music |
His Greatest Gamble (1934) | The Chase 1 | 0:29:26 - Philip escapes from prison | augmented triad | dark | escaping | frantic | leading man | montage | montage | prisoner | sequence | train | transcribed by ear | traveling | whole-tone scale |
His Greatest Gamble (1934) | The Chase 2 | 0:29:44 - Montage of Philip's escape | boat | dark | frantic | leading man | montage | montage | parallelism | prisoner | transcribed by ear | traveling |
His Greatest Gamble (1934) | Russian Waltz | 0:30:05 - Philip arrives at Florence's home | 9th chord | arriving | calm | chromatic sequence | common-tone diminished 7th | establish setting | fugitive | leading man | mansion | mode mixture | on-screen music | piano | playing | pleasant | source music | waltz | wandering |
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) | 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 |
His Greatest Gamble (1934) | Morning Glory Waltz (The End) | 1:10:18 - Philip leaves | detective | end title sequence | fugitive | leading man | leaving | mode mixture | secondary dominant | transcribed by ear | triumphant | waltz |
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) | Tone Poem A | 0:10:50 - Eddie plays the piano | brother | composer | conversing | establish character | leading man | musician | piano | playing | romantic | room | score to source | source music | transcribed by ear |
City for Conquest (1940) | Tone Poem A (Very Broad) | 0:12:16 - Eddie plays the piano | 13th chord | brother | chromatic parallelism | chromatic scale | composer | conversing | describing | dissonant bass | establish character | explaining | leading man | musician | name of film | pentatonic | piano | playing | romantic | room | source music | transcribed by ear |
City for Conquest (1940) | Tone Poem A (Unattainable Stars) | 0:12:37 - Eddie plays the piano | brother | chromatic parallelism | composer | conversing | describing | establish character | explaining | leading man | musician | piano | playing | romantic | room | somber | source music | transcribed by ear |
City for Conquest (1940) | Tone Poem A | 0:13:03 - Eddie plays the piano | 9th chord | 11th chord | 13th chord | brother | common-chord modulation | composer | conversing | deceptive resolution | establish character | leading man | musician | piano | playing | romantic | room | source music | transcribed by ear |
City for Conquest (1940) | My Old Kentucky Home | 0:16:04 - Mickey sings to himself | advance plot | boxer | calm | conversing | folk music | leading man | locker room | manager | singing | source music |
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 | 0:23:07 - 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) | Tone Poem A | 0:27:25 - Eddie composes at the piano | advance plot | brother | composer | composing | leading man | musician | on-screen music | parallelism | piano | playing | romantic | room | source music | transcribed by ear |
City for Conquest (1940) | Tone Poem A | 0:27:40 - Eddie plays the piano | 13th chord | advance plot | brother | composer | composing | leading man | musician | on-screen music | piano | playing | romantic | room | source music | transcribed by ear |
City for Conquest (1940) | Tone Poem A | 0:27:59 - Eddie plays the piano | 9th chord | 13th chord | advance plot | brother | composer | composing | deceptive resolution | enharmonic respelling | leading man | musician | on-screen music | piano | playing | romantic | room | source music | transcribed by ear |
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) | Tone Poem Train Whistle | 0:34:28 - Danny on the train | added-note chord | blaring | hurried | leading man | mickey-mousing | montage | ostinato | pc set | rushing | train | train | traveling |
City for Conquest (1940) | Liberty Day | 0:39:41 - Old timer talks to worker | boxer | boxing ring | celebrating | contrasting double period | conversing | crowd | fanfare | leading man | manager | montage | parallel double period | source music | upbeat |
City for Conquest (1940) | Negra Consentida | 0:41:21 - The Carleton Plaza Towers | advance plot | arriving | boxer | dance band | dancer | dancing | leading man | musician | on-screen music | parallel double period | party | playing | source music | upbeat |
City for Conquest (1940) | Tone Poem A | 0:42:10 - Eddie plays the piano | 9th chord | 11th chord | 13th chord | advance plot | boxer | brother | common-chord modulation | composer | conversing | crowd | deceptive resolution | leading man | musician | on-screen music | party | piano | playing | romantic | source music | transcribed by ear |
City for Conquest (1940) | Tone Poem A (Stride Piano) | 0:43:27 - Eddie plays the piano | 9th chord | 11th chord | 13th chord | added-note chord | advance plot | augmented sixth chord | boxer | brother | chord substitution | common-tone diminished 7th | composer | conversing | crowd | foreign key modulation | leading man | mode mixture | musician | on-screen music | parallelism | party | piano | playing | ragtime | source music | syncopation | 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) | 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) | Miramar | 1:00:44 - Danny prepares for a fight | advance plot | boxer | conversing | leading man | locker room | manager | march | parallel double period | preparing | source music | upbeat |
City for Conquest (1940) | Where Were You When the Moon Came Out | 1:19:38 - Danny resting in bed | advance plot | blur | brother | composer | dancing | leading man | listening | musician | on-screen music | parallel double period | playing | room | singer | singing | source music | upbeat | victim |
City for Conquest (1940) | Where Were You When the Moon Came Out (Sad) | 1:20:48 - Eddie plays the piano | advance plot | altered dominant | blur | brother | composer | leading man | musician | on-screen music | playing | room | sentimental | source music | victim | watching |
City for Conquest (1940) | Tone Poem A (The Song of the City) | 1:23:05 - Eddie plays the piano | 9th chord | 13th chord | advance plot | brother | common-chord modulation | composer | diminished 7th chord | leading man | listening | musician | on-screen music | playing | romantic | room | source music | transcribed by ear | victim |
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 B | 1:35:43 - Danny listens to the radio | 9th chord | added-note chord | audience | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | excited | Gershwinesque | leading man | listening | Mixolydian mode | musician | newspaper | newspaper stand | on-screen music | orchestra | playing | pump-up modulation | radio | source music | street | watching |
City for Conquest (1940) | Tone Poem Train Whistle | 1:35:50 - Danny listens to the radio | added-note chord | bold | concert | concert scene | dissonant bass | excited | fragmentation | Gershwinesque | leading man | listening | on-screen music | pc set | pump-up modulation | radio | source music | street |
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 (Tutti 2) | 1:36:41 - Danny's figure appears in the concert hall | 9th chord | 13th chord | AABA structure | added-note chord | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | crying | deceptive resolution | double exposure | dramatic | Gershwinesque | leading man | listening | mode mixture | musician | on-screen music | orchestra | playing | romantic | sentimental | smiling | source music | watching | zoom out |
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) | 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) | Reform School Drill | 0:33:18 - Reform school boys exercise outside | comedy | cut from film | deceptive resolution | exercising | exercising music | foreign key modulation | gang | jogging | leading man | polychord | reformatory | split-third chord | teenager | upbeat | warden |
Crime School (1938) | Reform School Drill | 0:34:09 - Reform school boys exercise outside | comedy | deceptive resolution | exercising | exercising music | foreign key modulation | gang | jogging | leading man | polychord | reformatory | teenager | upbeat | warden |
Crime School (1938) | Reform School Drill (Coda) | 0:35:01 - Reform school boys exercise outside | comedy | exercising | gang | jogging | leading man | reformatory | teenager | upbeat | warden |
Crime School (1938) | Underscoring (Gentle) | 0:35:46 - Mark visits Frankie in the sick room | advance plot | caring | conversing | dark | hospital | leading man | reformatory | teenager | tender | underscoring | warden |
Crime School (1938) | Marks | 0:36:14 - Mark looks at the whip marks on Frankie's back | advance plot | dark | hospital | leading man | looking | reformatory | teenager | violence | warden | wounded |
Crime School (1938) | The Warden (Punishment) | 0:36:22 - Warden defends his punishment | advance plot | chromatic wedge | conversing | dark | evil | hospital | leading man | reformatory | teenager | warden | whole-tone chord |
Crime School (1938) | Underscoring (Subtle) | 0:37:09 - Transition to cafeteria | advance plot | conversing | hospital | leading man | reformatory | somber | teenager | underscoring | warden |
Crime School (1938) | The Discus Thrower | 0:48:52 - Spike announces his "work of art" | announcing | comedy | fun | gang | hero | interruption | leading man | reformatory | showman | teenager |
Crime School (1938) | Underscoring (Gentle) | 0:49:10 - Mark comes into the room | comedy | conversing | gang | gentle | hero | leading man | paint | parallelism | reformatory | teenager | underscoring |
Crime School (1938) | Spots | 0:49:20 - Squirt has spots on his pajamas | 9th chord | chromatic parallelism | comedy | comical | conversing | gang | hero | leading man | mickey-mousing | paint | reformatory | spots | teenager | tense |
Crime School (1938) | Unveiling the statue | 0:49:31 - Mark takes the veil off of the statue | 64 chord | chromatic parallelism | chromatic wedge | comedy | gang | hero | leading man | mickey-mousing | reformatory | teenager | tense | uncovering | unveiling |
Crime School (1938) | Marble statue | 0:49:40 - Fats talks to Mark | comedy | comical | gang | hero | leading man | mickey-mousing | reformatory | statue | teasing | teenager |
Crime School (1938) | Underscoring (Gentle) | 0:49:47 - Mark talks about making this room their home | comedy | deceptive resolution | gang | gentle | hero | leading man | leaving | pedal tone | reformatory | teasing | teenager | underscoring | whole-tone chord |
Crime School (1938) | The Warden (Office) | 0:51:05 - The guard enters to talk to Mark | comedy | dramatic | hero | leading man | marching | police | reformatory | walking |
Crime School (1938) | Laughing | 0:51:11 - Mark laughs at the guard covered with paint | comedy | comical | hero | laughing | leading man | mickey-mousing | police | reformatory |
Crime School (1938) | Underscoring (Dramatic) | 0:56:50 - Mark goes to rescue Squirt | action scene | altered dominant | boiler room | chromatic parallelism | dissonant bass | dramatic | hero | leading man | linear chromaticism | reformatory | rushing | saving | teenager | tense | underscoring |
Crime School (1938) | Going down | 0:57:05 - Mark descends into the boiler room | action scene | descending | dramatic | hero | leading man | mickey-mousing | reformatory | stairs | teenager | tense |
Crime School (1938) | Temperature rising 2 | 0:57:12 - The temperature gauge rises | action scene | altered dominant | boiler room | chromatic parallelism | danger | dramatic | gauge | heat | hero | leading man | mickey-mousing | reformatory | rising | teenager | temperature | tense |
Crime School (1938) | Explosion | 0:57:21 - Mark pulls Squirt out of the boiler room | action scene | ascending | boiler room | destruction | dissonant bass | dramatic | exploding | explosion | hero | leading man | mickey-mousing | reformatory | rising | stairs | teenager | tense | tone cluster |
Crime School (1938) | Mark Saves Boy | 0:57:29 - Mark carries Squirt up the stairs | action scene | ascending | authentic cadence | dissonant bass | hero | heroic | leading man | mickey-mousing | reformatory | rising | stairs | teenager | walking |
Crime School (1938) | Sue (Hospital) | 0:57:38 - The doctor takes care of Squirt in the hospital | advance plot | calm | conversing | doctor | hero | hospital | leading man | nurse | peaceful | reformatory | teenager | treating |
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 |
Crime School (1938) | Underscoring (Dramatic) | 1:15:31 - Frankie fights Spike | agitated | arguing | chromatic scale | conflict | dissonant bass | fighting | gang | hero | leading man | sequence | street | teenager | underscoring |
Crime School (1938) | Resolution | 1:22:31 - Sue enters the room | 42 chord | antagonist | calm | chromatic parallelism | chromatic scale | comical | conversing | hero | leading man | reformatory | resolution | resolution | tense | tritone |
They Made Me a Criminal (1939) | So Help Me (If I Don't Love You) | 0:05:54 - Johnnie and Goldie relaxing | drinking | floozy | jaunty | kissing | leading man | murder scene | popular song | radio | room | source music |
They Made Me a Criminal (1939) | When a Prince of a Fella Meets a Cinderella | 0:06:23 - Johnnie talks to his manager | dancing | drinking | floozy | jaunty | laughing | leading man | murder scene | parallel double period | partying | radio | room | source music |
They Made Me a Criminal (1939) | Saving Myself For You (I've Been) | 0:08:02 - Johnnie at a party | AABA structure | attacking | conversing | drinking | fighting | floozy | jaunty | leading man | murder | murdering | murder scene | partying | radio | room | source music | violence |
They Made Me a Criminal (1939) | The Awakening | 0:14:48 - Johnnie wakes up | advance plot | chromatic scale | confusion | deceptive resolution | leading man | metric modulation | mysterious | octatonic chord | octatonic scale | pc set | room | waking | whole-tone chord |
They Made Me a Criminal (1939) | Reading | 0:15:29 - Johnnie reads a newspaper | advance plot | chromatic scale | dissonant bass | leading man | newspaper | reading | room | tense | whole-tone chord |
They Made Me a Criminal (1939) | Underscoring (Dramatic) | 0:16:01 - Johnnie rushes inside | advance plot | chromatic scale | dramatic | leading man | minor-major 7th chord | newspaper | room | rushing | underscoring |
They Made Me a Criminal (1939) | Underscoring (Somber) | 0:22:16 - Close-up on Johnnie | advance plot | leading man | money | realizing | room | somber | stinger | underscoring |
They Made Me a Criminal (1939) | Traveling | 0:22:25 - Johnnie becomes a fugitive | 9th chord | added-note chord | altered dominant | countryside | double exposure | dramatic | leading man | map | mickey-mousing | money | montage | montage | purchasing | street | traveling | walking |
They Made Me a Criminal (1939) | Train | 0:22:47 - A rushing train and a map | dramatic | leading man | mickey-mousing | montage | montage | motoric | polychord | train | train | traveling | whistle |
They Made Me a Criminal (1939) | The Fugitive (Traveling) | 0:22:51 - Johnnie's plodding feet | chromatic scale | chromatic wedge | countryside | desert | dissonant bass | dramatic | leading man | linear chromaticism | map | mickey-mousing | money | montage | montage | traveling | walking | whole-tone | whole-tone chord |
They Made Me a Criminal (1939) | The Fugitive (Triste) | 0:23:12 - Johnnie at a diner | 9th chord | advance plot | diner | leading man | money | somber | thinking | underscoring |
They Made Me a Criminal (1939) | Drops money | 0:23:19 - Johnnie drops his money | advance plot | diner | dropping | leading man | mickey-mousing | money | somber |
They Made Me a Criminal (1939) | Underscoring (Mysterious) | 0:23:21 - Men at the diner stand up | added-note chord | advance plot | diner | dissonant bass | fighting | half-diminished 7th chord | leading man | linear chromaticism | money | mysterious | sitting | sneaking | underscoring | whole-tone chord |
They Made Me a Criminal (1939) | Steps on money | 0:23:30 - A man steps on Johnnie's money | advance plot | diner | half-diminished 7th chord | leading man | mickey-mousing | money | mysterious | stepping |
They Made Me a Criminal (1939) | Jumps off train | 0:24:21 - Johnnie jumps off the moving train | advance plot | diminished 7th chord | dissonant bass | dramatic | escaping | jumping | leading man | mickey-mousing | train | train |
They Made Me a Criminal (1939) | The Fugitive | 0:24:29 - Johnnie walks | 9th chord | advance plot | altered dominant | desert | foreign key modulation | leading man | Neapolitan | tired | traveling | walking | wandering |
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) | The Fugitive (Fainting) | 0:26:32 - Johnnie stumbles and faints | 9th chord | dark | deceptive resolution | dissonant bass | establish character | fainting | falling | foreign key modulation | leading man | ranch | tired | tragic | walking |
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) | Underscoring (Tense) | 0:28:51 - The sheriff comes in | conflict | dark | diminished 7th chord | entering | fear | leading man | room | sheriff | surprise | tense | underscoring |
They Made Me a Criminal (1939) | The Fugitive (Excitedly) | 0:29:07 - Johnnie talks to the sheriff | anxiety | anxious | conflict | leading man | linear chromaticism | lying | room | sheriff |
They Made Me a Criminal (1939) | The Fugitive (Relieved) | 0:29:25 - Johnnie listens to the sheriff | altered dominant | conflict | conversing | leading man | peaceful | room | tranquil |
They Made Me a Criminal (1939) | The Fugitive (Leaving) | 0:29:45 - Johnnie prepares to leaves | conflict | foreign key modulation | leading man | ranch | room | sneaking | yearning |
They Made Me a Criminal (1939) | Jumps out of window | 0:30:00 - Johnnie jumps out of the window | conflict | jumping | leading man | mickey-mousing | ranch | window |
They Made Me a Criminal (1939) | Underscoring (Dramatic) | 0:30:01 - Johnnie sneaks away | 64 chord | conflict | dramatic | leading man | mysterious | ranch | sneaking |
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) | By a Waterfall | 0:55:35 - A shower sign | advance plot | cheerful | comical | hero | leading man | on-screen music | popular music | ranch | showering | singing | source music | teenager | whistling |
They Made Me a Criminal (1939) | Underscoring (Dramatic) | 0:56:17 - Johnnie sees his picture in the paper | angry | arguing | chromatic parallelism | dissonant bass | dramatic | fighting | half-diminished 7th chord | hero | leading man | mickey-mousing | photograph | ranch | teenager | tense | turning point | underscoring |
They Made Me a Criminal (1939) | The Arena | 1:01:22 - A fight poster | advance plot | augmented sixth chord | dark | detective | fanfare | leading man | light | polytonality | poster | street | thinking |
They Made Me a Criminal (1939) | Marcia Grotesque | 1:01:48 - Johnnie talks to another boxer | advance plot | altered dominant | comical | conversing | hero | leading man | march | mode mixture | room |
They Made Me a Criminal (1939) | Underscoring (Tense) | 1:02:14 - Johnnie overhears the detective | advance plot | chromatic scale | detective | dissonant bass | hiding | leading man | ominous | room | tense | underscoring |
They Made Me a Criminal (1939) | The Fugitive (Hiding) | 1:02:31 - Detective buys tickets to Johnnie's match | advance plot | detective | hiding | leading man | pedal tone | room | suspenseful | tense |
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) | The Fugitive (Let Down) | 1:06:51 - The boys talk about Johnnie | added-note chord | arguing | conflict | criticizing | foreign key modulation | leading man | room | somber | teenager |
They Made Me a Criminal (1939) | The Fugitive (Going Away) | 1:07:38 - Tommy talks to Johnnie | conflict | leading man | lonely | packing | room | somber | teenager | thinking |
They Made Me a Criminal (1939) | On the Make (Tenderly) | 1:07:57 - Tommy talks to Johnnie | 9th chord | ABAB structure | altered dominant | arguing | chromatic mediant | conversing | direct modulation | foreign key modulation | hero | leading man | room | tender | turning point |
They Made Me a Criminal (1939) | On the Make (Lohenblueish) | 1:09:07 - Johnnie decides that he will stay | added-note chord | augmentation | chromatic mediant | direct modulation | foreign key modulation | hero | hopeful | hopeless | leading man | linear chromaticism | passionate | room | thinking | turning point | zoom in |
They Made Me a Criminal (1939) | The Fugitive (Religioso) | 1:09:41 - Johnnie looks at a picture | 9th chord | hero | leading man | Neapolitan | room | tender | thinking | turning point |
They Made Me a Criminal (1939) | Inspiration | 1:09:53 - Johnnie has an inspiration | boxing | foreign key modulation | gentle | hero | idea | inspiration | leading man | pedal tone | pump-up modulation | room | shadow | thinking | turning point |
They Made Me a Criminal (1939) | The Whip | 1:10:16 - People at the carnival | arena | boxer | cheerful | entering | excited | fighting | hero | leading man | march | sitting | source music | sport scene | teenager |
They Made Me a Criminal (1939) | World's Record | 1:13:45 - Boxers prepare for the fight | arena | boxer | cheerful | conversing | excited | hero | leading man | march | parallel double period | source music | sport scene |
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 |
They Made Me a Criminal (1939) | The Fugitive (Ending) | 1:30:23 - A train rushes away | detective | foreign key modulation | leading man | mode mixture | optimistic | passionate | plagal cadence | resolution | resolution | running | teenager | train station | triumphant |
They Made Me a Criminal (1939) | Running | 1:30:35 - Johnnie runs to Tommy | leading man | mickey-mousing | optimistic | passionate | resolution | resolution | running | teenager | train station | triumphant |
Deep Valley (1947) | Homestead (Moderato 2) | 0:18:58 - A truck arrives | arriving | bright | calm | car | crew | driving | leading man | lovers meet | street |
Deep Valley (1947) | Homestead (Walking) | 0:19:15 - Jeff arrives at the farm | bright | crew | leading man | lovers meet | street | walking |
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) | Law | 0:23:19 - Guard taking Barry to a shed | arriving | conflict | construction site | convict | dark | guard | leading man | march | stinger | walking |
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 (Tense) | 0:40:24 - Barry in the woods | advance plot | convict | forest | fugitive | leading man | searching | tense | underscoring |
Deep Valley (1947) | Barry (Hiding) | 0:40:45 - Barry hides | advance plot | convict | forest | fugitive | leading man | mysterious | rushing | tense |
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 (Misterioso) | 0:41:27 - Barry goes to the cabin | advance plot | convict | forest | fugitive | leading man | mysterious | searching |
Deep Valley (1947) | Barry (Dark) | 0:41:38 - Barry explores the cabin | advance plot | cabin | convict | fugitive | leading man | mysterious | searching | tense |
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) | 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) | Law (Slowly) | 1:06:18 - Lawmen advance | action scene | convict | forest | fugitive | leading man | love interest | manhunt | police | searching | serious | walking |
Deep Valley (1947) | Underscoring (Dramatic) | 1:06:48 - Barry reacts to gunshots | action scene | cabin | convict | dramatic | forest | fugitive | gunfight | hiding | leading man | loading | love interest | manhunt | police | shooting | stinger | tense | underscoring |
Deep Valley (1947) | Law | 1:07:20 - Barry tries to escape | action scene | cabin | convict | dramatic | fugitive | hiding | leading man | love interest | manhunt | police | retreating | shooting | tense |
Deep Valley (1947) | Barry | 1:07:25 - Barry climbs out of a hole | action scene | cabin | climbing | convict | dramatic | escaping | fugitive | leading man | love interest | manhunt | police | tense |
Deep Valley (1947) | Jumping down | 1:07:32 - Barry jumps off the roof | action scene | cabin | convict | dramatic | fugitive | jumping | leading man | love interest | manhunt | mickey-mousing | police | tense |
Deep Valley (1947) | Law | 1:07:34 - Lawmen pursue after Barry | action scene | chasing | convict | dramatic | escaping | fanfare | forest | fugitive | leading man | love interest | manhunt | police | running | tense |
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) | 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) | 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) | My Bonnie Lies Over the Ocean | 1:21:19 - Barry listens at the door | advance plot | barn | cheerful | convict | father | fugitive | leading man | love interest | singing |
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) | Car Crash | 1:37:49 - Barry's car runs off the road | car | climax | convict | crashing | dramatic | driving | falling | fleeing | fugitive | leading man | love interest | mickey-mousing | street | swerving |
Deep Valley (1947) | Underscoring (Dramatic) | 1:37:57 - Jeff gets up and looks around | car | climax | climbing | convict | dramatic | fleeing | fugitive | leading man | love interest | mickey-mousing | police | searching | street | transcribed by ear | underscoring |
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) | Barry (Not in Score) | 1:38:32 - The posse chases after Barry | chasing | climax | convict | dramatic | fleeing | forest | fugitive | leading man | love interest | police | running | shooting | tense | transcribed by ear |
Deep Valley (1947) | Underscoring (Tense) | 1:38:41 - Barry is shot | climax | convict | dramatic | falling | forest | fugitive | injury | leading man | love interest | police | stinger | tense | underscoring |
Deep Valley (1947) | Law | 1:38:44 - The posse chases after Barry | chasing | climax | convict | dramatic | fleeing | forest | fugitive | injury | leading man | love interest | police | running | tense |
Deep Valley (1947) | Barry is shot | 1:38:57 - Barry is shot | climax | convict | dramatic | falling | forest | fugitive | injury | leading man | love interest | mickey-mousing | police | shooting |
Deep Valley (1947) | Law (Searching) | 1:39:05 - The posse closes in on Barry | chasing | climax | convict | dramatic | forest | fugitive | hiding | injury | leading man | love interest | police | searching |
Deep Valley (1947) | Underscoring (Tense) | 1:39:09 - Barry hides | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | police | searching | tense | underscoring |
Deep Valley (1947) | Law (Subtle) | 1:39:20 - The posse searches for Barry | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | police | searching | tense |
Deep Valley (1947) | Law | 1:39:28 - Barry crawls on the ground | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | police | searching | tense |
Deep Valley (1947) | Barry (Dark 2) | 1:39:35 - Barry hides | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | mysterious | police | tense |
Deep Valley (1947) | Underscoring (Dramatic) | 1:40:00 - Barry hides | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | mysterious | police | searching | tense |
Deep Valley (1947) | Law (Misterioso) | 1:40:10 - Barry hides | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | mysterious | searching | tense |
Deep Valley (1947) | Barry (Misterioso 2) | 1:40:17 - Barry runs | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | somber | stumbling | tense |
Deep Valley (1947) | Barry (Triste) | 1:40:30 - Barry at the creek | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | somber |
Deep Valley (1947) | Molto Expressivo | 1:40:35 - Barry at the creek | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | somber |
Deep Valley (1947) | Sunrise | 1:40:46 - The sun rises | climax | convict | dramatic | forest | fugitive | hiding | injury | leading man | love interest | sunrise effect |
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) | 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) | Mysterioso | 0:02:00 - Warden talks to Joe | conversing | drone | establish character | leading man | mysterious | parallelism | polytonality | prison | prisoner | warden |
Dust Be My Destiny (1939) | Dust Be My Destiny (Injustice) | 0:02:29 - Joe reacts to the warden | 9th chord | 64 chord | agitated | chromatic parallelism | conversing | dramatic | establish character | injustice | leading man | prison | prisoner | warden |
Dust Be My Destiny (1939) | Marching | 0:10:10 - Inmates marching | establish location | leading man | march | marching | parallelism | pedal tone | prison | prisoner | somber |
Dust Be My Destiny (1939) | Charlie | 0:10:58 - Charlie talks to inmates | conversing | dark | drunk | establish character | leading man | polychord | prison | prisoner | warden |
Dust Be My Destiny (1939) | Hiccough | 0:11:35 - Charlie hiccups | comical | drunk | establish character | hiccuping | leading man | mickey-mousing | prison | prisoner | warden |
Dust Be My Destiny (1939) | Cow | 0:11:39 - Man calls Charlie a cow | comical | cow | drunk | establish character | leading man | mickey-mousing | mooing | prison | prisoner | stinger | warden |
Dust Be My Destiny (1939) | Charlie (Extended) | 0:11:41 - Charlie talks to inmates | chromatic parallelism | dark | drunk | establish character | leading man | prison | prisoner | sequence | slapping | stinger | warden |
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) | Underscoring (Humorous) | 0:13:13 - Joe talks to the cow | barn | chromatic parallelism | comical | conversing | cow | diminished triad | dissonant bass | leading man | lovers meet | prisoner | underscoring |
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) | Train whistle | 0:17:18 - A distant train whistle sounds | advance plot | dissonant | leading man | mickey-mousing | pc set | prison | train whistle |
Dust Be My Destiny (1939) | Escape Plan | 0:17:23 - Joe talks with the boys | advance plot | leading man | pc set | prison | quotation | sincere |
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) | 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) | Whistling | 0:45:44 - Joe whistles as he walks | 64 chord | cheerful | chromatic mediant | deceptive resolution | foreign key modulation | leading man | on-screen music | scored source music | source music | street | traveling scene | whistling |
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 (Hiding) | 0:47:35 - Nick talks with Joe | 42 chord | advance plot | anxious | diminished 7th chord | diner | fragmentation | friend | hiding | leading man | money | runaway | shopkeeper | suspense |
Dust Be My Destiny (1939) | Underscoring (Tense) | 0:47:58 - Joe walks to the jail | 64 chord | friend | jail | jail break | leading man | runaway | shopkeeper | tense | underscoring | walking |
Dust Be My Destiny (1939) | Dust Be My Destiny (Sordini) | 0:48:21 - Joe talks to the jailer | chromatic parallelism | jail | jail break | leading man | major triad | mysterious | pedal tone | tense | warden |
Dust Be My Destiny (1939) | Underscoring (Tense) | 0:48:34 - Joe talks to the jailer | jail | jail break | leading man | pedal tone | tense | underscoring | warden |
Dust Be My Destiny (1939) | Dust Be My Destiny (Trickery) | 0:48:45 - Joe talks to the jailer | distortion | friend | half-diminished 7th chord | jail | jail break | leading man | parallelism | passerby | shopkeeper | tense | warden |
Dust Be My Destiny (1939) | Underscoring (Tense) | 0:49:05 - Joe enters the jail | 64 chord | jail | jail break | leading man | tense | underscoring | warden |
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) | Patrol | 0:55:50 - Cop checks on a shop | clock | crime scene | criminal | leading man | police | shopkeeper | street | tense |
Dust Be My Destiny (1939) | Dust Be My Destiny (Sehr Ominous) | 0:56:14 - Joe walks towards the shop | 9th chord | chromatic parallelism | crime scene | criminal | leading man | mysterious | sequence | shop | shopkeeper | street | walking |
Dust Be My Destiny (1939) | Cantor | 0:56:34 - Joe talks to a Jewish shopkeeper | 9th chord | crime scene | criminal | Gypsy minor scale | Jewish | kind | leading man | shop | shopkeeper |
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) | Underscoring (Dramatic) | 0:59:15 - A bank alarm sounds | 42 chord | 64 chord | action scene | bank | chromatic parallelism | chromatic scale | chromatic wedge | crowd | dramatic | leading man | photographer | robbery | shopkeeper | street | tone cluster | underscoring |
Dust Be My Destiny (1939) | Alarm | 0:59:15 - Alarm sounds | action scene | alarm | bank | crowd | dramatic | leading man | mickey-mousing | photographer | robbery | shopkeeper | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Heroic) | 0:59:42 - Joe takes pictures of the robbery | 42 chord | action scene | bank | chromatic scale | criminal | crowd | dramatic | fragmentation | gangster | leading man | photographer | retrograde | shopkeeper | street |
Dust Be My Destiny (1939) | Underscoring (Dramatic) | 0:59:53 - Police arrive at the scene | 64 chord | action scene | bank | chromatic scale | crowd | dramatic | leading man | police | street | underscoring |
Dust Be My Destiny (1939) | Buzzing | 1:01:05 - Men working in the dark room | 64 chord | action scene | added-note chord | buzzy | chromatic parallelism | dark room | enharmonic modulation | exciting | foreign key modulation | leading man | mode mixture | Neapolitan | newspaper | newspaper editor | parallelism | photographer | photography | pump-up modulation | Rimsky-Korsakov | working |
Dust Be My Destiny (1939) | Dust Be My Destiny (Mysterioso) | 1:05:26 - Joe talks to Mike | advance plot | chromatic parallelism | chromatic sequence | dark | leading man | linear chromaticism | newspaper editor | office | ominous | somber |
Dust Be My Destiny (1939) | Dust Be My Destiny (Relief) | 1:06:54 - Mike talks with Joe | advance plot | hopeful | leading man | mode mixture | newspaper editor | office | relieved |
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) | Underscoring (Dramatic) | 1:10:32 - Joe runs after the car | augmented triad | chromatic parallelism | chromatic scale | conflict | dramatic | gangster | half-diminished 7th chord | hero | leading man | mickey-mousing | newspaper editor | running | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Brave) | 1:10:38 - Joe jumps onto the car | action scene | augmented triad | car | chromatic parallelism | dramatic | fighting | gangster | hero | leading man | newspaper editor | street | whole-tone chord |
Dust Be My Destiny (1939) | Dust Be My Destiny (Heroic) | 1:10:32 - Joe heroically wrestles away the steering wheel | action scene | chromatic scale | dramatic | fighting | fragmentation | gangster | hero | leading man | newspaper editor | retrograde | street |
Dust Be My Destiny (1939) | Car crash | 1:10:55 - Gangsters crash the car | action scene | car | chromatic scale | crashing | dramatic | gangster | hero | leading man | mickey-mousing | newspaper editor | street |
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) | Underscoring (Mysterious) | 0:04:28 - Frank leaves the newspaper office | close-up | conflict | diminished 7th chord | gangster | hero | leading man | mysterious | reading | reporter | street | underscoring | watching |
Each Dawn I Die (1939) | Underscoring (Dramatic) | 0:04:55 - Frank is pushed into a car | car | chromatic scale | conflict | diminished 7th chord | dissonant bass | dramatic | fragmentation | gangster | gun | hero | kidnapping | leading man | pushing | reporter | street | underscoring | violence |
Each Dawn I Die (1939) | Underscoring (Dramatic) | 0:05:24 - Frank is framed for drunk driving | 9th chord | attacking | car | conflict | diminished 7th chord | dramatic | gangster | hero | leading man | minor second | murder | pushing | reporter | setup | street | underscoring | violence |
Each Dawn I Die (1939) | Hits with bottle | 0:05:26 - A bottle of alcohol is broken | 9th chord | bottle | breaking | conflict | dramatic | gangster | hero | leading man | mickey-mousing | reporter | street | violence |
Each Dawn I Die (1939) | Car Crash | 0:05:40 - Two cars crash | car | car crash | chromatic scale | conflict | crashing | explosion | frantic | hero | leading man | metric dissonance | minor second | reporter | street | tone cluster |
Each Dawn I Die (1939) | Confusion | 0:05:43 - Frank sits confused in car after crash | accusing | car | car crash | chromatic parallelism | chromatic scale | conflict | confused | crowd | dissonant bass | fire | glass | half-diminished 7th chord | hero | injury | leading man | reporter | running | street | yelling |
Each Dawn I Die (1939) | Underscoring (Dramatic) | 0:06:06 - Crowd accuses Frank of murder | 9th chord | accusing | car crash | conflict | crowd | dissonant bass | dramatic | hero | injury | leading man | linear chromaticism | police | reporter | sequence | shaking | street | underscoring | yelling |
Each Dawn I Die (1939) | Verdict | 0:08:19 - The verdict is delivered | banging | courtroom | courtroom scene | gavel | hero | judge | justice | lawyer | leading man | noble | parallelism | reporter | verdict |
Each Dawn I Die (1939) | Frank | 0:08:23 - Frank and Joyce embrace | appoggiatura | courtroom | courtroom scene | embracing | girlfriend | handcuffs | hero | leading man | mother | reporter | reverse picardy | tender |
Each Dawn I Die (1939) | Calendar Pages | 0:59:53 - Pages falling from a calendar | calendar | chromatic parallelism | diminished 7th chord | falling | leading man | mickey-mousing | montage | montage | mysterious | prisoner | sequence |
Each Dawn I Die (1939) | Clock ticking | 1:03:50 - Prisoners waiting | anxious | clock | leading man | mickey-mousing | montage | montage | polychord | prisoner | ticking | waiting |
Each Dawn I Die (1939) | Frank (Parole Denied) | 1:07:58 - Frank's parole is denied | 9th chord | common-tone diminished 7th | dark | despair | foreign key modulation | half-diminished 7th chord | hopeful | leading man | letter | prison | prisoner | reading | sigh gesture | solemn | turning point |
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) | 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) | South American Way | 0:22:08 - Field and Titus arrive at Lute Mae's Tavern | advance plot | club | dancer | dancing | gambling | leading man | musician | on-screen music | playing | police | politician | sheriff | source music | upbeat | waitress |
Flamingo Road (1949) | It Had to Be You | 0:23:44 - Politicians gamble and talk | ABAC structure | advance plot | club | gambling | leading man | police | politician | sentimental | sheriff | source music | waitress |
Flamingo Road (1949) | Somebody Loves Me | 0:25:19 - Politicians plot | AABA structure | advance plot | club | leading man | plotting | police | politician | sentimental | sheriff | source music |
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 (Extended) | 0:30:27 - Field overhears people talking about Titus | advance plot | chromatic sequence | dark | leading man | mysterious | newspaper | parallelism | reading | self-borrowing | street | townsfolk |
Flamingo Road (1949) | Titus (Inverted) | 0:33:27 - Field arrives at the café | arriving | breakup | café | inversion | leading man | ominous | self-borrowing | sheriff | telephone | worker |
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) | Titus 2 (Pete Lies) | 0:40:11 - Field asks why Lane was fired | advance plot | café | conversing | employer | leading man | mysterious | politician | self-borrowing |
Flamingo Road (1949) | If I Could Be With You (Somber) | 0:40:31 - Field talks to Lane's co-worker | 9th chord | 11th chord | advance plot | café | common-tone diminished 7th | conversing | coworker | deceptive resolution | diminished 7th chord | leading man | linear chromaticism | politician | reverse picardy | sigh gesture | somber |
Flamingo Road (1949) | Train | 0:42:28 - A rushing train | dark | dramatic | fiancée | leading man | montage | montage | ostinato | train | train | traveling |
Flamingo Road (1949) | Train + Titus (Rising) | 0:42:43 - Field and Annabelle in a train car | combination of themes | dark | dramatic | fiancée | leading man | montage | montage | ostinato | self-borrowing | sequence | train | train | traveling |
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) | Flamingo Road (Expressivo) | 1:02:07 - The gate to 32 Flamingo Road | 11th chord | added-note chord | arriving | gentle | husband | leading man | self-borrowing | sign | street | transition |
Flamingo Road (1949) | 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 | 1:04:55 - Titus insults Lane | advance plot | dark | leading lady | leading man | ominous | politician | room | self-borrowing | sheriff | threatening |
Flamingo Road (1949) | Titus | 1:06:35 - Titus leaves | advance plot | dark | leading man | leaving | ominous | politician | room | self-borrowing | sheriff |
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 (Tutti) | 1:08:05 - Titus and Field arrive at the construction site | arriving | dark | dominant 7th chord | half-diminished 7th chord | leading man | ominous | politician | self-borrowing | sheriff | street | transition |
Flamingo Road (1949) | Agitato (Angry) | 1:09:25 - Titus leaves | advance plot | agitated | angry | chromatic parallelism | chromatic scale | chromatic wedge | leading man | leaving | politician | polychord | sheriff | street | tense |
Flamingo Road (1949) | Titus + Titus 2 | 1:09:43 - Titus bullies Field | advance plot | bullying | chromatic parallelism | combination of themes | commanding | dark | leading man | ominous | ostinato | politician | self-borrowing | sheriff | street |
Flamingo Road (1949) | Titus (Menacing) | 1:09:59 - Titus and Field leave | advance plot | bullying | commanding | dark | leading man | menacing | ominous | politician | self-borrowing | sheriff | street |
Flamingo Road (1949) | Underscoring (Tense) | 1:11:26 - Field drinks | alcohol | arriving | bullying | conflict | dramatic | drinking | leading man | linear chromaticism | politician | room | sheriff | underscoring |
Flamingo Road (1949) | Titus (Ominous) | 1:11:44 - Titus argues with Field | arguing | bullying | conflict | drinking | leading man | mysterious | politician | room | self-borrowing | sheriff | tense |
Flamingo Road (1949) | Underscoring (Tense) | 1:11:51 - Titus argues with Field | arguing | bullying | conflict | drinking | leading man | politician | room | sheriff | tense | underscoring |
Flamingo Road (1949) | The Sheriff | 1:12:01 - Titus stands and walks | arguing | bullying | chromatic parallelism | conflict | dark | leading man | mickey-mousing | ominous | politician | room | self-borrowing | sheriff | standing |
Flamingo Road (1949) | Throwing whiskey and glass | 1:12:08 - Titus throws whiskey in Field's face | alcohol | breaking | bullying | conflict | dramatic | glass | leading man | mickey-mousing | politician | room | sheriff | slamming | splashing | throwing | tone cluster | whole-tone scale |
Flamingo Road (1949) | Titus (Violent) | 1:12:11 - Titus and Field argue | arguing | bullying | conflict | dark | leading man | ominous | politician | room | self-borrowing | sheriff | violent |
Flamingo Road (1949) | Underscoring (Dramatic) | 1:12:17 - Titus grabs Field and pushes him | bullying | conflict | dramatic | leading man | politician | pushing | room | sheriff | throwing | underscoring | violent |
Flamingo Road (1949) | Anger | 1:12:20 - Titus and Field face off | angry | arguing | bullying | chromatic parallelism | chromatic wedge | conflict | leading man | pc set | politician | room | self-borrowing | sheriff | tense |
Flamingo Road (1949) | Rising Anger | 1:12:26 - Titus throws open the door | angry | arguing | bullying | chromatic parallelism | conflict | diminished 7th chord | leading man | politician | room | self-borrowing | sheriff |
Flamingo Road (1949) | Underscoring (Dramatic) | 1:12:32 - Titus throws Field out the door | augmented triad | bullying | chromatic parallelism | conflict | dark | dramatic | leading man | politician | polychord | pushing | room | sheriff | throwing | underscoring |
Flamingo Road (1949) | Breaking door | 1:12:39 - Titus breaks the glass door | breaking | bullying | conflict | door | dramatic | leading man | mickey-mousing | politician | polychord | room | sheriff | smashing | window |
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 (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) | If I Could Be With You (Maestoso) | 1:26:31 - Dan reads a telegram about Field's death | advance plot | chromatic parallelism | diminished 7th chord | lawyer | leading man | linear chromaticism | politician | reading | suicide | telegram | tragic | train | violent |
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) | Underscoring (Dark) | 0:02:12 - Steve mentions a divorce and leaves | conductor score | conversing | dark | establish character | friend | investigator | leading man | street | underscoring |
Hell on Frisco Bay (1955) | Menace | 0:04:31 - Steve gets off the bus | dark | dock | establish setting | friend | investigator | leading man | leaving | menacing | transcribed by ear |
Hell on Frisco Bay (1955) | Steve | 0:04:44 - Steve wanders the docks | conductor score | dock | establish setting | investigator | leading man | noble | transcribed by ear | wandering |
Hell on Frisco Bay (1955) | Menace | 0:05:06 - Steve sees some boats | conductor score | dark | dock | establish setting | fanfare | investigator | leading man | transcribed by ear | wandering |
Hell on Frisco Bay (1955) | Menace 2 | 0:05:12 - Steve looks at the boats | brash | conductor score | dock | establish setting | investigator | leading man | transcribed by ear | wandering |
Hell on Frisco Bay (1955) | Steve | 0:05:25 - Steve wanders the dock | conductor score | dock | entering | establish setting | investigator | leading man | noble | transcribed by ear |
Hell on Frisco Bay (1955) | Steve | 0:11:11 - Steve knocks on door | advance plot | arriving | conductor score | investigator | leading man | pleasant | porch | walking |
Hell on Frisco Bay (1955) | Amato | 0:13:04 - Steve talks to man | advance plot | brash | conductor score | conversing | dark | investigator | leading man | ominous | porch |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:21:37 - Marcia on a poster | club | conductor score | establish character | investigator | leading man | romantic | walking |
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 | 0:24:15 - Steve goes home | advance plot | arriving | conductor score | leading man | room | sentimental |
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) | Picks up suitcase | 0:26:22 - Steve picks up his suitcase | advance plot | conductor score | hurried | leading man | mickey-mousing | picking up | room | rushing |
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) | Menace | 0:29:01 - Steve cleans up | advance plot | cleaning | conductor score | leading man | ominous | room |
Hell on Frisco Bay (1955) | Menace | 0:31:38 - Steve talks with the detective | advance plot | conductor score | conversing | dark | detective | investigator | leading man | ominous | room |
Hell on Frisco Bay (1955) | Menace 2 | 0:32:00 - Steve talks with the detective | advance plot | conductor score | conversing | dark | detective | investigator | leading man | ominous | room |
Hell on Frisco Bay (1955) | Steve | 0:32:34 - Steve investigates | advance plot | arriving | conductor score | investigator | leading man | neutral | street | walking |
Hell on Frisco Bay (1955) | Disappointment | 0:36:18 - Steve leaves | advance plot | conductor score | dark | disappointed | investigator | leading man | leaving | somber | street |
Hell on Frisco Bay (1955) | Steve | 0:38:01 - Steve shakes Georgie's hand | advance plot | cheerful | child | conductor score | gentle | investigator | leading man | street | thanking |
Hell on Frisco Bay (1955) | Adoramus te Christe | 0:38:32 - A funeral | church | conversing | friend | funeral | investigator | leading man | somber | source music |
Hell on Frisco Bay (1955) | Put 'Em in a Box, Tie 'Em with a Ribbon, and Throw 'Em in the Deep Blue Sea | 0:40:24 - A dance hall | advance plot | club | conversing | dancer | dancing | investigator | jazz | jazz band | leading man | on screen music | source music | upbeat |
Hell on Frisco Bay (1955) | How Many Hearts Have You Broken | 0:40:22 - A dance hall | advance plot | club | conversing | drowning | fighting | gangster | interrogating | investigator | jazz | leading man | mellow | source music |
Hell on Frisco Bay (1955) | Anna | 0:46:05 - Anna talks with Amato | antagonist | conductor score | conversing | establish character | gangster | gentle | leading man | room | sentimental | warning | wife | worrying |
Hell on Frisco Bay (1955) | Amato | 0:47:01 - Amato talks with Lye | advance plot | antagonist | brash | conductor score | conversing | gangster | harsh | leading man | room |
Hell on Frisco Bay (1955) | Face twitching | 0:47:44 - Amato talks with Lye | advance plot | antagonist | conductor score | conversing | gangster | leading man | room | uneasy |
Hell on Frisco Bay (1955) | Amato | 0:48:03 - Amato teases Lye | advance plot | agitated | antagonist | arguing | conductor score | gangster | leading man | room |
Hell on Frisco Bay (1955) | Amato | 0:48:11 - Amato threatens Lye | advance plot | antagonist | arguing | brash | conductor score | dark | gangster | leading man | room | threatening |
Hell on Frisco Bay (1955) | Menace | 0:49:04 - Amato paces | action scene | conductor score | dark | gangster | leading man | menacing | pacing | room |
Hell on Frisco Bay (1955) | Underscoring (Dramatic) | 0:51:36 - Amato yells at Steve | action scene | angry | arguing | conductor score | fighting | gangster | investigator | leading man | room | underscoring | violence | yelling |
Hell on Frisco Bay (1955) | Underscoring (Tense) | 0:52:13 - Dan waits for Steve | advance plot | conductor score | friend | gangster | investigator | leading man | pacing | street | tense | underscoring | waiting |
Hell on Frisco Bay (1955) | Steve | 0:52:23 - Steve arrives | advance plot | conductor score | conversing | friend | gangster | investigator | leading man | neutral | street |
Hell on Frisco Bay (1955) | Steve runs | 0:52:55 - Steve runs | advance plot | conductor score | gangster | investigator | leading man | mickey-mousing | running | street | tense |
Hell on Frisco Bay (1955) | Menace | 0:53:06 - Steve talks with Dan | advance plot | conductor score | conversing | dark | gangster | investigator | leading man | sinister | street |
Hell on Frisco Bay (1955) | Steve | 0:53:15 - Steve leaves | action scene | aiming | conductor score | dark | gangster | investigator | leading man | murderer | neutral | shooting | street | tense | walking |
Hell on Frisco Bay (1955) | Climbing and jumping | 0:53:27 - Steve runs from Hammy | action scene | climbing | conductor score | hiding | hurried | investigator | jumping | leading man | mickey-mousing | street | tense |
Hell on Frisco Bay (1955) | Menace | 0:53:30 - Hammy tries to escape | action scene | conductor score | dramatic | escaping | fleeing | gangster | hurried | investigator | leading man | murderer | running | shooting | street | tense |
Hell on Frisco Bay (1955) | Hammy Is Shot | 0:53:37 - Hammy falls to the ground | action scene | conductor score | dramatic | dying | falling | gangster | investigator | leading man | mickey-mousing | street | tragic |
Hell on Frisco Bay (1955) | Underscoring (Dark) | 0:53:50 - Steve questions Hammy | action scene | conductor score | dark | death | dying | gangster | investigator | leading man | questioning | stinger | street | underscoring |
Hell on Frisco Bay (1955) | Steve Arrives | 0:54:56 - Steve arrives at an apartment | arriving | conductor score | investigator | leading man | mickey-mousing | mysterious | street | tense | transition | walking |
Hell on Frisco Bay (1955) | Sneaking and following | 0:58:30 - Bessie sneaks away | chase scene | conductor score | descending | floozy | following | hiding | investigator | leading man | mysterious | sneaking | street | tense |
Hell on Frisco Bay (1955) | Menace | 0:58:48 - Bessie walks through the market | | agitated | chase scene | conductor score | dramatic | floozy | gangster | hurrying | investigator | leading man | mysterious | street | tense | walking |
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) | Menace | 1:04:15 - Steve answers the phone | advance plot | conductor score | dark | investigator | leading man | mysterious | room | waiting |
Hell on Frisco Bay (1955) | Steve | 1:04:47 - Steve hangs up the phone | advance plot | conductor score | dark | gentle | investigator | leading man | room | waiting |
Hell on Frisco Bay (1955) | Anna | 1:04:54 - Anna talks to Amato | advance plot | antagonist | conductor score | conversing | dark | gangster | gentle | leading man | room | wife |
Hell on Frisco Bay (1955) | Menace | 1:08:27 - Amato threatens Brody | advance plot | antagonist | conductor score | dark | gangster | leading man | street | threatening |
Hell on Frisco Bay (1955) | Amato | 1:08:39 - Amato arrives | advance plot | antagonist | arriving | brash | conductor score | dark | gangster | leading man | stinger | street |
Hell on Frisco Bay (1955) | Lye | 1:09:00 - Amato calls Lye | advance plot | antagonist | calling | conductor score | conversing | gangster | leading man | stinger | street | uneasy |
Hell on Frisco Bay (1955) | It Can't Be Wrong | 1:09:26 - Amato talks to Lye | advance plot | antagonist | calm | conversing | gangster | leading man | room | source music |
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) | Anna | 1:20:28 - Anna mourns Mario's death | conversing | crying | dark | funeral | funeral | gangster | leading man | wife |
Hell on Frisco Bay (1955) | Underscoring (Mysterious) | 1:24:05 - Amato calls detective | advance plot | calling | gangster | leading man | mysterious | room | statue | tense | underscoring |
Hell on Frisco Bay (1955) | Anna | 1:24:31 - Amato calls detective | advance plot | conversing | gangster | leading man | mysterious | religious | religious | room |
Hell on Frisco Bay (1955) | Menace | 1:24:38 - Amato talks to detective | advance plot | detective | gangster | leading man | mysterious | plotting | police station | tense |
Hell on Frisco Bay (1955) | Underscoring (Tense) | 1:24:53 - Amato talks to detective | advance plot | detective | gangster | leading man | plotting | police station | tense |
Hell on Frisco Bay (1955) | Amato | 1:25:21 - Amato sets up Lye and Kay | advance plot | betraying | detective | gangster | harsh | leading man | plotting | police station | tense |
Hell on Frisco Bay (1955) | Anna | 1:25:41 - Amato looks at the statue | advance plot | gangster | leading man | looking | mysterious | religious | room | tense |
Hell on Frisco Bay (1955) | Kay | 1:28:35 - Steve leaves with Kay | comforting | gentle | investigator | leading man | leaving | love interest | room | turning point | witness |
Hell on Frisco Bay (1955) | 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 (Dramatic) | 1:30:27 - Steve tells Anna that Mario was murdered | advance plot | conversing | dark | investigator | leading man | murder | ominous | priest | room | shock | wife |
Hell on Frisco Bay (1955) | Anna | 1:30:35 - Anna tells Steve where to find Amato | advance plot | betraying | conversing | dark | investigator | leading man | ominous | priest | room | somber | wife |
Hell on Frisco Bay (1955) | Menace | 1:31:01 - Amato prepares to leave | action scene | agitated | gangster | leading man | packing | room |
Hell on Frisco Bay (1955) | Menace 2 | 1:31:19 - Amato prepares to leave | action scene | agitated | gangster | leading man | packing | room |
Hell on Frisco Bay (1955) | Menace | 1:31:32 - Amato picks up his gun | action scene | conversing | dramatic | gangster | leading man | packing | room |
Hell on Frisco Bay (1955) | Lye | 1:32:01 - Lye confronts Amato | action scene | conversing | gangster | gun | leading man | lying | room | uneasy |
Hell on Frisco Bay (1955) | Amato | 1:32:23 - Amato shoots Lye | action scene | brash | gangster | gun | gunshot | leading man | murder | murdering | room | shooting | tense | violence | yelling |
Hell on Frisco Bay (1955) | Lye's Death | 1:32:58 - Lye is killed | action scene | brash | gangster | harsh | leading man | murder | murdering | shooting | street | violence |
Hell on Frisco Bay (1955) | Menace | 1:33:12 - Amato hides | action scene | fleeing | gangster | hiding | leading man | ominous | street |
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) | Amato runs | 1:34:27 - Amato runs to his boat | action scene | agitated | boat | dock | dramatic | following | gangster | inspector | leading man | running | tense |
Hell on Frisco Bay (1955) | Boat Chase | 1:34:33 - Amato tries to escape in a boat | action scene | agitated | boat | dock | dramatic | following | gangster | inspector | leading man | running | tense |
Hell on Frisco Bay (1955) | Steve dives | 1:34:48 - Steve dives in the water | action scene | agitated | diving | dock | dramatic | gangster | inspector | jumping | leading man | mickey-mousing | splashing | tense | water |
Hell on Frisco Bay (1955) | Underscoring (Dramatic) | 1:34:53 - Steve climbs in the boat | action scene | boat | dock | dramatic | driving | gangster | inspector | leading man | tense | underscoring |
Hell on Frisco Bay (1955) | Menace | 1:34:57 - Steve and Amato fight | action scene | agitated | boat | dock | dramatic | fighting | gangster | inspector | leading man | tense |
Hell on Frisco Bay (1955) | Menace | 1:35:21 - Steve and Amato fight | action scene | agitated | boat | dock | dramatic | fighting | gangster | inspector | leading man | tense |
Hell on Frisco Bay (1955) | Amato | 1:35:47 - Steve and Amato fight | action scene | agitated | boat | dock | dramatic | fighting | gangster | inspector | leading man | tense |
Hell on Frisco Bay (1955) | Amato | 1:35:56 - The police boat advances | action scene | agitated | boat | dock | dramatic | fighting | gangster | inspector | leading man | tense | underscoring |
Hell on Frisco Bay (1955) | Amato | 1:36:12 - Steve and Amato fight | action scene | agitated | boat | dock | dramatic | fighting | gangster | inspector | leading man | tense |
Hell on Frisco Bay (1955) | Amato falls | 1:36:20 - Amato falls in the water | action scene | boat | dock | dramatic | falling | fighting | gangster | inspector | leading man | mickey-mousing | punching | splashing | tense | water |
Hell on Frisco Bay (1955) | Underscoring (Tense) | 1:36:23 - The boat approaches a wall | action scene | boat | dock | driving | inspector | leading man | tense | underscoring |
Hell on Frisco Bay (1955) | Steve dives 2 | 1:36:27 - Steve dives in the water | action scene | boat | diving | dock | inspector | jumping | leading man | mickey-mousing | splashing | tense | water |
Hell on Frisco Bay (1955) | Steve | 1:36:31 - Steve surfaces | dock | gentle | heroic | inspector | leading man | resolution from here on? | swimming |
Hell on Frisco Bay (1955) | Steve Saves Amato | 1:36:42 - Steve and Amato swim to the police boat | boat | dock | gangster | inspector | leading man | mickey-mousing | swimming | tense | water |
Hell on Frisco Bay (1955) | Lifting up | 1:36:50 - Amato is brought onboard | boat | dock | dramatic | gangster | inspector | leading man | lifting | mickey-mousing | police | raising | tense | up | water |
Hell on Frisco Bay (1955) | Menace | 1:36:57 - The police boat leaves | agitated | arriving | boat | dock | gangster | inspector | leading man | police | tense |
Hell on Frisco Bay (1955) | Steve | 1:37:30 - Steve gets off the boat | arriving | boat | bold | dock | gangster | heroic | inspector | leading man | police |
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 | 0:08:02 - 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) | Lady Play Your Mandolin | 0:11:03 - Audience applauding | AABA structure | applauding | applauding | club | crowd | dancing | leading man | music scene | popular music | source music | upbeat |
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) | Underscoring (Dark [Waxman]) | 0:18:32 - Candy enters | action scene | conversing | criminal | dark | gambler | henchman | leading man | owner | room | stinger | tense | underscoring |
Her Kind of Man (1946) | Gambling | 0:18:58 - Miami | beach | casino | conversing | croupier | crowd | excited | gambler | gambling | gentle | grand | jockey | leading man | montage | montage | racetrack | racing | riding |
Her Kind of Man (1946) | Underscoring (Gentle) | 0:19:34 - A telegram | gambler | gentle | leading man | montage | montage | reading | room | telegram | underscoring |
Her Kind of Man (1946) | Just Make Believe | 0:20:58 - Don talks to a man | advance plot | conversing | gentle | leading man | manager | on-screen music | piano | reporter | source music | stage |
Her Kind of Man (1946) | 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) | Bulletin Board | 0:32:45 - Don leaves | bluesy | conversing | crew | departing | gambler | leading man | reporter | room | source and scoring overlap | stage | transition | upbeat |
Her Kind of Man (1946) | Gay White Way | 0:33:01 - Don talks to some men | advance plot | cheery | conversing | crew | leading man | manager | on-screen music | playing | reporter | source music | theater |
Her Kind of Man (1946) | Underscoring (Gentle) | 0:33:47 - Don leaves | crew | departing | gentle | leading man | manager | reporter | street | theater | transition | underscoring |
Her Kind of Man (1946) | Underscoring (Tense [Waxman]) | 0:40:34 - Don punches Steve | action scene | boxing ring | criminal | fighting | gambler | henchman | leading man | punching | reporter | tense | underscoring |
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) | Underscoring (Dramatic [Waxman]) | 0:42:19 - Approaching headlights | action scene | criminal | dark | departing | dramatic | driving | henchman | leading man | leaving | reporter | street | stumbling | underscoring |
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) | Please Don't Talk About Me When I'm Gone | 0:46:03 - Steve dances with a girl | AABA structure | advance plot | club | conversing | criminal | dancing | floozy | gambler | henchman | leading man | on-screen music | source music | upbeat |
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) | It Had to Be You (Dramatic) | 0:51:26 - Don shoves Candy | arguing | conflict | criminal | departing | dramatic | fighting | gambler | henchman | leading man | reporter | room | underscoring |
Her Kind of Man (1946) | Newspaper | 0:51:32 - A newspaper article | advance plot | leading man | newspaper | reporter | room | tense | uneasy | writing |
Her Kind of Man (1946) | Flashback | 0:53:57 - A man sweeping | conversing | flashback | flashback | leading man | mysterious | reporter | reporting | room | storytelling | tense | waiter | witness |
Her Kind of Man (1946) | Underscoring (Dramatic [Deutsch]) | 0:54:59 - Cop takes a witness | departing | dramatic | leading man | letter | mysterious | police | police station | reporter | signature | tense | turning point | typing | underscoring | waiter | witness |
Her Kind of Man (1946) | Burning paper | 0:55:22 - Burning paper | burning | fire effect | leading man | mickey-mousing | reporter | room | tense | turning point |
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) | Shanty in Old Shanty Town | 0:59:36 - A cop waits | advance plot | arguing | club | conversing | leading man | observing | on-screen music | police | reporter | source music | upbeat | waiting |
Her Kind of Man (1946) | Steve Shoots Sister | 1:03:37 - Steve shoots his sister | action scene | chromatic scale | club | crowd | dramatic | dying | gambler | husband | leading man | murderer | police | reacting | shooting | sister | underscoring | victim |
Her Kind of Man (1946) | The Escape | 1:03:50 - Steve tries to escape | action scene | car | chasing | club | crowd | dramatic | driving | escaping | gambler | husband | jumping | leading man | mickey-mousing | murderer | police | running | sister | street | victim |
Her Kind of Man (1946) | Underscoring (Mysterious) | 1:05:01 - A dark door | advance plot | arriving | conversing | husband | leading man | mysterious | reporter | room | underscoring | widow |
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) | Candy | 1:11:27 - Candy approaches the warehouse | advance plot | arriving | criminal | gambler | henchman | leading man | murderer | pc set | tense | walking | warehouse |
Her Kind of Man (1946) | It Had to Be You (Tense) | 1:11:43 - Steve talks to Candy | advance plot | conversing | criminal | familiar tune | gambler | henchman | leading man | murderer | popular music | tense | warehouse |
Her Kind of Man (1946) | It Had to Be You (Tempo di Foxtrot) | 1:11:50 - Steve talks to Candy | advance plot | common-tone diminished 7th | conversing | criminal | familiar tune | gambler | henchman | leading man | murderer | popular music | remembered source music | reminiscing | upbeat | warehouse |
Her Kind of Man (1946) | Underscoring (Tense [Steiner]) | 1:12:07 - Steve talks to Candy | advance plot | arguing | chromatic parallelism | conversing | criminal | gambler | henchman | leading man | murderer | pedal tone | slapping | tense | underscoring | warehouse |
Her Kind of Man (1946) | Underscoring (Dark [Steiner]) | 1:12:32 - Candy reacts | 9th chord | advance plot | arguing | conversing | criminal | dark | gambler | half-diminished 7th chord | henchman | leading man | murderer | ominous | ostinato | underscoring | warehouse |
Her Kind of Man (1946) | Candy (Dark) | 1:12:58 - Candy leaves | bar | calling | conversing | criminal | dark | double-cross | gambler | henchman | husband | leading man | murderer | ominous | pc set | stinger | telephone | turning point | warehouse |
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) | Underscoring (Tense [Steiner]) | 1:15:00 - Candy in the alley | arriving | climax | criminal | double-cross | driving | gambler | henchman | hiding | husband | leading man | murderer | revenge | signaling | sneaking | street | syncopation | tense | underscoring | warehouse | widow |
Her Kind of Man (1946) | Candy (Tragic) | 1:15:28 - Candy in the shadows | chromatic scale | climax | conversing | criminal | double-cross | gambler | henchman | hiding | husband | leading man | murderer | revenge | sequence | street | tense | tragic | walking | widow |
Her Kind of Man (1946) | Underscoring (Dramatic [Steiner]) | 1:15:53 - Joe shoots at Steve | climax | criminal | double-cross | dramatic | dying | falling | gambler | gun | gunshot | henchman | husband | leading man | murder | murderer | parallelism | revenge | shooting | street | widow |
Her Kind of Man (1946) | Candy (Mr. Candy) | 1:16:09 - Candy bends over Steve's body | chromatic scale | climax | conversing | criminal | dark | double-cross | dying | gambler | heavy | henchman | leading man | murder | murderer | revenge | street |
Her Kind of Man (1946) | Speeding | 1:16:29 - Candy tries to run away | arriving | capturing | car | chromatic parallelism | chromatic scale | chromatic sequence | climax | criminal | double-cross | dramatic | gambler | henchman | leading man | murder | murderer | omnibus progression | police | reporter | revenge | running | street | tense |
Her Kind of Man (1946) | Candy (Agitato) | 1:16:53 - Don confronts Candy | agitated | arguing | climax | confronting | criminal | double-cross | gambler | henchman | leading man | murder | murderer | pc set | police | reporter | revenge | sequence | street | tense |
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) | I'm in a Jam with Baby | 0:15:20 - Matt enters a bar | ABAB structure | advance plot | agent | arriving | bar | calling | conversing | customer | dialing | jazz | jukebox | leading man | source music | sultry | telephone | undercover agent | walking |
I Was a Communist for the FBI (1951) | Underscoring (Dramatic) | 0:24:58 - Matt reacts | chromatic parallelism | chromatic scale | chromatic wedge | departing | diminished 7th chord | dissonant bass | dramatic | insult | leading man | neighbor | reacting | room | stinger | transition | undercover agent |
I Was a Communist for the FBI (1951) | Family | 0:25:26 - Matt looks at a photo album | advance plot | baby | common-tone modulation | deceptive resolution | double exposure | flashback | foreign key modulation | gentle | leading man | letter | looking | love | memory | mode mixture | photograph | room | self-borrowing | sentimental | smiling | son | tender | thinking | undercover agent | voice-over | writing |
I Was a Communist for the FBI (1951) | Family (Molto Expressivo) | 0:26:15 - Matt writes a letter to his son | 9th chord | added-note chord | advance plot | baby | deceptive resolution | double exposure | flashback | foreign key modulation | gentle | leading man | letter | looking | love | memory | photograph | room | self-borrowing | sentimental | smiling | son | tender | thinking | undercover agent | voice-over | writing |
I Was a Communist for the FBI (1951) | Family (Triste) | 0:38:00 - Matt enters his home | advance plot | common-chord modulation | foreign key modulation | leading man | pacing | room | self-borrowing | solemn | somber | thinking | undercover agent |
I Was a Communist for the FBI (1951) | Agitato Molto Misterioso | 0:38:32 - Matt notices that he has lost his letter | advance plot | chromatic parallelism | leading man | letter | mysterious | ostinato | pc set | polychord | reacting | room | searching | tense | undercover agent | whole-tone chord |
I Was a Communist for the FBI (1951) | (I'm Gonna Wait) A Little Bit Longer (For That Never-on-Time Baby of Mine) | 0:39:06 - Matt goes to a record shop | advance plot | agent | arguing | arriving | conversing | jazz | leading man | record player | record shop | shopkeeper | source music | undercover agent | upbeat | walking |
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 |
I Was a Communist for the FBI (1951) | Undercover Agent (Newspaper) | 1:04:11 - FBI agents talk | agent | conversing | dark | leading man | newspaper | ominous | planning | polychord | room | transition | tritone oscillation | undercover agent |
I Was a Communist for the FBI (1951) | Undercover Agent (Risoluto) | 1:09:39 - FBI agents walk away | agent | interrogating | interrogation | leading man | mysterious | polychord | questioning | room | shallow focus | suspicion | tense | tritone oscillation | undercover agent |
I Was a Communist for the FBI (1951) | Agitato Molto Misterioso | 1:10:18 - Communists interrogate Matt | chromatic parallelism | chromatic scale | communist | interrogating | interrogation | leading man | mysterious | ostinato | pc set | questioning | room | shallow focus | suspicion | tense | undercover agent | whole-tone scale |
I Was a Communist for the FBI (1951) | Undercover Agent | 1:10:36 - Communists interrogate Matt | communist | interrogating | interrogation | leading man | mysterious | polychord | questioning | room | shallow focus | suspicion | tense | threatening | tritone oscillation | undercover agent |
I Was a Communist for the FBI (1951) | Underscoring (Tense) | 1:10:41 - Communists interrogate Matt | chromatic scale | communist | dark | interrogating | interrogation | leading man | questioning | room | shallow focus | suspicion | tense | threatening | undercover agent | underscoring |
I Was a Communist for the FBI (1951) | Undercover Agent (Tuttissimo) | 1:10:54 - Communists interrogate Matt | anger | anxiety | communist | interrogating | interrogation | leading man | questioning | shallow focus | suspicion | suspicion | tense | threatening | tritone oscillation | undercover agent |
I Was a Communist for the FBI (1951) | Underscoring (Tense) | 1:11:00 - Communists interrogate Matt | anger | communist | interrogating | interrogation | leading man | questioning | shallow focus | suspicion | suspicion | tense | threatening | undercover agent | underscoring | whole-tone chord |
I Was a Communist for the FBI (1951) | Riot | 1:11:05 - Communists beat up Matt | anger | attacking | chromatic parallelism | chromatic scale | chromatic sequence | communist | dramatic | fighting | interrogation | leading man | punching | undercover agent | whole-tone chord |
I Was a Communist for the FBI (1951) | Undercover Agent (Conflict) | 1:11:10 - Communists beat up Matt | attacking | communist | dramatic | fighting | interrogation | leading man | police | polychord | punching | tritone oscillation | undercover agent |
I Was a Communist for the FBI (1951) | Family | 1:21:44 - Matt is reunited with his son and brother | brother | conversing | gentle | leading man | love | mode mixture | resolution | reuniting | self-borrowing | son | tender | undercover agent |
I Was a Communist for the FBI (1951) | Family (Con Moto) | 1:22:03 - Matt talks to his son | brother | conversing | gentle | leading man | love | peaceful | resolution | reuniting | self-borrowing | son | tender | undercover agent |
I Was a Communist for the FBI (1951) | Battle Hymn of the Republic (The End) | 1:22:16 - Dick looks at his dad | brother | conversing | countermelody | end title sequence | leading man | love | patriotic | patriotic tune | plagal cadence | resolution | reuniting | son | The End | undercover agent |
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) | 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) | 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) | Stanley Introduction (Extended) | 0:36:41 - Peter goes home | 9th chord | arriving | car | chromatic scale | leading man | love scene | room | solemn | somber | tense |
In This Our Life (1942) | Stanley (Cello Solo) | 0:37:11 - Peter sits on the couch | 9th chord | contemplating | enharmonic respelling | leading man | love scene | room | sigh gesture | somber |
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) | 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) | 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) | 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) | 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) | Stanley (Slowly) | 1:16:07 - Craig reads a note | 9th chord | altered dominant | conflict | lawyer | leading man | note | office | sentimental | thinking | whole-tone chord |
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) | Stanley (Driving Away) | 1:29:06 - Craig goes to the phone | agitated | calling | chromatic parallelism | chromatic sequence | climax | diminished 7th chord | lawyer | leading man | pedal tone | room | telephone | walking |
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) | The Informer (Walking) | 0:01:44 - Gypo walks down the street | countermelody | establish character | leading man | mickey-mousing | mysterious | poster | Scotch snap | street | walking |
The Informer (1935) | Poster | 0:02:01 - Gypo looks at the reward poster for Frankie McPhillip | establish character | leading man | mickey-mousing | mysterious | poster | stepping | stinger | street |
The Informer (1935) | Drinking Song | 0:02:15 - Gypo and Frankie sing at a pub | cheerful | drinking | establish character | flashback | leading man | on-screen music | pub | remembering | singing | somber | source music | street |
The Informer (1935) | Underscoring (Tense) | 0:02:23 - Gypo stares at the poster, thinking | 64 chord | establish character | leading man | muttering | mysterious | street | thinking | underscoring |
The Informer (1935) | Rule, Britannia! | 0:02:32 - Close-up on the 20 pound reward on the poster | British | dark | establish character | familiar tune | leading man | linear chromaticism | looking | mode change | patriotic tune | poster | source music | street | tense |
The Informer (1935) | Tearing down poster | 0:02:47 - Gypo tears the reward poster off of the wall | dissonant bass | down | establish character | leading man | linear chromaticism | mickey-mousing | poster | removing | street | tearing | upset |
The Informer (1935) | The Rose of Tralee | 0:02:54 - Man sings an Irish folk song by a lamp post | calm | establish character | familiar tune | folk song | Irish | leading man | on-screen music | poster | singing | source music | street | walking |
The Informer (1935) | Poster blowing 1 | 0:03:05 - Torn poster blows down the street onto Gypo's leg | augmented sixth chord | blowing | establish character | leading man | mickey-mousing | mysterious | parallelism | poster | street | wind |
The Informer (1935) | Poster blowing 2 | 0:03:26 - Torn poster blows down the street onto Gypo's leg again | blowing | clinging | diminished 7th chord | establish character | leading man | mickey-mousing | mysterious | parallelism | poster | street | wind |
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) | Throwing man down | 0:05:31 - Gypo picks the man up and throws him in the street | angry | down | establish character | falling | leading man | mickey-mousing | street | throwing | whole-tone | whole-tone chord |
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) | Footsteps | 0:07:16 - Close-up on walking feet | establish character | footsteps | leading man | mickey-mousing | mysterious | street | tritone | walking |
The Informer (1935) | The Wearin' o' the Green (Mysterious) | 0:08:57 - Frankie enters the Dunboy house to join the rebels | arriving | diminished 7th chord | dissonant bass | establish character | familiar tune | folk song | hero | Irish | leading man | mysterious | parallelism | room | street | tense |
The Informer (1935) | Yankee Doodle (Fateful Decision) | 0:12:56 - Gypo has a vision of the wanted poster | American | contemplating | deciding | familiar tune | flashback | leading man | linear chromaticism | montage | mysterious | patriotic tune | pedal tone | pivotal scene | room | street | tense | vision |
The Informer (1935) | Katie (Fateful Decision) | 0:13:48 - Gypo heads towards the British headquarters | American | church bell | contemplating | deciding | diminished 7th chord | familiar tune | leading man | mickey-mousing | mysterious | parallelism | patriotic tune | pedal tone | pivotal scene | police station | street | tense |
The Informer (1935) | Blood Money (Extended) | 0:18:55 - British officer tosses money down on the table | antagonist | augmented triad | grabbing | leading man | money | mysterious | pivotal scene | police | police station | tense | tossing | tritone | whole-tone |
The Informer (1935) | Blood Money (Counting Money) | 0:19:21 - Gypo closes the door | advance plot | antagonist | counting | leading man | money | mysterious | street | tense | tritone |
The Informer (1935) | Blind Man | 0:19:29 - Gypo meets the blind man | 64 chord | advance plot | antagonist | blind man | leading man | mysterious | street | walking |
The Informer (1935) | Blood Money + Blind Man | 0:20:27 - Gypo looks at Frankie's poster again | advance plot | antagonist | combination of themes | leading man | looking | mysterious | poster | street | tense | whole-tone |
The Informer (1935) | The Informer (Whiskey) | 0:20:46 - Gypo enters a pub | 64 chord | advance plot | antagonist | entering | hurrying | leading man | mysterious | pub | Scotch snap |
The Informer (1935) | Blood Money (Whiskey) | 0:21:03 - Gypo takes his money out to pay the bartender | advance plot | antagonist | bartender | leading man | money | mysterious | paying | pub | tense |
The Informer (1935) | The Informer (Drinking) | 0:21:23 - Gypo takes a drink | advance plot | antagonist | bartender | drinking | leading man | mysterious | octatonic | pub | Scotch snap | tense | tritone | whole-tone | whole-tone chord |
The Informer (1935) | Blood Money (Worrying) | 0:21:57 - Gypo worries about what he has done | advance plot | antagonist | augmented triad | drinking | hearing voices | leading man | mysterious | planning | pub | tense | thinking | tritone | whole-tone | worrying |
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) | The Minstrel Boy | 0:25:32 - Man sings a folk tune at the street corner | 9th chord | AABA structure | advance plot | angelic | antagonist | calm | familiar tune | folk song | gentle | leading man | listening | mode mixture | mourner | mourning | on-screen music | playing | praying | singer | singing | street | violinist | watching |
The Informer (1935) | Blood Money (Delicato) | 0:28:43 - Gypo drops four coins on the floor | antagonist | augmented triad | coin | dropping | leading man | mickey-mousing | money | mourner | pivotal scene | room | staring | tense | whole-tone |
The Informer (1935) | The Informer (Tense) | 0:29:21 - Gypo defends himself | antagonist | coin | leading man | money | mourner | mysterious | pivotal scene | room | Scotch snap | staring | tense | whole-tone | whole-tone chord |
The Informer (1935) | The Informer (Suspicion) | 0:29:47 - Gypo leaves the wake | 64 chord | antagonist | coin | crying | dissonant bass | dropping | giving | leading man | leaving | mickey-mousing | money | mourner | pivotal scene | room | Scotch snap | sigh gesture | somber | staring |
The Informer (1935) | The Informer (Walking Fast) | 0:30:13 - Gypo storms off down the street | 64 chord | advance plot | antagonist | chromatic parallelism | diminished 7th chord | hurrying | leading man | Scotch snap | street | tense | walking |
The Informer (1935) | The Informer (Burning Poster) + Blood Money | 0:32:03 - Gypo in rebel headquarters | advance plot | antagonist | burning | combination of themes | diminished 7th chord | fire | headquarters | leading man | mickey-mousing | mysterious | octatonic | rebel | rising | room | Scotch snap | tense | tone cluster |
The Informer (1935) | Drinking Song 2 | 0:40:12 - Gypo sings a drunken song | advance plot | antagonist | drunk | leading man | on-screen music | singing | source music | street |
The Informer (1935) | The Irish Washerwoman | 0:43:45 - People sing and dance in a pub | advance plot | antagonist | bar | familiar tune | folk song | happy | Irish | leading man | source music | whistling |
The Informer (1935) | Blood Money | 0:44:44 - Gypo tosses money to the pub-keeper | advance plot | antagonist | bar | bartender | excited | giving | leading man | money |
The Informer (1935) | The Irish Washerwoman (Pub) + Blood Money + The Wearin' o' the Green + The Informer | 0:44:52 - People celebrate in the pub | advance plot | antagonist | bar | chaotic | chromatic scale | close-up | combination of themes | crowd | dark | dissonant bass | excited | familiar tune | folk song | foreign key modulation | happy | heroic | Irish | layering | leading man | mob | mobbing | octatonic | parallelism | pedal tone | polytonality | rebel | serving | source to score | spying | tense | whole-tone | yelling | zoom in |
The Informer (1935) | Katie (Gypo is Drunk) | 0:46:36 - Gypo tells the rebel about "somebody waiting for me" | advance plot | antagonist | augmented sixth chord | breaking | drunk | leading man | street | transcribed by ear | walking |
The Informer (1935) | He Is Me Darling-O | 0:47:03 - Gypo and another man sing drunkenly | advance plot | Aeolian mode | antagonist | drunk | familiar tune | folk song | Irish | leading man | street | transcribed by ear | walking |
The Informer (1935) | Katie (Poster) | 0:47:58 - Gypo looks at the America poster | advance plot | antagonist | leading man | pondering | poster | sentimental | street | transcribed by ear |
The Informer (1935) | Blood money (Thinking) | 0:48:58 - Gypo pulls out and counts his money | advance plot | antagonist | conversing | leading man | money | mysterious | ostinato | pondering | street |
The Informer (1935) | Katie (Thinking) | 0:49:37 - Gypo looks at the money and the poster | 9th chord | advance plot | antagonist | leading man | money | pondering | sentimental | street |
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) | My Man | 0:50:19 - Gypo talks with his friend | AB structure | advance plot | antagonist | cheerful | conversing | leading man | party | source music | street |
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) | Dardanella | 0:53:41 - Gypo buys drinks at a party | AB structure | advance plot | antagonist | celebrating | cheerful | crowd | drinking | leading man | on-screen music | party | partying | source music |
The Informer (1935) | Believe Me If All Those Endearing Young Charms | 0:55:32 - A woman prepares to sing a song at a party | advance plot | antagonist | cheerful | crowd | leading man | on-screen music | party | playing | source music |
The Informer (1935) | Believe Me If All Those Endearing Young Charms | 0:58:23 - Singing continues (from the previous scene) | advance plot | antagonist | crowd | crying | familiar tune | folk song | leading man | on-screen music | party | sentimental | singing |
The Informer (1935) | The Informer (King Gypo) | 1:01:03 - Gypo's friend brags about him | advance plot | antagonist | bragging | cheerful | crowd | friend | leading man | party | proud |
The Informer (1935) | The Informer (Quiet!) | 1:01:27 - The rebels enter and start an argument | 64 chord | advance plot | antagonist | arguing | bold | crowd | dark | friend | interrupting | leading man | matching speech | mickey-mousing | party | rebel |
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) | Falling down the stairs | 1:06:19 - Gypo falls down the stairs | 9th chord | antagonist | chromatic scale | courtroom scene | down | dramatic | falling | headquarters | leading man | mickey-mousing | rebel | room | stairs | suspect |
The Informer (1935) | Dan and Mary (Legato) | 1:07:46 - Gypo looks at Mary | antagonist | courtroom | courtroom scene | delicate | gentle | headquarters | leading man | pedal tone | room | sister | suspect | watching |
The Informer (1935) | Blind Man (Tribunal) | 1:08:08 - Gypo looks at the blind man | 64 chord | accusing | antagonist | blind man | chromatic scale | courtroom | courtroom scene | headquarters | leading man | pedal tone | room | serious | suspect | watching |
The Informer (1935) | The Informer (Laughing) | 1:09:04 - Gypo laughs at Peter | accusing | antagonist | augmented sixth chord | bold | courtroom | courtroom scene | headquarters | leading man | octatonic | room | serious | suspect |
The Informer (1935) | Blood Money (The Trial) + Blind Man (The Trial) | 1:15:13 - The rebels ask Gypo where he got the money | antagonist | axis of symmetry | blind man | combination of themes | courtroom | courtroom scene | fanfare | headquarters | interrogating | interrogation | leading man | mirroring | money | mysterious | questioning | room | suspect |
The Informer (1935) | Katie (The Trial) | 1:15:36 - The rebels ask Gypo about Katie | antagonist | axis of symmetry | courtroom | courtroom scene | headquarters | interrogating | interrogation | leading man | mirroring | money | mysterious | questioning | room | suspect |
The Informer (1935) | Blood Money (The Trial) + The Informer (The Trial) | 1:15:40 - Dan asks "Who was the informer?" | antagonist | axis of symmetry | combination of themes | courtroom | courtroom scene | headquarters | interrogating | interrogation | inversion | leading man | mirroring | money | mysterious | questioning | room | suspect | whole-tone |
The Informer (1935) | The Informer (Confession) | 1:16:00 - Gypo confesses and cries | 9th chord | altered dominant | antagonist | confessing | confession | courtroom | courtroom scene | crying | deceptive resolution | diminished 7th chord | dissonant bass | guilt | half-diminished 7th chord | headquarters | leading man | pedal tone | pedal tone | remorseful | room | traitor |
The Informer (1935) | Katie (Despair) | 1:16:18 - Gypo confesses and cries | antagonist | climax | confessing | confession | courtroom | courtroom scene | crying | dissonant bass | guilt | headquarters | leading man | remorseful | room | sequence | traitor |
The Informer (1935) | The Informer (Tranquillo) | 1:16:35 - Gypo is taken away | antagonist | arresting | authentic cadence | climax | confessing | confession | courtroom | courtroom scene | crying | guilt | headquarters | hero | leading man | leaving | love interest | pleading | remorseful | room | traitor |
The Informer (1935) | Blood Money (Ostinato) | 1:17:10 - Gypo waits in his cell while the rebels draw straws | advance plot | antagonist | dripping | escaping | gun | headquarters | leading man | mysterious | ostinato | prison | rebel | room | shooting | tense | traitor | whispering | worrying |
The Informer (1935) | The Escape | 1:19:46 - Gypo escapes and a chase ensues | advance plot | antagonist | chromatic scale | dramatic | escaping | headquarters | hurrying | leading man | mickey-mousing | prison | rebel | room | running | traitor | whole-tone | whole-tone chord |
The Informer (1935) | The Informer (Gypo Hides) | 1:20:38 - Gypo sees British soldiers marching | antagonist | hiding | leading man | marching | running | street | tense | traitor | transition |
The Informer (1935) | The Informer (Adagio) | 1:21:15 - Gypo imagines Frankie's poster | antagonist | hallucinating | hallucination | leading man | mysterious | street | suspension | traitor | transition |
The Informer (1935) | Gypo runs away | 1:21:26 - Gypo runs and hides | agitated | antagonist | chromatic parallelism | diminished 7th chord | hiding | leading man | mickey-mousing | running | sequence | street | tense | traitor | transition |
The Informer (1935) | The Informer (Up the Stairs) | 1:21:35 - Gypo goes up the stairs | 64 chord | agitated | antagonist | chromatic sequence | fragmentation | hallway | hiding | leading man | mickey-mousing | running | sequence | stairs | tense | traitor | transition | up |
The Informer (1935) | 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) | Blood Money (Ostinato) | 1:27:32 - Rebels come to capture Gypo | antagonist | climax | leading man | mysterious | ostinato | rebel | room | sneaking | tense | traitor | whispering |
The Informer (1935) | The Escape (The Fight) | 1:28:25 - Rebels shoot through the door | antagonist | augmented triad | chromatic parallelism | chromatic scale | climax | down | dramatic | escaping | falling | fighting | leading man | linear chromaticism | mickey-mousing | rebel | room | running | tense | traitor | whole-tone |
The Informer (1935) | Blood Money (Tuttissimo) | 1:28:53 - Gypo stumbles into a church | antagonist | church | climax | dirge | dissonant bass | dominant pedal | dying | half-diminished 7th chord | leading man | mysterious | street | stumbling | tense | traitor | walking | whole-tone | whole-tone chord |
The Informer (1935) | The Informer (Pathetic) | 1:29:48 - Gypo stumbles toward Frankie's mother | antagonist | church | climax | diminished 7th chord | dying | gentle | leading man | main theme | pedal tone | somber | stumbling | traitor | walking |
The Informer (1935) | Sancta Maria | 1:30:27 - Frankie's mother forgives Gypo | antagonist | church | climax | confessing | dying | gentle | leading man | mother | sacred | somber | suspension | traitor |
Key Largo (1948) | I Gotta Right to Sing the Blues | 0:04:21 - Frank speaks with people in the bar | conversing | establish character | gangster | hotel | jazz | leading man | moll | radio | sentimental | source music |
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) | 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 | 0:25:37 - Curly pushes Nora | dangerous | establish character | gangster | gun | hotel | leading man | mysterious | stinger | threatening | violence |
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) | 1:16:54 - Close-ups on McCloud and Rocco | boss | gangster | hotel | investigation scene | leading man | staring | tense | underscoring |
Key Largo (1948) | McCloud (Somber) | 1:17:43 - Sheriff questions McCloud | determined | hotel | investigation scene | leading man | police | questioning | somber |
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) | 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) | Tension (The Boat) | 1:26:31 - McCloud tries to start the boat | advance plot | boat | boat | boss | dramatic | gangster | hostage | leading man | leaving | motor | sputtering | starting | stinger | tense |
Key Largo (1948) | Rocco exits | 1:35:14 - Rocco exits | boat | boss | conflict | dramatic | exiting | gangster | gun | gunshot | leading man | mickey-mousing | shooting | tense |
Key Largo (1948) | Rocco's Death | 1:35:17 - Rocco falls | boat | boss | conflict | death | dramatic | dying | falling | gangster | gun | gunshot | leading man | mickey-mousing | shooting | stinger | tense |
Key Largo (1948) | Climbing down | 1:35:31 - McCloud climbs down | boat | climbing | conflict | descending | leading man | mickey-mousing | mysterious | tense |
Key Largo (1948) | Tension (The Boat 2) | 1:35:44 - McCloud steers the boat | boat | conflict | hopeful | leading man | steering | tense |
Key Largo (1948) | Hope | 1:36:11 - McCloud calls for help on the radio | boat | calling | conflict | hopeful | leading man | radio | steering |
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 (Maestoso) | 1:39:43 - McCloud steers the boat home | boat | hopeful | leading man | resolution | returning | sailing | triumphant |
Lightning Strikes Twice (1951) | Menace | 0:01:23 - Priest in a prison | arriving | conversing | dark | establish character | funeral march | funereal | guard | leading man | priest | prison | prisoner | solemn | somber | walking | warden |
Lightning Strikes Twice (1951) | Liza | 0:02:55 - Trev is released from death row | calm | conversing | deceptive resolution | establish character | guard | hopeful | leading man | priest | prison | prisoner | relief | reprieve | Scotch snap | walking | warden | whole-tone chord |
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 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) | 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) | Father Paul (Carriage) | 0:35:13 - Priest riding in a carriage | arriving | carriage | dog | flashback | galloping | horse | leading man | mysterious | priest | ranch | suspect | traveling | upbeat | voice-over |
Lightning Strikes Twice (1951) | Mournful | 0:35:50 - Priest hears a dog whimpering | body | death | dog | flashback | leading man | priest | ranch | sad | searching | somber | suspect | whimpering |
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) | 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 (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) | 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) | 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) | Menace (Misterioso) | 1:19:48 - Trev calls Harvey | arguing | conversing | husband | leading man | mad scene | mysterious | room | suspect | suspense | telephone |
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) | Trev runs | 1:27:01 - Trev runs after Liza | chasing | climax | dramatic | husband | leading man | mickey-mousing | murderer | ranch | rancher | running | 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 |
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 (Military Band) | 0:45:45 - Newspaper montage | 64 chord | fanfare | leading man | love interest | montage | pedal tone | politician | soldier | triumphant |
The Life of Vergie Winters (1934) | Over There (Military Band) | 0:45:52 - Newspaper montage | leading man | love interest | montage | patriotic tune | politician | soldier | triumphant |
The Life of Vergie Winters (1934) | Stars and Stripes Forever (Military Band) | 0:46:01 - Newspaper montage | leading man | love interest | montage | patriotic tune | politician | soldier | triumphant |
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 (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) | Lullaby (Clarinet Solo) | 1:00:58 - John and Laura talk about Joan | added-note chord | conflict | conversing | dramatic | gentle | leading man | peaceful | room | stinger | transcribed by ear | wife |
The Life of Vergie Winters (1934) | Lullaby (Agitated) | 1:01:27 - John and Laura argue about Joan | agitated | arguing | common-tone diminished 7th | conflict | diminished 7th chord | direct modulation | fragmentation | harmonic sequence | leading man | octatonic scale | room | tense | transcribed by ear | wife |
The Life of Vergie Winters (1934) | Old Lavender | 1:02:11 - Joan and Ranny enter | 9th chord | added-note chord | altered dominant | arguing | common-chord modulation | conflict | conversing | daughter | direct modulation | harmonic sequence | leading man | light | love interest | optimistic | room | surprise | wife |
The Life of Vergie Winters (1934) | Old Lavender (Celeste Solo) | 1:02:43 - John paces around | conflict | daughter | direct modulation | hesitating | leading man | love interest | lying | peaceful | room | surprise | wife |
The Life of Vergie Winters (1934) | Underscoring (Lyrical) | 1:02:52 - Laura reveals that Joan is adopted | conflict | daughter | deflecting | hesitating | leading man | love interest | mode mixture | peaceful | pedal tone | room | surprise | wife |
The Life of Vergie Winters (1934) | Lullaby (Adagio) | 1:03:02 - Joan reacts | conflict | daughter | diminished 7th chord | direct modulation | dissonant bass | leading man | love interest | revealing | room | stinger | surprise | tense | wife |
The Life of Vergie Winters (1934) | Lullaby (Harp Solo) | 1:03:33 - John tells Joan about her parents | conflict | daughter | deceiving | deceptive resolution | leading man | love interest | lullaby | lying | revealing | room | secondary dominant | surprise | tender | wife |
The Life of Vergie Winters (1934) | Old Lavender (Allegretto) | 1:04:31 - Ranny reacts to the revelation | chromatic mediant | conflict | conversing | daughter | foreign key modulation | fragmentation | leading man | light | love interest | mode mixture | optimistic | pedal tone | room | wife |
The Life of Vergie Winters (1934) | Old Lavender (Gentle) | 1:04:45 - Ranny takes the ring back from Joan | 64 chord | altered dominant | conflict | daughter | leading man | love interest | peaceful | pedal tone | proposal | proposing | room | wife |
The Life of Vergie Winters (1934) | Here Comes the Bride (Slow) | 1:05:05 - Ranny re-proposes to Joan | 64 chord | conflict | daughter | familiar tune | leading man | love interest | peaceful | proposal | proposing | room | wife |
The Life of Vergie Winters (1934) | Lullaby (Dolcissimo) | 1:05:11 - Joan talks to Laura | 9th chord | conflict | daughter | leading man | love interest | peaceful | proposal | proposing | room | wife |
The Life of Vergie Winters (1934) | Old Lavender (Ethereal) | 1:05:26 - Ranny talks to Joan's parents | added-note chord | common-chord modulation | conflict | conversing | daughter | leading man | love interest | mode mixture | pedal tone | room | sentimental | wife |
The Life of Vergie Winters (1934) | Lullaby (Tender) | 1:05:45 - Ranny leaves with Joan | 13th chord | conflict | daughter | leading man | leaving | love interest | peaceful | pedal tone | room | wife |
The Life of Vergie Winters (1934) | Lullaby (Doloroso) | 1:05:58 - John talks with his wife Laura | 9th chord | arguing | conflict | dark | leading man | leaving | reverse picardy | room | tense | wife |
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 |
Out of the Fog (1941) | Harbor Front | 0:01:11 - Goff descends a ladder | boat | criminal | establish character | fire | harbor | leading man | sneaking | tense |
Out of the Fog (1941) | Concert in the Park | 0:01:57 - Goff walks along the dock | arriving | conversing | criminal | dock | establish character | gambling | leading man | popular music | restaurant | source and scoring overlap | source music | upbeat | worker |
Out of the Fog (1941) | Russian Barcarolle (Dark) | 0:06:06 - Goff looks around the restaurant | chef | criminal | dark | establish character | leading man | restaurant | sneaking | transcribed by ear |
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) | Russian Barcarolle (Dark) | 0:19:34 - Goff walks | boat | chef | conflict | conversing | criminal | dark | dock | extortion | father | fisherman | friend | leading man | threatening | walking |
Out of the Fog (1941) | Underscoring (Dark) | 0:20:11 - Jonah reacts | arguing | boat | chef | conflict | conversing | criminal | dark | dock | extortion | father | fisherman | friend | leading man | stinger | tense | threatening | underscoring |
Out of the Fog (1941) | Russian Barcarolle (Threatening) | 0:20:40 - Goff threatens Jonah | arguing | boat | breaking | chef | conflict | conversing | criminal | dark | dock | extortion | father | fisherman | friend | leading man | tense | threatening | violence |
Out of the Fog (1941) | Russian Barcarolle (Fear) | 0:21:18 - Officer Magruder arrives | boat | chef | conflict | conversing | criminal | dock | extortion | father | fear | fisherman | friend | leading man | police | sandwich | solemn | somber |
Out of the Fog (1941) | Underscoring (Dramatic) | 0:26:42 - Goff slaps Jonah | arguing | chef | conflict | criminal | dock | dramatic | extortion | falling | father | fisherman | friend | leading man | mickey-mousing | punching | slapping | stinger | underscoring | violence |
Out of the Fog (1941) | Underscoring (Gentle) | 0:26:51 - Jonah helps Olaf | chef | conflict | conversing | criminal | dock | extortion | father | fisherman | friend | gentle | helping | leading man | mickey-mousing | reacting | solemn | tender | threatening | underscoring |
Out of the Fog (1941) | Russian Barcarolle (Dark 2) | 0:27:12 - Jonah and Olaf react | arguing | chef | conflict | conversing | criminal | dark | dock | extortion | father | fisherman | friend | gun | leading man | stinger | tense | threatening |
Out of the Fog (1941) | Animato | 0:27:43 - Goff pulls out a gun | chef | conflict | conversing | criminal | dock | extortion | father | fisherman | foreign key modulation | friend | gun | leading man | tense | threatening |
Out of the Fog (1941) | Russian Barcarolle (Distorted) | 0:28:02 - Jonah and Olaf pay Goff | chef | conflict | conversing | criminal | dark | dock | extortion | father | fisherman | friend | leading man | money | threatening |
Out of the Fog (1941) | Underscoring (Tense) | 0:28:20 - Jonah and Olaf react | chef | conflict | conversing | criminal | dock | extortion | father | fisherman | friend | leading man | tense | threatening | underscoring |
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) | 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) | Underscoring (Dramatic) | 0:45:13 - Goff enters | arriving | conflict | conversing | criminal | dock | dramatic | father | fisherman | friend | leading man | tense |
Out of the Fog (1941) | Russian Barcarolle (Solemn) | 0:45:25 - Goff asks for money | arguing | conflict | conversing | criminal | dock | extortion | father | fisherman | foreign key modulation | friend | leading man | sequence | solemn |
Out of the Fog (1941) | Underscoring (Dramatic) | 0:46:00 - Jonah calls for the cop | arguing | conflict | criminal | dock | dramatic | extortion | father | fisherman | friend | leading man | underscoring | yelling |
Out of the Fog (1941) | Russian Barcarolle (Fragmented) | 0:46:14 - Jonah calls for the cop | arguing | conflict | criminal | dock | extortion | father | fisherman | fragmentation | friend | leading man | police | tense | yelling |
Out of the Fog (1941) | Underscoring (Tense) | 0:46:34 - Jonah accuses Goff | arguing | conflict | conversing | criminal | dock | extortion | father | fisherman | friend | leading man | police | tense | underscoring |
Out of the Fog (1941) | Russian Barcarolle (Fragmented) | 0:46:50 - Olaf accuses Goff | conflict | conversing | criminal | departing | dock | extortion | father | fisherman | fragmentation | friend | leading man | police | tense |
Out of the Fog (1941) | Underscoring (Dramatic) | 0:49:39 - Goff stops Jonah | conflict | conversing | criminal | dark | dramatic | extortion | father | fisherman | leading man | mickey-mousing | panning shot | stinger | street | threatening | underscoring | violence | walking | weapon |
Out of the Fog (1941) | Beating | 0:50:17 - Goff beats Jonah | beating | conflict | criminal | dark | dissonant bass | dramatic | extortion | father | fisherman | leading man | mickey-mousing | street | violence | weapon |
Out of the Fog (1941) | Underscoring (Dramatic) | 0:50:24 - Goff shoves Jonah | conflict | criminal | dark | dramatic | extortion | father | fisherman | leading man | street | threatening | underscoring | violence |
Out of the Fog (1941) | Russian Barcarolle (Death Threat) | 0:50:48 - Goff mocks Jonah | conflict | criminal | dark | extortion | father | fisherman | leading man | mocking | street | tense | threatening | violence |
Out of the Fog (1941) | Underscoring (Dramatic) | 0:51:05 - Goff gives Jonah a gun | conflict | criminal | dramatic | extortion | father | fisherman | gun | leading man | mocking | stinger | street | threatening | underscoring | violence |
Out of the Fog (1941) | Underscoring (Dramatic) | 1:06:59 - Goff hits George | boyfriend | conflict | criminal | dock | dramatic | falling | fighting | fisherman | friend | leading man | punching | violence |
Out of the Fog (1941) | Animato (Extended) | 1:07:04 - Jonah and Olaf help George | arguing | boyfriend | conflict | criminal | dock | fisherman | friend | leading man | tense | violence |
Out of the Fog (1941) | Russian Barcarolle (Fragmented 2) | 1:07:35 - A boat in the fog | conflict | criminal | dark | fisherman | fragmentation | friend | leading man | menacing | ominous | sea | traveling |
Out of the Fog (1941) | Russian Barcarolle (Menacing) | 1:09:32 - Goffs sees Olaf holding a lead pipe | arguing | attempted murder | climax | criminal | dark | fisherman | friend | leading man | menacing | ominous | sea | stinger |
Out of the Fog (1941) | Underscoring (Dramatic) | 1:09:45 - Goff struggles with Jonah and Olaf | attempted murder | climax | criminal | dramatic | fighting | fisherman | friend | leading man | punching | sea | underscoring |
Out of the Fog (1941) | Russian Barcarolle (Drowning) | 1:09:58 - Goff drowns | attempted murder | climax | criminal | dark | death | drowning | fisherman | friend | leading man | ominous | sea |
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) | Heart's Affair (Yearning) | 0:44:11 - Ward and Nick leave the farm | advance plot | altered dominant | car | deceptive resolution | driving | farm | leading man | leaving | manager | mother | not by Steiner | parting | sentimental | sister | transcribed by ear | yearning gesture |
Kid Galahad (1937) | Kid Galahad (Montage) | 0:46:47 - Montage of newspaper headlines | 64 chord | advance plot | appoggiatura | boxer | boxing | boxing ring | cheering | chromatic parallelism | fanfare | fragmentation | harmonic sequence | heroic | leading man | montage | newspaper |
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) | Heart's Affair (Arriving) | 0:58:30 - A newspaper headline | arriving | countermelody | farm | leading man | love scene | mode mixture | newspaper | playful | reading | sister | transcribed by ear |
Kid Galahad (1937) | Heart's Affair (Kiss) | 0:58:47 - Ward talks to Marie | AABA structure | altered dominant | cheerful | conversing | deceptive resolution | farm | happy | kissing | leading man | love scene | mode mixture | sister | transcribed by ear |
Kid Galahad (1937) | 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) | Heart's Affair (Trouble) | 1:15:53 - Ward talks to Marie at the farm | advance plot | deceptive resolution | embracing | farm | kissing | leading man | romantic | sister | transcribed by ear |
Kid Galahad (1937) | Doublecross (Heated) | 1:16:02 - Nick arrives at the farm | advance plot | arguing | arriving | chromatic mediant | farm | leading man | manager | not by Steiner | sister | tense | transcribed by ear |
Kid Galahad (1937) | Doublecross (Entanglements) | 1:17:24 - Nick falls to the ground | advance plot | dark | descending tetrachord | farm | fighting | leading man | manager | mother | not by Steiner | sister | somber | tragic | 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) | 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 |
White Heat (1949) | Steam | 0:04:54 - Man gets burned by steam from train | burning | bursting | countryside | dramatic | establish character | falling | gangster | leading man | murderer | pain | robbery | steam | steam effect | stinger | tense | train | train engineer | victim | writhing |
White Heat (1949) | Danger | 0:05:02 - Gangsters leap from the train | announcer | countryside | dramatic | escaping | establish character | gangster | jumping | leading man | murderer | pain | radio | robbery | tense | train | train engineer | victim | writhing |
White Heat (1949) | Big Ed | 0:06:00 - Big Ed talks to Cody | arriving | dark | establish character | gangster | leading man | murderer | room | tense | victim |
White Heat (1949) | Thinking | 0:06:23 - Cody walks across the room | establish character | gangster | leading man | mother | murderer | room | tense | thinking | victim | walking |
White Heat (1949) | Stirring the pot | 0:06:29 - Ma stirs food in a pot | cooking | establish character | gangster | leading man | mother | murderer | room | stirring | uneasy | victim |
White Heat (1949) | Ma | 0:06:34 - Ma cooks dinner | cooking | establish character | gangster | leading man | mother | murderer | room | uneasy | victim |
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) | Speed | 0:16:46 - Sign for Milbanke Motels | arriving | car | dark | driving | gangster | leading man | murderer | self-borrowing | street | tense | transition |
White Heat (1949) | Backing up | 0:17:00 - Cody backs up | arriving | backing up | car | dark | driving | gangster | leading man | mickey-mousing | murderer | street | tense | transition |
White Heat (1949) | Con Moto | 0:17:09 - Cody gets out of his car | conflict | dramatic | gangster | leading man | murderer | opening | rushing | searching | street | tense |
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 (Molto Agitato) | 0:23:25 - Evans points a gun at Cody | action scene | agent | agitated | arresting | dying | falling | gangster | gun | gunshot | leading man | murderer | shooting | street | tense | wound |
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) | Cody 2 | 0:29:18 - Newspaper headline | agent | bold | dark | dramatic | headline | leading man | newspaper | police station | transition | typing |
White Heat (1949) | Underscoring (Dramatic) | 0:35:05 - Judge sentences Cody | courtroom | courtroom scene | dark | dramatic | gangster | judge | leading man | murderer | sentencing | underscoring | verdict |
White Heat (1949) | T-Men (Molto Misterioso) | 0:35:30 - Cody walks away | courtroom | courtroom scene | dramatic | gangster | judge | leading man | murderer | prison | prisoner | stinger | undercover agent | walking |
White Heat (1949) | Prison | 0:35:40 - The prison walls | conversing | dark | leading man | ominous | prison | prisoner | transition | undercover agent |
White Heat (1949) | Prison Fight | 0:37:48 - Hank sees Bo Creel | action scene | falling | fighting | gangster | guard | leading man | mickey-mousing | murderer | prison | prisoner | punching | tense | undercover agent |
White Heat (1949) | Punching and falling | 0:38:03 - Hank punches inmate | action scene | dramatic | falling | gangster | guard | leading man | mickey-mousing | murderer | prison | prisoner | punching | tense | undercover agent |
White Heat (1949) | Misterioso (Tense) | 0:40:12 - Hank looks around | advance plot | gangster | leading man | looking | murderer | mysterious | photograph | prison | prisoner | tense | undercover agent | underscoring |
White Heat (1949) | T-Men (Expressivo) | 0:40:26 - Hank looks at the photograph | advance plot | conversing | gangster | leading man | murderer | photograph | prison | prisoner | undercover agent | uneasy |
White Heat (1949) | Jumping on bed | 0:40:41 - Hank jumps up on his bed | advance plot | ascending | gangster | jumping | leading man | mickey-mousing | murderer | prison | prisoner | undercover agent | uneasy |
White Heat (1949) | Misterioso (Ominous) | 0:40:51 - The prisoners talk | advance plot | conversing | gangster | leading man | murderer | mysterious | ominous | prison | prisoner | tense | undercover agent | underscoring |
White Heat (1949) | Whispering | 0:41:06 - The prisoner reads lips | advance plot | gangster | leading man | listening | murderer | prison | prisoner | spying | tense | undercover agent | uneasy | whisper effect | whispering |
White Heat (1949) | Thinking | 0:41:34 - Prisoners talk about money | advance plot | conversing | gangster | leading man | murderer | mysterious | prison | prisoner | tense | thinking | undercover agent |
White Heat (1949) | Underscoring (Mysterious) | 0:44:42 - Parker sneaks | gangster | leading man | murderer | murder scene | mysterious | prison | prisoner | sneaking | undercover agent | underscoring | working |
White Heat (1949) | Trap | 0:44:53 - The crane moves over Cody's head | attempted | crane | crashing | dramatic | dropping | falling | gangster | leading man | machine | machine effect | mickey-mousing | moving | murder | murderer | murder scene | prison | prisoner | saving | stinger | tense | trap | undercover agent |
White Heat (1949) | Ma (Restless) | 0:49:34 - Cody walks back to work | anxious | dramatic | gangster | leading man | mad scene | murderer | prison | prisoner | tense | thinking | threatening | working |
White Heat (1949) | Underscoring (Tense) | 0:49:56 - Cody threatens Parker | gangster | leading man | mad scene | murderer | prison | prisoner | tense | threatening | underscoring |
White Heat (1949) | Madness | 0:50:16 - Cody hears voices | agitated | blur | falling | gangster | hallucinating | hallucination | headache | headache effect | hearing voices | leading man | machine | mad scene | murderer | pain | prison | prisoner | self-borrowing | tense | unsettled |
White Heat (1949) | Headache | 0:50:31 - Heavy machinery | agitated | crawling | falling | gangster | headache | headache effect | leading man | machine | mad scene | murderer | pain | prison | prisoner | self-borrowing | tense | unsettled |
White Heat (1949) | Struggle | 0:50:50 - Cody crawls on the floor | agitated | crawling | falling | gangster | headache | headache effect | helping | leading man | machine | mad scene | murderer | pain | prison | prisoner | self-borrowing | tense | undercover agent | unsettled |
White Heat (1949) | Cody (Headache) | 0:51:15 - Hank helps Cody | crawling | gangster | headache | helping | leading man | mad scene | murderer | pain | prison | prisoner | tense | undercover agent |
White Heat (1949) | Underscoring (Tense) | 0:51:20 - Hank helps Cody | crawling | gangster | headache | helping | leading man | mad scene | massaging | murderer | pain | prison | prisoner | tense | undercover agent | underscoring |
White Heat (1949) | Cody rises | 0:51:40 - Hank helps Cody stand | gangster | headache | helping | leading man | mad scene | mickey-mousing | murderer | pain | prison | prisoner | rising | tense | undercover agent |
White Heat (1949) | Cody (Recovering) | 0:51:52 - Cody's headache subsides | gangster | headache | leading man | mad scene | murderer | pain | prison | prisoner | tense | undercover agent | uneasy | waiting |
White Heat (1949) | Misterioso (Straitjacket) | 1:04:07 - The warden talks with Cody | conversing | doctor | gangster | guard | leading man | murderer | mysterious | prison | prison break | prisoner | straitjacket | tense | underscoring | warden |
White Heat (1949) | Plotting (Tense) | 1:04:33 - Tommy brings food to Cody | carrying | doctor | feeding | food | gangster | guard | leading man | murderer | mysterious | prison | prison break | prisoner | straitjacket | tense | warden |
White Heat (1949) | Misterioso (Tense 2) | 1:04:48 - Tommy loosens Cody's straitjacket | doctor | gangster | guard | gun | leading man | loosening | murderer | mysterious | prison | prison break | prisoner | releasing | straitjacket | tense | untying | warden |
White Heat (1949) | Cody (Pulls Gun) | 1:05:05 - Cody stands up | doctor | dramatic | gangster | guard | gun | leading man | loosening | murderer | mysterious | prison | prison break | prisoner | releasing | straitjacket | tense | untying | warden |
White Heat (1949) | Danger (Tense) | 1:05:23 - Cody forces the doctor out at gunpoint | doctor | down | dramatic | gangster | guard | gun | leading man | murderer | prison | prison break | prisoner | stinger | warden |
White Heat (1949) | Gathering | 1:05:39 - Inmates playing cards | conversing | doctor | dramatic | gangster | guard | leading man | murderer | prison | prison break | prisoner | self-borrowing | tense | walking |
White Heat (1949) | Cody (Violent) | 1:06:11 - Cody shoves the doctor | commanding | doctor | dramatic | gangster | guard | gun | leading man | murderer | prison | prison break | prisoner | pushing | stinger | violent |
White Heat (1949) | Danger (Risoluto) | 1:06:24 - Cody forces the guard into a cell | commanding | doctor | gangster | guard | gun | leading man | murderer | prison | prison break | prisoner | pushing | tense | warden |
White Heat (1949) | Cody 3 | 1:06:43 - Cody forces men out at gunpoint | commanding | doctor | dramatic | gangster | guard | gun | kicking | leading man | murderer | prison | prison break | prisoner | warden |
White Heat (1949) | Trap | 1:06:47 - Cody kicks Parker | commanding | dramatic | gangster | guard | gun | kicking | leading man | murderer | prison | prison break | prisoner | revenge | tense | warden |
White Heat (1949) | Plotting (Extended) | 1:07:13 - Cody forces men out at gunpoint | commanding | dramatic | gangster | guard | gun | leading man | murderer | prison | prison break | prisoner | revenge | tense | warden |
White Heat (1949) | Prison Break | 1:07:19 - Cody and men go outside | dramatic | escaping | gangster | guard | gun | leading man | murderer | prison | prison break | prisoner | rushing | self-borrowing | warden |
White Heat (1949) | Underscoring (Dramatic) | 1:07:29 - Cody commands the men | car | dramatic | escaping | gangster | guard | gun | leading man | murderer | prison | prison break | prisoner | underscoring | warden |
White Heat (1949) | Danger (Tense) | 1:07:49 - The men get in the car | car | dramatic | escaping | fanfare | gangster | guard | gun | leading man | motor effect | murderer | prison | prison break | prisoner | underscoring | warden |
White Heat (1949) | Underscoring (Tense) | 1:07:57 - The car drives off | car | dramatic | escaping | fanfare | gangster | guard | gun | leading man | murderer | prison | prison break | prisoner | tense | warden |
White Heat (1949) | Cody (Prison Gate) | 1:08:17 - The prison gates open | car | dramatic | escaping | gangster | gate | guard | gun | leading man | mickey-mousing | murderer | prison | prison break | prisoner | warden |
White Heat (1949) | Pursuit | 1:08:44 - The agents turn around | agent | car | driving | leading man | police | prison break | rushing | street | tense | uneasy |
White Heat (1949) | Cody 2 (Molto Misterioso) | 1:09:13 - Cody adjusts his hat in the mirror | dressing | fugitive | gangster | hat | leading man | mirror | murderer | mysterious | prison break | room | tense |
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) | Fight | 1:26:51 - Hank attacks the gangster | action scene | dramatic | fighting | fugitive | gangster | leading man | mickey-mousing | murderer | punching | tense | undercover agent | yard |
White Heat (1949) | T-Men (Misterioso) | 1:27:39 - Hank talks to Cody | advance plot | arguing | conversing | fugitive | gangster | leading man | murderer | mysterious | stinger | undercover agent | yard |
White Heat (1949) | Underscoring (Tense) | 1:27:53 - Hank talks to Cody | advance plot | arguing | conversing | fugitive | gangster | leading man | murderer | tense | undercover agent | underscoring | yard |
White Heat (1949) | Verna (Cello Solo) | 1:28:30 - Cody talks about Verna | advance plot | character mention | conversing | fugitive | gangster | leading man | memory | murderer | somber | undercover agent | yard |
White Heat (1949) | Ma (Molto Expressivo) | 1:28:38 - Cody talks about his mother | advance plot | character mention | conversing | fugitive | gangster | leading man | memory | murderer | tense | undercover agent | uneasy | yard |
White Heat (1949) | Plotting (Agitato) | 1:29:03 - Cody talks about his family | advance plot | conversing | fugitive | gangster | insanity | leading man | memory | murderer | tense | undercover agent | uneasy | yard |
White Heat (1949) | Cody (Climbing) | 1:29:15 - Cody talks about his past | advance plot | conversing | fugitive | gangster | leading man | memory | murderer | tense | undercover agent | uneasy | yard |
White Heat (1949) | Ma (Triste) | 1:29:29 - Cody talks about his mother | advance plot | character mention | conversing | fugitive | gangster | leading man | memory | murderer | tense | undercover agent | uneasy | yard |
White Heat (1949) | Cody 3 (Molto Misterioso) | 1:31:42 - Hank works on the transmitter | advance plot | leading man | radio | tense | transmitter | undercover agent | working | yard |
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) | Underscoring (Tense) | 1:33:58 - Hank talks to the gas station attendant | advance plot | conversing | fugitive | gangster | gas station | leading man | murderer | tense | truck | undercover agent | underscoring | worker | working |
White Heat (1949) | Mirror | 1:34:10 - Hank writes a message on the mirror | advance plot | bathroom | dramatic | fanfare | gas station | leading man | message | mirror | rushing | tense | undercover agent | writing |
White Heat (1949) | Underscoring (Tense) | 1:34:25 - Attendant fixes the truck | advance plot | conversing | fugitive | gangster | gas station | leading man | murderer | tense | underscoring | waiting | worker | working |
White Heat (1949) | Mirror | 1:34:34 - Gangster goes to check on Hank | advance plot | bathroom | dramatic | fanfare | fugitive | gangster | gas station | hurrying | leading man | message | mirror | murderer | tense | undercover agent | worker | writing |
White Heat (1949) | Message on the Mirror | 1:34:49 - Message on the washroom mirror | advance plot | bathroom | dramatic | fanfare | gas station | leading man | message | mirror | Morse code | radio effect | radio signal | tense | undercover agent | writing |
White Heat (1949) | Bo Creel | 1:35:51 - Bo Creel comes outside | advance plot | conversing | dark | fugitive | gangster | leading man | murderer | ominous | preparing | stinger | tense | truck | undercover agent | worker | working | 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 |
White Heat (1949) | Danger | 1:36:32 - The gangsters hide in the truck | advance plot | fugitive | gangster | hiding | leading man | murderer | preparing | tense | truck | truck | undercover agent | worker |
White Heat (1949) | Truck | 1:36:45 - The truck engine starts | advance plot | driving | fugitive | gangster | leading man | mickey-mousing | murderer | starting | tense | truck | truck | undercover agent | worker |
White Heat (1949) | Truck (Speeding) | 1:37:36 - Tanker drives down the street | chase scene | driving | fugitive | gangster | leading man | murderer | ominous | speeding | street | truck | undercover agent |
White Heat (1949) | Cody 2 (Montage) | 1:38:26 - Tanker drives down the street | car | car | chase scene | dark | double exposure | electronic effect | fugitive | gangster | leading man | montage | murderer | pursuing | radio effect | speeding | street | truck | undercover agent |
White Heat (1949) | Cody 2 | 1:39:10 - Tanker drives down the street | car | chase scene | dark | double exposure | driving | fugitive | gangster | leading man | montage | murderer | radio | speeding | street | truck | undercover agent |
White Heat (1949) | Truck (Tutti) | 1:39:43 - Tanker pulls up to factory | chase scene | dramatic | driving | fugitive | gangster | leading man | murderer | ominous | street | truck | undercover agent |
White Heat (1949) | Cody (Mugs) | 1:39:57 - Gangsters in the tanker | arriving | chase scene | dramatic | driving | factory | fugitive | gangster | guard | leading man | murderer | ominous | truck | truck | undercover agent | waiting |
White Heat (1949) | Gate | 1:40:15 - The factory gate opens | arriving | chase scene | closing | dark | driving | factory | fanfare | fugitive | gangster | gate | guard | leading man | murderer | opening | tense | truck | undercover agent |
White Heat (1949) | Underscoring (Tense) | 1:40:42 - Truck pulls in to factory | arriving | chase scene | driving | factory | fugitive | gangster | leading man | murderer | tense | truck | undercover agent | underscoring |
White Heat (1949) | Cody | 1:40:57 - Cody exits truck | arriving | chase scene | dark | factory | fugitive | gangster | leading man | murderer | opening | tense | truck | undercover agent |
White Heat (1949) | Rushing (Misterioso) | 1:41:01 - Cody emerges from the truck | chase scene | dark | factory | fugitive | gangster | leading man | murderer | rushing | tense | truck | undercover agent |
White Heat (1949) | Plotting (Faster) | 1:41:49 - Gangsters enter the building | action scene | anxious | arriving | factory | fugitive | gangster | guard | hurrying | leading man | murderer | tense | undercover agent | working |
White Heat (1949) | Underscoring (Tense) | 1:42:42 - Hank looks out the window | action scene | factory | fugitive | gangster | guard | leading man | murderer | tense | undercover agent | underscoring | working |
White Heat (1949) | Police Raid | 1:43:09 - Gangster acting as lookout | action scene | arriving | factory | fugitive | gangster | leading man | looking | march | murderer | police | running | rushing | tense | undercover agent |
White Heat (1949) | Bo Creel (Misterioso) | 1:43:26 - Bo Creel tells Cody that Hank is a cop | action scene | discovering | discovery | factory | fugitive | gangster | guard | leading man | looking | murderer | mysterious | realizing | undercover agent |
White Heat (1949) | Underscoring (Dramatic) | 1:46:13 - Cody shoots man in back | action scene | agent | death | dramatic | dying | factory | falling | fugitive | gangster | gun | gunshot | leading man | mickey-mousing | murder | murderer | shooting | tear gas | underscoring |
White Heat (1949) | Crawling | 1:46:18 - Hank crawls on the floor | action scene | agent | crawling | dramatic | factory | fugitive | gangster | gun | leading man | mickey-mousing | murderer | rushing | tear gas | tense |
White Heat (1949) | Agents (Tutti) | 1:46:31 - Agents watch men exiting | action scene | agent | aiming | dramatic | factory | gun | leading man | police | rushing | stopping | tear gas | tense |
White Heat (1949) | T-Men (Escaping) | 1:46:36 - Hank escapes | action scene | agent | crawling | dark | escaping | factory | gun | leading man | police | reporting | tear gas | tense |
White Heat (1949) | Agents (Marcato) | 1:46:58 - Evans signals to another agent | action scene | agent | bold | commanding | factory | fanfare | leading man | police |
White Heat (1949) | Danger (Extended) | 1:47:06 - Cody sends men out | action scene | agent | death | dying | factory | falling | fugitive | gangster | gun | gunshot | leading man | murderer | police | pushing | rushing | shooting | tense |
White Heat (1949) | Climbing stairs | 1:47:22 - Gangsters climb up stairs | action scene | agent | ascending | dramatic | factory | fleeing | fugitive | gangster | leading man | mickey-mousing | murderer | police | running | rushing | stairs |
White Heat (1949) | Underscoring (Dramatic) | 1:47:35 - Gangsters get off of ladder | action scene | agent | dramatic | factory | fugitive | gangster | hiding | leading man | murderer | police | rushing | tense | underscoring |
White Heat (1949) | White Heat (Police Raid) | 1:47:47 - Police advance on the gangsters | action scene | advancing | agent | death | dramatic | dying | factory | falling | fugitive | gangster | gun | gunshot | hidiging | leading man | mickey-mousing | murder | murderer | police | raid | searching | shooting | shootout | tense |
White Heat (1949) | Cody 2 (Brash) | 1:48:12 - Agents run up the stairs | action scene | agent | ascending | brash | dramatic | factory | fugitive | gangster | leading man | murderer | police | raid | running | rushing | shootout | stairs |
White Heat (1949) | Prison Fight + Agents | 1:48:17 - Gangsters run up the stairs | action scene | agent | ascending | combination of themes | dramatic | factory | fleeing | fugitive | gangster | gun | gunshot | leading man | murderer | police | raid | running | rushing | shootout | stairs | tense |
White Heat (1949) | Prison Fight + Agents | 1:48:30 - Agents run up the stairs | action scene | agent | ascending | chasing | dramatic | factory | fugitive | gangster | leading man | murderer | police | raid | running | stairs | tense |
The Woman in White (1948) | The Spring is Coming | 0:01:37 - A train station | cheerful | conversing | establish setting | folk music | leading man | light | train | train station | voice-over | waiting | worker |
The Woman in White (1948) | The Carman's Whistle | 0:02:16 - Walter asks for directions | calm | directions | establish place | establish setting | establish time | forest | gentle | leading man | Renaissance music | voice-over | walking | worker |
The Woman in White (1948) | 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) | Fosco | 0:04:40 - Walter hears a carriage approaching | arriving | bold | carriage | conversing | establish character | fanfare | forest | leading man | tense |
The Woman in White (1948) | The Carman's Whistle (Accompaniment) | 0:05:23 - Walter talks to a man in the carriage | carriage | conversing | establish character | forest | leading man | tense |
The Woman in White (1948) | Ann (Molto Misterioso) | 0:05:30 - Closeup on Count Fosco | carriage | conversing | establish character | forest | leading man | mysterious |
The Woman in White (1948) | Underscoring (Tense) | 0:05:38 - Walter talks to a man in the carriage | carriage | conversing | establish character | forest | leading man | stinger | tense | underscoring |
The Woman in White (1948) | Fosco | 0:05:43 - The carriage rolls away | carriage | departing | establish character | fanfare | forest | leading man | tense |
The Woman in White (1948) | The Carman's Whistle | 0:06:09 - Walter walks away | arriving | calm | establish character | garden | leading man | mansion | walking |
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) | The Carman's Whistle (Sordini) | 0:11:18 - Count Fosco talks with Walter | advance plot | conversing | gentle | leading man | mansion |
The Woman in White (1948) | Ann | 0:11:38 - Walter talks with Count Fosco | advance plot | butler | conversing | leading man | mansion | mysterious |
The Woman in White (1948) | Fairlie | 0:11:53 - The butler takes Walter to see Mr. Fairlie | butler | conversing | establish character | grand | leading man | mansion | noble |
The Woman in White (1948) | Fairlie (Poco Meno) | 0:12:33 - They arrive at Mr. Fairlie's room | arriving | butler | establish character | gentle | leading man | mansion |
The Woman in White (1948) | Fairlie (Gentle) | 0:12:57 - Walter enters Mr. Fairlie's room | arriving | butler | establish character | gentle | leading man | mansion |
The Woman in White (1948) | Fairlie | 0:18:35 - Walter leaves Mr. Fairlie | advance plot | butler | gentle | leading man | room | walking |
The Woman in White (1948) | The Carman's Whistle (Accompaniment) | 0:19:09 - Walter walks to the window | advance plot | gentle | leading man | room | walking |
The Woman in White (1948) | Fosco (Molto Misterioso) | 0:19:16 - Fosco walks outside | advance plot | garden | leading man | mysterious | room | tense | walking | watching |
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) | Fosco | 0:23:42 - Fosco walks up the stairs | butler | establish character | leading man | pushing | room | rushing | tense | 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) | 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) | 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) | 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) | 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) | Ann (Accelerando) | 1:12:32 - Fosco looks in the closet | agitated | anger | antagonist | conflict | criminal | leading man | mysterious | room | rushing | searching | walking |
The Woman in White (1948) | Ann (Accelerando) + Fosco (Dark) | 1:12:47 - Fosco leaves | agitated | anger | antagonist | combination of themes | conflict | conversing | criminal | departing | doctor | husband | leading man | room | rushing | searching | tense | walking |
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) | Fosco (Con Moto) | 1:23:29 - Fosco arrives in his carriage | antagonist | arriving | carriage | criminal | dark | leading man | murderer | serious | street | transition | traveling |
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) | 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) | Ann (Quasi Misterioso) | 1:29:00 - Count Fosco talks to Sir Percival | antagonist | asylum | conversing | criminal | husband | hypnotist | leading man | mad scene | murderer | ominous |
The Woman in White (1948) | Hypnosis + Fosco | 1:30:32 - Count Fosco leaves | antagonist | carriage | combination of themes | criminal | dark | husband | hypnotist | leading man | leaving | murderer | ominous | plotting | spy | spying | street | tense | transition |
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) | The Carman's Whistle (Accompaniment) | 1:32:33 - Walter walks | calm | comedy | criminal | leading man | sneaking | spy | spying | street | walking |
The Woman in White (1948) | The Carman's Whistle (Bassoon) | 1:32:48 - A man spies on Walter | calm | comedy | criminal | following | husband | leading man | murderer | sneaking | spy | spying | street | walking |
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) | Laura (Harp Countermelody) | 1:46:55 - The camera pans from the asylum | arriving | butler | child | conversing | father | happy | husband | leading man | mansion | resolution | voice-over | waltz |
The Woman in White (1948) | Pavan (Major) | 1:47:33 - Walter with his daughter Ann | child | conversing | father | greeting | husband | leading man | noble | resolution | voice-over | yard |
The Woman in White (1948) | The Self Banished (The End) | 1:47:51 - Walter with the children | book | child | conversing | embracing | father | greeting | husband | kissing | leading lady | leading man | mother | resolution | tender | The End | voice-over | wife | yard |
The Public Defender (1931) | He Walked Right In, Turned Around and Walked Right Out Again | 0:30:49 - Man sings to himself as he walks away | advance plot | cheerful | leading man | on-screen music | room | singing | source music | transcribed by ear |
The Public Defender (1931) | Mystery (End Title) | 1:08:56 - A kiss and The End | arguing | end title sequence | kissing | leading man | mode mixture | pedal tone | romantic | room | The End | transcribed by ear |
Three Who Loved (1931) | Old Folks At Home | 0:46:00 - Phil paces in a jail cell | advance plot | jail | leading man | on-screen music | playing | prisoner | somber | source music |
Is My Face Red? (1932) | You Bunch of Fun | 0:10:42 - Backstage at a Broadway show | advance plot | Broadway | cheerful | dancer | dancing | leading man | popular music | singing | source music | stage | transcribed by ear |
Is My Face Red? (1932) | Burlesque | 0:13:10 - Backstage at a Broadway show | ABAC structure | advance plot | arguing | Broadway | burlesque | cheerful | common-chord modulation | dancer | leading man | pedal tone | plagal cadence | popular music | source music | stage | transcribed by ear |
Is My Face Red? (1932) | Close to Me | 0:13:53 - William and Peggy talk in a dressing room | advance plot | altered dominant | augmented sixth chord | Broadway | common-tone diminished 7th | conversing | dancer | Gypsy major scale | leading man | popular music | romantic | room | source music | transcribed by ear |
Is My Face Red? (1932) | Sailing of the Olympic | 0:15:16 - William on the deck of a busy ship | AB structure | advance plot | boat | bustling | chromatic sequence | crowd | hurried | leading man | metric dissonance | parallelism | searching | transcribed by ear |
Is My Face Red? (1932) | I Love Thee | 0:16:08 - Two people embrace | advance plot | boat | embrace | embracing | leading man | quotation | romantic | transcribed by ear |
Is My Face Red? (1932) | Strolling the Deck (Argument) | 0:16:14 - Camera moves from one window to another | advance plot | boat | cheerful | eavesdropping | fragmentation | leading man | parallelism | searching | transcribed by ear |
Is My Face Red? (1932) | Sailing of the Olympic (Argument) | 0:16:24 - Two people argue | advance plot | arguing | boat | eavesdropping | leading man | parallelism | tense | transcribed by ear |
Is My Face Red? (1932) | Strolling the Deck | 0:16:29 - Camera moves from one window to another | advance plot | boat | cheerful | common-tone diminished 7th | eavesdropping | leading man | mode mixture | searching | 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 |
Is My Face Red? (1932) | Trysting Place, The | 0:50:25 - William talks to Peggy and Mildred | advance plot | arguing | band | broadcast | calm | conversing | dance music | leading man | radio | sentence form | source music | stage | transcribed by ear |
Men of America (1932) | Cimarron C | 0:01:08 - Smokey Joe fights the Indians | ambush | common-chord modulation | cowboy | establish character | establish setting | fanfare | gun | gunshot | horse | Indian | leading man | noble | parallel double period | prairie | riding | self-borrowing | shooting | stagecoach | title card | transcribed by ear |
Men of America (1932) | Cimarron B (Transition) | 0:02:19 - Smokey Joe fights the Indians | ambush | chromatic mediant | cowboy | dramatic | establish character | establish setting | fragmentation | gun | gunshot | horse | Indian | leading man | prairie | riding | self-borrowing | shooting | stagecoach | tense | title card | transcribed by ear |
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 |
State’s Attorney (1932) | Na Moku Eha | 0:01:19 - Hula dancer | cheerful | club | conversing | dancer | dancing | drinking | establish character | gambling | Hawaiian | leading man | on-screen music | playing | politician | singing | source music |
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 |
State’s Attorney (1932) | Blues (Swinging) | 0:43:46 - Jazz musicians playing in a club | club | conversing | dancing | daughter | jazz | lawyer | leading man | love interest | music scene | on-screen music | source music | upbeat |
State’s Attorney (1932) | Beer Glasses | 0:53:26 - Tom tunes his beer glasses to A | advance plot | bar | drunk | drunk | lawyer | leading man | on-screen music | source music | tuning |
State’s Attorney (1932) | Wedding March | 0:53:50 - Tom plays the Wedding March | advance plot | bar | drunk | drunk | lawyer | leading man | on-screen music | playing | source music |
State’s Attorney (1932) | Beer Glasses | 0:54:08 - Tom strikes a beer glass | advance plot | bar | drunk | drunk | lawyer | leading man | on-screen music | playing | source music |
State’s Attorney (1932) | Beer Glasses | 0:54:32 - Tom strikes a beer glass | advance plot | bar | drunk | drunk | lawyer | leading man | on-screen music | playing | source music |
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 |
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) | He's Not the Marrying Kind | 0:02:32 - Radio announcer talking | announcing | beauty contestant | conversing | establish character | filming | film staff | leading man | modeling | on-screen music | pageant | parallel period | photographer | pleasant | radio announcer | source music |
Headline Shooter (1933) | Ensemble Tuning | 0:04:41 - Bill talks to business man | business man | calm | conversing | establish character | leading man | pageant | source music | tuning |
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) | Hi-De-Ho | 0:37:46 - Fenny talks with Mr. Frink | AABA structure | advance plot | boss | conversing | dancing | gangster | laughing | leading man | on-screen music | piano | source music | theater | upbeat |
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) | Dunlap Commandery | 0:43:59 - Eddie in his room | advance plot | cheering | leading man | march | room | thinking | upbeat |
Gridiron Flash (1934) | Gridiron Flash | 0:45:19 - Eddie in his room | added-note chord | advance plot | cheering | countermelody | leading man | march | 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 |
Hat, Coat, and Glove (1934) | When You're Far Away | 0:41:12 - Robert talks to Jerry | AABA structure | advance plot | club | conversing | lawyer | leading man | meeting | pleasant | source music | suspect |
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 | 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) | Midnight in Manhattan (Warm) | 0:09:35 - Clay in the theater lobby | advance plot | altered dominant | conversing | leading man | mode mixture | Neapolitan | score to source | sentimental | source music | theater |
Star of Midnight (1935) | Swing it Sister | 0:10:50 - Clay talks with Jim | AABA structure | blackmail | blackmailing | conversing | criminal | detective | establish character | leading man | radio | room | source music | threatening | upbeat |
Star of Midnight (1935) | Pop Goes the Weasel | 0:29:44 - Detective sits | advance plot | cheerful | conversing | detective | inspector | leading man | music box | room | source music |
Star of Midnight (1935) | Pop Goes the Weasel | 0:33:40 - Clay talks with Tim | advance plot | cheerful | conversing | detective | leading man | music box | room | source music | suspect |
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) | Westminster Quarters | 0:53:50 - Clay waits | advance plot | calm | detective | detective | leading man | source music | street | waiting |
Star of Midnight (1935) | Rushing | 0:54:02 - Clay rushes to catch the bus | bus | detective | hurried | leading man | montage | parallelism | rushing | street | transcribed by ear |
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 |
Don’t Turn ‘em Loose (1936) | Mildred Waltz | 0:24:13 - Bob and Letty go for a walk | ABA structure | advance plot | altered dominant | augmented sixth chord | calm | conversing | diminished 7th chord | gangster | imposter | leading man | love interest | street | transcribed by ear | walking | waltz |
Don’t Turn ‘em Loose (1936) | Gimpy Walk | 0:26:00 - Bob walks | advance plot | appoggiatura | gangster | imposter | leading man | oscillation | pacing | room | street | tense | walking |
Don’t Turn ‘em Loose (1936) | Gimpy Walk | 0:26:12 - Bob walks | added-note chord | advance plot | gangster | imposter | leading man | oscillation | pacing | room | street | tense | walking |
Don’t Turn ‘em Loose (1936) | Gimpy Walk | 0:26:17 - Bob walks | added-note chord | advance plot | calm | gangster | imposter | leading man | mode mixture | oscillation | pacing | reverse picardy | room | waiting | walking |
Don’t Turn ‘em Loose (1936) | Gimpy Walk | 0:26:34 - Bob walks | added-note chord | advance plot | calm | double exposure | gangster | imposter | leading man | oscillation | pacing | room | waiting | walking |
Don’t Turn ‘em Loose (1936) | Suicide Transition | 0:26:55 - Bob sits | augmented triad | chromatic parallelism | dissonant bass | gangster | guard | gun | gunshot | imposter | leading man | mysterious | parallelism | plotting | preparing | reading | robbery | room | sequence | shooting | store | transcribed by ear | whole-tone | whole-tone chord |
Don’t Turn ‘em Loose (1936) | Underscoring (Dramatic) | 0:28:05 - Bob shoots guard | breaking | death | dramatic | gangster | guard | gun | gunshot | imposter | leading man | murder | robbery | robbery | shooting | stealing | store | transcribed by ear | whole-tone chord |
Don’t Turn ‘em Loose (1936) | Mystery | 0:28:14 - Bob (Bat) steals a necklace | breaking | chromaticism | gangster | imposter | leading man | mysterious | necklace | pc set | robbery | robbery | room | stealing | transcribed by ear |
Don’t Turn ‘em Loose (1936) | Suicide Transition 2 | 0:28:29 - Bob (Bat) bandanges his hand | bandaging | chromatic scale | gangster | imposter | leading man | mysterious | returning | robbery | room | transcribed by ear | whole-tone chord |
Don’t Turn ‘em Loose (1936) | Makes You Forget Your Troubles | 0:39:42 - Grace turns on the radio | AABA structure | arriving | cheerful | common-tone diminished 7th | confronting | conversing | gangster | gun | leading man | moll | murderer | murder scene | popular music | room | source music | staring | threatening |
Don’t Turn ‘em Loose (1936) | Makes You Forget Your Troubles (Dream Sequence) | 0:39:59 - Bob (Bat) pulls a gun on Grace | augmented sixth chord | cheerful | confronting | fragmentation | frantic | gangster | gun | gunshot | half-diminished 7th chord | leading man | mirror shot | moll | murder | murderer | murder scene | popular music | reacting | room | screaming | sequence | shooting | simulated source music | source music | staring | tense | threatening | victim |
Don’t Turn ‘em Loose (1936) | Makes You Forget Your Troubles | 0:40:17 - Grace is shot | AABA structure | cheerful | common-tone diminished 7th | gangster | gun | leading man | mirror shot | moll | murder | murderer | murder scene | planning | popular music | room | source music | staring | victim |
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) | Underscoring (Lyrical) | 0:23:23 - Pete exits the store | attempted murder | conflict | departing | detective | drive by shooting | food | gunshot | leading man | mode mixture | peaceful | pedal tone | shooting | street | underscoring | walking |
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) | The Escape (Hiding) | 0:27:05 - Pete and Danny dodge from gunfire | action scene | chromatic scale | detective | dodging | dramatic | gangster | gunshot | hiding | leading man | shooting | stinger | street | whole-tone chord |
We're Only Human (1935) | Gypo Runs Away | 0:27:09 - Pete and Danny hide | action scene | agitated | chromatic parallelism | detective | diminished 7th chord | gangster | hiding | leading man | street | tense |
We're Only Human (1935) | The Informer (Up the Stairs) | 0:27:17 - Pete prepares to advance | 64 chord | action scene | agitated | bank | chromatic sequence | detective | dodging | fragmentation | gangster | gunshot | hiding | leading man | preparing | running | stinger | tense |
We're Only Human (1935) | Blood Money (Four Coins) | 0:27:37 - Pete and Danny hide | action scene | bank | detective | gangster | half-diminished 7th chord | hiding | leading man | mysterious | preparing | sneaking | tense |
We're Only Human (1935) | The Informer (Lying) | 0:27:51 - Danny prepares to advance | action scene | bank | chromatic sequence | detective | diminished 7th chord | dissonant bass | gangster | half-diminished 7th chord | hiding | leading man | octatonic | preparing | sneaking | tense |
We're Only Human (1935) | Kong 1 | 0:28:23 - Pete jumps on a criminal | action scene | bank | chromatic parallelism | detective | dramatic | fighting | gangster | jumping | leading man | pedal tone | punching | tense |
We're Only Human (1935) | Kong 2 | 0:28:34 - Pete handcuffs a criminal | action scene | bank | detective | dramatic | fighting | gangster | leading man | mysterious | tense | whole-tone | whole-tone chord |
We're Only Human (1935) | The Informer (Drinking) | 0:28:39 - Pete stands up | action scene | bank | detective | gangster | leading man | octatonic | standing | tense | whole-tone chord |
We're Only Human (1935) | Katie (Triste) | 0:28:47 - Pete talks to the criminal | action scene | arguing | bank | detective | foreign key modulation | gangster | leading man | parallelism | stinger | sultry |
We're Only Human (1935) | Blood Money (Extended) | 0:28:58 - Pete walks away with the criminal | action scene | arguing | augmented triad | bank | detective | gangster | leading man | mysterious | tense | tritone | whole-tone |
We're Only Human (1935) | Katie (Begging) | 0:29:21 - Close up on Danny | 64 chord | action scene | bank | calling | detective | gangster | leading man | sequence | serious | tense | victim |
We're Only Human (1935) | Begging | 0:29:35 - Pete talks with Danny | action scene | arguing | bank | detective | diminished 7th chord | dissonant bass | gangster | leading man | pedal tone | sequence | serious | tense | victim |
We're Only Human (1935) | Katie (Dolcissimo) | 0:30:05 - Danny talks with Pete | action scene | bank | chromatic sequence | conversing | death | detective | dying | gangster | leading man | solemn | victim |
We're Only Human (1935) | Dan and Mary (Adagio) | 0:30:44 - Pete says goodbye to Danny | 11th chord | action scene | bank | conversing | death | detective | dying | gangster | leading man | solemn | victim |
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) | The Informer (Tense) | 1:04:11 - Pete prepares to enter the house | climax | conflict | detective | leading man | mysterious | Scotch snap | sneaking | tense | whole-tone | whole-tone chord | yard |
We're Only Human (1935) | The Escape | 1:04:31 - Pete enters the house | chromatic scale | climax | conflict | detective | dodging | dramatic | gangster | gunshot | hiding | leading man | murderer | room | shooting | underscoring | whole-tone | whole-tone chord |
We're Only Human (1935) | Game 4 | 1:04:54 - Pete crawls on the floor | climax | conflict | crawling | detective | gangster | leading man | murderer | room | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Game 5 | 1:05:03 - Pete prepares to shoot | chromatic parallelism | climax | conflict | detective | gangster | gunshot | leading man | murderer | pc set | pedal tone | room | shooting | sneaking | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Blood Money (Counting Money) | 1:05:25 - Pete looks at the fallen man | climax | conflict | detective | gangster | leading man | murderer | mysterious | room | sneaking | tense | tone cluster |
We're Only Human (1935) | Game 6 | 1:05:34 - Pete dodges gunfire | climax | conflict | dark | detective | gangster | leading man | murderer | room | sneaking | taunting | tense | underscoring |
We're Only Human (1935) | Game 7 | 1:05:48 - Pete runs up the stairs | 9th chord | climax | conflict | detective | dramatic | gangster | leading man | murderer | parallelism | pc set | pedal tone | room | running | rushing | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Game 8 | 1:05:55 - Pete advances slowly | arguing | chromatic scale | climax | conflict | detective | gangster | half-diminished 7th chord | hostage | leading man | murderer | pedal tone | polychord | room | sneaking | taunting | tense | tricking | underscoring |
We're Only Human (1935) | Lost Patrol 2 | 1:06:45 - Berger falls to the ground | climax | conflict | death | detective | dramatic | dying | falling | gangster | gunshot | hostage | leading man | murderer | room | tone cluster | underscoring |
We're Only Human (1935) | Lost Patrol 3 | 1:06:52 - Pete looks at Berger | 64 chord | climax | conflict | death | detective | gangster | hostage | leading man | murderer | reacting | room | solemn |
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) | Toreador Song | 0:04:23 - A man cues the orchestra to play | arriving | celebrity | crowd | establish character | leading man | night club | source music | Spanish | three-phrase period | upbeat | walking |
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) | 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) | Dog | 0:01:55 - A dog running | car | dog | driving | establish setting | leading man | light | orchard | playful | running | street |
Without Honor (1949) | Tempo di Gavotte | 0:02:09 - A car coming to a stop | car | driving | establish setting | leading man | light | playful | stopping | street |
Without Honor (1949) | Twilight (Triste) | 0:02:19 - Dennis exits his car | car | establish setting | house | leading man | somber | street | walking |
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) | 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) | 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) | 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 (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) | 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 |
Without Honor (1949) | Valse Triste (Tempo de Beguin) | 1:00:38 - Bill watches them leave | antagonist | brother | conversing | convincing | hopeful | husband | leading man | resolution | room | thinking |
Without Honor (1949) | Valse Triste (Mexico) | 1:02:08 - Fred packs his things | antagonist | brother | cheerful | conversing | convincing | husband | leading man | Mexican | resolution | room | thinking |
Without Honor (1949) | Valse Triste (Tempo de Beguin) | 1:02:32 - Bill talks to Fred | antagonist | brother | conversing | convincing | hopeful | husband | leading man | resolution | room | thinking |
Without Honor (1949) | Valse Triste (Reeds) | 1:04:26 - Fred argues with Bill | antagonist | arguing | brother | husband | leading man | resolution | room | tense |
Without Honor (1949) | Valse Triste (Triple Beguin) | 1:05:18 - Fred starts to leave for the hospital | antagonist | arguing | brother | fighting | husband | leading man | punching | resolution | tense | yard |
Without Honor (1949) | Appassionato 2 (Broad) | 1:05:32 - Fred gets in his car | anger | antagonist | brother | car | complaining | departing | dramatic | driving | husband | leading man | resolution | street | tense | yard |
Without Honor (1949) | Valse Triste (Agitato) | 1:05:49 - Bill tries to stop Fred | anger | antagonist | brother | car | chasing | complaining | departing | dramatic | driving | harsh | husband | leading man | resolution | running | street | tense | yelling |
Without Honor (1949) | The End | 1:06:25 - Bill in the middle of the road | anger | antagonist | brother | dramatic | leading man | looking | resolution | standing | street | The End |
The Most Dangerous Game (1932) | A Moment In The Dark | 0:04:39 - A picture of a hunting trip | boat | conversing | establish character | friend | hunter | leading man | radio | radio | source music | upbeat |
The Most Dangerous Game (1932) | The Wreck | 0:07:15 - A sinking ship | action scene | captain | crew | leading man | ocean | ship | ship wreck | sinking | swimming | tense |
The Most Dangerous Game (1932) | Shark Attack | 0:07:35 - A shark in the water | action scene | attacking | biting | blood | captain | crew | death | dramatic | drowning | dying | leading man | ocean | shark | ship wreck | stinger | struggling | swimming | victim |
The Most Dangerous Game (1932) | Swimming | 0:07:56 - Bob swims away | action scene | beach | dramatic | escaping | leading man | mickey-mousing | ocean | ship wreck | swimming | tense |
The Most Dangerous Game (1932) | The Beach | 0:08:11 - Bob walks onto the beach | action scene | beach | calm | leading man | ship wreck | stumbling | walking | wave effect |
The Most Dangerous Game (1932) | The Iron Door (Collapsing) | 0:08:23 - Bob collapses on the beach | action scene | beach | calm | collapsing | falling | foreshadowing | leading man | mysterious | ship wreck |
The Most Dangerous Game (1932) | The Iron Door (Waking) | 0:08:31 - Bob slowly wakes | barking | beach | establish setting | leading man | mysterious | rising | screaming | waking |
The Most Dangerous Game (1932) | Getting up | 0:08:51 - Bob rises to his feet | barking | beach | establish setting | leading man | looking | mickey-mousing | mysterious | rising | standing | tense |
The Most Dangerous Game (1932) | Climbing | 0:08:58 - Bob climbs the rocks | beach | climbing | establish setting | leading man | mickey-mousing | tense |
The Most Dangerous Game (1932) | Russian Waltz (The Sea) | 0:09:15 - The ocean | beach | dramatic | establish setting | leading man | looking | ocean | wave effect |
The Most Dangerous Game (1932) | The Approach | 0:09:31 - Bob approaches | approaching | establish setting | jungle | leading man | tense | walking |
The Most Dangerous Game (1932) | Russian Waltz (The Castle) + The Iron Door | 0:09:42 - Count Zaroff's castle | approaching | castle | combination of themes | establish setting | jungle | leading man | looking | ominous | walking |
The Most Dangerous Game (1932) | Sneaking | 0:09:54 - Bob approaches the iron door | arriving | castle | door | door knocker | establish setting | leading man | mickey-mousing | mysterious | sneaking | statue | walking |
The Most Dangerous Game (1932) | Russian Waltz (Door Opens) | 0:10:26 - The iron door slowly opens | arriving | castle | door | door knocker | establish setting | leading man | mickey-mousing | ominous | sneaking | statue | walking |
The Most Dangerous Game (1932) | Zaroff | 0:13:51 - Bob looks at Zaroff | castle | count | establish character | leading man | mute | ominous | servant | staring | walking | watching |
The Most Dangerous Game (1932) | Centaur | 0:13:56 - Bob sees a centaur on the tapestry | castle | count | establish character | jump scare | leading man | mute | ominous | servant | staring | stinger | tapestry |
The Most Dangerous Game (1932) | Zaroff (Staring) | 0:14:08 - The Count watches Bob | castle | count | establish character | leading man | mute | ominous | servant | staring | walking | watching |
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) | The Iron Door (Tense) | 0:36:27 - Zaroff looks at Bob's watch | action scene | castle | commanding | count | leading man | mute | prisoner | servant | shackles | stinger | tense | villain |
The Most Dangerous Game (1932) | Walking | 0:36:42 - Zaroff walks to the door | action scene | agitated | castle | closing | count | leading man | marching | mickey-mousing | mute | preparing | prisoner | servant | tense | villain | walking |
The Most Dangerous Game (1932) | The Iron Door (Fangs and Claws) | 0:37:00 - Zaroff gives Bob a knife | action scene | castle | commanding | count | giving | knife | leading man | mute | preparing | prisoner | servant | tense | threatening | villain |
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) | Russian Waltz (Grandioso) | 0:57:09 - The Count plays the piano | advance plot | calm | castle | count | entering | leading man | on-screen music | piano | playing | sneaking | source music | victim | villain |
The Most Dangerous Game (1932) | Bob leaping | 0:58:57 - Bob leaps at Zaroff | action scene | castle | count | dramatic | fighting | gun | jumping | leading man | leaping | tense | victim | villain |
The Most Dangerous Game (1932) | Zaroff (Allegro Furioso) | 0:58:57 - Bob fights Zaroff | action scene | castle | count | dog | dramatic | fighting | gun | leading man | tense | victim | villain |
The Most Dangerous Game (1932) | Russian Waltz (The Fight) | 0:59:04 - Bob fights Zaroff | action scene | castle | count | dramatic | fighting | gun | leading man | tense | victim | villain |
The Most Dangerous Game (1932) | Zaroff (The Fight) | 0:59:06 - Zaroff's gun | action scene | castle | count | dramatic | fighting | gun | leading man | tense | victim | villain |
The Most Dangerous Game (1932) | Underscoring (Dramatic) | 0:59:18 - Bob fights Zaroff | action scene | castle | count | dramatic | fighting | leading man | servant | tense | underscoring | victim | villain |
The Most Dangerous Game (1932) | Zaroff (The Fight 2) | 0:59:22 - Zaroff's servant attacks | action scene | castle | count | dramatic | fighting | leading man | servant | tense | victim | villain |
The Most Dangerous Game (1932) | Russian Waltz (The Fight 2) | 0:59:27 - Bob fights Zaroff's servant | action scene | castle | count | dramatic | fighting | leading man | servant | tense | victim | villain |
The Most Dangerous Game (1932) | The Iron Door (The Fight) | 0:59:36 - Bob fights Zaroff's servant | action scene | castle | count | dramatic | fighting | leading man | servant | tense | victim | villain |
The Most Dangerous Game (1932) | The Count rises | 0:59:46 - The Count slowly rises | action scene | arrow | breaking | castle | count | death | dramatic | dying | fighting | killing | leading man | rising | servant | sneaking | tense | victim | villain |
The Most Dangerous Game (1932) | Zaroff (Slow) | 1:00:03 - Bob kills Zaroff's servant | action scene | arrow | castle | corpse | count | death | dramatic | leading man | preparing | servant | tense | victim | villain |
The Most Dangerous Game (1932) | The Iron Door (Allegro Furioso) | 1:00:07 - Bob attacks Zaroff | action scene | arrow | castle | corpse | count | death | dramatic | dying | fighting | killing | leading man | servant | stabbing | tense | victim | villain |
The Most Dangerous Game (1932) | Russian Waltz (Stabbed in Back) | NIF - not in film | arrow | castle | corpse | count | cut from film | death | dying | killing | leading man | servant | stabbing | victim | villain |
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 |
White Heat (1949) | Sliding down pole | 1:48:43 - Cody slides down a pole | action scene | agent | descending | dramatic | factory | fugitive | gangster | leading man | mickey-mousing | murderer | pole | police | raid | sliding | tense |
White Heat (1949) | Danger (Tense) | 1:48:48 - Gangsters run away | action scene | agent | chasing | dramatic | factory | fanfare | fugitive | gangster | leading man | murderer | police | raid | running | rushing | tense |
White Heat (1949) | Agents + Gathering | 1:49:06 - Agents in action | action scene | agent | chasing | combination of themes | dramatic | factory | fugitive | gangster | leading man | murderer | police | raid | running | rushing | tense |
White Heat (1949) | Danger (Risoluto) | 1:49:17 - Agents advance | action scene | agent | chasing | dramatic | factory | fugitive | gangster | leading man | murderer | police | raid | running | rushing | tense |
White Heat (1949) | Underscoring (Dramatic) | 1:49:19 - Gangsters run away | action scene | agent | chasing | dramatic | factory | fugitive | gangster | leading man | murderer | police | raid | running | rushing | tense | underscoring |
White Heat (1949) | Plotting (Extended) | 1:49:34 - Gangsters hide | action scene | agent | factory | frantic | fugitive | gangster | hiding | leading man | murderer | police | raid | running | rushing | tense |
White Heat (1949) | Rushing + Agents | 1:49:44 - Police advance | action scene | advancing | agent | combination of themes | factory | fugitive | gangster | hiding | leading man | murderer | police | raid | rushing | searching | tense |
White Heat (1949) | White Heat (Maestoso 2) | 1:49:55 - Police advance | action scene | advancing | agent | dramatic | factory | fugitive | gangster | hiding | leading man | murderer | police | raid | rushing | searching | tense |
White Heat (1949) | Agents (Searching) | 1:50:02 - Agents plan their next move | action scene | advancing | agent | dramatic | factory | fugitive | gangster | hiding | leading man | murderer | police | raid | rushing | searching | tense |
White Heat (1949) | Rushing (Searchlights) | 1:50:05 - Searchlights | action scene | agent | factory | fugitive | gangster | hiding | laughing | leading man | mickey-mousing | murderer | police | raid | searching | searchlight | tense |
White Heat (1949) | Madness | 1:50:16 - Cody talks to Riley | action scene | agent | factory | fugitive | gangster | hiding | leading man | madness | murderer | plotting | police | raid | tense |
White Heat (1949) | Plotting (Agitato) | 1:50:27 - Cody gets up | action scene | agent | factory | fugitive | gangster | hiding | laughing | leading man | madness | murderer | police | raid | sneaking | tense |
White Heat (1949) | Cody (Climbing) | 1:50:30 - Cody climbs the stairs | action scene | agent | ascending | dramatic | factory | fugitive | gangster | hiding | leading man | murderer | police | raid | rushing | stairs | tense |
White Heat (1949) | Plotting | 1:50:41 - Cody hides | action scene | agent | factory | fugitive | gangster | hiding | leading man | murderer | police | raid | tense |
White Heat (1949) | Rushing (Searchlights 2) | 1:50:48 - Searchlights | action scene | agent | announcing | death | factory | fugitive | gangster | gun | gunshot | hiding | killing | laughing | leading man | mickey-mousing | murder | murderer | police | raid | searching | searchlight | shooting | surrendering | tense |
White Heat (1949) | Riley's Death | 1:51:15 - Riley hits the ground | action scene | agent | dark | death | dying | factory | fugitive | gangster | laughing | leading man | murder | murderer | police | raid | stinger |
White Heat (1949) | Cody 3 (Mocking) | 1:51:30 - Cody shoots | action scene | agent | brash | factory | frantic | fugitive | gangster | gun | gunshot | laughing | leading man | mocking | murderer | police | raid |
White Heat (1949) | Trap | 1:51:37 - Policeman hands Hank a rifle | action scene | agent | aiming | factory | fugitive | gangster | gun | leading man | murderer | police | raid | searching | tense |
White Heat (1949) | Rushing | 1:51:44 - Searchlights | action scene | agent | aiming | factory | fugitive | gangster | gun | gunshot | hiding | leading man | mickey-mousing | murderer | police | raid | searching | searchlight | shooting | tense |
White Heat (1949) | Headache (Explosion) | 1:52:26 - Cody shoots a gas valve | agent | climax | dramatic | exploding | explosion | factory | fire | frantic | fugitive | gangster | gun | gunshot | laughing | leading man | murderer | police | raid | running | rushing | shooting |
White Heat (1949) | Struggle | 1:52:46 - Explosion | agent | climax | conversing | death | dramatic | exploding | explosion | factory | fire | fugitive | gangster | leading man | murderer | police | raid |
White Heat (1949) | Cody (The End) | 1:53:02 - Explosion | agent | climax | conversing | dark | death | dramatic | exploding | explosion | factory | fire | fugitive | gangster | leading man | murderer | police | raid | The End |
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 |
Mara Maru (1952) | Gregory (Diving) | 0:00:40 - Cast list | boat | cast list | descending | diver | diving | diving suit | fanfare | leading man | ocean | opening title sequence | point-of-view shot | sailor | somber | underwater | uneasy | working |
Mara Maru (1952) | Gregory (Underwater) | 0:01:16 - A diver (Gregory) underwater | boat | close-up | diver | diving | diving suit | establish character | fanfare | grand | heroic | leading man | ocean | underwater | working |
Mara Maru (1952) | Underwater | 0:01:48 - Gregory underwater | close-up | dark | diver | diving | diving suit | establish character | floating | leading man | suspenseful | underwater | working |
Mara Maru (1952) | Floating | 0:02:21 - Gregory floating underwater | close-up | diver | diving | diving suit | establish character | floating | leading man | suspenseful | underwater | working |
Mara Maru (1952) | Surfacing | 0:02:34 - Gregory rises from the water | assisting | boat | boat | child | diver | diving suit | establish character | heroic | hopeful | leading man | mickey-mousing | rising | surfacing | underwater | worker | working |
Mara Maru (1952) | On Deck | 0:02:52 - Gregory steps onto the boat | boat | boat | child | conversing | diver | diving suit | establish character | heroic | hopeful | leading man | underscoring | worker | working |
Mara Maru (1952) | Manuelo (Allegretto Giocoso) | 0:03:20 - Perol lights a cigar | boat | boat | child | conversing | diver | establish character | leading man | light | playful | reveal | worker | working |
Mara Maru (1952) | Manuelo 2 (Extended) | 0:03:36 - The boys help Gregory | boat | boat | child | conversing | diver | establish character | leading man | light | playful | worker | working |
Mara Maru (1952) | Manuelo (Giocoso) | 0:03:58 - The boys help Gregory | boat | boat | child | conversing | diver | establish character | leading man | light | playful | worker | working |
Mara Maru (1952) | Manuelo (Meno) | 0:04:10 - Gregory stands up | boat | boat | child | conversing | diver | establish character | gentle | leading man | worker | working |
Mara Maru (1952) | Gregory (Con Moto) | 0:04:24 - A boat in the harbor | arriving | boat | child | conversing | diver | establish character | gambling | grand | harbor | heroic | leading man | ocean | sailing | worker |
Mara Maru (1952) | Baby Face | 0:07:12 - Gregory arrives at a bar | advance plot | arguing | bar | bartender | conversing | crowd | fighting | leading man | partner | sailor | server | source music | upbeat |
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) | Underscoring (Mysterious) | 0:14:26 - Gregory walks down the street | leading man | mysterious | private eye | spying | street | transition | walking |
Mara Maru (1952) | Sneaking away | 0:14:35 - Two men sneak away | leading man | mickey-mousing | mysterious | private eye | sneaking | spying | street | transition |
Mara Maru (1952) | Manuelo (Stinger) | 0:14:44 - Gregory arrives home | arriving | discovering | dramatic | gentle | leading man | room | stinger | transition | unconcious | worker |
Mara Maru (1952) | Underscoring (Dramatic) | 0:15:56 - Gregory picks up the phone | advance plot | arriving | conversing | discovering | dramatic | knocking | leading man | police | room | stinger | telephone | underscoring | worker |
Mara Maru (1952) | Murder | 0:19:08 - Callahan's body is discovered | agitated | arriving | corpse | discovering | dramatic | leading man | murder | murder scene | police | room | stinger | tense |
Mara Maru (1952) | Gregory (Police) | 0:19:31 - The police station | arriving | dark | leading man | police | street | transition | walking |
Mara Maru (1952) | Nassau | 0:27:20 - People in a club | club | conversing | crowd | drinking | establish character | exotic | gentle | leading man | private eye | waitress |
Mara Maru (1952) | Ortega | 0:40:26 - Gregory talks with Ortega | arguing | brother | conversing | distrust | establish character | leading man | mysterious | room | tense |
Mara Maru (1952) | Grabbing | 0:41:15 - Gregory grabs Ortega | arguing | brother | distrust | dramatic | establish character | grabbing | gun | leading man | mickey-mousing | room | tense |
Mara Maru (1952) | Underscoring (Tense) | 0:41:23 - Ortega points a gun at Gregory | arguing | brother | distrust | establish character | gun | leading man | room | stinger | tense | underscoring |
Mara Maru (1952) | Cross (Fragment) | 0:41:40 - A cross on Ortega's keychain | arguing | brother | cross | distrust | dramatic | establish character | gun | keys | leading man | room | stinger |
Mara Maru (1952) | Ortega | 0:41:50 - Gregory tosses Ortega's keys | arguing | brother | distrust | establish character | gun | leading man | mysterious | room | tense |
Mara Maru (1952) | Stella (Sentimentale) | 0:46:13 - Gregory reacts to Stella's departure | advance plot | departing | distrust | leading man | room | somber | worker |
Mara Maru (1952) | Underscoring (Dramatic) | 0:46:32 - A boat on fire | arriving | crowd | death scene | dock | dousing | dramatic | fire | fire effect | hurrying | leading man | police | running | tense | underscoring |
Mara Maru (1952) | Underscoring (Somber) | 0:47:16 - Manuelo hold Perol in his arms | conversing | crying | death scene | dock | dying | leading man | pain | somber | struggling | worker |
Mara Maru (1952) | Manuelo (Molto Expressivo) | 0:47:44 - Perol talks to Gregory | conversing | crying | death scene | dock | dying | expressive | leading man | pain | struggling | tender | worker |
Mara Maru (1952) | Manuelo (Perol Dies) | 0:48:12 - Perol speaks his last words | angelic | conversing | crying | dark | death | death scene | dock | dying | expressive | leading man | pain | stinger | struggling | tender | worker |
Mara Maru (1952) | Manuelo (Molto Appassionato) | 0:48:42 - Manuelo mourns for his brother | cross | crying | dark | death | death scene | dock | embracing | evidence | leading man | mourning | somber | stinger | worker |
Mara Maru (1952) | Adoramus te Christe | 0:49:05 - A cross and some candles | brother | church | conversing | cross | crowd | crying | embracing | evidence | funeral scene | leading man | mother | mourner | mourning | police | praying | priest | private eye | somber | source music | worker |
Mara Maru (1952) | Morena | 0:50:56 - Gregory and Ranier walk down the street | advance plot | antagonist | bodyguard | cafe | conversing | hurrying | leading man | private eye | somber | source music | stree | tango | walking |
Mara Maru (1952) | Mara Maru | 0:53:22 - A boat in the harbor | antagonist | arriving | bodyguard | captain | conversing | dock | dramatic | harbor | leading man | panning shot | private eye | sailing | sailor | ship | tense | transition |
Mara Maru (1952) | Sailing | 0:53:34 - Men on the deck of the ship | bodyguard | captain | conversing | dock | leading man | preparing | private eye | sailing effect | sailor | ship | transition | uneasy |
Mara Maru (1952) | Sailor's Hornpipe (Con Spirito) | 0:55:41 - Gregory enters the boat | bodyguard | conversing | familiar tune | leading man | light | preparing | private eye | sailor | ship | ship | transition |
Mara Maru (1952) | Gregory (Tranquillo) | 0:56:00 - Gregory steering the ship | advance plot | calm | conversing | distraction | leading man | peaceful | pondering | sailing | ship | ship | worker |
Mara Maru (1952) | Appassionato (Tenderly) | 0:56:26 - Gregory looks ahead | advance plot | calm | conversing | distraction | leading man | peaceful | pondering | sailing | ship | ship | worker |
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) | 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) | Shark | 1:01:35 - A shark appears | action scene | captain | close-up | diver | diving | dramatic | fearful | jump scare | leading man | ocean | shark | suspenseful | swimming | swimming effect | swirling effect | underwater |
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 | 1:02:28 - Gregory walks on the ocean floor | action scene | captain | close-up | conversing | dark | diver | diving | leading man | ocean | ship | ship | suspenseful | swimming | underwater |
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) | 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) | Raining | 1:09:57 - It begins to rain | captain | gentle | leading man | love scene | mickey-mousing | rain | rain effect | raining | sailing | ship | ship | thinking |
Mara Maru (1952) | Underscoring (Tense) | 1:10:06 - The compass | advance plot | captain | leading man | map | planning | rain | sailing | ship | ship | tense | thinking | underscoring |
Mara Maru (1952) | Charting a Course | 1:10:18 - A map of Manila Bay | advance plot | captain | charting | dramatic | leading man | map | mapping | planning | rain | ship | ship | tense |
Mara Maru (1952) | Underscoring (Dramatic) | 1:10:53 - Gregory breaks the compass | advance plot | breaking | captain | compass | dramatic | glass | leading man | planning | rain | ship | ship | smashing | thinking | underscoring |
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) | Walking underwater | 1:13:08 - The murky ocean bottom | action scene | captain | close-up | diver | diving | diving suit | fish | leading man | ocean | ship | suspenseful | swimming | tense | underwater | walking | water effect |
Mara Maru (1952) | Underwater (Slow) | 1:13:16 - A close-up on Gregory's face | action scene | captain | diver | diving | diving suit | exploring | fish | leading man | mysterious | ocean | point-of-view shot | ship | swimming | underwater | walking | water effect |
Mara Maru (1952) | Walking underwater | 1:13:30 - Gregory walks underwater | action scene | captain | diver | diving | diving suit | fish | leading man | ocean | ship | suspenseful | swimming | tense | underwater | walking | water effect |
Mara Maru (1952) | Underwater (Fish) | 1:13:38 - A close-up on Gregory's face | action scene | captain | diver | diving | diving suit | exploring | fish | leading man | mysterious | ocean | seaweed | ship | swimming | underwater | walking | water effect |
Mara Maru (1952) | Underscoring (Dramatic) | 1:13:49 - A sunken boat | action scene | boat | captain | diver | diving | diving suit | dramatic | exploring | leading man | ocean | ship | stinger | swimming | underscoring | underwater | walking |
Mara Maru (1952) | Underwater (Fish) | 1:13:56 - Gregory moves toward the sunken boat | action scene | captain | close-up | diver | diving | diving suit | double exposure | exploring | fish | leading man | mysterious | ocean | ship | swimming | underwater | walking | water effect |
Mara Maru (1952) | Gregory (Sunken Boat) | 1:14:12 - Gregory enters the boat | action scene | boat | captain | diver | diving | diving suit | exploring | fanfare | heroic | leading man | ocean | ship | suspeneful | swimming | underwater | walking |
Mara Maru (1952) | Gregory (Exploring) | 1:14:48 - Gregory explores the boat | action scene | boat | captain | diver | diving | diving suit | exploring | fanfare | leading man | ocean | ship | subdued | swimming | underwater | walking |
Mara Maru (1952) | Gregory (Hindemith in Hollywood) | 1:15:18 - Gregory opens a door | action scene | boat | captain | dark | diver | diving | diving suit | exploring | fanfare | leading man | mickey-mousing | ocean | serious | ship | suspenseful | swimming | underwater | walking |
Mara Maru (1952) | Torch | 1:15:50 - Gregory operates a torch | action scene | boat | captain | diver | diving | diving suit | fire | fire effect | leading man | lighting | mickey-mousing | ocean | ship | tense | torch | underwater | working |
Mara Maru (1952) | Beam falling | 1:15:57 - A beam collapses | action scene | beam | boat | captain | collapsing | dark | descending | diver | diving | diving suit | dramatic | falling | leading man | lighting | mickey-mousing | ocean | ship | underwater | working |
Mara Maru (1952) | Torch | 1:16:06 - Gregory operates a torch | action scene | boat | captain | diver | diving | diving suit | fire | leading man | lighting | mickey-mousing | ocean | ship | tense | torch | underwater | working |
Mara Maru (1952) | Underscoring (Mysterious) | 1:16:15 - Gregory opens a door | action scene | boat | captain | diver | diving | diving suit | leading man | mysterious | ocean | opening | ship | tense | treasure | underscoring | underwater | working |
Mara Maru (1952) | Walking underwater | 1:16:23 - Gregory walks away | action scene | boat | captain | diver | diving | diving suit | leading man | mickey-mousing | ocean | ship | suspenseful | tense | treasure | underwater | walking | working |
Mara Maru (1952) | Beam falling 2 | 1:16:34 - A beam collapses on the air hose | action scene | beam | boat | captain | collapsing | dark | descending | diver | diving | diving suit | dramatic | falling | hose | leading man | mickey-mousing | ocean | ship | treasure | underwater | 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) | Gregory + Struggling | 1:16:57 - Gregory tries to free himself | action scene | beam | boat | captain | close-up | combination of themes | dark | digging | diver | diving | diving suit | dramatic | fanfare | frantic | heroic | hose | leading man | mickey-mousing | ocean | rushing | ship | struggling | treasure | tugging | underwater | working |
Mara Maru (1952) | Struggling 2 | 1:17:23 - Gregory tries to free himself | action scene | beam | boat | captain | dark | diver | diving | diving suit | dramatic | frantic | hose | leading man | ocean | rushing | ship | struggling | treasure | tugging | underwater | working |
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) | Underwater | 1:17:50 - Gregory's light shines underwater | action scene | boat | captain | carrying | dark | diver | diving | diving suit | leading man | ocean | ship | suspenseful | swimming | treasure | underwater |
Mara Maru (1952) | Floating | 1:18:01 - Gregory carries the treasure chest | action scene | boat | captain | carrying | dark | diver | diving | diving suit | leading man | ocean | ship | suspenseful | swimming | treasure | underwater |
Mara Maru (1952) | Underwater (Fish) | 1:18:09 - Fish swimming | action scene | boat | captain | carrying | close-up | diver | diving | diving suit | fish | leading man | mysterious | ocean | ship | swimming | treasure | underwater |
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) | Mara Maru (Stormy) | 1:22:41 - Gregory on the deck of the ship | captain | dramatic | gun | leading man | rain | ship | storm | stumbling | tense | transition | walking | wave | wind |
Mara Maru (1952) | Sailing (Stormy) | 1:22:59 - Gregory enters the boat | antagonist | arriving | captain | dark | dramatic | gun | leading man | rain | ship | storm | transition | walking | wave | wind |
Mara Maru (1952) | Boat crashing | 1:23:31 - The boat crashes | antagonist | captain | chase scene | crashing | dark | dramatic | leading man | mickey-mousing | private eye | rain | rock | ship | ship wreck | storm | wave | 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) | Pursuing | 1:24:39 - Benedict chases Gregory | antogonist | bodyguard | chase scene | chasing | cross | dark | dramatic | escaping | fear | fleeing | frantic | gun | hurrying | jungle | leading man | mickey-mousing | murderer | rain | running | running effect | rushing effect | storm | tense | wind |
Mara Maru (1952) | Hiding | 1:24:54 - Gregory hides in the bushes | chase scene | cross | dark | dramatic | fear | frantic | gun | hiding | jungle | leading man | mickey-mousing | rain | storm | tense | wind |
Mara Maru (1952) | Rolling down the hill | 1:24:58 - Gregory rolls down the hill | antogonist | bodyguard | chase scene | cross | dark | descending | dramatic | falling | frantic | gun | jungle | leading man | mickey-mousing | murderer | rain | rolling | storm | tense | wind |
Mara Maru (1952) | Benedict (Shrill) | 1:25:03 - Benedict chases Gregory | antogonist | bodyguard | chase scene | chasing | cross | dark | dramatic | escaping | fleeing | frantic | gun | hurrying | jungle | leading man | murderer | rain | running | shrill | storm | tense | wind |
Mara Maru (1952) | Gregory + Struggling (Dissonant) | 1:25:07 - Gregory runs away | antogonist | bodyguard | chase scene | chasing | cross | dark | dramatic | escaping | fleeing | frantic | gun | hurrying | jungle | leading man | murderer | rain | running | storm | tense | wind |
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) | Molto Misterioso | 1:31:38 - Gregory explores the catacombs | advance plot | catacomb | cave | cross | echo | echo effect | following | leading man | mysterious | searching | suspsect | tunnel |
Mara Maru (1952) | Underscoring (Dramatic) | 1:31:56 - Ortega tries to escape | advance plot | catacomb | cave | cross | dramatic | following | leading man | mysterious | searching | suspsect | throwing | tunnel | underscoring |
Mara Maru (1952) | Grabbing | 1:32:13 - Gregory grabs Ortega | advance plot | arguing | catacomb | cave | cross | dramatic | grabbing | interrogating | leading man | mickey-mousing | mysterious | suspsect | tunnel |
Mara Maru (1952) | Underscoring (Tense) | 1:32:18 - Gregory interrogates Ortega | advance plot | arguing | catacomb | cave | cross | grabbing | interrogating | leading man | suspsect | tense | tunnel | underscoring |
Mara Maru (1952) | Cross (Fragment) | 1:32:29 - Ortega explains himself | advance plot | arguing | catacomb | cave | cross | dark | grabbing | interrogating | leading man | suspsect | tunnel |
Mara Maru (1952) | Benedict (Agitato) | 1:32:39 - Ortega accuses Benedict | advance plot | agitated | arguing | catacomb | cave | cross | interrogating | leading man | mysterious | suspsect | tunnel | uneasy |
Mara Maru (1952) | Grabbing 2 | 1:32:55 - Gregory grabs Ortega | advance plot | arguing | catacomb | cave | cross | dramatic | grabbing | interrogating | leading man | mickey-mousing | suspsect | tunnel |
Mara Maru (1952) | Cross (Maestoso Religioso) | 1:33:02 - Ortega offers Gregory the cross | advance plot | arguing | catacomb | cave | cross | giving | hymn-like | leading man | pleading | reacting | religious | suspsect | tense | tunnel |
Mara Maru (1952) | Underscoring (Tense) | 1:33:38 - Ortega pleads with Gregory | advance plot | arguing | catacomb | cave | cross | leading man | pleading | suspsect | tense | tunnel | underscoring |
Mara Maru (1952) | Cross (Fragment 2) | 1:33:52 - Gregory leaves with the cross | advance plot | catacomb | cave | cross | departing | leading man | leaving | suspsect | tunnel | uneasy |
Mara Maru (1952) | Underscoring (Dramatic) | 1:33:58 - Fortuno shoots at Gregory | action scene | antagonist | bodyguard | catacomb | cave | chasing | climax | cross | dramatic | escaping | gun | gunshot | leading man | murderer | running | shooting | suspsect | tense | tunnel |
Mara Maru (1952) | The Chase | 1:34:03 - Ortega and Gregory run away | action scene | antagonist | bodyguard | catacomb | cave | chasing | climax | cross | dramatic | escaping | gun | gunshot | leading man | mickey-mousing | murderer | running | running effect | shooting | suspsect | tense | tunnel |
Mara Maru (1952) | Benedict (Menacing) | 1:34:30 - Ortega tries to block the door | action scene | antagonist | arguing | blocking | bodyguard | catacomb | cave | climax | cross | defending | dramatic | gun | gunshot | leading man | martyr | menacing | murderer | ominous | protecting | pushing | running | tunnel | victim |
Mara Maru (1952) | Ortega is Shot | 1:34:42 - Ortega is shot | action scene | antagonist | blocking | bodyguard | catacomb | cave | climax | cross | death | dramatic | dying | falling | gun | gunshot | leading man | martyr | murder | murderer | passionate | sentimental | shooting | somber | tunnel | victim |
Mara Maru (1952) | Police | 1:34:53 - The police enter | action scene | antagonist | bodyguard | catacomb | cave | chasing | climax | cross | dramatic | gun | gunshot | heroic | leading man | martyr | murderer | police | running | shooting | stairs | tense | tunnel | victim |
Mara Maru (1952) | Descending the stairs | 1:34:55 - Fortuno runs down the stairs | action scene | antagonist | bodyguard | catacomb | cave | chasing | climax | cross | descending | dramatic | gun | gunshot | leading man | martyr | mickey-mousing | murderer | police | running | stairs | tense | tunnel | victim |
Mara Maru (1952) | Underscoring (Dramatic) | 1:35:15 - Benedict confronts Gregory | action scene | antagonist | attacking | catacomb | cave | climax | cross | dramatic | leading man | martyr | murderer | tense | tunnel | victim |
Mara Maru (1952) | The Fight | 1:35:20 - Gregory fights Benedict | action scene | antagonist | attacking | catacomb | cave | choking | climax | dramatic | falling | fighting | hitting | leading man | martyr | mickey-mousing | murderer | punching | stinger | tense | tunnel | victim |
Mara Maru (1952) | Rolling down the stairs | 1:36:05 - Benedict falls down the stairs | action scene | antagonist | catacomb | cave | climax | corpse | death | descending | dramatic | falling | leading man | martyr | mickey-mousing | murderer | rolling | stinger | tense | tunnel | victim |
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) | You're Wonderful | 0:44:30 - Lita in a phone booth | advance plot | bachelor | conversing | leading man | sister | source music | telephone | upbeat |
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 |
Hook, Line and Sinker (1930) | Whistling the Blues Away | 0:47:03 - People dancing at a party | AABA structure | ballroom | conversing | dancing | jazz | leading man | party | party | performing | upbeat |
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 |
Too Many Cooks (1931) | Three Little Words | 0:07:13 - Albert whistles a song to himself | advance plot | leading man | on-screen music | source music | upbeat | walking | whistling |
Half Shot at Sunrise (1930) | Springtime of Love | 1:03:49 - Gilbert and Olga dance | ABAC structure | comical | dancing | fountain | garden | leading man | love interest | romantic | singing | song and dance scene |
Half Shot at Sunrise (1930) | Springtime of Love (Dancing) | 1:05:24 - Gilbert and Olga dance | dancing | fountain | garden | leading man | love interest | meter change | song and dance scene | 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 |