| The Amazing Dr. Clitterhouse (1938) | Cauldron 1 (End title) | 1:26:33 - The End | beaker | bubbling | chromatic mediant | chromatic scale | closing credits | doctor | end title | foreign key modulation | leading man | mode mixture | ominous | plagal cadence |
| Angels With Dirty Faces (1938) | Rocky and Laury (Not In Film 1) | NIF - not in film | added-note chord | altered dominant | augmented sixth chord | common-chord modulation | conversing | cut from film | establish character | following | gangster | leading lady | leading man | mode mixture | street | walking |
Angels With Dirty Faces (1938) | Foxtrot | 1:02:20 - Rocky and Laury look out the window | added-note chord | altered dominant | common-tone diminished 7th | dreaming | foxtrot | gangster | hoping | leading lady | leading man | looking | love scene | mode mixture | romantic | room |
Angels With Dirty Faces (1938) | Sanctus (Mysterioso) | 1:05:33 - Jerry looks at note from Rocky | advance plot | charity | classical music | common-chord modulation | friendship | leading man | letter | mode mixture | money | mysterious | pedal tone | priest | room | sacred | source to score | thinking |
| Are These Our Children? (1931) | Dreams | 0:00:15 - Title of the film and opening credits | 11th chord | AABA structure | card | cast list | conductor score | gentle | mode mixture | opening title sequence | title of film |
Are These Our Children? (1931) | Dreams | 0:02:11 - Eddie and Mary talk | 11th chord | AABA structure | conductor score | establish character | gentle | leading lady | leading man | leaving | lovers | love scene | mode mixture | street | waiting |
Are These Our Children? (1931) | Moonbeams | 0:25:39 - Eddie dances with Flo | added-note chord | altered dominant | common-tone diminished 7th | dance hall | dance scene | dancing | leading man | love interest | mode mixture | on-screen music | parallel double period | romantic | source music | waltz |
Are These Our Children? (1931) | Moonbeams (Dream Sequence) | 0:27:23 - Eddie takes Flo home | added-note chord | advance plot | double exposure | dream sequence | entering | friend | hectic | kissing | leading man | mode mixture | romantic | source to score | street | transcribed by ear | waltz |
Are These Our Children? (1931) | Dreams (Andante) | NIF - not in film | added-note chord | cut from film | mode mixture | parallelism | quartal chord | tense | whole-tone chord |
Are These Our Children? (1931) | Dreams (End Title) | NIF - not in film | bold | cut from film | mode mixture | plagal cadence |
Are These Our Children? (1931) | Dance Tune | NIF - not in film | augmented triad | bluesy | common-tone diminished 7th | cut from film | mode mixture |
| Arsenic and Old Lace (1944) | The Old Maid | 0:04:17 - Mortimer talks to Elaine | added-note chord | arguing | conversing | enharmonic modulation | establish character | kissing | leading lady | leading man | marriage | mode mixture | office | parallel period | pedal tone | romantic | self-borrowing |
Arsenic and Old Lace (1944) | The Aunts (Allegretto) | 0:13:52 - The aunts run to the window | advance plot | aunt | cheerful | harmonic sequence | leading lady | mode mixture | pedal tone | room | running |
| His Greatest Gamble (1934) | Morning Glory Waltz | 0:00:28 - Cast list | cast list | gentle | mode mixture | opening title sequence | transcribed by ear | waltz |
His Greatest Gamble (1934) | Russian Waltz | 0:30:05 - Philip arrives at Florence's home | 9th chord | arriving | calm | chromatic sequence | common-tone diminished 7th | establish setting | fugitive | leading man | mansion | mode mixture | on-screen music | piano | playing | pleasant | source music | waltz | wandering |
His Greatest Gamble (1934) | Morning Glory Waltz (Radio) | 0:57:06 - Philip talks with Alice | 9th chord | advance plot | conversing | daughter | fugitive | gentle | leading lady | leading man | mansion | mode mixture | radio | score to source | sentimental | source music | transcribed by ear | walking |
His Greatest Gamble (1934) | Morning Glory Waltz (The End) | 1:10:18 - Philip leaves | detective | end title sequence | fugitive | leading man | leaving | mode mixture | secondary dominant | transcribed by ear | triumphant | waltz |
| Crime School (1938) | Sue | 0:00:37 - Mugshots of main characters | blues | bluesy | main title | mode mixture | mug shot | opening title sequence | parallelism | starring list |
Crime School (1938) | Sue (Grazioso) | 1:13:10 - Sue and Mark talk in the kitchen | cheerful | conflict | conversing | cooking | happy | hero | heroine | kitchen | leading lady | leading man | mode mixture | secondary dominant |
Crime School (1938) | Underscoring (Tense) | 1:14:26 - Mark talks to policeman | chromatic scale | conflict | deceptive resolution | gun | hero | heroine | hiding | knocking | leading lady | leading man | lying | mode mixture | pedal tone | police | room | teenager | tense | underscoring |
Crime School (1938) | Sue (End Credits) | 1:24:49 - Cast list | added-note chord | bluesy | chromatic parallelism | closing credits | end title sequence | Gershwinesque | mode mixture | not by Steiner | upbeat |
| They Made Me a Criminal (1939) | The Printing Press | 0:14:10 - A printing press | 64 chord | dark | dissonant bass | fanfare | headline | heroic | mode change | montage | montage | motoric | newspaper | oscillation | printing press |
They Made Me a Criminal (1939) | Underscoring (Tender) | 0:26:58 - Peggy helps Johnnie | 9th chord | 64 chord | heroine | leading lady | leading man | lovers meet | mode mixture | nursing | room | tender | underscoring |
They Made Me a Criminal (1939) | On the Make | 0:49:40 - Johnnie and Peggy drive in a car | ABAB structure | added-note chord | altered dominant | car | car | cheerful | conversing | driving | hero | leading lady | leading man | linear chromaticism | love scene | mode mixture | phrase extension | romantic | traveling |
They Made Me a Criminal (1939) | On the Make (Extended) | 0:53:21 - Johnnie and Peggy drive in a car | ABAB structure | added-note chord | advance plot | altered dominant | car | car | cheerful | conversing | driving | hero | kissing | leading lady | leading man | linear chromaticism | mode mixture | phrase extension | romantic | traveling |
They Made Me a Criminal (1939) | Marcia Grotesque | 1:01:48 - Johnnie talks to another boxer | advance plot | altered dominant | comical | conversing | hero | leading man | march | mode mixture | room |
They Made Me a Criminal (1939) | On the Make (Appassionato) | 1:25:51 - Peggy wants to go with Johnnie | 9th chord | altered dominant | climax | detective | embracing | kissing | leading lady | leading man | leaving | linear chromaticism | mode mixture | pedal tone | romantic | room | sentimental | sigh gesture | tender |
They Made Me a Criminal (1939) | The Fugitive (Ending) | 1:30:23 - A train rushes away | detective | foreign key modulation | leading man | mode mixture | optimistic | passionate | plagal cadence | resolution | resolution | running | teenager | train station | triumphant |
They Made Me a Criminal (1939) | On the Make (End Cast) | 1:31:03 - End titles | 9th chord | added-note chord | closing credits | end title | linear chromaticism | mode mixture | not by Steiner | plagal cadence | upbeat |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Opening B) | 0:00:49 - Cast list | 9th chord | augmented sixth chord | blues | bluesy | cast list | dust | main title | mode mixture | opening title sequence |
Dust Be My Destiny (1939) | Dust Be My Destiny (Opening B2) | 0:01:18 - Cast list | cast list | main title | mode mixture | opening title sequence | romantic |
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 (Fateful Decision) | 0:26:17 - Joe and Mabel decide to run away together | barn | confused | deceptive resolution | fragmentation | hopeful | leading lady | leading man | mode mixture | runaway | turning point |
Dust Be My Destiny (1939) | Dust Be My Destiny (In Love) | 0:27:22 - Joe and Mabel talk | 9th chord | added-note chord | advance plot | common-tone diminished 7th | freedom | gentle | leading lady | leading man | mode mixture | runaway | secondary dominant | street | walking |
Dust Be My Destiny (1939) | Dust Be My Destiny (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) | Dust Be My Destiny (Fear and Devotion) | 0:35:50 - Joe and Mabel decide to stick together | alley | common-tone diminished 7th | devotion | dramatic | escape | fear | fragmentation | leading lady | leading man | love | mode mixture | obsessive | runaway | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Parting Ways) | 0:38:56 - Joe and Mabel part | altered dominant | common-tone diminished 7th | conflict | dark | leading lady | leading man | leaving | mode mixture | pedal tone | runaway | somber | street |
Dust Be My Destiny (1939) | My Wild Irish Rose | 0:40:51 - Joe and Mabel in Nick's Diner | accompanied source music | altered dominant | common-chord modulation | diner | establish character | familiar tune | friend | happy | leading lady | leading man | mode mixture | parallel double period | popular song | radio | shopkeeper | singing | source music | ternary form |
Dust Be My Destiny (1939) | My Wild Irish Rose (Goodbye) | 0:51:35 - Joe and Mabel say goodbye to Nick | 9th chord | escape | familiar tune | foreign key modulation | friend | leading lady | leading man | linear chromaticism | mode mixture | popular song | shopkeeper | tender | train station |
Dust Be My Destiny (1939) | The Daily Journal | 1:00:10 - Sign for The Daily Journal | establish setting | fanfare | heroic | mode mixture | Neapolitan | newspaper | sign | street | triumphant |
Dust Be My Destiny (1939) | Buzzing | 1:01:05 - Men working in the dark room | 64 chord | action scene | added-note chord | buzzy | chromatic parallelism | dark room | enharmonic modulation | exciting | foreign key modulation | leading man | mode mixture | Neapolitan | newspaper | newspaper editor | parallelism | photographer | photography | pump-up modulation | Rimsky-Korsakov | working |
Dust Be My Destiny (1939) | Dust Be My Destiny (Relief) | 1:06:54 - Mike talks with Joe | advance plot | hopeful | leading man | mode mixture | newspaper editor | office | relieved |
Dust Be My Destiny (1939) | Dust Be My Destiny (Religioso) | 1:22:41 - Mabel testifies for Joe | 11th chord | chromatic parallelism | common-tone diminished 7th | courtroom | crowd | diminished 7th chord | gentle | judge | jury | leading lady | leading man | loving | mode mixture | parallel double period | plagal cadence | sincere | suspect | tender | trial |
| Flamingo Road (1949) | Flamingo Road | 0:00:18 - Book cover for Flamingo Road | blues | bluesy | book cover | cast list | establish setting | Gershwinesque | mode mixture | parallelism | self-borrowing | title of film |
Flamingo Road (1949) | Flamingo Road (Chapter One) | 0:00:54 - Chapter one from Flamingo Road | chromatic mediant | common-chord modulation | establish setting | gentle | mode mixture | self-borrowing | street | voice-over |
Flamingo Road (1949) | Lane | NIF - not in film | conversing | cut from film | cut from film | leading lady | leading man | lovers meet | mode mixture | police | room |
Flamingo Road (1949) | Lane (Not in Film) | NIF - not in film | conversing | cut from film | cut from film | foreign key modulation | leading lady | leading man | lovers meet | mode mixture | police | room |
Flamingo Road (1949) | 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) | 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) | The Capitol | 0:56:03 - The Olympic City capitol building | chromatic mediant | courthouse | deceptive resolution | establish setting | Mixolydian mode | noble | self-borrowing |
Flamingo Road (1949) | Flamingo Road (Tenderly) | 1:03:58 - Dan and Lane have tea | advance plot | conversing | gentle | husband | leading lady | leading man | mode mixture | room | self-borrowing | serving | tea | wife |
Flamingo Road (1949) | Flamingo Road (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) | Lane (Not in Film 2) | NIF - not in film | cut from film | cut from film | foreign key modulation | mode mixture | police station | resolution |
Flamingo Road (1949) | Flamingo Road (Dolce) | 1:33:08 - Dan and Lane embrace | crying | dark | embracing | husband | kissing | leading lady | leading man | mode mixture | peaceful | prison | resolution | reuniting | self-borrowing | wife |
| The Informer (1935) | The Informer | 0:00:14 - Shadows move across the screen behind the cast list | cast list | Dorian mode | folk-like | informer | marching | minor pentatonic | mysterious | opening title sequence | Scotch snap | searching | serious | shadow | soldier | street | title of film |
The Informer (1935) | Rule, Britannia! | 0:02:32 - Close-up on the 20 pound reward on the poster | British | dark | establish character | familiar tune | leading man | linear chromaticism | looking | mode change | patriotic tune | poster | source music | street | tense |
The Informer (1935) | The Minstrel Boy | 0:25:32 - Man sings a folk tune at the street corner | 9th chord | AABA structure | advance plot | angelic | antagonist | calm | familiar tune | folk song | gentle | leading man | listening | mode mixture | mourner | mourning | on-screen music | playing | praying | singer | singing | street | violinist | watching |
The Informer (1935) | Mary | 0:38:47 - Rebels talk about Frankie's sister Mary | 64 chord | advance plot | augmented sixth chord | conversing | deceptive resolution | headquarters | love | mode mixture | rebel | romantic | room | Scotch snap |
The Informer (1935) | He Is Me Darling-O | 0:47:03 - Gypo and another man sing drunkenly | advance plot | Aeolian mode | antagonist | drunk | familiar tune | folk song | Irish | leading man | street | transcribed by ear | walking |
The Informer (1935) | 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) | 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) | Peter Mulligan | 1:05:37 - Peter Mulligan sits and holds a crucifix | courtroom | courtroom scene | folk-like | headquarters | mode mixture | room | somber | suspect | waiting |
The Informer (1935) | The Wearin' o' the Green (Rebel Jury) | 1:05:48 - Camera pans to show all of the faces of the rebel jury | 64 chord | bold | courtroom | courtroom scene | familiar tune | fanfare | folk song | headquarters | judging | jury | meter change | mode mixture | noble | panning shot | patriotic | plagal cadence | rebel | room |
The Informer (1935) | Peter Mulligan | 1:07:25 - Mulligan cries | courtroom scene | headquarters | mode mixture | room | somber | suspect | waiting |
| Key Largo (1948) | Largo Hotel | 0:02:34 - Frank arrives at the Largo hotel | bus | establish setting | hotel | mode change | peaceful | stopping | tense |
Key Largo (1948) | McCloud (Tense) | 0:14:56 - Nora and Frank talk about George | advance plot | agitated | death | father | hotel | leading lady | leading man | memory | mode change | remembering | storytelling | tense | war |
Key Largo (1948) | McCloud (Tragic) | 0:34:05 - McCloud and Nora help Mr. Temple up | boss | conflict | father | gangster | helping | hostage | hotel | leading lady | leading man | mode change | solemn | somber |
Key Largo (1948) | McCloud (Triste) | 0:47:23 - Rocco mocks McCloud | boss | conflict | conversing | father | gangster | gun | hostage | hotel | leading lady | leading man | mode change | moll | serious | somber |
| The Letter (1940) | Native | 0:01:21 - Men sleeping in hammocks | Dorian mode | dripping | establish location | exoticism | gamelan | gunshot | Indonesian music | melodic cell | mysterious | native | on-screen music | panning shot | pentatonic | plantation | playing music | quintal chord | setting | Singapore | sleeping |
The Letter (1940) | Native (Uncut) | NIF - not in film | cut from film | Dorian mode | exoticism | melodic cell | ostinato | pentatonic | quintal chord | setting |
The Letter (1940) | Underscoring (Mysterious) | 0:04:29 - Leslie leaves the room | Dorian mode | home | leaving | murder scene | mysterious | servant | underscoring |
The Letter (1940) | Creeping | 0:16:38 - Man creeping in the dark | advance plot | creeping | exoticism | Locrian mode | mickey-mousing | open fifth | parallel fifths | parallelism | pedal tone | plantation | sequential modulation | servant | sneaky |
The Letter (1940) | Mrs. Hammond | 0:23:27 - Mrs. Hammond appears | Aeolian mode | Chinese | Chinese | death | delicate | dissonant bass | establish character | grieving | open fifth | parallel fifths | parallelism | pentatonic | plantation | stinger | widow |
The Letter (1940) | Mrs. Hammond (Appassionato) | 0:24:12 - Mrs. Hammond looks at her husband | Aeolian mode | Chinese | Chinese | death | delicate | establish character | grieving | open fifth | parallel fifths | parallelism | passionate | pedal tone | pentatonic | plantation | widow |
The Letter (1940) | Sociable | 0:48:42 - People having dinner | ABA structure | cheerful | conversing | deceptive resolution | dinner | Dorian mode | foreign key modulation | happy | home | husband | lacework | lawyer | leading lady | party | whole-tone chord |
The Letter (1940) | Chinese Shop | 0:55:30 - Howard and Leslie look around | antagonist | Chinatown | Chinese | Chinese | exotic | exoticism | lawyer | layering | leading lady | Lydian mode | mirroring | mysterious | open fifth | parallel fifths | parallelism | polytonality | quintal chord | tense | transition | waiting | walking |
The Letter (1940) | Native (Climactic) | 1:30:42 - Leslie walks through her garden | climax | crying | Dorian mode | exoticism | gamelan | Indonesian music | leading lady | mysterious | panning shot | parallelism | plantation | setting | somber | walking |
The Letter (1940) | Deception (Appassionato) | 1:31:18 - Close-up of Leslie | climax | crying | leading lady | mysterious | pc set | Phrygian mode | plantation | somber | walking |
The Letter (1940) | Mrs. Hammond (Ambush) | 1:31:55 - Leslie moves through the gate | Aeolian mode | antagonist | Chinese | climax | dark | leading lady | mysterious | open fifth | parallel fifths | parallelism | pentatonic | plantation | walking |
| The Life of Vergie Winters (1934) | Funeral March | 0:01:12 - A funeral march | altered dominant | brass band | classical music | crowd | establish place | funeral | funeral march | marching | mode change | on-screen music | parallel 63s | pedal tone | performer | secondary dominant | somber | source music | street | watching |
The Life of Vergie Winters (1934) | Oh! You Beautiful Doll | 0:17:47 - People in a bar | advance plot | bar | business man | conversing | mode mixture | ragtime | source music | upbeat |
The Life of Vergie Winters (1934) | Lullaby (Strings) | 0:52:30 - Vergie puts a ribbon in Joan's hair | advance plot | child | chromatic mediant | conversing | countermelody | daughter | direct modulation | gentle | leading lady | mode mixture | mother | pedal tone | reunion | secret | shop |
The Life of Vergie Winters (1934) | 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) | 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 (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 |
| Rockabye (1932) | Sleep, My Sweet | 0:00:14 - Title of film and cast list | calm | cast list | deceptive resolution | lullaby | mode mixture | opening title sequence | peaceful | starring list | title of film |
Rockabye (1932) | Sleep, My Sweet (The End) | 1:07:07 - The end | calm | common-tone diminished 7th | end title sequence | lullaby | mode mixture |
| Kid Galahad (1937) | Heart's Affair | 0:49:16 - Marie speaks with her mother | advance plot | altered dominant | conversing | harmonic sequence | home | mode mixture | mother | newspaper | romantic | sister | transcribed by ear | yearning |
Kid Galahad (1937) | Heart's Affair (Arriving) | 0:58:30 - A newspaper headline | arriving | countermelody | farm | leading man | love scene | mode mixture | newspaper | playful | reading | sister | transcribed by ear |
Kid Galahad (1937) | Heart's Affair (Kiss) | 0:58:47 - Ward talks to Marie | AABA structure | altered dominant | cheerful | conversing | deceptive resolution | farm | happy | kissing | leading man | love scene | mode mixture | sister | transcribed by ear |
Kid Galahad (1937) | Kid Galahad (Tender) | 1:39:15 - Nick speaks his final words | 9th chord | 64 chord | added-note chord | appoggiatura | climax | death | dying | fanfare | foreign key modulation | leading lady | leading man | manager | mode mixture | pedal tone | room | sister | somber | stretto imitation |
Kid Galahad (1937) | Kid Galahad (End Title) | 1:41:09 - End cast | 9th chord | added-note chord | common-tone diminished 7th | end title sequence | fanfare | jaunty | march-like | mode mixture | plagal cadence |
| Traveling Husbands (1931) | There's a Sob In My Heart (Slow Waltz) | 0:57:47 - Music is played on the radio | AABA structure | advance plot | arguing | calm | leading lady | leading man | mode mixture | popular song | radio | room | salesman | source music | transcribed by ear |
| The Unfaithful (1947) | Unfaithful (Chris) | 0:01:46 - Chris answers the phone | establish character | foreshadowing | leading lady | mode change | peaceful | room |
The Unfaithful (1947) | Chris 2 (Minor) | 0:07:37 - Chris arrives home | antagonist | car | cheerful | dark | driving | house | leading lady | mode mixture | transition |
The Unfaithful (1947) | Unfaithful (Dramatic) | 0:44:05 - Chris goes to visit Larry's office | advance plot | arriving | fanfare | heroic | law office | leading lady | mode mixture | office |
| We Are Not Alone (1939) | Surprise Symphony (Foreboding) | 0:00:09 - Main title | classical music | dark | familiar tune | Haydn | main title | mode change | opening title sequence | quotation | title of film |
We Are Not Alone (1939) | Frohe Botschaft (Grandioso) | 0:00:26 - Book pages showing main cast | altered dominant | cast list | familiar tune | folk song | German | hopeful | main title | mode mixture | opening title sequence | parallel period | quotation | suspension |
We Are Not Alone (1939) | Surprise Symphony (Hug) | 0:05:14 - David hugs his son | boy | child | classical music | establish character | familiar tune | father | gentle | Haydn | hero | home | mode mixture | quotation |
We Are Not Alone (1939) | Surprise Symphony (Innocent) | 0:06:36 - Gerald runs inside | 9th chord | boy | child | classical music | comforting | common-tone diminished 7th | establish character | familiar tune | father | foreign key modulation | fragmentation | Haydn | hero | home | innocent | mode mixture | nagging | parallel fifths | playful | quotation | step modulation | tritone | Wagner |
We Are Not Alone (1939) | Tommy | 0:08:41 - David and Tommy talk about cats | 64 chord | boy | cat | deceptive resolution | doctor | establish character | hero | mode mixture | office | parallelism | playful |
We Are Not Alone (1939) | I Do Like to Be Beside the Seaside | 0:10:56 - David visits an injured Leni | chromatic mediant | deceptive resolution | doctor | establish character | familiar tune | foreign key modulation | gentle | hero | heroine | mode mixture | quotation | room | step modulation |
We Are Not Alone (1939) | I Do Like to Be Beside the Seaside (Peaceful) | 0:12:13 - David's treatment is successful | calm | chromatic mediant | deceptive resolution | doctor | establish character | familiar tune | foreign key modulation | hero | heroine | mode mixture | quotation | room |
We Are Not Alone (1939) | Tenderness | 0:13:40 - David talks to Leni | 64 chord | doctor | establish character | friendly | hero | heroine | mode mixture | room | sequence | tender |
We Are Not Alone (1939) | Blue Danube | 0:14:52 - Leni says she is from Austria | classical music | doctor | establish character | familiar tune | hero | heroine | mode mixture | peaceful | quotation | room | Strauss |
We Are Not Alone (1939) | Surprise Symphony (Worried) | 0:22:57 - David hears Gerald crying | advance plot | boy | child | classical music | dark | familiar tune | father | fragmentation | Haydn | hero | home | hurrying | mode mixture | quotation | tense |
We Are Not Alone (1939) | Surprise Symphony (Dolce) | 0:25:02 - Gerald asks to go with his father on a trip | advance plot | boy | child | classical music | conversing | familiar tune | father | Haydn | hero | home | mode mixture | quotation | sweet | warm |
We Are Not Alone (1939) | Frohe Botschaft (Ethereal) | 0:25:12 - David tells his son about his patient, Leni | 9th chord | 64 chord | advance plot | boy | child | conversing | familiar tune | father | folk song | German | hero | home | mode mixture | pedal tone | quotation | sweet |
We Are Not Alone (1939) | Frohe Botschaft (Somber) | 0:38:52 - Leni reacts | 9th chord | antagonist | common-chord modulation | conflict | conversing | evaded cadence | familiar tune | folk song | garden | German | heroine | mode mixture | quotation | sentimental | sigh gesture | somber |
We Are Not Alone (1939) | Frohe Botschaft (Crying) | 0:45:45 - Leni kisses Gerald | 9th chord | 64 chord | advance plot | antagonist | boy | child | crying | deceptive resolution | familiar tune | folk song | fragmentation | German | heroine | home | leaving | mode mixture | mother | quotation | room | sequence | somber | tritone |
We Are Not Alone (1939) | Celebre Romance (Accompanied) | 1:01:56 - Gerald sneaks inside | boy | child | classical music | common-tone modulation | familiar tune | hero | heroine | home | mode mixture | on-screen music | peaceful | pivotal scene | playing | romantic | room | Rubinstein | secondary dominant | source music | violin |
We Are Not Alone (1939) | Celebre Romance (Accompanied B) | 1:02:47 - Gerald accidentally mixes up the contents of two bottles | boy | child | classical music | deceptive resolution | familiar tune | hero | heroine | home | linear chromaticism | mode mixture | on-screen music | peaceful | pivotal scene | playing | romantic | room | Rubinstein | source music | violin |
We Are Not Alone (1939) | God Save the King (Angry) | 1:05:06 - British mobs in the street | 9th chord | angry | British | conflict | crowd | diminished 7th chord | familiar tune | mode mixture | patriotic | riot | rioting | street |
We Are Not Alone (1939) | Frohe Botschaft (Drifting) | 1:14:30 - David gives Leni money for her travels | altered dominant | arrest | arresting | chromatic parallelism | conflict | conversing | dark | death | familiar tune | folk song | gentle | German | happy | hero | heroine | mode mixture | murder | police | quotation | sad | sweet | tense | train station | whole-tone chord |
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) | 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) | Frohe Botschaft (Restful) | 1:41:47 - David watches Leni sleep | 9th chord | advance plot | delicate | familiar tune | folk song | German | hero | heroine | mode mixture | plagal cadence | prison | quotation | watching |
We Are Not Alone (1939) | Surprise Symphony (Acceptance) | 1:47:27 - David talks to the prison guards | advance plot | classical music | familiar tune | gentle | Haydn | hero | mode mixture | plagal cadence | prison | quotation | reverse picardy | sweet |
We Are Not Alone (1939) | Frohe Botschaft (Singing) + Surprise Symphony | 1:50:50 - Gerald sings in the tub | augmented triad | boy | child | classical music | combination of themes | conclusion | death | familiar tune | folk song | German | Haydn | home | mode mixture | on-screen music | peaceful | quotation | room | source music | whistling |
We Are Not Alone (1939) | Frohe Botschaft (The End) | 1:51:01 - The End | 9th chord | end title sequence | familiar tune | folk song | German | grand | home | mode mixture | quotation | room | suspension | The End |
| The Public Defender (1931) | Mystery (End Title) | 1:08:56 - A kiss and The End | arguing | end title sequence | kissing | leading man | mode mixture | pedal tone | romantic | room | The End | transcribed by ear |
| Three Who Loved (1931) | Impromptu | 0:00:16 - Title of film, starring list, cast list | ABAC structure | cast list | cheerful | mode mixture | not by steiner | opening title sequence | pleasant | starring list | title of film | transcribed by ear |
| Transgression (1931) | Main Title | 0:00:15 - Title of film, starring list, cast list | AABA structure | altered dominant | cast list | gentle | happy | harmonic sequence | leading lady | mode mixture | opening title sequence | plagal cadence | pleasant | running | starring list | title of film | transcribed by ear |
| Hold ‘Em Jail (1932) | The Prisoner's Song | 0:01:11 - Prisoners in a prison yard | altered dominant | augmented sixth chord | cheerful | establish place | establish setting | mode mixture | prison | somber | transcribed by ear | upbeat |
| Is My Face Red? (1932) | Strolling the Deck | 0:16:29 - Camera moves from one window to another | advance plot | boat | cheerful | common-tone diminished 7th | eavesdropping | leading man | mode mixture | searching | transcribed by ear |
Is My Face Red? (1932) | Sailing | 0:19:56 - Boat moves through the water | boat | common-tone diminished 7th | crowd | excited | mode mixture | pedal tone | sailing | transcribed by ear | transition |
Is My Face Red? (1932) | Mildred Waltz (Rushing) | 0:22:05 - Mildred and William leave | advance plot | boat | hurried | hurrying | leading lady | leading man | mode mixture | Neapolitan | transcribed by ear |
| Ladies of the Jury (1932) | Lady | 0:00:15 - Title of film, starring list, cast list | ABA structure | cast list | common-tone diminished 7th | mode mixture | opening title sequence | sentimental | starring list | title of film | transcribed by ear |
| Men of America (1932) | Hey! Hey! | 0:26:27 - Man turns on car radio | advance plot | car | criminal | listening | mode mixture | radio | self-borrowing | source music | upbeat |
Men of America (1932) | Lady with a Past Fox Trot | 0:56:42 - The End | end title sequence | mode mixture | self-borrowing | The End | transcribed by ear | triumphant |
| Penguin Pool Murder (1932) | Run Around | 1:01:51 - The End | 9th chord | altered dominant | end title sequence | mode mixture | self-borrowing | The End | transcribed by ear | upbeat |
| Secrets of the French Police (1932) | Serenade | 0:56:57 - The End and Cast of Characters | closing credits | end title sequence | mode mixture | self-borrowing | The End | upbeat |
| The Phantom of Crestwood (1932) | Crestwood C | 0:02:18 - Cast list and the first scene | cast list | Lydian mode | mysterious | opening title sequence | parallelism | transcribed by ear |
| The Roadhouse Murder (1932) | Lady | 1:12:12 - End titles | common-tone diminished 7th | end title sequence | mode mixture | self-borrowing | sentimental | The End |
| Thirteen Women (1932) | The Swami | 0:07:16 - The swami | Aeolian mode | antagonist | conversing | establish character | fortune | fortune teller | leading lady | parallelism | predicting | room | somber | swami | transcribed by ear |
Thirteen Women (1932) | 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 |
| Before Dawn (1933) | Before Dawn C | 0:00:44 - Cast list over walking feet | cast list | double exposure | Lydian mode | mysterious | opening title sequence | parallelism | self-borrowing | transcribed by ear | walking |
| Blind Adventure (1933) | My Imaginary Sweetheart | 0:00:32 - Credits over a foggy background | AABA structure | cast list | cheerful | chromatic parallelism | mode mixture | opening title sequence | popular music | secondary dominant | transcribed by ear | video cast list |
| Emergency Call (1933) | Ambulance | 0:00:11 - Main titles over a speeding ambulance | ambulance | augmented triad | dissonant bass | Dorian mode | dramatic | driving | half-diminished 7th chord | main title | opening title sequence | parallelism | paramedic | pedal tone | siren | street | through-composed | whole-tone |
| Headline Shooter (1933) | King Kong March | 1:00:16 - The End | augmented sixth chord | end title | march | mode mixture | reused recording | The End | upbeat |
| Hat, Coat, and Glove (1934) | Tonight is Mine | 0:11:24 - Dorothea plays the piano | advance plot | conversing | leading lady | leading man | mode mixture | on-screen music | piano | playing | pleasant | room | source music |
| Star of Midnight (1935) | Midnight in Manhattan (Fanfare) | 0:00:12 - Title of film; starring list | bold | linear chromaticism | marquee | mode mixture | opening title sequence | starring list | title of film | transcribed by ear |
Star of Midnight (1935) | Midnight in Manhattan | 0:00:34 - Cast list | added-note chord | altered dominant | cast list | chromatic scale | mode mixture | mysterious | opening title sequence | sentimental | transcribed by ear |
Star of Midnight (1935) | Midnight in Manhattan (Tango) | 0:08:56 - Dancers in a Broadway show | advance plot | countermelody | dancer | dancing | energetic | mode mixture | Neapolitan | on-screen music | pit orchestra | score to source | source music | syncopation | tango | theater |
Star of Midnight (1935) | Midnight in Manhattan (Exotic) | 0:09:14 - Clay and Donna in the audience | advance plot | altered dominant | conversing | countermelody | exotic | exotic | leading lady | leading man | mode mixture | on-screen music | score to source | source music | theater |
Star of Midnight (1935) | Midnight in Manhattan (Warm) | 0:09:35 - Clay in the theater lobby | advance plot | altered dominant | conversing | leading man | mode mixture | Neapolitan | score to source | sentimental | source music | theater |
Star of Midnight (1935) | Midnight in Manhattan (Accelerando) | 0:54:42 - Feet walking | added-note chord | bus | chromatic parallelism | hurried | mickey-mousing | mode mixture | montage | street | transcribed by ear | traveling | walking |
| We're Only Human (1935) | Crestwood C | 0:00:31 - Cast list | Lydian mode | mysterious | opening title sequence | parallelism | transcribed by ear |
We're Only Human (1935) | Underscoring (Lyrical) | 0:23:23 - Pete exits the store | attempted murder | conflict | departing | detective | drive by shooting | food | gunshot | leading man | mode mixture | peaceful | pedal tone | shooting | street | underscoring | walking |
| Don’t Turn ‘em Loose (1936) | Crestwood C | 0:00:27 - Cast list | cast list | guard | Lydian mode | mysterious | opening title sequence | parallelism | prison | prisoner | transcribed by ear |
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