| Angels With Dirty Faces (1938) | Rocky and Laury | 0:41:37 - Laury pushes her way through the crowd | altered dominant | arriving | close-up | conflict | heartbroken | leading lady | love interest | rushing | sentimental | shop |
Angels With Dirty Faces (1938) | Pleading | 1:11:08 - Laury pleads for Rocky | 9th chord | advance plot | appoggiatura | circle of fifths | common-chord modulation | crying | leading lady | leading man | love interest | pleading | priest | room | somber |
Angels With Dirty Faces (1938) | Jerry | 1:11:35 - Jerry talks to Laury | 9th chord | advance plot | deceptive resolution | foreign key modulation | leading lady | leading man | love interest | memory | pleading | priest | room | tender |
Angels With Dirty Faces (1938) | Pleading (Extended) | 1:21:00 - Jerry arrives on the scene | 9th chord | appoggiatura | arriving | chromatic sequence | circle of fifths | concerned | conflict | crowd | gun | gunshot | hurried | hurrying | leading lady | leading man | love interest | polychord | priest | pushing | street | yearning |
| Are These Our Children? (1931) | Makes You Forget Your Troubles (Flo Sings) | 0:17:20 - Flo sings | advance plot | cheerful | dance hall | love interest | on-screen music | singing | source music | transcribed by ear |
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) | 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 (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) | 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) | Dreams (Newspaper Montage) | 0:45:04 - Newspaper headlines | augmentation | comforting | common-chord modulation | crying | double exposure | grandmother | headline | love interest | mickey-mousing | montage | newspaper | room | somber | spinning |
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 |
| The Big Sleep (1946) | Waiting | 0:18:15 - Marlowe talks to lady in bookstore | book shop | conversing | leading man | love interest | love scene | mysterious | private eye | romantic |
The Big Sleep (1946) | Girl Driver | 0:39:53 - Marlowe pays the lady cab driver | bluesy | flirting | investigation scene | leading man | love interest | private eye | seductive | street |
The Big Sleep (1946) | Vivian + Marlowe (Ear Business) | NIF - not in film | advance plot | combination of themes | conversing | cut from film | deleted scene | deleted scene | leading lady | leading man | love interest | mysterious | private eye | romantic | room | thinking |
The Big Sleep (1946) | I Guess I'll Have to Change My Plan | 1:00:50 - Vivian enters a restaurant | 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 | club | conversing | falling in love scene | leading lady | leading man | love interest | pleasant | private eye | source music |
The Big Sleep (1946) | You Go to My Head | 1:04:25 - Vivian and Marlowe talk in a restaurant | club | conversing | falling in love scene | leading lady | leading man | love interest | pleasant | private eye | source music |
The Big Sleep (1946) | And Her Tears Flowed Like Wine | 1:05:55 - Marlowe arrives at Mars's place | advance plot | arriving | club | leading lady | leading man | love interest | musician | on-screen music | playing | private eye | singer | singing | source music | upbeat |
The Big Sleep (1946) | I'm in a Jam With Baby | 1:10:53 - Marlowe talks to people at the party | advance plot | club | gambler | gambling | leading lady | leading man | love interest | private eye | source music | upbeat |
The Big Sleep (1946) | Liza (All the Clouds'll Roll Away) | 1:12:27 - Marlowe leaves the gambling joint | 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 | private eye | source music | street | upbeat |
The Big Sleep (1946) | Driving | 1:14:54 - Marlowe and Vivian in the car | car | car | driving | leading lady | leading man | love interest | love scene | mickey-mousing | private eye | tense |
The Big Sleep (1946) | Vivian | 1:15:22 - Marlowe and Vivian talk | car | conversing | kissing | leading lady | leading man | love | love interest | love scene | private eye | romantic |
The Big Sleep (1946) | Questions | 1:16:16 - Marlowe and Vivian argue | angry | car | 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 | leading lady | leading man | love interest | love scene | private eye | tense |
The Big Sleep (1946) | Underscoring (Tense) | 1:16:43 - Marlowe and Vivian argue | accusing | car | leading lady | leading man | love interest | love scene | private eye | tense | underscoring |
The Big Sleep (1946) | Marlowe (Mysterious Organ) | 1:21:42 - Marlowe speaks to waitress | advance plot | cafe | conversing | leading lady | leading man | love interest | mysterious | phone call | private eye | tense |
The Big Sleep (1946) | Underscoring (Mysterious) | 1:21:57 - Marlowe speaks with Vivian on the phone | advance plot | cafe | conversing | leading lady | leading man | love interest | mysterious | phone call | private eye | stinger | tense | underscoring |
The Big Sleep (1946) | Marlowe (Whole Tone) | 1:39:25 - Marlowe talks to Vivian | captive | conversing | leading lady | leading man | love interest | love scene | mysterious | private eye | room | tense | whole-tone |
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 | octatonic | private eye | room | tense |
The Big Sleep (1946) | Carmen | 1:39:52 - Marlowe talks to Vivian | captive | conversing | leading lady | leading man | love interest | love scene | musical clue | music reveals thoughts | mysterious | private eye | room |
The Big Sleep (1946) | Vivian | 1:40:03 - Marlowe and Vivian kiss | captive | freeing | kissing | leading lady | leading man | love interest | love scene | private eye | romantic | room |
The Big Sleep (1946) | Questions | 1:40:44 - Vivian tries to free Marlowe | captive | 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 | 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 | action scene | criminal | dramatic | leading lady | leading man | love interest | outside | private eye | running | underscoring |
The Big Sleep (1946) | Hostage + Marlowe (Fragment) | 1:42:34 - Canino brings Vivian out as a hostage | action scene | criminal | hostage | leading lady | leading man | love interest | outside | private eye | tense | 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 | private eye | rising |
The Big Sleep (1946) | Canino's Death | 1:43:22 - Canino is shot | action scene | criminal | death | dramatic | dying | falling | gun | gunshot | hostage | leading lady | leading man | love interest | outside | private eye | stumbling | tense |
The Big Sleep (1946) | Underscoring (Tense) | 1:43:35 - Marlowe gets the keys to the handcuffs | action scene | criminal | death | escaping | gun | hostage | leading lady | leading man | love interest | outside | private eye | tense | underscoring |
The Big Sleep (1946) | Marlowe (Escaping) | 1:43:48 - Vivian takes off the handcuffs | action scene | 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 | private eye | tense |
The Big Sleep (1946) | Driving 2 + Vivian | 1:44:16 - Vivian tells Marlowe she loves him | car | conversing | driving | leading lady | leading man | love | love interest | love scene | private eye | romantic | 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 | private eye | 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 | private eye | romantic | tense |
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 | private eye | tense |
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 | private eye | tense |
The Big Sleep (1946) | Driving 2 + Vivian | 1:45:21 - Marlowe tells Vivian he loves here | arriving | car | conversing | driving | leading lady | leading man | love | love interest | love scene | private eye | romantic | tense |
The Big Sleep (1946) | Marlowe (Bold) | 1:45:44 - Marlowe and Vivian get out of the car | bold | heroic | leading lady | leading man | love interest | outside | private eye | transition | walking |
The Big Sleep (1946) | Walking | 1:45:45 - Marlowe and Vivian walk up to house | leading lady | leading man | love interest | outside | private eye | 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 | climax | hurrying | leading lady | leading man | love interest | 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 | climax | fear | leading lady | leading man | love interest | mysterious | private eye | room | shaking | tense | tritone |
The Big Sleep (1946) | Carmen (Drugged) | 1:48:08 - Marlowe watches men outside | climax | criminal | fear | leading lady | leading man | love interest | mysterious | ominous | planning | private eye | room | tense | waiting |
The Big Sleep (1946) | Mars Dies | 1:51:43 - Mars falls dead to the ground | criminal | death | dying | falling | leading lady | leading man | love interest | mysterious | ominous | private eye | resolution | room | stinger | tense | underscoring |
The Big Sleep (1946) | Marlowe (Risoluto) | 1:52:01 - Marlowe walks to the phone | bold | death | 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 | phone call | private eye | resolution | room | tense | uneasy |
The Big Sleep (1946) | Vivian | 1:52:48 - Marlowe talks to Vivian | conversing | leading lady | leading man | love | love interest | private eye | resolution | romantic | room |
The Big Sleep (1946) | Vivian (Expressivo) | 1:53:20 - Marlowe pulls Vivian close | conversing | leading lady | leading man | love | love interest | private eye | resolution | romantic | room |
| His Greatest Gamble (1934) | Blue Ridge Moon | 0:53:16 - Philip talks with Alice | advance plot | conversing | daughter | gentle | leading lady | love interest | mansion | popular music | radio | sentimental | source music | waltz |
| 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 chord | falling in love scene | leading lady | leading man | leaving | love interest | pedal tone | police | porch | sentimental | source to score |
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 chord | kissing | lake | leading lady | leading man | love interest | love scene | romance | romantic | secondary dominant | source to score |
Flamingo Road (1949) | Lane | 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) | 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 | advance plot | club | conversing | 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 | advance plot | club | conversing | 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 | advance plot | club | conversing | 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 | advance plot | club | conversing | leading lady | leading man | love interest | politician | sentimental | sheriff | source music | 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 |
| Hell on Frisco Bay (1955) | Kay | 0:20:48 - Lye goes to see Kay | antagonist | conductor score | conversing | establish character | gangster | kissing | love interest | lyrical | romantic | 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) | Kay | 1:29:11 - Steve enters with Kay | arriving | entering | investigator | leading lady | leading man | love interest | room | somber | turning point | witness |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:29:23 - Marcia calls the police | agitated | calling | investigator | leading lady | leading man | leaving | love interest | room | turning point | witness |
Hell on Frisco Bay (1955) | Underscoring (Tense) | 1:29:55 - Marcia talks to Kay | conversing | leading lady | love interest | room | tense | turning point | witness |
| In This Our Life (1942) | Stanley Introduction | 0:06:35 - A car arrives | arriving | car | conversing | establish character | leading lady | leading man | love interest | stinger | tense |
In This Our Life (1942) | Stanley | 0:06:56 - Stanley talks with Peter | car | 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 | conversing | establish character | leading lady | leading man | love interest | sultry |
In This Our Life (1942) | Stanley | 0:07:23 - Stanley drives away | car | conversing | establish character | leading lady | leading man | love interest | sultry |
In This Our Life (1942) | South American Way | 0:24:06 - A spinning record | 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) | Driving | 0:38:19 - Roy and Craig in a car | calm | car | conversing | driving | leading lady | leading man | love interest | love scene |
In This Our Life (1942) | Driving + Love Theme | 0:39:07 - Roy and Craig in a car | calm | car | combination of themes | conversing | driving | leading lady | leading man | love interest | love scene | romantic |
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 | outdoors | tense |
In This Our Life (1942) | Forest Fire | 0:40:10 - A forest fire | conversing | dangerous | eerie | fire | leading lady | leading man | love interest | love scene | outdoors |
In This Our Life (1942) | Love Theme (Molto Expressivo) | 0:40:44 - Roy and Craig sit on the ground | calm | conversing | fire | leading lady | leading man | love interest | love scene | outdoors | romantic |
| The Informer (1935) | Dan and Mary | 0:55:53 - Dan and Mary talk alone | ABA structure | chromatic parallelism | deceptive resolution | diminished 7th chord | dissonant bass | embracing | half-diminished 7th chord | hero | love interest | love scene | love theme | mode mixture | passionate | pedal tone | romantic | room |
The Informer (1935) | The Informer (Dan Talking) | 0:56:57 - Dan and Mary talk about an informer | conversing | hero | love interest | love scene | mysterious | room | walking bass |
The Informer (1935) | The Wearin’ o’ the Green (Somber) | 0:57:08 - Dan and Mary talk about the rebel organization | 64 chord | conversing | diminished 7th chord | familiar tune | folk song | hero | heroic | love interest | love scene | room | tense |
The Informer (1935) | The Informer (Pedal Tone) | 0:57:34 - Dan and Mary talk about Gypo | conversing | hero | love interest | love scene | mysterious | room |
The Informer (1935) | The Wearin’ o’ the Green (Fragment) | 0:57:42 - Dan and Mary talk about a rebel meeting | conversing | familiar tune | folk song | hero | love interest | love scene | room | sentimental |
The Informer (1935) | Dan and Mary (Dolce) | 0:57:51 - Dan tells Mary: "I'll come back for you" | 11th chord | common-tone diminished 7th | crying | dissonant bass | embracing | hero | love interest | love scene | love theme | mode mixture | romantic | room |
The Informer (1935) | Dan and Mary (Descending) | 1:05:08 - Mary enters, looking for Dan | chromatic sequence | courtroom scene | dissonant bass | down | headquarters | hero | love interest | love theme | mickey-mousing | romantic | stairs | street | suspect | walking |
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) | 1:22:00 - 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) | Dan and Mary (Adagio) | 1:23:36 - Dan and Mary talk | 11th chord | dissonant bass | love | love interest | love scene | rebel | romantic | room | yearning |
The Informer (1935) | Dan and Mary | 1:24:05 - Dan and Mary talk | conversing | love | love interest | love scene | rebel | romantic | room |
The Informer (1935) | Ireland | 1:24:14 - Dan and Mary talk about the rebel movement | conversing | folk-like | love | love interest | love scene | rebel | romantic | room |
The Informer (1935) | Dan and Mary (In Love) | 1:24:19 - Dan and Mary talk about love | love | love interest | love scene | rebel | romantic | room | yearning |
The Informer (1935) | Katie (Begging) | 1:24:42 - Katie pleads for Gypo | 64 chord | advance plot | begging | leading lady | love interest | rebel | room | sequence | serious | tense |
The Informer (1935) | Begging | 1:25:13 - Katie pleads for Gypo | advance plot | begging | diminished 7th chord | dissonant bass | leading lady | love interest | pedal tone | rebel | room | sequence | serious | tense |
The Informer (1935) | The Informer (Begging) | 1:25:50 - Katie pleads for Gypo | advance plot | begging | dramatic | leading lady | love interest | main theme | rebel | room |
The Informer (1935) | Dan and Mary (Begging) | 1:25:53 - Katie talks to Mary about loving Gypo | advance plot | begging | gentle | leading lady | love interest | rebel | room | sequence | tender |
The Informer (1935) | The Informer (Sympathetic) | 1:26:35 - Katie tells Dan where Gypo is | advance plot | eavesdropping | leading lady | love interest | main theme | rebel | room | spying | tense |
The Informer (1935) | Begging 2 | 1:26:41 - Katie begs for Gypo's life | advance plot | anxiety | begging | chromatic scale | despair | leading lady | love interest | rebel | room | sequence | tense |
The Informer (1935) | Katie (Furioso) | 1:26:55 - Katie becomes desperate | advance plot | anxiety | begging | chromatic parallelism | despair | dissonant bass | fragmentation | leading lady | love interest | rebel | room | sentence form | sequence | tense | whole-tone chord |
| Key Largo (1948) | 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) | McCloud (Slowly) | 1:24:14 - McCloud and Nora exchange glances | advance plot | hotel | leading lady | leading man | looking | love interest | somber |
| Mildred Pierce (1945) | Opens closet | 0:49:57 - Mildred slides open a door | cheerful | falling in love scene | heroine | leading lady | love interest | mickey-mousing | opening | room | sliding |
Mildred Pierce (1945) | Disrobes | 0:50:47 - Monte takes off Mildred's robe | beach house | cheerful | disrobing | falling | falling in love scene | flirting | heroine | leading lady | love interest | mickey-mousing | robe |
Mildred Pierce (1945) | Bathing Suit | 0:50:49 - Monte looks at Mildred in her bathing suit | attraction | beach house | cheerful | falling in love scene | flirting | heroine | leading lady | love interest | mickey-mousing |
Mildred Pierce (1945) | Mildred (Frolicking) | 0:51:01 - Mildred runs to the beach | beach | cheerful | falling in love scene | flirting | frolicking | heroine | jaunty | leading lady | love interest | running |
Mildred Pierce (1945) | Frolicking in the Surf | 0:51:05 - Monte and Mildred run to the water | beach | falling in love scene | frolicking | heroine | jaunty | leading lady | love interest | mickey-mousing | playful | running | splashing | swimming | water | waves |
Mildred Pierce (1945) | Waves | 0:51:11 - Waves crash onto the beach | beach | calm | falling in love scene | heroine | leading lady | love interest | mickey-mousing | rolling | splashing | waves |
Mildred Pierce (1945) | It Can’t Be Wrong | 0:51:16 - Monte plays a record for Mildred | conversing | heroine | kissing | leading lady | love interest | love scene | popular music | record | record player | romantic | room | source music |
Mildred Pierce (1945) | While You’re Away | 0:59:47 - Monte arrives at the restaurant | advance plot | antagonist | busy | conversing | daughter | dining | friend | guest | heroine | leading lady | love interest | popular music | restaurant | serving | source music | upbeat | working |
Mildred Pierce (1945) | Please Think of Me | 1:01:54 - Monte dances with Veda | advance plot | antagonist | celebrating | dancing | daughter | friend | heroine | jukebox | leading lady | love interest | on-screen music | popular music | restaurant | singing | source music | upbeat |
Mildred Pierce (1945) | Mildred (Sorrow) | 1:03:41 - Monte asks about Kay | advance plot | conversing | heroine | leading lady | love interest | restaurant | somber |
Mildred Pierce (1945) | It Can’t Be Wrong (Romantic) | 1:04:11 - Monte kisses Mildred | advance plot | door | ex-husband | familiar tune | heroine | interrupting | kissing | leading lady | love interest | popular music | restaurant | romantic | slamming | source to score | stinger |
Mildred Pierce (1945) | It Can’t Be Wrong (Troubled) | 1:04:30 - Bert interrupts Mildred and Monte's kiss | advance plot | conversing | dark | ex-husband | familiar tune | heroine | leading lady | love interest | popular music | restaurant | source to score | tense | troubled |
Mildred Pierce (1945) | Bert (Regretful) | 1:04:43 - Bert tells Mildred about the divorce | advance plot | conversing | divorce | ex-husband | heroine | leading lady | love interest | regretting | restaurant | somber |
Mildred Pierce (1945) | Breaks glass | 1:05:35 - Bert slaps the glass out of Monte's hand | advance plot | breaking | down | ex-husband | falling | glass | heroine | leading lady | love interest | mickey-mousing | restaurant | tense | throwing | violence |
Mildred Pierce (1945) | It Can’t Be Wrong (Uneasy) | 1:05:36 - Bert stares angrily at Monte | advance plot | dark | ex-husband | familiar tune | glaring | heroine | leading lady | leaving | love interest | popular music | restaurant | source to score | tense | uneasy |
Mildred Pierce (1945) | Polo | 1:08:14 - Veda at a polo match | antagonist | cheering | daughter | field | heroine | leading lady | love interest | montage | playing | polo | sports | upbeat | voice-over | watching |
Mildred Pierce (1945) | How Sweet You Are | 1:08:28 - Veda dances at a club | advance plot | club | conversing | dance music | dancing | heroine | leading lady | love interest | on-screen music | relaxed | source music |
Mildred Pierce (1945) | Kay and Veda (Excited) | 1:13:21 - Veda drives away in her new car | advance plot | car | child | driving | excited | happy | heroine | kissing | leading lady | love interest | room | running |
Mildred Pierce (1945) | Kay and Veda (Sly) | 1:13:55 - Mildred tells Monte to not see Veda | arguing | breakup | conflict | disagreement | heroine | leading lady | love interest | ominous | room | sinister | tense |
Mildred Pierce (1945) | Kay and Veda (Troubled) | 1:14:06 - Mildred and Monte argue | arguing | breakup | conflict | disagreement | heroine | leading lady | love interest | ominous | room | sinister | tense |
Mildred Pierce (1945) | Mildred (Agitato) | 1:14:37 - Mildred and Monte argue | agitated | arguing | breakup | conflict | heroine | leading lady | love interest | room | tense |
Mildred Pierce (1945) | Underscoring (Tense) | 1:14:53 - Mildred and Monte argue | arguing | bitter | breakup | conflict | heroine | leading lady | love interest | room | tense | underscoring |
Mildred Pierce (1945) | It Can’t Be Wrong (Bitter) | 1:15:29 - Mildred writes Monte a check | arguing | bitter | breakup | conflict | familiar tune | heroine | leading lady | love interest | mickey-mousing | popular music | room | source to score | tense |
Mildred Pierce (1945) | Work (Montage) | 1:34:44 - Montage of Mildred and Monte's marriage | cheerful | ex-husband | glass | heroine | leading lady | love interest | mickey-mousing | montage | newspaper | shadow |
Mildred Pierce (1945) | Glasses clink | 1:35:44 - Mildred and Monte clink glasses together | cheerful | clinking | glass | heroine | leading lady | love interest | mickey-mousing | montage |
| 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) | Darktown Strutters’ Ball | 0:40:06 - Sadie and Mike in a bar | advance plot | business man | club | common-chord modulation | conversing | friend | love interest | plotting | ragtime | source music | upbeat |
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) | Old Lavender | 1:00:07 - Joan and Ranny talk | 9th chord | added-note chord | altered dominant | common-chord modulation | conversing | daughter | direct modulation | harmonic sequence | light | love interest | love scene | optimistic | proposal | proposing | room | transcribed by ear |
The Life of Vergie Winters (1934) | Here Comes the Bride | 1:00:46 - Joan and Ranny talk about marriage | common-chord modulation | conversing | daughter | familiar tune | gentle | love interest | love scene | peaceful | proposal | proposing | romantic | room | transcribed by ear |
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 |
| Rockabye (1932) | Till the Real Thing Comes My Way | 0:33:55 - Judy at the party | advance plot | club | conversing | dancing | friend | leading lady | love interest | on-screen music | pianist | playing | playwright | source music | upbeat |
Rockabye (1932) | Out of the Blue (Piano Improvisation) | 0:35:57 - Judy and Jacobs talk | AABA structure | advance plot | calm | club | conversing | leading lady | love interest | on-screen music | playwright | score to source borrowing | source music |
Rockabye (1932) | Till the Real Thing Comes My Way | 0:39:24 - Judy sings a song | AABA structure | advance plot | club | dancing | leading lady | love interest | on-screen music | pianist | singing | source music | upbeat |
Rockabye (1932) | Till the Real Thing Comes My Way | 0:40:21 - Judy sings on top of a truck | advance plot | leading lady | love interest | on-screen music | pianist | singing | source music | street | upbeat |
Rockabye (1932) | Till the Real Thing Comes My Way | 1:01:37 - Judy sings at a party | advance plot | cheerful | leading lady | love interest | on-screen music | party | playwright | singing | source music |
| Transgression (1931) | Dance | 0:08:10 - Elsie and Don Arturo at a club | AB structure | calm | club | conversing | establish character | leading lady | love interest | sophisticated | source music | tango |
Transgression (1931) | Waltz | 0:18:26 - People at a party | advance plot | calm | club | gambling | leading lady | linear chromaticism | love interest | parallel double period | sophisticated | source music | waltz |
Transgression (1931) | Igualada | 0:23:20 - Elsie and Don Arturo talking | advance plot | calm | club | conversing | dancing | leading lady | love interest | sophisticated | source music | tango |
Transgression (1931) | Igualada | 0:24:58 - Elsie and Don Arturo dancing | advance plot | calm | club | conversing | dancing | leading lady | love interest | sophisticated | source music | tango |
Transgression (1931) | Flute Solo | 0:43:22 - Don Arturo opens the door | calm | conversing | leading lady | love interest | love scene | room | source music |
Transgression (1931) | Serenade | 0:44:16 - Elsie and Don Arturo talking | ABAC structure | calm | conversing | embracing | kissing | leading lady | love interest | love scene | romantic | room | source music |
Transgression (1931) | Gong | 0:50:00 - Don Arturo is shot | death | dying | gun | gunshot | leading lady | love interest | murder | murderer | murdering | murder scene | room | tense | victim |
| Hold ‘Em Jail (1932) | Ain’t That the Way it Goes | 0:14:53 - Spider and Curley look around | AABA structure | advance plot | comic | conversing | goofing around | love interest | office | prisoner | radio | source music | upbeat |
Hold ‘Em Jail (1932) | I’m Just a Vagabond Lover | 0:17:00 - Curley talks to Barbara | ABAC structure | advance plot | comic | conversing | goofing around | love interest | office | prisoner | radio | sentimental | source music |
Hold ‘Em Jail (1932) | I’m Wrapped Up in You | 0:18:18 - Spider dances with Violet | advance plot | comic | conversing | dancing | goofing around | love interest | office | prisoner | radio | source music | upbeat |
Hold ‘Em Jail (1932) | Bide-More Alma Mater | 1:04:44 - Bidemore celebrates their victory | celebrating | comic | crowd | field | love interest | politician | prisoner | resolution | source music | upbeat | warden |
| State’s Attorney (1932) | Business in F | 0:43:46 - Jazz musicians playing in a club | advance plot | club | conversing | dancing | daughter | jazz | lawyer | leading man | love interest | on-screen music | source music | upbeat |
| Thirteen Women (1932) | Ursula (Exotic) | 0:32:54 - Burns enters the house | advance plot | entering | exotic | exoticism | Gypsy major scale | leading lady | love interest | ostinato | room | transcribed by ear |
Thirteen Women (1932) | Ursula (Romance 2) | 0:33:10 - Burns kisses Ursula | 9th chord | advance plot | kissing | leading lady | love interest | Neapolitan | romantic | room | secondary dominant | transcribed by ear | waltz |
Thirteen Women (1932) | Ursula (Mysterious Waltz) | 0:33:37 - Ursula talks to Burns | 64 chord | advance plot | chromatic parallelism | conversing | half-diminished 7th chord | leading lady | love interest | mode mixture | romantic | room | transcribed by ear | waltz |
Thirteen Women (1932) | Ursula (Exotic 2) | 0:33:52 - Ursula talks to Burns | advance plot | conversing | dark | exotic | exoticism | Gypsy major scale | leading lady | love interest | mysterious | ostinato | room | transcribed by ear |
Thirteen Women (1932) | Ursula (Exotic) | 0:34:06 - Ursula argues with Burns | advance plot | arguing | dark | exotic | exoticism | Gypsy major scale | leading lady | love interest | mysterious | ostinato | room | transcribed by ear |
