| 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) | Henriette (Ominous) | 1:31:15 - Henriette talks to the Duke | 9th chord | 64 chord | added-note chord | conversing | duke | foreign key modulation | governess | hopeful | leading lady | leading man | love scene | ominous | palace | reassuring |
All This, and Heaven Too (1940) | Henriette (Molto Expressivo) | 1:31:48 - The Duke talks to Henriette | chromatic mediant | chromatic parallelism | conversing | duke | governess | leading lady | leading man | love scene | mode mixture | Neapolitan | palace | pedal tone | reassuring | romantic | sigh gesture | stinger | tender |
All This, and Heaven Too (1940) | Henriette (Expressivo) | 1:32:32 - Henriette enters the palace | dissonant bass | governess | leading lady | love scene | ominous | palace | somber | walking |
All This, and Heaven Too (1940) | 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 |
| 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 |
| 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 |
| 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 |
| 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 (Modulating 2) | NIF - not in film | added-note chord | cut from film | deceptive resolution | familiar tune | fragmentation | love scene | pump-up modulation | sequence |
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 |
| 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) | 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) | 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 (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) | 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 |
| 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) | 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) | 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 |
| 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 |
| 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 |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Dolceeessimo) | NIF - not in film | barn | cut from film | deceptive resolution | foreign key modulation | intervallic expansion | love scene | pedal tone | sequence | 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) | 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 (Advertisement) | 0:31:07 - A marquee advertising "Marriage on Stage Tonite" | common-chord modulation | crowd | familiar tune | foreign key modulation | happy | love scene | marriage | street | theater |
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 |
| 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) | 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) | 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) | 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 |
| 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) | 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 |
| 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) | 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) | 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) | 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 |
| 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 (Transition) | 0:43:37 - Craig's office door | 9th chord | arriving | assistant | calm | friend | leading lady | love scene | office | pleasant | source to score |
In This Our Life (1942) | Roy (Expressivo) | 0:43:43 - Roy talks with Parry | 64 chord | assistant | calm | conversing | deceptive resolution | friend | leading lady | love scene | office | pleasant |
In This Our Life (1942) | Love Theme (Valse Sentimentale) | 0:44:06 - Roy and Craig embrace | 9th chord | altered dominant | calm | conversing | iii chord | leading lady | leading man | love scene | office | romantic | waltz |
In This Our Life (1942) | Love Theme (Valse Sentimentale) | 0:46:31 - Roy talks with her uncle | 9th chord | altered dominant | conversing | iii chord | leading lady | leading man | love scene | pleasant | proposal | room | tender | uncle | waltz |
| 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) | 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 |
| 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) | 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 |
| The Letter (1940) | Leslie (Shimmery 2) | 0:18:55 - Leslie stares at the full moon | changing meter | home | leading lady | love scene | moon | mysterious | oscillation | sequence | sequential modulation | staring | suspension |
The Letter (1940) | Leslie B (Appassionato) | 0:19:26 - Leslie closes the blinds | changing meter | dramatic | emotional | home | leading lady | linear chromaticism | love scene | sequence | walking |
The Letter (1940) | Letter (Sarcastic) | 0:19:45 - Robert looks at Leslie | chromatic sequence | dissonant bass | glance | home | leading lady | longing | love scene | mysterious | sequence | staring |
The Letter (1940) | Robert and Leslie | 0:20:07 - Leslie looks in the drawer | appoggiatura | embracing | home | husband | leading lady | love scene | love theme | pedal tone | romantic | sigh gesture | suspension |
The Letter (1940) | Kiss | 0:20:33 - Robert kisses Leslie | home | husband | kissing | leading lady | love scene | romantic | suspension |
| 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) | 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) | 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 |
| Mildred Pierce (1945) | First Kiss | 0:49:40 - Monte steals a kiss from Mildred | cheerful | common-tone diminished 7th | falling in love scene | friend | heroine | kissing | leading lady | restaurant | romance |
Mildred Pierce (1945) | Walking | 0:49:48 - Driving to the beach house | 9th chord | beach house | cheerful | driving | falling in love scene | friend | heroine | leading lady | parallelism | room | traveling | walking |
Mildred Pierce (1945) | Opens closet | 0:49:57 - Mildred slides open a door | 9th chord | cheerful | falling in love scene | heroine | leading lady | love interest | mickey-mousing | opening | room | sliding |
Mildred Pierce (1945) | Disrobes | 0:50:47 - Monte takes off Mildred's robe | beach house | cheerful | disrobing | dissonant bass | falling | falling in love scene | flirting | heroine | leading lady | love interest | mickey-mousing | robe |
Mildred Pierce (1945) | Bathing Suit | 0:50:49 - Monte looks at Mildred in her bathing suit | 9th chord | attraction | beach house | cheerful | dissonant bass | falling in love scene | flirting | foreign key modulation | heroine | leading lady | love interest | mickey-mousing |
Mildred Pierce (1945) | Mildred (Frolicking) | 0:51:01 - Mildred runs to the beach | 9th chord | beach | cheerful | falling in love scene | flirting | foreign key modulation | frolicking | heroine | jaunty | leading lady | love interest | running | tritone |
Mildred Pierce (1945) | Frolicking in the Surf | 0:51:05 - Monte and Mildred run to the water | 9th chord | 64 chord | beach | falling in love scene | foreign key modulation | frolicking | heroine | jaunty | leading lady | love interest | mickey-mousing | playful | running | splashing | swimming | water | waves |
Mildred Pierce (1945) | Waves | 0:51:11 - Waves crash onto the beach | 64 chord | beach | calm | falling in love scene | heroine | leading lady | love interest | mickey-mousing | rolling | splashing | waves |
Mildred Pierce (1945) | It Can't Be Wrong | 0:51:16 - Monte plays a record for Mildred | AABA structure | conversing | heroine | kissing | leading lady | love interest | love scene | popular music | record | record player | romantic | room | score to source borrowing | source music |
| 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 (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) | 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 |
| Out of the Fog (1941) | Gangster | 0:39:07 - Stella and Goff at the harbor | AABA structure | blue note | bluesy | conversing | criminal | dock | leading lady | leading man | love scene | sultry |
Out of the Fog (1941) | Russian Barcarolle (Ominous) | 0:40:09 - Stella talks to Goff | conversing | criminal | dock | leading lady | leading man | love scene | ominous |
Out of the Fog (1941) | Underscoring (Dark) | 0:40:27 - Stella reacts | criminal | dark | dock | leading lady | leading man | love scene | reacting | stinger | walking |
Out of the Fog (1941) | Gangster | 0:40:37 - Goff calls after Stella | blue note | bluesy | conversing | criminal | dock | leading lady | leading man | love scene | sultry |
Out of the Fog (1941) | Russian Barcarolle (Tense) | 0:40:54 - Goff talks to Stella | conversing | criminal | dark | dock | leading lady | leading man | love scene |
Out of the Fog (1941) | Underscoring (Dramatic) | 0:41:03 - Stella slaps Goff | criminal | dock | dramatic | leading lady | leading man | love scene | reacting | slapping | stinger | underscoring |
Out of the Fog (1941) | Gangster (Tense) | 0:41:05 - Stella kisses Goff | bluesy | criminal | dock | embracing | kissing | leading lady | leading man | love scene | tense |
Out of the Fog (1941) | Stella and George (Extended) | 0:41:45 - George talks to Stella | arguing | boyfriend | conversing | foreign key modulation | leading lady | love scene | room | tender |
| Kid Galahad (1937) | The Moon Is In Tears Tonight (Love's Sorrow) | 0:53:05 - Ward professes his love for Marie | conversing | heartbroken | leading lady | leading man | love scene | newspaper | not by Steiner | romantic | room | transcribed by ear |
Kid Galahad (1937) | The Split Up | 0:56:59 - Louise and Nick break up | appoggiatura | conversing | heartbroken | leading lady | love scene | manager | not by Steiner | romantic | room | transcribed by ear |
Kid Galahad (1937) | The Moon Is In Tears Tonight (Tender) | 0:57:14 - Louise thinks of Ward | conversing | leading lady | love scene | manager | not by Steiner | room | tender | transcribed by ear |
Kid Galahad (1937) | The Split Up | 0:57:45 - Louise says goodbye to Nick | appoggiatura | conversing | heartbroken | leading lady | love scene | manager | not by Steiner | romantic | room | transcribed by ear |
Kid Galahad (1937) | 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 |
| The Unfaithful (1947) | Unfaithful (Somber) | 0:22:24 - Bob comforts Chris | 9th chord | augmented sixth chord | comfort | comforting | common-chord modulation | husband | leading lady | love scene | mode mixture | ostinato | pedal tone | room | somber | victim |
| We Are Not Alone (1939) | In Love | 1:30:55 - David realizes he is in love with Leni | 9th chord | courtroom | courtroom scene | hero | heroine | linear chromaticism | love scene | realization | realizing | romantic | suspension | testifying | tone cluster |
We Are Not Alone (1939) | Celebre Romance (Love) | 1:37:12 - David and Leni express their love for each other | classical music | conversing | familiar tune | fragmentation | guard | hero | heroine | love scene | prison | quotation | romantic | Rubinstein |
We Are Not Alone (1939) | Underscoring (Somber) | 1:37:44 - David and Leni talk | conversing | harmonic sequence | hero | heroine | love scene | prison | somber | triadic transformation | underscoring |
We Are Not Alone (1939) | Execution | 1:38:10 - Leni talks to David | comforting | conversing | drone | execution | hero | heroine | love scene | name of film | prison | somber |
We Are Not Alone (1939) | Frohe Botschaft (Hopeful) | 1:38:41 - David comforts Leni | 9th chord | comforting | conversing | familiar tune | folk song | German | hero | heroine | love scene | mode mixture | pedal tone | plagal cadence | prison | quotation | somber |
We Are Not Alone (1939) | Underscoring (Romantic) | 1:39:42 - David comforts Leni | 9th chord | 13th chord | comforting | conversing | hero | heroine | love scene | prison | romantic | underscoring |
We Are Not Alone (1939) | Surprise Symphony (Someday) | 1:39:55 - David is hopeful | 64 chord | classical music | comforting | conversing | deceptive resolution | dream-like | familiar tune | foreign key modulation | gentle | Haydn | hero | heroine | imagining | love scene | prison | quotation | sweet |
We Are Not Alone (1939) | Heart Break | 1:40:11 - David and Leni kiss | 9th chord | appoggiatura | dissonant bass | first kiss | hero | heroine | kissing | love | love scene | mode mixture | passionate | pedal tone | prison | suspension |
We Are Not Alone (1939) | Fainting | 1:40:41 - Leni faints | added-note chord | fainting | falling | hero | heroine | love scene | mickey-mousing | prison | sequence | tense |
| 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) | Moll (Arguing) | 0:43:06 - Verna argues with Big Ed | anger | arguing | gangster | leading lady | love interest | love scene | moll | porch | tense | uneasy |
White Heat (1949) | Verna (Slowly) | 0:43:41 - Verna kisses Big Ed | betrayal | bluesy | gangster | kissing | leading lady | love interest | love scene | moll | mother | porch | romantic | spying | sultry |
| 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) | 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 |
| 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 |
| 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 |
| 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) | 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 |
| 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 |
| 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) | 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) | Stella (Appassionato) | 1:22:28 - Gregory talks to Stella | captain | conversing | leading lady | leading man | love interest | love scene | rain | romantic | ship | storm | wind |
| 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 |
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