| All This, and Heaven Too (1940) | The Duke | 0:09:55 - Henriette tells the girls her story | establish place | flashback | gentle | leading lady | light | peaceful | school | storytelling | student | teacher |
All This, and Heaven Too (1940) | The Duke (Ocean Waves) | 0:10:10 - Ocean waves | boat | establish place | flashback | foreign key modulation | gentle | leading lady | light | peaceful | storytelling | student | teacher | traveling |
All This, and Heaven Too (1940) | Henriette (Dolce) | 0:12:43 - Henriette talks to Henry | 64 chord | boat | chromatic mediant | conversing | deceptive resolution | gentle | leading lady | leaving | minister | peaceful | transition |
All This, and Heaven Too (1940) | Henriette (Goodnight) | 1:06:59 - Henriette puts the children to bed | advance plot | calm | child | fragmentation | goodnight | governess | leading lady | peaceful | pedal tone | room | tucking in |
All This, and Heaven Too (1940) | Henriette (Rubato) | 1:11:14 - The Duke talks to Henriette | 9th chord | added-note chord | advance plot | calm | conversing | duke | governess | leading lady | leading man | mode mixture | peaceful | room |
| Are These Our Children? (1931) | Dreams (Meno) | NIF - not in film | added-note chord | chromatic parallelism | common-tone dominant 7th | cut from film | half-diminished 7th chord | peaceful |
| 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 |
| 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) | Sue (Hospital) | 0:57:38 - The doctor takes care of Squirt in the hospital | advance plot | calm | conversing | doctor | hero | hospital | leading man | nurse | peaceful | reformatory | teenager | treating |
| They Made Me a Criminal (1939) | The Fugitive (Relieved) | 0:29:25 - Johnnie listens to the sheriff | altered dominant | conflict | conversing | leading man | peaceful | room | tranquil |
| Death of a Scoundrel (1956) | Underscoring (Lyrical) | 1:37:39 - Clementi and Zina enter the hotel and are shown to their rooms | flashback | peaceful | underscoring |
Death of a Scoundrel (1956) | Clementi's Mother (Peaceful) | 1:45:16 - Clementi talks to his mother | bedroom | ethnic | flashback | gentle | mother | peaceful |
| Deep Valley (1947) | Homestead | 0:00:11 - A farmhouse | calm | cast list | opening title sequence | peaceful | relaxed | starring list | title of film |
Deep Valley (1947) | Love Theme (Full) | 1:44:14 - Libby appears over the horizon | dog | forest | leading lady | peaceful | resolution | silhouette | walking |
Deep Valley (1947) | Libby 3 + Law | 1:44:32 - Jeff talks to Libby | calm | combination of themes | conversing | dog | forest | leading lady | leading man | peaceful | resolution |
| 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 (Simply) | 1:11:50 - Mabel and Joe talk | advance plot | doctor | hero | hospital | leading lady | leading man | nurse | peaceful |
Dust Be My Destiny (1939) | Dust Be My Destiny (Leaving Hospital) | 1:11:57 - Mabel and Joe start to leave | 11th chord | advance plot | hero | hospital | leading lady | leading man | peaceful | pedal tone | photographer | reporter |
| Each Dawn I Die (1939) | Frank (Released) | 1:28:49 - Frank is released | 9th chord | altered dominant | artwork in score | conclusion | embracing | friend | gentle | goodbye | leading lady | leading man | Neapolitan | passionate | peaceful |
Each Dawn I Die (1939) | Freedom | 1:30:31 - Frank leaves the prison | artwork in score | chromatic mediant | conclusion | dissonant bass | freedom | hopeful | leading lady | leading man | optimistic | peaceful | The End | walking |
| Flamingo Road (1949) | Goodnight | 0:17:45 - Lane and Field talk | blue note | conversing | falling in love scene | leading lady | leading man | love interest | peaceful | pedal tone | police | porch |
Flamingo Road (1949) | 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 |
| Hell on Frisco Bay (1955) | Hell on Frisco Bay (The End) | 1:37:52 - Steve and Marcia leave together | caressing | detective | dock | gentle | leading lady | leading man | peaceful | resolution from here on? | reuniting | romantic | walking | wife |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:37:52 - Steve and Marcia leave together | dock | gentle | inspector | leading lady | leading man | peaceful | romantic | walking |
| I Was a Communist for the FBI (1951) | Family (Con Moto) | 1:22:03 - Matt talks to his son | brother | conversing | gentle | leading man | love | peaceful | resolution | reuniting | self-borrowing | son | tender | undercover agent |
| Key Largo (1948) | The Keys | 0:01:07 - On-screen text establishing the Florida keys | bus | car | establish place | establish setting | on-screen text | peaceful | street | traveling |
Key Largo (1948) | Largo Hotel | 0:02:34 - Frank arrives at the Largo hotel | bus | establish setting | hotel | mode change | peaceful | stopping | tense |
| Lightning Strikes Twice (1951) | Shelly and Trev (Smile) | 0:20:20 - Shelly looks at Trev | actor | calm | chromatic parallelism | establish character | foreign key modulation | leading lady | leading man | looking | morning | peaceful | room | sleeping | smiling | staring | suspect | thinking | waking |
| Mildred Pierce (1945) | Beach House | 0:42:49 - Mildred and Wally drive up to the beach house | 9th chord | arriving | beach house | driving | friend | heroine | leading lady | ocean | peaceful | transition | water | wave |
Mildred Pierce (1945) | Mildred stands and walks to window | 1:38:02 - Mildred stands up and goes to the window | advance plot | delicate | graceful | heroine | leading lady | mickey-mousing | peaceful | rising | room | standing | up | walking |
| The Life of Vergie Winters (1934) | Lullaby (Slowly) | 0:04:07 - Vergie working in a shop window | 64 chord | establish character | leading lady | peaceful | plagal cadence | shop | working |
The Life of Vergie Winters (1934) | Lullaby (Hospital Scene) | 0:27:51 - The sign for a hospital | advance plot | calm | child | childbirth | conversing | fragmentation | hospital | leading lady | lullaby | peaceful | plagal cadence |
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) | 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 (Clarinet Solo) | 1:00:58 - John and Laura talk about Joan | added-note chord | conflict | conversing | dramatic | gentle | leading man | peaceful | room | stinger | transcribed by ear | wife |
The Life of Vergie Winters (1934) | Old Lavender (Celeste Solo) | 1:02:43 - John paces around | conflict | daughter | direct modulation | hesitating | leading man | love interest | lying | peaceful | room | surprise | wife |
The Life of Vergie Winters (1934) | Underscoring (Lyrical) | 1:02:52 - Laura reveals that Joan is adopted | conflict | daughter | deflecting | hesitating | leading man | love interest | mode mixture | peaceful | pedal tone | room | surprise | wife |
The Life of Vergie Winters (1934) | Old Lavender (Gentle) | 1:04:45 - Ranny takes the ring back from Joan | 64 chord | altered dominant | conflict | daughter | leading man | love interest | peaceful | pedal tone | proposal | proposing | room | wife |
The Life of Vergie Winters (1934) | Here Comes the Bride (Slow) | 1:05:05 - Ranny re-proposes to Joan | 64 chord | conflict | daughter | familiar tune | leading man | love interest | peaceful | proposal | proposing | room | wife |
The Life of Vergie Winters (1934) | Lullaby (Dolcissimo) | 1:05:11 - Joan talks to Laura | 9th chord | conflict | daughter | leading man | love interest | peaceful | proposal | proposing | room | wife |
The Life of Vergie Winters (1934) | Lullaby (Tender) | 1:05:45 - Ranny leaves with Joan | 13th chord | conflict | daughter | leading man | leaving | love interest | peaceful | pedal tone | room | wife |
The Life of Vergie Winters (1934) | Lullaby + 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 |
The Life of Vergie Winters (1934) | Lullaby (Resolution) | 1:21:03 - Joan talks about her mother | added-note chord | calm | conversing | crying | daughter | end title sequence | husband | peaceful | prison | redemption | resolution | The End | triumphant |
| 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 |
| Out of the Fog (1941) | Russian Barcarolle | 0:00:14 - Title of the film | added-note chord | augmented sixth chord | cast list | folk-like | harbor | opening title sequence | peaceful | pedal tone | title of film |
Out of the Fog (1941) | Russian Barcarolle (Expressivo) | 0:00:49 - Cast list | cast list | folk-like | gentle | harbor | opening title sequence | peaceful | pedal tone |
Out of the Fog (1941) | Russian Barcarolle (Ethereal) | 1:23:47 - Jonah talks to Stella | conversing | dock | ethereal | father | fisherman | leading lady | peaceful | resolution | walking |
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 |
Out of the Fog (1941) | Russian Barcarolle (The End) | 1:24:24 - The dock at night | conversing | dock | end title sequence | father | fisherman | grand | leading lady | peaceful | perfect authentic cadence | resolution | street | The End | walking |
| 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 | 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 (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 |
| We Are Not Alone (1939) | Tommy (Lyrical) | 0:09:34 - David gets some medicine for Tommy | 9th chord | boy | cat | doctor | establish character | gentle | hero | lyrical | Mozart | office | peaceful |
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 (Gute Nacht) | 0:15:00 - David says goodnight in German to Leni | classical music | doctor | establish character | familiar tune | Haydn | hero | heroine | peaceful | perfect authentic cadence | quotation | room |
We Are Not Alone (1939) | Surprise Symphony (Glissando) | 0:22:35 - David rides home on his bike | advance plot | bicycle | classical music | familiar tune | fragmentation | glissando | happy | Haydn | hero | home | peaceful | quotation | sequence | walking |
We Are Not Alone (1939) | Celebre Romance | 1:01:03 - David plays the violin | advance plot | antagonist | classical music | cook | familiar tune | hero | heroine | home | on-screen music | peaceful | playing | romantic | room | Rubinstein | sentence form | source music | source to score | violin |
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) | Frohe Botschaft (Singing) | 1:50:32 - Gerald sings in the tub | 9th chord | 11th chord | boy | child | conclusion | death | familiar tune | folk song | German | home | peaceful | quotation | room |
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 |
| The Phantom of Crestwood (1932) | Auld Lang Syne | 0:19:50 - A man sings to himself at the party | advance plot | drinking | familiar tune | on-screen music | party | peaceful | singing | source music | 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) | Sleeping Rose | 0:21:00 - People talk around the dinner table | ABA structure | advance plot | conversing | dinner | party | peaceful | radio | 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 |
| We're Only Human (1935) | Old Lavender (Gentle) | 0:22:34 - A man scoops up some pasta | 64 chord | advance plot | altered dominant | buying | detective | food | leading lady | leading man | love interest | ordering | peaceful | pedal tone | 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) | 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 |
| Without Honor (1949) | Tragic (Lento) | 0:01:23 - Shot of a valley | establish setting | panning shot | peaceful | valley | voice-over |
| Lightning Strikes Twice (1951) | Shelly and Trev (Appassionato 2) | 1:29:33 - Trev and Shelly embrace | actor | calm | comforting | countryside | departing | driving | embracing | husband | kissing | leading lady | leading man | mother | owner | peace | peaceful | police | priest | resolution | smiling |
Lightning Strikes Twice (1951) | Shelly (The End) + Shelly 2 (The End) | 1:30:00 - Trev and Shelly drive away together | actor | calm | comforting | countryside | driving | embracing | end title sequence | husband | leading lady | leading man | peace | peaceful | resolution | resolved | The End |
| Mara Maru (1952) | Gregory (Tranquillo) | 0:56:00 - Gregory steering the ship | advance plot | calm | conversing | distraction | leading man | peaceful | pondering | sailing | ship | ship | worker |
Mara Maru (1952) | Appassionato (Tenderly) | 0:56:26 - Gregory looks ahead | advance plot | calm | conversing | distraction | leading man | peaceful | pondering | sailing | ship | ship | worker |
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