| The Amazing Dr. Clitterhouse (1938) | Underscoring (Dramatic) | 0:47:48 - Rocks opens the safe | breaking in | criminal | diminished 7th chord | doctor | dramatic | enharmonic modulation | gangster | leading man | lock | opening | robbery | safe | safe-cracking | stinger | store | tense | thief | underscoring | unlocking | vault | wedge |
The Amazing Dr. Clitterhouse (1938) | Jo | 0:58:18 - Dr. Clitterhouse talks with Jo | 13th chord | added-note chord | altered dominant | chromatic mediant | conversing | doctor | foreign key modulation | gangster | leading lady | leading man | love scene | room | sequence | tender |
The Amazing Dr. Clitterhouse (1938) | The Printing Press + Cauldron 1 | 1:21:08 - Newspaper presses rolling | combination of themes | common-tone diminished 7th | headlines | layering | montage | newspaper | obsessive | ostinato | printing press | step modulation |
The Amazing Dr. Clitterhouse (1938) | The Printing Press + Cauldron 1 (Not in Film) + The Amazing Doctor (Not in Film) | NIF - not in film | combination of themes | common-tone diminished 7th | cut from film | layering | ostinato | step modulation |
The Amazing Dr. Clitterhouse (1938) | Cauldron 1 (End title) | 1:26:33 - The End | beaker | bubbling | chromatic mediant | chromatic scale | closing credits | doctor | end title | foreign key modulation | leading man | mode mixture | ominous | plagal cadence |
| Angels With Dirty Faces (1938) | The Gangster | 0:00:15 - Main title | bold | cast list | dark | foreign key modulation | main title | opening title sequence | sequence | title of film |
Angels With Dirty Faces (1938) | The Gangster (Fingerprints) | 0:06:17 - Montage of juvenile detention and prison life | digging | dramatic | establish character | fingerprints | foreign key modulation | headline | leading man | main title | marching | montage | mug shot | newspaper | prison | prisoner | reformatory | sequence | serious | working |
Angels With Dirty Faces (1938) | The Gangster (Maestoso) | 0:08:07 - Discharge papers from the penitentiary | common-chord modulation | common-tone diminished 7th | ledger | main title | marching | mickey-mousing | montage | prison | prisoner | serious | solemn | transition | writing |
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) | Sanctus (Mysterioso) | 1:05:33 - Jerry looks at note from Rocky | advance plot | charity | classical music | common-chord modulation | friendship | leading man | letter | mode mixture | money | mysterious | pedal tone | priest | room | sacred | source to score | thinking |
Angels With Dirty Faces (1938) | Headlines | 1:10:28 - A montage of newspaper headlines | 9th chord | 42 chord | 64 chord | dramatic | foreign key modulation | headline | mickey-mousing | montage | montage | newspaper | newspaper editor | newspaper office | spinning | zooming |
Angels With Dirty Faces (1938) | Pleading | 1:11:08 - Laury pleads for Rocky | 9th chord | advance plot | appoggiatura | circle of fifths | common-chord modulation | crying | leading lady | leading man | love interest | pleading | priest | room | somber |
Angels With Dirty Faces (1938) | Jerry | 1:11:35 - Jerry talks to Laury | 9th chord | advance plot | deceptive resolution | foreign key modulation | leading lady | leading man | love interest | memory | pleading | priest | room | tender |
Angels With Dirty Faces (1938) | Jerry (Maestoso) | 1:22:13 - Jerry enters the building | building | conflict | entering | foreign key modulation | heroic | hopeful | leading man | pedal tone | priest | street | walking |
Angels With Dirty Faces (1938) | The Gangster (Triste) | 1:23:57 - Rocky uses Jerry as a hostage | 9th chord | building | chromatic parallelism | conflict | coughing | dark | double-cross | foreign key modulation | fragmentation | gangster | hostage | leading man | linear chromaticism | major 7th chord | menacing | polychord | priest | smoke | somber | street | tear gas | walking |
Angels With Dirty Faces (1938) | Jerry (Triste) | 1:35:23 - Jerry visits the boys | conversing | death | foreign key modulation | leading man | pedal tone | picardy third | priest | resolution | room | somber | teenager |
Angels With Dirty Faces (1938) | Sanctus (Maestoso) | 1:36:06 - Jerry and the boys walk up the stairs | angelic | ascending | chromatic mediant | foreign key modulation | leading man | priest | resolution | room | stairs | teenager | The End | transcendence | triumphant | up |
Angels With Dirty Faces (1938) | Jerry (End Title) | 1:36:38 - End title | closing credits | diminished 7th chord | end title sequence | foreign key modulation | heroic | plagal cadence | triumphant |
| 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 (Marcia Maestoso) | 0:08:58 - Eddie dreams | applauding | common-chord modulation | double exposure | dreaming | dream sequence | fragmentation | leading man | meter change | montage | reciting | thematic transformation | transcribed by ear | triumphant |
Are These Our Children? (1931) | Dreams (Coney Island) | NIF - not in film | chromatic mediant | chromatic parallelism | cut from film | foreign key modulation | joyful |
Are These Our Children? (1931) | Dreams (Con Espressione) | NIF - not in film | cut from film | diminished 7th chord | enharmonic modulation | fragmentation | thematic transformation |
Are These Our Children? (1931) | Dreams (Newspaper Montage) | 0:45:04 - Newspaper headlines | augmentation | comforting | common-chord modulation | crying | double exposure | grandmother | headline | love interest | mickey-mousing | montage | newspaper | room | somber | spinning |
Are These Our Children? (1931) | Dreams (Risoluto) | 0:48:55 - Newspaper headlines | double exposure | fragmentation | headline | montage | mysterious | newspaper | sequential modulation | spinning | tense | thematic transformation |
Are These Our Children? (1931) | Dreams (Transition 8B) | NIF - not in film | added-note chord | altered dominant | augmented triad | chromatic mediant | common-tone diminished 7th | cut from film | foreign key modulation | pedal tone | tense | turbulent |
Are These Our Children? (1931) | Dreams (Risoluto 2) | 0:53:55 - Newspaper headlines | advance plot | arresting | dark | detective | double exposure | fragmentation | friend | headline | leading man | love interest | murderer | newspaper | ominous | room | sequential modulation | spinning | thematic transformation | underscoring |
Are These Our Children? (1931) | Lascia ch'io pianga | NIF - not in film | ABA structure | classical music | common-chord modulation | cut from film | da capo | solemn | ternary form |
Are These Our Children? (1931) | Foxtrot | NIF - not in film | AABA structure | common-chord modulation | cut from film | happy | plagal cadence | sentence form | ternary form |
| Arsenic and Old Lace (1944) | Signature | 0:00:00 - WB shield | added-note chord | bold | chromatic mediant | fanfare | foreign key modulation | opening title sequence | phrase extension | WB shield |
Arsenic and Old Lace (1944) | Happy Land (Allegretto) | 0:00:13 - Main title | 11th chord | cast list | familiar tune | foreign key modulation | opening title sequence | sequence | starring list | title of film |
Arsenic and Old Lace (1944) | Happy Land (Chromatic) | 0:00:21 - Cast list | 64 chord | cast list | chromatic mediant | chromatic scale | dramatic | familiar tune | foreign key modulation | opening title sequence |
Arsenic and Old Lace (1944) | Transition | 0:00:29 - Cast list | cast list | common-chord modulation | dissonant bass | ominous | opening title sequence | sinister | tritone |
Arsenic and Old Lace (1944) | Take Me Out to the Ball Game | 0:01:20 - Fans yelling at a ball game | augmented sixth chord | baseball | baseball player | bass drum | cheering | crowd | enharmonic modulation | establish place | evaded cadence | falling | familiar tune | field | fighting | musician | parallel double period | pep band | playing | popular song | punching | rushed | saxophone | simulated source music | source music | sporting event | trombone | umpire | upbeat | yelling |
Arsenic and Old Lace (1944) | Here Comes the Bride (Marriage License Bureau) | 0:01:59 - "Marriage License Bureau" sign | 64 chord | arriving | calm | conversing | crowd | direct modulation | establish character | familiar tune | marriage | office | parallelism | reporter | romantic | sequence | spouse |
Arsenic and Old Lace (1944) | Here Comes the Bride (Wow Wow Trumpet) | 0:02:42 - Reporters talk | 64 chord | chromatic mediant | comical | conversing | establish character | familiar tune | foreign key modulation | marriage | office | reporter |
Arsenic and Old Lace (1944) | Here Comes the Bride (Modulating) | 0:03:34 - Hiding in a telephone booth | added-note chord | arguing | bystander | conversing | deceptive resolution | establish character | familiar tune | fragmentation | leading lady | leading man | marriage | office | pump-up modulation | running | rushed | rushing | self-borrowing | sequence |
Arsenic and Old Lace (1944) | The Old Maid | 0:04:17 - Mortimer talks to Elaine | added-note chord | arguing | conversing | enharmonic modulation | establish character | kissing | leading lady | leading man | marriage | mode mixture | office | parallel period | pedal tone | romantic | self-borrowing |
Arsenic and Old Lace (1944) | Here Comes the Bride (Modulating) | 0:04:54 - Mortimer and Elaine rush off | establish character | familiar tune | foreign key modulation | leading lady | leading man | marriage | office | rushed | rushing | self-borrowing | sequence |
Arsenic and Old Lace (1944) | Sidewalks of New York (Quasi Barcarolle) | 0:05:13 - The Brewster home | 64 chord | calm | card | cemetery | chromatic mediant | common-tone diminished 7th | enharmonic modulation | establish setting | familiar tune | gravestone | ominous | stinger | street | wind | wind effect |
Arsenic and Old Lace (1944) | The Aunts | 0:09:05 - Aunt Abby scurries across the room | aunt | crazy person | delicate | establish character | foreign key modulation | gentle | harmonic sequence | hurrying | leading lady | room | scurrying |
Arsenic and Old Lace (1944) | The Aunts | 0:12:26 - Reverend leaves | advance plot | aunt | cheerful | conversing | crazy person | delicate | foreign key modulation | gentle | harmonic sequence | leading lady | street |
Arsenic and Old Lace (1944) | Happy Land (Lento) | 0:12:31 - The aunts talk | advance plot | aunt | brother | conversing | crazy person | familiar tune | foreign key modulation | gentle | leading lady | mysterious | plotting | room | sequence | tender | whole-tone chord | whole-tone scale |
Arsenic and Old Lace (1944) | The Aunts (Grazioso Con Moto) | 0:13:16 - The aunts talk | advance plot | aunt | brother | cheerful | conversing | crazy person | delicate | foreign key modulation | gentle | harmonic sequence | leading lady | plotting | room |
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 (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 (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 (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) | 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) | The Aunts | NIF - not in film | cut from film | foreign key modulation | harmonic sequence |
Arsenic and Old Lace (1944) | The Aunts | 0:39:01 - The aunts talk | advance plot | aunt | cleaning | conversing | crazy person | foreign key modulation | harmonic sequence | leading lady | murderer | room | upbeat |
Arsenic and Old Lace (1944) | Happy Land (String Quartet) | 0:39:28 - The aunts set the table | advance plot | aunt | cleaning | conversing | crazy person | direct modulation | evaded cadence | familiar tune | hymn-like | leading lady | murderer | peaceful | room |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:39:58 - The aunts see shadows at the door | augmentation | aunt | conversing | crazy person | dark | establish character | fear | foreign key modulation | fragmentation | knocking | leading lady | murderer | mysterious | Neapolitan | ominous | parallel 63s | pedal tone | room | shadow | whispering |
Arsenic and Old Lace (1944) | Home Sweet Home (Tranquillo) | 0:43:40 - Jonathan sits down | augmented triad | aunt | brother | calm | chromatic parallelism | conversing | crazy person | criminal | direct modulation | distortion | doctor | establish character | familiar tune | leading lady | leading man | murderer | pedal tone | room |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:44:00 - The aunts go into the kitchen | augmentation | aunt | brother | conversing | crazy person | criminal | doctor | establish character | fear | foreign key modulation | fragmentation | leading lady | leading man | murderer | mysterious | Neapolitan | ominous | parallel 63s | pedal tone | room | walking | watching |
Arsenic and Old Lace (1944) | The Aunts (Grazioso Con Moto) | 0:52:20 - The aunts move through the kitchen | advance plot | aunt | calm | conversing | crazy person | foreign key modulation | harmonic sequence | leading lady | murderer | pleasant | room |
Arsenic and Old Lace (1944) | The Aunts (Molto Misterioso) | 0:54:12 - Aunt Abby faces Jonathan | advance plot | aunt | brother | crazy person | darkness | foreign key modulation | fragmentation | intimidating | leading lady | leading man | murderer | mysterious | parallel 63s | pedal tone | room | staring | walking |
Arsenic and Old Lace (1944) | Funeral March | 0:55:21 - Teddy carries the body down the stairs | advance plot | brother | carrying | chromatic scale | corpse | crazy person | darkness | diminution | dirge | familiar tune | foreign key modulation | funeral march | linear chromaticism | ominous | ostinato | room | tritone | walking |
| City for Conquest (1940) | Train | 0:01:09 - An elevated train approaches | added-note chord | bridge | busy | city | hurried | mickey-mousing | old man | ostinato | police | pump-up modulation | train | transition | traveling |
City for Conquest (1940) | Sidewalks of New York (Montage) | 0:02:18 - A montage of New York City scenes | added-note chord | boat | bridge | car | chromatic parallelism | city | conversing | Dutch angle | establish setting | excited | fragmentation | montage | old man | panning shot | police | pump-up modulation | soliloquy | train |
City for Conquest (1940) | Sidewalks of New York (Snake) | 0:02:35 - A montage of New York City scenes | 13th chord | 64 chord | altered dominant | bridge | chromatic sequence | city | conversing | countermelody | double exposure | Dutch angle | establish setting | foreign key modulation | fragmentation | grand | montage | old man | police | snake effect | soliloquy |
City for Conquest (1940) | Sidewalks of New York (Waltz Grazioso) | 0:06:09 - Two children playing | 9th chord | child | conversing | establish character | foreign key modulation | love | Neapolitan | old man | romantic | sentimental | soliloquy | street | waltz |
City for Conquest (1940) | Tone Poem A | 0:13:03 - Eddie plays the piano | 9th chord | 11th chord | 13th chord | brother | common-chord modulation | composer | conversing | deceptive resolution | establish character | leading man | musician | piano | playing | romantic | room | source music | transcribed by ear |
City for Conquest (1940) | 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) | 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) | 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) | Tone Poem A (Knock Out) | 0:38:33 - Montage of boxing scenes | boxing | boxing ring | common-chord modulation | double exposure | falling | march | mickey-mousing | mode mixture | montage | transcribed by ear | triumphant |
City for Conquest (1940) | Tone Poem A (Resolution) | 0:39:10 - Montage of boxing scenes | 9th chord | added-note chord | boxing ring | chromatic mediant | double exposure | foreign key modulation | headline | montage | newspaper | resolution | transcribed by ear | triumphant |
City for Conquest (1940) | Tone Poem A | 0:42:10 - Eddie plays the piano | 9th chord | 11th chord | 13th chord | advance plot | boxer | brother | common-chord modulation | composer | conversing | crowd | deceptive resolution | leading man | musician | on-screen music | party | piano | playing | romantic | source music | transcribed by ear |
City for Conquest (1940) | Tone Poem A (Stride Piano) | 0:43:27 - Eddie plays the piano | 9th chord | 11th chord | 13th chord | added-note chord | advance plot | augmented sixth chord | boxer | brother | chord substitution | common-tone diminished 7th | composer | conversing | crowd | foreign key modulation | leading man | mode mixture | musician | on-screen music | parallelism | party | piano | playing | ragtime | source music | syncopation | upbeat |
City for Conquest (1940) | Tone Poem A (The Song of the City) | 1:23:05 - Eddie plays the piano | 9th chord | 13th chord | advance plot | brother | common-chord modulation | composer | diminished 7th chord | leading man | listening | musician | on-screen music | playing | romantic | room | source music | transcribed by ear | victim |
City for Conquest (1940) | Tone Poem A (Lento 2) | 1:28:11 - Peggy cries | 9th chord | advance plot | altered dominant | conversing | crying | foreign key modulation | friend | leading lady | room | sequence | somber |
City for Conquest (1940) | Tone Poem B | 1:33:32 - The wind section plays | 9th chord | added-note chord | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | excited | Mixolydian mode | musician | on-screen music | orchestra | ostinato | playing | pump-up modulation | source music |
City for Conquest (1940) | Tone Poem Train Whistle | 1:33:40 - The wind section plays | added-note chord | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | dissonant bass | excited | fragmentation | Gershwinesque | musician | on-screen music | orchestra | pc set | playing | pump-up modulation | source music |
City for Conquest (1940) | Tone Poem C | NIF - not in film | 9th chord | bluesy | concert scene | countermelody | cut from film | enharmonic modulation | enharmonic respelling | mode mixture | sus chord |
City for Conquest (1940) | Tone Poem Transition 3 | NIF - not in film | acceleration | bold | chromatic parallelism | chromatic sequence | concert scene | cut from film | diminution | dominant 7th chord | exciting | foreign key modulation | fragmentation | polyrhythm |
City for Conquest (1940) | Tone Poem B | 1:35:43 - Danny listens to the radio | 9th chord | added-note chord | audience | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | excited | Gershwinesque | leading man | listening | Mixolydian mode | musician | newspaper | newspaper stand | on-screen music | orchestra | playing | pump-up modulation | radio | source music | street | watching |
City for Conquest (1940) | Tone Poem Train Whistle | 1:35:50 - Danny listens to the radio | added-note chord | bold | concert | concert scene | dissonant bass | excited | fragmentation | Gershwinesque | leading man | listening | on-screen music | pc set | pump-up modulation | radio | source music | street |
City for Conquest (1940) | Tone Poem Transition 2 (Allargando) | 1:35:58 - Orchestra playing in the concert hall | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | direct modulation | dramatic | Gershwinesque | grand | listening | musician | on-screen music | orchestra | pedal tone | playing | source music | watching |
City for Conquest (1940) | Tone Poem A (Chorus) | 1:41:14 - Danny talks with Peggy | 9th chord | 11th chord | 13th chord | chromatic sequence | conversing | crying | ethereal | foreign key modulation | gentle | leading lady | leading man | love interest | love scene | optimistic | reunion | reuniting | romantic | shimmery | street | suspension | victim |
| Crime School (1938) | Sue (Quasi Blues) | 0:11:08 - Sue talks to Frankie | bluesy | chromatic parallelism | common-chord modulation | conversing | crying | establish character | foreign key modulation | Gershwinesque | heroine | leading lady | room | somber |
Crime School (1938) | Reform School Drill | 0:33:18 - Reform school boys exercise outside | comedy | cut from film | deceptive resolution | exercising | exercising music | foreign key modulation | gang | jogging | leading man | polychord | reformatory | split-third chord | teenager | upbeat | warden |
Crime School (1938) | Reform School Drill | 0:34:09 - Reform school boys exercise outside | comedy | deceptive resolution | exercising | exercising music | foreign key modulation | gang | jogging | leading man | polychord | reformatory | teenager | upbeat | warden |
Crime School (1938) | The Painters | 0:48:02 - Boys paint their room | calm | comedy | foreign key modulation | gang | paint | paintbrush | painting | peaceful | reformatory | see-saw | swing | swinging | teenager |
Crime School (1938) | Gangster Blues (Explosion) | 0:56:04 - The boiler explodes | 13th chord | action scene | added-note chord | boiler room | collapsing | escaping | exploding | explosion | foreign key modulation | frantic | gang | mechanical | reformatory | running | sequence | teenager | tense | worker | yelling |
| They Made Me a Criminal (1939) | Peggy | 0:00:25 - Director credit | 9th chord | 11th chord | 13th chord | bold | cast list | chromatic mediant | foreign key modulation | heroic | main title | opening title sequence | tritone substitution |
They Made Me a Criminal (1939) | The Awakening | 0:14:48 - Johnnie wakes up | advance plot | chromatic scale | confusion | deceptive resolution | leading man | metric modulation | mysterious | octatonic chord | octatonic scale | pc set | room | waking | whole-tone chord |
They Made Me a Criminal (1939) | The Fugitive | 0:24:29 - Johnnie walks | 9th chord | advance plot | altered dominant | desert | foreign key modulation | leading man | Neapolitan | tired | traveling | walking | wandering |
They Made Me a Criminal (1939) | The Fugitive (Looking Around) | 0:25:11 - The young man sees Johnnie | 9th chord | deceptive resolution | establish character | foreign key modulation | leading lady | leading man | ranch | teenager | tired | walking |
They Made Me a Criminal (1939) | Date picking | 0:25:21 - Boys picking dates | 9th chord | establish character | light | ranch | sequence | step modulation | teenager | working |
They Made Me a Criminal (1939) | The Fugitive (Arriving) | 0:25:42 - Johnnie arrives at the ranch | 9th chord | arriving | establish character | foreign key modulation | leading lady | leading man | ranch | teenager | tired |
They Made Me a Criminal (1939) | The Fugitive (Fainting) | 0:26:32 - Johnnie stumbles and faints | 9th chord | dark | deceptive resolution | dissonant bass | establish character | fainting | falling | foreign key modulation | leading man | ranch | tired | tragic | walking |
They Made Me a Criminal (1939) | The Fugitive (Recovering) | 0:27:13 - Peggy takes care of Johnnie | 9th chord | foreign key modulation | heroine | leading lady | leading man | lovers meet | nursing | recovering | romance | room | sweet | waking |
They Made Me a Criminal (1939) | Peggy (Dolce) | 0:28:20 - Peggy talks to Johnnie | 9th chord | 11th chord | 13th chord | deceptive resolution | foreign key modulation | heroine | kissing | leading lady | leading man | lovers meet | nursing | recovering | romance | room | sweet | tender |
They Made Me a Criminal (1939) | The Fugitive (Leaving) | 0:29:45 - Johnnie prepares to leaves | conflict | foreign key modulation | leading man | ranch | room | sneaking | yearning |
They Made Me a Criminal (1939) | The Fugitive (Ashamed) | 1:03:55 - Johnnie tells them he can't fight | 9th chord | conflict | dark | foreign key modulation | harmonic sequence | leading lady | leading man | lying | room | somber | teenager |
They Made Me a Criminal (1939) | The Fugitive (Let Down) | 1:06:51 - The boys talk about Johnnie | added-note chord | arguing | conflict | criticizing | foreign key modulation | leading man | room | somber | teenager |
They Made Me a Criminal (1939) | On the Make (Tenderly) | 1:07:57 - Tommy talks to Johnnie | 9th chord | ABAB structure | altered dominant | arguing | chromatic mediant | conversing | direct modulation | foreign key modulation | hero | leading man | room | tender | turning point |
They Made Me a Criminal (1939) | On the Make (Lohenblueish) | 1:09:07 - Johnnie decides that he will stay | added-note chord | augmentation | chromatic mediant | direct modulation | foreign key modulation | hero | hopeful | hopeless | leading man | linear chromaticism | passionate | room | thinking | turning point | zoom in |
They Made Me a Criminal (1939) | Inspiration | 1:09:53 - Johnnie has an inspiration | boxing | foreign key modulation | gentle | hero | idea | inspiration | leading man | pedal tone | pump-up modulation | room | shadow | thinking | turning point |
They Made Me a Criminal (1939) | Lying | 1:25:16 - Johnnie lies to Peggy about where he's going | added-note chord | augmented sixth chord | climax | common-chord modulation | detective | dissonant bass | foreign key modulation | leading lady | leading man | lying | minor-major 7th chord | room | turbulent |
They Made Me a Criminal (1939) | 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 |
| 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) | 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) | 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) | 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) | 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 (Travel Montage) | 0:36:28 - A speeding train | added-note chord | foreign key modulation | frantic | hitch-hiking | leading lady | leading man | linear chromaticism | map | montage | pc set | runaway | sign | train | train | train whistle | traveling | traveling scene | truck | walking |
Dust Be My Destiny (1939) | Dust Be My Destiny (Reunited) | 0:40:03 - Joe runs to Mabel | 64 chord | altered dominant | foreign key modulation | joyful | leading lady | leading man | mickey-mousing | pump-up modulation | resolution | runaway | running | street |
Dust Be My Destiny (1939) | 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) | Whistling | 0:45:44 - Joe whistles as he walks | 64 chord | cheerful | chromatic mediant | deceptive resolution | foreign key modulation | leading man | on-screen music | scored source music | source music | street | traveling scene | whistling |
Dust Be My Destiny (1939) | Dust Be My Destiny (The Escape) | 0:50:26 - Joe and Mabel leave the jail | 64 chord | chromatic parallelism | dark | escaping | foreign key modulation | friend | hopeful | jail | jail break | leading lady | leading man | shopkeeper |
Dust Be My Destiny (1939) | 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) | Dust Be My Destiny (Transformation) | 0:57:38 - Joe comes back to the apartment | dissonant bass | foreign key modulation | leading lady | leading man | linear chromaticism | love scene | mysterious | room | triumphant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Reunited) | 0:58:04 - Joe embraces Mabel | 9th chord | 64 chord | added-note chord | embracing | foreign key modulation | leading lady | leading man | love scene | romantic | room | triumphant |
Dust Be My Destiny (1939) | 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 (Dolceeessimo) | 1:08:53 - Joe and Mabel talk | advance plot | chromatic mediant | foreign key modulation | hopeful | intervallic expansion | leading lady | leading man | peaceful | room |
Dust Be My Destiny (1939) | Dust Be My Destiny (Disagreement) | 1:12:59 - Mabel and Joe argue | bright | conflict | dark | foreign key modulation | hero | hospital | leading lady | leading man |
Dust Be My Destiny (1939) | Dust Be My Destiny (Travel Montage) | 1:26:04 - Train approaches the screen | added-note chord | foreign key modulation | happy | leading lady | leading man | pc set | resolution | train | train | traveling |
Dust Be My Destiny (1939) | Dust Be My Destiny (Hanging Hats) | 1:26:31 - Joe and Mabel toss their hats | 11th chord | chromatic mediant | foreign key modulation | happy | hat | hook | leading lady | leading man | mickey-mousing | resolution | throwing | train | traveling | whistle effect |
Dust Be My Destiny (1939) | Dust Be My Destiny (The End) | 1:26:45 - "The End" | closing credits | end title sequence | foreign key modulation | happy | leading lady | leading man | The End | train | traveling |
| Each Dawn I Die (1939) | Frank (Parole Denied) | 1:07:58 - Frank's parole is denied | 9th chord | common-tone diminished 7th | dark | despair | foreign key modulation | half-diminished 7th chord | hopeful | leading man | letter | prison | prisoner | reading | sigh gesture | solemn | turning point |
| 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 (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) | Driving | NIF - not in film | car | cut from film | driving | foreign key modulation | leading lady | leading man | love interest | love scene |
Flamingo Road (1949) | If I Could Be With You (Triste) | 0:34:51 - Lane goes to the kitchen | breakup | café | dark | diminished 7th chord | foreign key modulation | leading lady | pondering | somber | waitress | working |
Flamingo Road (1949) | Lane (Lonely) | 0:41:27 - Lane talks to a fellow prisoner | advance plot | conversing | foreign key modulation | leading lady | lonely | prison | prisoner | reverse picardy | somber |
Flamingo Road (1949) | Lane (Grazioso) | 0:41:46 - Lane talks to a fellow prisoner | advance plot | conversing | foreign key modulation | hopeful | leading lady | prison | prisoner | upbeat |
Flamingo Road (1949) | Lute Mae (Not in Film) | NIF - not in film | 13th chord | added-note chord | altered dominant | common-chord modulation | countermelody | cut from film | cut from film | deceptive resolution | lovers meet | self-borrowing |
Flamingo Road (1949) | Lute Mae (Driving) | 0:53:02 - Lane drives Dan to the construction site | 13th chord | added-note chord | arriving | car | car | comical | common-chord modulation | driving | leading lady | leading man | love interest | politician | rushed | self-borrowing | transition | traveling |
Flamingo Road (1949) | 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) | 1:03:37 - Dan is grateful for Lane's gift to him | 13th chord | added-note chord | advance plot | comical | common-chord modulation | conversing | embracing | happy | husband | leading lady | leading man | maid | room | self-borrowing | tender | wife |
Flamingo Road (1949) | If I Could Be With You (Triste) | 1:22:18 - Field enters the house | death scene | diminished 7th chord | drunk | drunk | foreign key modulation | leading lady | leading man | love interest | room | somber | stumbling |
Flamingo Road (1949) | 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 (Appassionato) | 1:32:54 - Dan visits Lane in prison | crying | embracing | foreign key modulation | husband | joyous | kissing | leading lady | leading man | pedal tone | prison | resolution | reuniting | self-borrowing | wife |
| The Informer (1935) | Katie | 0:04:31 - Katie walks down the street | establish character | foreign key modulation | leading lady | parallelism | seductive | staring | street | sultry | walking |
The Informer (1935) | Katie (Triste) | 0:22:38 - Katie appears at the window | 64 chord | advance plot | antagonist | conversing | foreign key modulation | leading lady | leading man | parallelism | pub | sultry | watching |
The Informer (1935) | The Irish Washerwoman (Pub) + Blood Money + The Wearin' o' the Green + The Informer | 0:44:52 - People celebrate in the pub | advance plot | antagonist | bar | chaotic | chromatic scale | close-up | combination of themes | crowd | dark | dissonant bass | excited | familiar tune | folk song | foreign key modulation | happy | heroic | Irish | layering | leading man | mob | mobbing | octatonic | parallelism | pedal tone | polytonality | rebel | serving | source to score | spying | tense | whole-tone | yelling | zoom in |
| The Letter (1940) | Signature | 0:00:00 - WB Shield | bold | chromatic mediant | fanfare | foreign key modulation | main title | opening title sequence | WB shield |
The Letter (1940) | Leslie (Rubato) | 0:00:44 - Cast list | 9th chord | cast list | changing meter | main title | minor-major 7th chord | opening title sequence | oscillation | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie (Revolver) | 0:03:43 - A pistol lies on the steps | changing meter | conversing | foreign key modulation | fragmentation | gun | harmonic sequence | home | leading lady | murderer | murder scene | oscillation | sequential modulation | servant | tense |
The Letter (1940) | Leslie (Mysterioissimo) | 0:04:42 - A shadow appears | circle of fifths | common-chord modulation | foreign key modulation | fragmentation | home | leading lady | light | looking | murder scene | mysterious | oscillation | parallel fifths | servant | turning on |
The Letter (1940) | Leslie (Lacework) | 0:04:55 - Worker picks up Leslie's lacework | changing meter | crying | foreign key modulation | home | leading lady | murder scene | mysterious | oscillation | sequence | sequential modulation |
The Letter (1940) | Runners | 0:05:14 - Workers run through jungle | action scene | chromatic parallelism | dramatic | heroic | jungle | running | sequential modulation | servant | tense |
The Letter (1940) | Leslie (Tragic) | 0:14:31 - The scene of the crime | advance plot | changing meter | composer reference | dramatic | home | leading lady | oscillation | point of view | recounting | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie B (Screwyoso) | 0:14:42 - The bottom of the stairs | advance plot | common-chord modulation | dramatic | emotional | home | leading lady | point of view | recounting | sequence |
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) | 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 (Delicato) | 0:21:46 - Men admire needlepoint | advance plot | changing meter | conversing | delicate | foreign key modulation | gentle | home | lacework | lawyer | leading lady | minor-major 7th chord | oscillation | polychord | sequence |
The Letter (1940) | Leslie (Tragic) | 0:37:21 - Howard talks to Leslie | anxious | changing meter | climax | conversing | fearful | lawyer | leading lady | letter | oscillation | pivotal scene | prison | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie (Shimmery 3) | 0:37:54 - Howard talks to Leslie | anxious | conversing | fearful | lawyer | leading lady | letter | oscillation | pivotal scene | prison | sequence | sequential modulation | stinger | suspension | tense |
The Letter (1940) | Leslie (Triste) | 0:38:57 - Howard helps Leslie recover | advance plot | calm | conversing | hospital | lawyer | leading lady | oscillation | sequence | sequential modulation | suspension |
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) | Sociable (Ending) | 0:49:58 - Pleasant conversation | cheerful | conversing | dinner | foreign key modulation | happy | home | husband | lawyer | leading lady | reverse picardy |
The Letter (1940) | Underscoring (Tense) | 0:51:14 - Leslie talks to Howard | advance plot | altered dominant | dark | foreign key modulation | home | lawyer | leading lady | planning |
The Letter (1940) | Leslie (Lacework 2) | 0:52:07 - Leslie does her lacework | advance plot | changing meter | conversing | foreign key modulation | home | lacework | lawyer | leading lady | mysterious | oscillation | sequence |
The Letter (1940) | Leslie (Tragic) | 0:52:55 - Howard and Leslie talk | advance plot | changing meter | conversing | home | lawyer | leading lady | oscillation | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie (Leaving) | 0:53:20 - Howard and Leslie leave the house | added-note chord | fragmentation | lawyer | leading lady | leaving | mysterious | plantation | sequence | sequential modulation | transition |
The Letter (1940) | Sociable | 1:09:09 - Leslie and Robert meet with friends | 64 chord | celebrating | dinner music | drinking | foreign key modulation | happy | home | husband | lawyer | leading lady | party | pump-up modulation | reverse picardy |
The Letter (1940) | Leslie (Tragic) | 1:17:59 - Leslie confesses to Robert | changing meter | confessing | conflict | dramatic | home | husband | lawyer | leading lady | letter | murder | oscillation | recounting | sequence | sequential modulation | suspension |
The Letter (1940) | Foxtrot No.1 C | 1:21:36 - Leslie goes to the party | added-note chord | altered dominant | calm | conversing | dance music | dancing | foreign key modulation | foxtrot | friend | leading lady | party | party | plagal cadence | source music |
The Letter (1940) | Foxtrot No. 2 | 1:22:12 - Leslie joins the party | 9th chord | AABA structure | altered dominant | conversing | dance music | dancing | foxtrot | friend | happy | husband | leading lady | party | party | pump-up modulation | secondary dominant | source music |
The Letter (1940) | Leslie + Foxtrot No. 3 | 1:25:08 - Leslie looks out the window | added-note chord | climax | combination of themes | common-chord modulation | dance music | foreign key modulation | foxtrot | home | lacework | leading lady | obsession | obsessive | oscillation | sequence | source music | tense | thinking |
The Letter (1940) | Leslie (Distraught) | 1:25:39 - Leslie cries | augmented sixth chord | climax | crying | dramatic | emotional | foreign key modulation | home | leading lady | oscillation | sequence |
The Letter (1940) | Robert and Leslie (The Body) | NIF - not in film | alternate music | body | chromatic mediant | climax | death | foreign key modulation | love theme | Neapolitan | pedal tone | plantation | somber |
The Letter (1940) | Leslie (Fast) + Foxtrot No. 3 | 1:34:18 - Leslie's lacework | calm | combination of themes | dance music | fragmentation | lacework | oscillation | plantation | pump-up modulation | resolution | sequence | source music |
| Mildred Pierce (1945) | Mildred | 0:00:23 - Main title, cast list, and wave effect | AABA structure | cast list | foreign key modulation | mickey-mousing | mode mixture | opening title sequence | optimistic | romantic | triumphant | water | wave |
Mildred Pierce (1945) | Mildred B | 0:00:52 - Cast list and wave effect | 9th chord | appoggiatura | cast list | chromatic mediant | deceptive resolution | enharmonic modulation | foreign key modulation | gentle | mickey-mousing | name on screen | opening title sequence | optimistic | romantic | sequential modulation | water | wave |
Mildred Pierce (1945) | Underscoring (Tense) | 0:13:03 - Mildred leaves with the detectives | advance plot | conversing | detective | foreign key modulation | heroine | leading lady | murder | street | tense | underscoring |
Mildred Pierce (1945) | Bert | 0:20:18 - Bert comes home | 9th chord | added-note chord | arriving | common-chord modulation | cooking | establish character | flashback | gentle | heroine | husband | leading lady | mode mixture | room | self-borrowing | street |
Mildred Pierce (1945) | Mildred (Lonely) | 0:28:20 - Mildred looks through her desk | advance plot | bill | flashback | foreign key modulation | gun | heroine | leading lady | lonely | mode mixture | photograph | room | somber | voice-over | writing |
Mildred Pierce (1945) | Mildred (Desperate) | 0:34:05 - Mildred looks for a job | applying | depressed | enharmonic reinterpretation | foreign key modulation | heroine | leading lady | montage | searching | street | voice-over | walking |
Mildred Pierce (1945) | Work | 0:36:12 - Mildred works as a waitress | 64 chord | added-note chord | altered dominant | chromatic mediant | chromatic sequence | common-chord modulation | foreign key modulation | hectic | heroine | leading lady | montage | restaurant | rushing | self-borrowing | sequential modulation | serving | upbeat | voice-over | waitress | working |
Mildred Pierce (1945) | Mildred (Appassionato) | 0:39:22 - Mildred argues with Veda | angry | arguing | child | chromatic scale | conflict | foreign key modulation | heroine | leading lady | raising | room | standing | tense | whole-tone scale |
Mildred Pierce (1945) | Mildred (Regretful) | 0:39:37 - Mildred regrets slapping Veda | apologizing | child | chromatic mediant | conflict | foreign key modulation | heroine | hopeful | leading lady | mode mixture | Neapolitan | regretting | room | somber | tritone |
Mildred Pierce (1945) | Kay and Veda (Hopeful) | 0:40:09 - Veda asks if they are going to be rich | child | conflict | foreign key modulation | greed | heroine | hopeful | leading lady | room |
Mildred Pierce (1945) | Kay and Veda (Troubled) | NIF - not in film | altered dominant | chromatic mediant | chromatic scale | common-chord modulation | cut from film | dissonant | dramatic | foreign key modulation | fragmentation | hopeful | mode mixture | sequence | tender | tense | tragic | turbulent | whole-tone chord | whole-tone scale |
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) | Work (Grand Opening) | 0:57:26 - View of Mildred's restaurant | added-note chord | advance plot | foreign key modulation | restaurant | self-borrowing | tritone | upbeat | voice-over | working |
Mildred Pierce (1945) | Work (Success) | 1:01:42 - People work in Mildred's restaurant | 9th chord | added-note chord | advance plot | busy | cook | foreign key modulation | restaurant | secondary dominant | self-borrowing | server | upbeat | working |
Mildred Pierce (1945) | It Can't Be Wrong (Romantic) | 1:04:11 - Monte kisses Mildred | advance plot | chromatic mediant | door | ex-husband | familiar tune | foreign key modulation | heroine | interrupting | kissing | leading lady | love interest | mode mixture | popular music | restaurant | romantic | slamming | source to score | stinger |
Mildred Pierce (1945) | Bert (Regretful) | 1:04:43 - Bert tells Mildred about the divorce | 9th chord | advance plot | chromatic mediant | common-chord modulation | conversing | divorce | ex-husband | heroine | leading lady | love interest | regretting | restaurant | somber |
Mildred Pierce (1945) | Work | 1:08:00 - Montage of restaurants | added-note chord | altered dominant | common-chord modulation | guest | montage | restaurant | self-borrowing | upbeat | voice-over | working |
Mildred Pierce (1945) | Mildred (Appassionato) | 1:23:00 - Veda expresses her disgust with her mother | angry | antagonist | arguing | chromatic scale | conflict | daughter | foreign key modulation | heroine | insulting | leading lady | room | tense |
Mildred Pierce (1945) | Kay and Veda (Returning Home) | 1:38:10 - Mildred looks at Veda through the window | advance plot | chromatic mediant | conversing | daughter | deceptive resolution | emotional | foreign key modulation | happy | heroine | leading lady | loving | mode mixture | mother | room | warm | watching |
Mildred Pierce (1945) | Mildred (Happy Homecoming) | 1:38:50 - Mildred and her daughter embrace | added-note chord | advance plot | apologizing | chromatic mediant | daughter | embracing | foreign key modulation | forgiveness | happy | heroine | leading lady | loving | mode mixture | mother | returning | reuniting | room | warm |
Mildred Pierce (1945) | Mildred (Breakdown) | 1:47:11 - Mildred tries to start her car | 9th chord | climax | crying | dramatic | emotional | foreign key modulation | heroine | leading lady | leaving | street |
Mildred Pierce (1945) | Underscoring (Tense) | 1:48:54 - Veda asks her mother not to turn her in | antagonist | begging | daughter | foreign key modulation | heroine | leading lady | murderer | murder scene | room | tense | underscoring |
| The Life of Vergie Winters (1934) | Lullaby | 0:00:09 - Starring cast list | AABA structure | calm | cast list | common-chord modulation | lullaby | opening title sequence | pleasant | starring list | title of film |
The Life of Vergie Winters (1934) | Yankee Doodle | 0:03:37 - Children playing | 64 chord | cheerful | child | children's song | dancing | direct modulation | establish place | establish setting | flashback | park | playing | wipe |
The Life of Vergie Winters (1934) | Kuckuck, Kuckuck | 0:03:43 - An old car drives by | cheerful | child | children's song | common-chord modulation | dancing | establish setting | establish time | park | playing |
The Life of Vergie Winters (1934) | Watch on the Rhine (Headlines) | 0:28:39 - Montage of newspaper headlines | bold | direct modulation | headline | montage | newspaper | patriotic | patriotic tune | quintal chord |
The Life of Vergie Winters (1934) | Rule, Britannia! (Headlines) + La Marseillaise (Headlines) | 0:28:45 - Montage of newspaper headlines | direct modulation | headline | montage | newspaper | patriotic | patriotic tune | pedal tone | polytonality |
The Life of Vergie Winters (1934) | Semper Fidelis | 0:30:32 - A march is played outside | advance plot | celebrating | cheering | child | common-chord modulation | conversing | crowd | gossiper | leading lady | leading man | march | patriotic tune | politician | source music | spouse | street | upbeat |
The Life of Vergie Winters (1934) | Lullaby (Not in Score) | 0:32:18 - Vergie and John look at a baby picture | AABA structure | calm | common-chord modulation | conversing | cuddling | leading lady | leading man | love interest | love scene | lullaby | peaceful | room | score to source | secret love | transcribed by ear |
The Life of Vergie Winters (1934) | Lullaby (Park) | 0:36:28 - Nurse and baby in the park | AABA structure | added-note chord | advance plot | calm | child | common-chord modulation | conversing | leading lady | lullaby | nurse | park | peaceful | waiting |
The Life of Vergie Winters (1934) | Darktown Strutters' Ball | 0:40:06 - Sadie and Mike in a bar | advance plot | business man | club | common-chord modulation | conversing | friend | love interest | plotting | ragtime | source music | upbeat |
The Life of Vergie Winters (1934) | Lullaby (Joan) | 0:50:31 - Joan enters Vergie's shop | advance plot | child | conversing | daughter | distortion | entering | foreign key modulation | fragmentation | gentle | harmonic sequence | leading lady | meeting | mother | octatonic scale | reunion | secret | shop | timid |
The Life of Vergie Winters (1934) | Underscoring (Gentle) | 0:51:06 - Joan talks with Vergie | 9th chord | advance plot | altered dominant | augmented sixth chord | child | chromatic parallelism | conversing | daughter | foreign key modulation | gentle | half-diminished 7th chord | leading lady | mother | reunion | secret | shop | timid |
The Life of Vergie Winters (1934) | Lullaby (Solo Violin) | 0:52:06 - Vergie gets a ribbon for Joan | advance plot | child | common-chord modulation | conversing | daughter | fragmentation | gentle | leading lady | mother | reunion | secret | shop |
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) | 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) | Old Lavender | 1:00:07 - Joan and Ranny talk | 9th chord | added-note chord | altered dominant | common-chord modulation | conversing | daughter | direct modulation | harmonic sequence | light | love interest | love scene | optimistic | proposal | proposing | room | transcribed by ear |
The Life of Vergie Winters (1934) | Here Comes the Bride | 1:00:46 - Joan and Ranny talk about marriage | common-chord modulation | conversing | daughter | familiar tune | gentle | love interest | love scene | peaceful | proposal | proposing | romantic | room | transcribed by ear |
The Life of Vergie Winters (1934) | Lullaby (Agitated) | 1:01:27 - John and Laura argue about Joan | agitated | arguing | common-tone diminished 7th | conflict | diminished 7th chord | direct modulation | fragmentation | harmonic sequence | leading man | octatonic scale | room | tense | transcribed by ear | wife |
The Life of Vergie Winters (1934) | Old Lavender | 1:02:11 - Joan and Ranny enter | 9th chord | added-note chord | altered dominant | arguing | common-chord modulation | conflict | conversing | daughter | direct modulation | harmonic sequence | leading man | light | love interest | optimistic | room | surprise | wife |
The Life of Vergie Winters (1934) | Old Lavender (Celeste Solo) | 1:02:43 - John paces around | conflict | daughter | direct modulation | hesitating | leading man | love interest | lying | peaceful | room | surprise | wife |
The Life of Vergie Winters (1934) | Lullaby (Adagio) | 1:03:02 - Joan reacts | conflict | daughter | diminished 7th chord | direct modulation | dissonant bass | leading man | love interest | revealing | room | stinger | surprise | tense | wife |
The Life of Vergie Winters (1934) | 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 |
The Life of Vergie Winters (1934) | A Boy and a Girl | 1:07:00 - John and Vergie listen to the radio | advance plot | altered dominant | common-chord modulation | conversing | leading lady | leading man | listening | room | secret lover | sentimental | simulated source music | source to score | transcribed by ear |
The Life of Vergie Winters (1934) | Lullaby (Dolce) | 1:08:00 - Vergie talks with John | 9th chord | advance plot | common-chord modulation | conversing | leading lady | leading man | room | score to source | secret lover | tender |
The Life of Vergie Winters (1934) | Lullaby (Cello Solo) | 1:08:38 - Vergie talks with John | added-note chord | advance plot | common-chord modulation | confident | hopeful | hoping | leading lady | leading man | room | secret lover | sweet | warm |
The Life of Vergie Winters (1934) | Lullaby + Here Comes the Bride | 1:10:07 - Vergie imagines the wedding | added-note chord | bride | calm | chromatic mediant | combination of themes | common-chord modulation | daughter | double exposure | familiar tune | groom | leading lady | leading man | peaceful | secret lover | ternary form | transcribed by ear | walking | wedding | wedding | wedding music |
| Rockabye (1932) | Run-Around | 0:52:45 - Montage of Broadway scenes | common-chord modulation | dominant pedal | montage | self-borrowing | theater | upbeat |
| Out of the Fog (1941) | Animato | 0:27:43 - Goff pulls out a gun | chef | conflict | conversing | criminal | dock | extortion | father | fisherman | foreign key modulation | friend | gun | leading man | tense | threatening |
Out of the Fog (1941) | Stella and George (Extended) | 0:41:45 - George talks to Stella | arguing | boyfriend | conversing | foreign key modulation | leading lady | love scene | room | tender |
Out of the Fog (1941) | Russian Barcarolle (Solemn) | 0:45:25 - Goff asks for money | arguing | conflict | conversing | criminal | dock | extortion | father | fisherman | foreign key modulation | friend | leading man | sequence | solemn |
Out of the Fog (1941) | Drab (Extended) | 0:51:50 - Stella talks with her father | advance plot | conversing | father | fisherman | foreign key modulation | leading lady | packing | room | sequence | somber | uneasy |
Out of the Fog (1941) | Russian Barcarolle (Tango) | 1:24:07 - Stella and Jonah walk away | chromatic mediant | conversing | dock | exotic | father | fisherman | foreign key modulation | leading lady | peaceful | pedal tone | resolution | street | tango | walking |
| Kid Galahad (1937) | Yearning | 0:48:47 - Marie speaks with her mother | advance plot | chromatic mediant | conversing | deceptive resolution | foreign key modulation | home | mother | nervous | newspaper | not by Steiner | sister | transcribed by ear | yearning |
Kid Galahad (1937) | Kid Galahad (Montage 2) | 1:18:47 - Newspaper headline montage | 64 chord | chromatic mediant | climax | fanfare | foreign key modulation | heroic | hurrying | manager | montage | newspaper | pedal tone | room | syncopation |
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 |
| The Unfaithful (1947) | Unfaithful | 0:00:07 - Title of the film | altered dominant | Beverly Hills | cast list | common-chord modulation | house | main title | mode mixture | Neapolitan | opening title sequence | ostinato | pedal tone | serious | starring list | title of film |
The Unfaithful (1947) | Beverly Hills | 0:01:00 - Cars driving down road in Beverly Hills | Beverly Hills | cheerful | establish location | panning shot | sequential modulation | street | upbeat | voice-over |
The Unfaithful (1947) | Beverly Hills (Leggiero) | 0:01:10 - A car pulls into the driveway | Beverly Hills | car | cheerful | establish location | panning shot | sequential modulation | street | traveling | voice-over |
The Unfaithful (1947) | Chris | 0:01:26 - Chris arrives at home | 9th chord | arriving | Beverly Hills | calm | establish character | foreign key modulation | house | leading lady |
The Unfaithful (1947) | Chris 2 (Minor) | 0:07:37 - Chris arrives home | 9th chord | antagonist | car | cheerful | dark | driving | house | leading lady | sequential modulation | suspension | transition |
The Unfaithful (1947) | Chris (Dark) | 0:07:46 - Chris continues driving | 9th chord | advance plot | antagonist | calm | danger | dissonant bass | foreign key modulation | house | leading lady | ominous | sequential modulation | shadow | tritone | tritone oscillation | walking |
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 |
The Unfaithful (1947) | Chris | 0:43:45 - Chris pulls up in a cab | 9th chord | added-note chord | driving | foreign key modulation | law office | leading lady | office | peaceful | spinning | transition |
The Unfaithful (1947) | Chris 2 | 0:43:56 - Chris goes to Larry's office | 9th chord | law office | leading lady | office | peaceful | pedal tone | sequential modulation | transition | walking |
The Unfaithful (1947) | Unfaithful (Distressed) | 0:52:17 - The maid turns on a lamp | 9th chord | advance plot | arriving | foreign key modulation | forlorn | leading lady | maid | obsession | ostinato | pc set | room | tense |
The Unfaithful (1947) | Unfaithful (Agitated) | 0:53:11 - Chris sees the place where the body was | advance plot | distressed | fearful | leading lady | obsession | ostinato | room | sequential modulation | staring |
The Unfaithful (1947) | Unfaithful (Somber 2) | 1:00:01 - Chris thinks | 9th chord | advance plot | altered dominant | augmented sixth chord | chromatic mediant | common-chord modulation | conversing | foreign key modulation | husband | leading lady | mode mixture | ostinato | room | somber | tender |
The Unfaithful (1947) | Unfaithful (Triste) | 1:13:36 - Bob walks slowly away | dirge | heartbroken | hotel | husband | ostinato | pedal tone | polychord | sad | sequential modulation | somber | transition | walking |
The Unfaithful (1947) | Unfaithful (Angry) | 1:15:00 - Bob looks around | angry | common-chord modulation | deceptive resolution | husband | intense | meandering | Neapolitan | ostinato | room | sequential modulation | transition | walking |
The Unfaithful (1947) | Unfaithful (Not in Film) | NIF - not in film | acceleration | arguing | climax | cut from film | husband | Neapolitan | ostinato | room | sequential modulation | tense | wife |
The Unfaithful (1947) | Unfaithful (Scandal) | 1:24:55 - Newspaper headlines about the murder | climax | courtroom | crowd | dramatic | hurrying | montage | newspaper | ostinato | radio | rushing | sequential modulation |
The Unfaithful (1947) | Unfaithful (Distressed) | 1:41:24 - Larry talks with Bob | 9th chord | conversing | foreign key modulation | husband | lawyer | ostinato | pc set | resolution | room | somber | wife |
The Unfaithful (1947) | Unfaithful (Dolce) | 1:46:08 - Bob talks with Chris | altered dominant | chromatic mediant | common-chord modulation | conversing | foreign key modulation | fragmentation | hopeful | husband | lawyer | mode mixture | ostinato | peaceful | pedal tone | plagal cadence | resolution | resolution | romantic | room | triumphant | wife |
The Unfaithful (1947) | Unfaithful (End Cast) | 1:48:07 - Closing credits | closing credits | common-chord modulation | dramatic | end title sequence | Neapolitan | ostinato | pedal tone | turbulent |
| We Are Not Alone (1939) | Max Steiner | 0:00:53 - Max Steiner's name | augmented sixth chord | bold | cast list | common-chord modulation | deceptive resolution | foreign key modulation | main title | opening title sequence |
We Are Not Alone (1939) | Boy runs downstairs | 0:03:07 - Gerald runs down the stairs | 9th chord | altered dominant | antagonist | boy | child | chromatic mediant | down | downstairs | establish character | foreign key modulation | gentle | home | mickey-mousing | mother | pedal tone | playful | running |
We Are Not Alone (1939) | Playful | 0:04:39 - David asks his son to find a cat | boy | child | establish character | father | foreign key modulation | fragmentation | hero | home | playful | sequence | step modulation |
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) | Doctor | 0:08:10 - David sees Tommy (his patient) | augmented sixth chord | boy | cat | delicate | establish character | foreign key modulation | gentle | hero | office |
We Are Not Alone (1939) | Surprise Symphony (Chromatic Shift) | 0:09:49 - David puts the cat outside | cat | classical music | establish character | familiar tune | foreign key modulation | Haydn | hero | office | playful | quotation | step modulation |
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) | Surprise Symphony (Not Afraid) | 0:11:24 - David sets Leni's wrist | chromatic scale | classical music | delicate | doctor | establish character | familiar tune | foreign key modulation | fragmentation | Haydn | hero | heroine | quotation | room | somber |
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) | Surprise Symphony (Fixing the Lights) | 0:23:27 - David tries to fix the lights | 11th chord | advance plot | boy | child | classical music | familiar tune | father | foreign key modulation | fragmentation | Haydn | helping | hero | home | mysterious | playful | quotation | working |
We Are Not Alone (1939) | Surprise Symphony (Better) | 0:23:55 - David puts his son in bed | 9th chord | advance plot | boy | calm | child | classical music | conversing | dark | familiar tune | father | foreign key modulation | Haydn | hero | home | playing | quotation | warm |
We Are Not Alone (1939) | Frohe Botschaft (Viennese) | 0:32:51 - Gerald rushes in to see Leni | 11th chord | advance plot | boy | child | familiar tune | folk song | foreign key modulation | German | greeting | heroine | home | hugging | joyful | lifting | mickey-mousing | quotation |
We Are Not Alone (1939) | Frolic | 0:33:45 - Leni and Gerald run through the park | advance plot | antagonist | boy | child | chromatic mediant | diminished 7th chord | foreign key modulation | gossiping | heroine | joyful | park | pedal tone | playing | running |
We Are Not Alone (1939) | Frohe Botschaft (At the Piano) | 0:34:49 - Leni plays and sings | boy | cheerful | child | establish character | familiar tune | father | folk song | foreign key modulation | German | hero | heroine | home | on-screen music | piano | playing | score to source | singing | source music | transcribed by ear |
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) | Captain Gerald | 0:43:23 - Gerald tells Leni a story | added-note chord | advance plot | boy | child | exoticism | foreign key modulation | heroine | home | imagination | room | somber | telling a story |
We Are Not Alone (1939) | Triste | 0:50:45 - David talks to Leni | advance plot | common-chord modulation | conversing | gentle | hero | heroine | home | room | sad |
We Are Not Alone (1939) | Frohe Botschaft (Triste) | 0:51:10 - David talks to Leni | 9th chord | added-note chord | advance plot | conversing | deceptive resolution | familiar tune | folk song | foreign key modulation | fragmentation | German | hero | heroine | home | quotation | room | somber |
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) | Underscoring (Tense) | 1:05:17 - David scolds Susan | 64 chord | antagonist | chromatic scale | conflict | conversing | foreign key modulation | hero | street | tense | underscoring |
We Are Not Alone (1939) | Surprise Symphony (Dolcissimo) | NIF - not in film | altered dominant | classical music | cut from film | familiar tune | foreign key modulation | Haydn | playful | quotation |
We Are Not Alone (1939) | Frohe Botschaft (Death Sentence) | 1:33:07 - The judge sentences David and Leni to death | 9th chord | common-chord modulation | conflict | courtroom | courtroom scene | crowd | dark | familiar tune | folk song | German | quotation | reverse picardy | sentencing | verdict |
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 |
| Hold ‘Em Jail (1932) | Bide-More Alma Mater | 0:00:46 - Cast list and prison sign | cast list | cheerful | common-chord modulation | common-tone diminished 7th | countermelody | establish place | opening title sequence | transcribed by ear | upbeat |
| Is My Face Red? (1932) | Burlesque | 0:13:10 - Backstage at a Broadway show | ABAC structure | advance plot | arguing | Broadway | burlesque | cheerful | common-chord modulation | dancer | leading man | pedal tone | plagal cadence | popular music | source music | stage | transcribed by ear |
| Men of America (1932) | Cimarron C | 0:01:08 - Smokey Joe fights the Indians | ambush | common-chord modulation | cowboy | establish character | establish setting | fanfare | gun | gunshot | horse | Indian | leading man | noble | parallel double period | prairie | riding | self-borrowing | shooting | stagecoach | title card | transcribed by ear |
| Penguin Pool Murder (1932) | Sidewalks of New York (Aquarium) | 0:01:00 - Outside of aquarium | calm | establish setting | foreign key modulation | harbor | mysterious | setting | transcribed by ear |
| The Phantom of Crestwood (1932) | Transgression | 0:18:54 - Ms. Wren descends the staircase | 9th chord | AABA structure | advance plot | arriving | common-chord modulation | conversing | party | radio | romantic | self-borrowing | transcribed by ear |
The Phantom of Crestwood (1932) | Lady | 0:20:17 - People talk at a party | 9th chord | AAB structure | advance plot | common-chord modulation | conversing | dinner | party | peaceful | radio | sequence | transcribed by ear |
The Phantom of Crestwood (1932) | Cimarron Theme | 0:23:24 - Two people look at some portraits | AABC structure | advance plot | common-chord modulation | conversing | peaceful | portrait | room | self-borrowing | transcribed by ear |
| Thirteen Women (1932) | Thirteen Women | 0:00:34 - Cast list on the pages of a book | book | cast list | common-chord modulation | funeral march | funereal | harmonic sequence | opening title sequence | relative key | somber | title of film | transcribed by ear |
Thirteen Women (1932) | Thirteen Women (Destiny) | 0:07:52 - Ursula talks to the swami | antagonist | common-chord modulation | conversing | destiny | establish character | fortune teller | harmonic sequence | leading lady | predicting | relative key | room | somber | swami | transcribed by ear |
| Dangerous Corner (1934) | Finishing School B | 0:01:05 - Video snapshots of the actors | 64 chord | common-tone diminished 7th | common-tone modulation | opening title sequence | pedal tone | phrase extension | pleasant | transcribed by ear | upbeat | video cast list |
| Sing and Like It (1934) | Introduction | 0:00:10 - Title of the film | added-note chord | foreign key modulation | introduction | jazz | opening title sequence | starring list | title of film | transcribed by ear | upbeat |
| Star of Midnight (1935) | Sidewalks of New York | 0:54:28 - Feet walking | bus | calm | chromatic parallelism | foreign key modulation | lighthearted | montage | street | transcribed by ear | traveling | walking |
| We're Only Human (1935) | Old Lavender | 0:22:44 - Packaged-up food | 9th chord | added-note chord | advance plot | altered dominant | buying | common-chord modulation | detective | direct modulation | food | harmonic sequence | leading lady | leading man | light | love interest | optimistic | ordering | reporter | store | worker | working |
We're Only Human (1935) | Old Lavender (Celeste Solo) | 0:23:14 - Pete and Sally buying food | advance plot | buying | detective | direct modulation | food | leading lady | leading man | love interest | ordering | peaceful | reporter | store | street | worker | working |
We're Only Human (1935) | Lullaby (Adagio) | 0:23:36 - Pete watches the car drive away | conflict | conversing | detective | diminished 7th chord | direct modulation | dissonant bass | food | leading lady | leading man | love interest | reacting | reporter | street | tense |
We're Only Human (1935) | Katie (Triste) | 0:28:47 - Pete talks to the criminal | action scene | arguing | bank | detective | foreign key modulation | gangster | leading man | parallelism | stinger | sultry |
| Another Face (1935) | Success at any Price | 0:00:00 - Beeping RKO radio tower | bold | cast list | common-chord modulation | fanfare | lyrical | opening title sequence | radio tower | RKO tower | title of film | transcribed by ear |
Another Face (1935) | Success at any Price Transition | 0:00:58 - Times Square in New York City | car | conversing | deceptive resolution | driving | establish setting | foreign key modulation | gangster | laughing | mysterious | street | sultry |
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