| All This, and Heaven Too (1940) | Agitato | 0:06:49 - Henriette leaves the classroom | agitated | appoggiatura | chromatic scale | distressed | establish character | hurrying | leading lady | leaving | minister | Neapolitan | principal | school | teacher | walking |
All This, and Heaven Too (1940) | Henriette (Dolce) | 0:12:43 - Henriette talks to Henry | 64 chord | boat | chromatic mediant | conversing | deceptive resolution | gentle | leading lady | leaving | minister | peaceful | transition |
All This, and Heaven Too (1940) | Rubato (Carriage) | NIF - not in film | 9th chord | advance plot | carriage | child | cut from film | deceptive resolution | duchess | governess | leading lady | leaving | parallelism | passionate | street |
All This, and Heaven Too (1940) | Desperation (Carriage Starts) | NIF - not in film | added-note chord | advance plot | carriage | child | cut from film | duchess | gentle | governess | leading lady | leaving | pedal tone | street |
All This, and Heaven Too (1940) | Underscoring (Tense) | 0:37:37 - 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) | 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) | 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) | 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) | Agitato 2 | 1:59:31 - Henriette is arrested | agitated | crowd | crying | diminished 7th chord | dissonant bass | double exposure | dramatic | fanfare | headline | leading lady | leaving | mob | montage | newspaper | soldier | street | suspect | yelling |
All This, and Heaven Too (1940) | Henriette (Moderato Maestoso) | 2:16:29 - A hand signing a release form | 9th chord | chromatic mediant | deceptive resolution | hopeful | leading lady | leaving | noble | prison | resolution | walking | writing |
All This, and Heaven Too (1940) | Henriette (Dolschissimo) | 2:21:00 - Henriette kisses a child on the cheek | 9th chord | 64 chord | child | chromatic mediant | conversing | foreign key modulation | gentle | leading lady | leaving | minister | mode mixture | resolution | school | student | sweet | teacher |
| 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 |
| 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 |
| Are These Our Children? (1931) | Dreams | 0:02:11 - Eddie and Mary talk | 11th chord | AABA structure | conductor score | establish character | gentle | leading lady | leading man | leaving | lovers | love scene | mode mixture | street | waiting |
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 |
| 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) | 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 Breaking Point (1950) | Sad Boy | 1:36:44 - Sad orphaned boy looks on | 9th chord | 11th chord | blue note | child | climax | crowd | crying | harbor | leaving | somber | spiritual | triumphant | watching |
| 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) | 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) | 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) | 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) | Mysterioso | 1:13:36 - Googi leaves | augmented triad | chromatic parallelism | criminal | gangster | leaving | locker room | manager | murder scene | mysterious | parallelism | whole-tone |
| Crime School (1938) | Underscoring (Gentle) | 0:49:47 - Mark talks about making this room their home | comedy | deceptive resolution | gang | gentle | hero | leading man | leaving | pedal tone | reformatory | teasing | teenager | underscoring | whole-tone chord |
| They Made Me a Criminal (1939) | On the Make (Appassionato) | 1:25:51 - Peggy wants to go with Johnnie | 9th chord | altered dominant | climax | detective | embracing | kissing | leading lady | leading man | leaving | linear chromaticism | mode mixture | pedal tone | romantic | room | sentimental | sigh gesture | tender |
| Deep Valley (1947) | Libby (Rubato) | 0:08:13 - Libby at the kitchen table | establish character | kitchen | leading lady | leaving | somber | tense |
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) | Libby (Slowly) | 0:34:53 - Libby leaves her mother | conflict | dark | leading lady | leaving | lightning | mother | pleading | room | somber | storm | tense | thunder |
Deep Valley (1947) | Triste (Stormy) | 0:35:16 - Shutters shaking in the wind | conflict | dark | leading lady | leaving | lightning | mother | pleading | room | somber | storm | thunder |
Deep Valley (1947) | Libby 2 (Stormy) | 0:35:27 - Waves hitting the shore | conflict | construction site | crew | dark | leading lady | leaving | mother | pleading | storm | tense | waves | working |
Deep Valley (1947) | 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) | Deep Valley (Lonely) | 1:18:43 - Barry looks around | advance plot | barn | leading lady | leaving | lonely | yard |
| 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 |
| 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) | Titus | 1:06:35 - Titus leaves | advance plot | dark | leading man | leaving | ominous | politician | room | self-borrowing | sheriff |
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) | 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) | 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) | 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) | 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) | Disappointment | 0:36:18 - Steve leaves | advance plot | conductor score | dark | disappointed | investigator | leading man | leaving | somber | street |
Hell on Frisco Bay (1955) | Kay | 1:28:35 - Steve leaves with Kay | comforting | gentle | investigator | leading man | leaving | love interest | room | turning point | witness |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:29:23 - Marcia calls the police | agitated | calling | investigator | leading lady | leading man | leaving | love interest | room | turning point | witness |
| 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 |
| 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) | Asa (Molto Expressivo) | 0:23:49 - Roy leaves | 64 chord | added-note chord | conflict | dark | father | leading lady | leaving | mode mixture | pedal tone | reverse picardy | room | somber |
In This Our Life (1942) | 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) | Anger | 1:04:56 - Stanley gets angry | angry | arguing | chromatic scale | conflict | leading lady | leaving | minor-major 7th chord | pc set | room | running | tense | uncle | upset | widow | yelling |
In This Our Life (1942) | 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 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 |
| 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) | 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 (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 |
| Key Largo (1948) | Sheriff Leaves | 1:13:51 - Rocco waits for the sheriff to leave | boss | conflict | deception | gangster | hotel | leaving | nervous | police | tense |
Key Largo (1948) | Rocco (Packing Up) | 1:24:28 - Gangsters pack up their things | advance plot | boss | gangster | hotel | leaving | packing | preparing | tense |
Key Largo (1948) | Underscoring (Tense) | 1:24:37 - Gaye watches Rocco | advance plot | boss | gangster | hotel | leaving | mysterious | packing | preparing | tense | underscoring |
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) | 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 |
| The Letter (1940) | Underscoring (Mysterious) | 0:04:29 - Leslie leaves the room | Dorian mode | home | leaving | murder scene | mysterious | servant | underscoring |
The Letter (1940) | Letter (Sarcastic) | 0:22:41 - Leslie and Howard leave | advance plot | chromatic sequence | dissonant bass | home | lawyer | leading lady | leaving | mysterious | passionate | sequence |
The Letter (1940) | Leslie (Ominous) | 0:22:58 - The site of the murder | advance plot | augmentation | call and response | Chinese | dramatic | leading lady | leaving | mysterious | plantation | reveal | shadow | spying | stinger | tense | watching | widow |
The Letter (1940) | Mrs. Hammond (Lawyer) | 0:30:45 - Ong speaks to Howard | advance plot | Chinese | lawyer | leaving | mysterious | office | pc set | tritone |
The Letter (1940) | Leslie (Leaving) | 0:53:20 - Howard and Leslie leave the house | added-note chord | fragmentation | lawyer | leading lady | leaving | mysterious | plantation | sequence | sequential modulation | transition |
The Letter (1940) | Leslie (Screwyoso) | 0:53:35 - Howard and Leslie walk away | lawyer | leading lady | leaving | oscillation | plantation | sequence | tense | transition |
The Letter (1940) | Underscoring (Dark) | NIF - not in film | climax | dark | home | lacework | leading lady | leaving | pedal tone |
| Lightning Strikes Twice (1951) | Menace (Molto Misterioso) | 0:50:38 - Liza leaves the room | actor | car | leading lady | leaving | luggage | mysterious | packing | ranch | rancher | somber | tense | transition |
| Mildred Pierce (1945) | Mildred (Murder) | 0:01:59 - Bullet holes in the mirror | 11th chord | augmented sixth chord | dark | death | dying | leaving | murder | murder scene | room | somber |
Mildred Pierce (1945) | Bert (Triste) | 0:24:26 - Bert and Mildred separate | augmented sixth chord | breaking up | crying | establish character | fragmentation | heroine | husband | leading lady | leaving | Neapolitan | pedal tone | room | somber |
Mildred Pierce (1945) | Kay and Veda (Sentimental) | 0:25:37 - Veda and Kay see their father leaving | child | establish character | interrupting | leaving | mode mixture | packing | sentimental | somber | stopping | street |
Mildred Pierce (1945) | Work (Excited) | 0:42:35 - Mildred and Wally leave | 9th chord | added-note chord | excited | excitement | friend | heroine | leading lady | leaving | room | self-borrowing | shadow | transition | work |
Mildred Pierce (1945) | Bert (Sentimentale) | 0:48:03 - Mildred watches her children leave | heroine | husband | leading lady | leaving | oscillation | room | serious | somber | thinking | transition | whole-tone chord |
Mildred Pierce (1945) | Bert (Dark) | 0:54:14 - Bert and Mildred rush off to see Kay | bad news | conversing | dark | death scene | distress | ex-husband | heroine | leading lady | leaving | street | turning point |
Mildred Pierce (1945) | It Can't Be Wrong (Uneasy) | 1:05:36 - Bert stares angrily at Monte | advance plot | dark | ex-husband | familiar tune | glaring | heroine | leading lady | leaving | love interest | pedal tone | popular music | restaurant | source to score | tense | uneasy |
Mildred Pierce (1945) | Mildred (Angry) | 1:18:21 - Mildred walks out of an argument | 9th chord | aggressive | angry | arriving | chromatic parallelism | conflict | heroine | hurrying | leading lady | leaving | Neapolitan | room | walking |
Mildred Pierce (1945) | Mildred (Tragic) | 1:24:04 - Veda watches her daughter leave | altered dominant | angry | ascending | conflict | heroine | leading lady | leaving | mickey-mousing | octatonic scale | room | stern |
Mildred Pierce (1945) | Mildred (Breakdown) | 1:47:11 - Mildred tries to start her car | 9th chord | climax | crying | dramatic | emotional | foreign key modulation | heroine | leading lady | leaving | street |
Mildred Pierce (1945) | Kay and Veda (Triste) | 1:49:37 - Veda is led out by the police | antagonist | conversing | daughter | defeat | detective | heroine | leading lady | leaving | mother | murderer | police station | resigned | resolution | sigh gesture | somber |
Mildred Pierce (1945) | Mildred (The End) | 1:50:07 - Mildred leaves with Bert | added-note chord | ex-husband | heroine | leading lady | leaving | pedal tone | police station | resolution | triumphant |
| The Life of Vergie Winters (1934) | Lullaby (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 |
| 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 |
| We Are Not Alone (1939) | Frohe Botschaft (Crying) | 0:45:45 - Leni kisses Gerald | 9th chord | 64 chord | advance plot | antagonist | boy | child | crying | deceptive resolution | familiar tune | folk song | fragmentation | German | heroine | home | leaving | mode mixture | mother | quotation | room | sequence | somber | tritone |
We Are Not Alone (1939) | Surprise Symphony (Turbulent) | 0:50:14 - Jessica reacts to David's departure | 11th chord | angry | antagonist | chromatic parallelism | classical music | conflict | crying | dark | familiar tune | Haydn | hero | home | husband | leaving | quotation | room | sad | tragic | wife |
| 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) | 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) | 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) | 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 |
| Caged (1950) | Underscoring (Dramatic) | 1:32:09 - Superintendent office door | advance plot | bold | conversing | leading lady | leaving | mode mixture | prison | prisoner | unpacking | walking |
Caged (1950) | Underscoring (Tense) | 1:32:21 - Marie unpacks her belongings | advance plot | chromatic parallelism | leading lady | leaving | prison | prisoner | tense | underscoring | unpacking | whole-tone chord |
Caged (1950) | Molto Expressivo (Rubato) | 1:32:37 - Marie checks out | advance plot | chromatic parallelism | conversing | guard | leading lady | leaving | prison | prisoner | solemn | underscoring |
Caged (1950) | Marie (Checking Out) | 1:32:47 - Marie opens an envelope | advance plot | chromatic parallelism | chromatic wedge | dramatic | guard | leading lady | leaving | looking | polychord | prison | prisoner | ring | solemn | throwing |
Caged (1950) | Molto Expressivo (Slowly) | 1:32:59 - Marie's mugshot | advance plot | leading lady | leaving | looking | mode mixture | mug shot | Neapolitan | prison | prisoner | solemn | throwing | warden |
Caged (1950) | Molto Expressivo (Con Moto) | 1:34:42 - Marie leaves Mrs. Benton's office | climax | dramatic | ex-convict | guard | leading lady | leaving | prison | prisoner | stinger | uneasy | warden |
Caged (1950) | Molto Expressivo (Quasi Blues) | 1:35:01 - Marie leaves the prison | added-note chord | bluesy | bluesy | car | climax | ex-convict | freedom | leading lady | leaving | prison | smoking | street | warden | watching |
| 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 |
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