| All This, and Heaven Too (1940) | Henriette | 0:00:28 - Cast list | 64 chord | added-note chord | cast list | chromatic mediant | countermelody | deceptive resolution | diminished third chord | foreign key modulation | mode mixture | opening title sequence | pedal tone | pleasant | romantic | sentence form | suspension |
All This, and Heaven Too (1940) | School Girls | 0:01:12 - Young girls walking to school | added-note chord | chatting | child | establish setting | pedal tone | pleasant | school | street | upbeat | walking |
All This, and Heaven Too (1940) | Henriette (Proud) | 0:08:21 - Mr. Field encourages Henriette | added-note chord | deceptive resolution | establish character | hopeful | leading lady | minister | mode mixture | mysterious | pedal tone | principal | reassuring | reverse picardy | school | student | teacher |
All This, and Heaven Too (1940) | Henriette (Lento) | 0:10:20 - Henriette on a ship | boat | dissonant bass | flashback | foreign key modulation | hopeful | leading lady | mysterious | pedal tone | storytelling | tense | traveling |
All This, and Heaven Too (1940) | Pierre | 0:13:47 - Pierre introduces himself | added-note chord | caretaker | conversing | deceptive resolution | introducing | leading lady | mode mixture | pedal tone | pleasant | street | tense | transition |
All This, and Heaven Too (1940) | Desperation (Carriage Starts) | NIF - not in film | added-note chord | advance plot | carriage | child | cut from film | duchess | gentle | governess | leading lady | leaving | pedal tone | street |
All This, and Heaven Too (1940) | The Sick Room | 0:32:12 - The doctor talks to the Duke | 64 chord | advance plot | child | chromatic sequence | conversing | doctor | duke | fragmentation | gentle | governess | illness | leading lady | leading man | pedal tone | room |
All This, and Heaven Too (1940) | Raynald (Ethereal) | 0:43:04 - Raynald by the window | 64 chord | child | conversing | duke | governess | hopeful | illness | illness scene | leading lady | leading man | pedal tone | room |
All This, and Heaven Too (1940) | Raynald (Tranquillo) | 0:43:53 - Henriette puts Raynald in bed | calm | caring | child | duke | gentle | governess | illness | illness scene | leading lady | leading man | pedal tone | room |
All This, and Heaven Too (1940) | The Duchess (Molto Screwieoso) | 0:44:50 - Henriette looks at a gift from the Duchess | 64 chord | advance plot | chromatic parallelism | distressed | gift | governess | leading lady | looking | opening | pedal tone | room | stinger |
All This, and Heaven Too (1940) | Henriette (Sweepingly) | 1:02:57 - Henriette with tears in her eyes | added-note chord | augmented sixth chord | chromatic mediant | conflict | conversing | deceptive resolution | duke | foreign key modulation | governess | leading lady | leading man | mode mixture | pedal tone | romance | romantic | room |
All This, and Heaven Too (1940) | Invitation from the King | 1:03:46 - Invitation from the King | 11th chord | ballroom | bold | double exposure | duchess | duke | fanfare | leading lady | leading man | montage | pedal tone | walking |
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 (Cello Solo) | 1:10:09 - Henriette comforts Isabelle | advance plot | child | comforting | crying | gentle | governess | leading lady | pedal tone | room |
All This, and Heaven Too (1940) | Falling Snow | 1:12:39 - Henriette watches the falling snow | 64 chord | advance plot | chromatic parallelism | chromatic scale | chromatic sequence | conversing | dissonant bass | duke | governess | leading lady | leading man | mickey-mousing | pedal tone | point-of-view shot | room | snow | snow globe | snowing | uneasy |
All This, and Heaven Too (1940) | Henriette (Sad Waltz) | 1:12:55 - Henriette watches the people dancing | 9th chord | 64 chord | advance plot | ballroom | crowd | dancing | dissolve | governess | leading lady | pedal tone | point-of-view shot | room | somber | watching |
All This, and Heaven Too (1940) | Henriette (Somber) | 1:15:09 - Henriette looks out the window | advance plot | governess | leading lady | longing | pedal tone | room | somber |
All This, and Heaven Too (1940) | All Hallows Eve | 1:23:22 - A forest scene at night | augmented triad | child | chromatic parallelism | chromatic scale | conversing | create suspense | dissonant bass | forest | governess | Halloween | hiding | leading lady | ombra topic | on-screen text | pc set | pedal tone | scaring | scary | spooky | walking | whole-tone chord |
All This, and Heaven Too (1940) | Loti's Song | 1:24:31 - Apples roasting on a fire | 9th chord | child | chromatic mediant | chromatic parallelism | chromatic scale | cooking | create suspense | dissonant bass | forest | governess | leading lady | linear chromaticism | old man | pedal tone | scary | scored source music | singer | singing | split-third chord | spooky |
All This, and Heaven Too (1940) | Spring Time | 1:25:18 - The Duke talks with his children | 64 chord | advance plot | cheerful | child | chromatic sequence | common-tone diminished 7th | duke | forest | governess | leading lady | leading man | pedal tone | recognizing | relief |
All This, and Heaven Too (1940) | The Carousel | 1:26:22 - A spinning carousel | 64 chord | amusement park | augmented sixth chord | bright | carousel | child | enharmonic modulation | foreign key modulation | fun | mode mixture | on-screen text | pedal tone | riding | spinning | transition | upbeat |
All This, and Heaven Too (1940) | Underscoring (Gentle) | 1:27:58 - The Duke talks to Henriette by the fireplace | advance plot | conversing | duke | gentle | governess | leading lady | leading man | pedal tone | room |
All This, and Heaven Too (1940) | Triste | 1:28:51 - Henriette talks about a mystery | duke | falling in love scene | governess | leading lady | leading man | pedal tone | room | sigh gesture | somber | storytelling |
All This, and Heaven Too (1940) | Henriette (Very Romantic) | 1:29:07 - Henriette talks with the Duke | 9th chord | altered dominant | augmented triad | conversing | duke | falling in love scene | gentle | governess | leading lady | leading man | pedal tone | romantic | room | sweet |
All This, and Heaven Too (1940) | Spring Time | 1:30:22 - A carriage approaches the palace | 64 chord | arriving | bright | carriage | chattering | cheerful | child | duke | foreign key modulation | governess | happy | leading lady | leading man | Neapolitan | palace | pedal tone | riding | transition |
All This, and Heaven Too (1940) | Henriette (Molto Expressivo) | 1:31:48 - The Duke talks to Henriette | chromatic mediant | chromatic parallelism | conversing | duke | governess | leading lady | leading man | love scene | mode mixture | Neapolitan | palace | pedal tone | reassuring | romantic | sigh gesture | stinger | tender |
All This, and Heaven Too (1940) | Spring Time (Harry Cohn Moto) | 1:35:26 - Henriette opens a gift | advance plot | cheerful | child | chromatic sequence | gift | governess | happy | leading lady | opening | pedal tone | room | tense | unwrapping |
All This, and Heaven Too (1940) | Underscoring (Gentle) | 1:41:02 - Henriette talks with the children | 9th chord | child | conversing | farewell scene | gentle | governess | leading lady | parallelism | pedal tone | room | tender | underscoring |
All This, and Heaven Too (1940) | Henriette (Gossiping) + Spring Time (Gossiping) | 1:47:25 - Henriette's landlady talks to the Duke | awkward | child | combination of themes | common-tone diminished 7th | diminished 7th chord | duke | gossiper | gossiping | landlady | leading lady | leading man | mysterious | parallelism | pedal tone | reunion scene | room | somber | tense | watching |
All This, and Heaven Too (1940) | Henriette (Tense) | 1:47:51 - The Duke argues with Henriette | arguing | conflict | diminished 7th chord | duke | fragmentation | leading lady | leading man | pedal tone | room | tense |
All This, and Heaven Too (1940) | Underscoring (Tense) | 2:06:17 - Henriette argues with Henry | advance plot | arguing | fragmentation | leading lady | minister | pedal tone | prison | prisoner | sequence | suspect | tense | underscoring |
All This, and Heaven Too (1940) | Henriette (Funereal) | 2:14:27 - Henriette leaves the Duke | conversing | death bed | death scene | detective | duke | dying | funeral march | leading lady | leading man | Neapolitan | parallelism | pedal tone | prisoner | questioning | room | sad | sigh gesture | soldier | suspect |
All This, and Heaven Too (1940) | Dying (Molto Expressivo) | 2:14:46 - The Duke talks to Pierre | caretaker | chromatic parallelism | confessing | conversing | death bed | death scene | diminished 7th chord | duke | dying | leading man | love | pedal tone | room | sigh gesture | somber |
| The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Meeting) | 0:21:30 - Dr. Clitterhouse is taken upstairs | 64 chord | advance plot | chromatic parallelism | conversing | doctor | fragmentation | gangster | leading man | lobby | mysterious | pedal tone | sequence | thief |
The Amazing Dr. Clitterhouse (1938) | The Fur Store | 0:44:20 - Truck arrives at the United Fur Co. | chromatic parallelism | darkness | half-diminished 7th chord | mysterious | pedal tone | store | street | suspenseful | transition | truck |
The Amazing Dr. Clitterhouse (1938) | Sneaking | 0:45:13 - Criminals steal furs | ascending | carrying | chromatic parallelism | crime | criminal | diminished 7th chord | dissonant bass | gangster | pedal tone | robbery | sneaking | sneaky | stairs | stealing | store | thief | walking |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Comical) | 0:46:08 - Doctor examines a criminal | 64 chord | chromatic parallelism | comical | criminal | doctor | examining | fragmentation | gangster | leading man | pedal tone | robbery | rooftop | sequence | thief | underscoring |
The Amazing Dr. Clitterhouse (1938) | How Dry I Am (Nervous) | 0:47:20 - Criminals talking | 64 chord | conversing | criminal | doctor | gangster | leading man | nervous | parallelism | pedal tone | robbery | rooftop | source music | thief |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Giving Orders) | 0:48:32 - Doctor gives orders to the criminals | 64 chord | anger | annoyance | chromatic parallelism | commanding | criminal | doctor | fragmentation | gangster | leading man | ordering | pedal tone | robbery | sequence | store | tense | thief |
The Amazing Dr. Clitterhouse (1938) | The Motor | 0:49:21 - Rocks starts the refrigeration motor | antagonist | anxious | criminal | diminished 7th chord | doctor | double-cross | dramatic | gangster | gauge | leading man | lowering | machine | mickey-mousing | motor | murderer | murdering | ostinato | panicking | pedal tone | pounding | robbery | spinning | store | temperature | tense | thief | trapping | whirling | yelling |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor + The Motor | 0:49:36 - Dr. Clitterhouse in safe | anxious | combination of themes | criminal | doctor | double-cross | dramatic | gangster | gauge | leading man | machine | motor | murderer | murdering | ostinato | panicking | pedal tone | robbery | spinning | store | tense | thief | trapping | whirling |
The Amazing Dr. Clitterhouse (1938) | The Motor (Getting Colder) | 0:49:43 - The vault gets colder | anxious | chromatic scale | criminal | dissonant bass | doctor | double-cross | dramatic | gangster | gauge | leading man | lowering | machine | motor | murderer | murdering | ostinato | panicking | pedal tone | pounding | robbery | spinning | store | temperature | tense | thief | trapping | whirling | yelling |
The Amazing Dr. Clitterhouse (1938) | The Motor (Butch) | 0:50:45 - Butch searches for the doctor | anxious | chromatic scale | criminal | dramatic | gangster | mickey-mousing | motor | ostinato | pedal tone | robbery | running | searching | store | tense | thief |
| Angels With Dirty Faces (1938) | Roulette | 0:07:01 - Roulette wheel spins | club | double exposure | establish character | frantic | gambling | gangster | leading man | mickey-mousing | montage | parallelism | pedal tone | sequence | spinning |
Angels With Dirty Faces (1938) | The Gangster (Headlines) | 0:07:21 - Newspaper headline | dark | establish character | headline | main title | montage | mysterious | newspaper | octatonic scale | pedal tone | street |
Angels With Dirty Faces (1938) | Pushing forward | 0:40:26 - Man pulls a gun on the cashier | advancing | chromatic parallelism | chromatic scale | conflict | dominant 7th chord | gangster | gun | leading man | mickey-mousing | ominous | pedal tone | pushing | shop |
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) | Underscoring (Mysterious) | 1:05:58 - Jerry goes to meet Rocky | advance plot | arriving | gangster | leading man | mickey-mousing | mysterious | pedal tone | priest | room | underscoring | waiting |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:16:29 - Rocky shoots Mac and Frazier | agitated | attacking | casino | chaos | chasing | chromatic parallelism | chromatic scale | climbing | conflict | crowd | death | dissonant bass | dramatic | dying | escaping | falling | fighting | gangster | gun | gunshot | half-diminished 7th chord | hurrying | jumping | landing | lawyer | leading man | mickey-mousing | pedal tone | police | rooftop | room | running | sequence | shooting | sneaking | sneaky | street | tone cluster | underscoring |
Angels With Dirty Faces (1938) | Going up a ladder | 1:17:41 - Rocky climbs up an escape ladder | agitated | ascending | chromatic parallelism | climbing | conflict | dramatic | gangster | ladder | leading man | mickey-mousing | pedal tone | sequence | street | up |
Angels With Dirty Faces (1938) | Tear Gas | 1:19:48 - Tear gas spreads throughout the room | agitated | breaking | breaking | breathing | building | chromatic parallelism | chromatic scale | conflict | dissonant bass | dramatic | gangster | gun | gunshot | hurrying | leading man | mickey-mousing | pedal tone | police | quartal chord | running | shooting | smoke | street | tear gas | throwing | window |
Angels With Dirty Faces (1938) | Tear Gas (Desperate) | 1:21:40 - Rocky tries to hold off the cops | agitated | building | chromatic parallelism | chromatic scale | conflict | dissonant bass | dramatic | gangster | gun | gunshot | leading man | mickey-mousing | pedal tone | police | priest | quartal chord | shooting | smoke | staggering | street | tear gas |
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) | Jerry (Agitato) | 1:23:21 - Jerry and Rocky talk | agitated | arguing | building | conflict | diminished 7th chord | gangster | leading man | pedal tone | priest |
Angels With Dirty Faces (1938) | Sanctus (Mournful) | 1:34:12 - Jerry cries after Rocky dies | added-note chord | climax | crying | death | dissonant bass | execution chamber | leading man | mourning | pedal tone | priest | prison | redemption | reverse picardy | sacred | somber |
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 |
| Are These Our Children? (1931) | Dreams (Whole Tone) | 0:21:11 - A view of the city | dreaming | leading man | montage | pedal tone | room | somber | whole-tone scale |
Are These Our Children? (1931) | Dreams (Dream Sequence 2) | 0:27:51 - Time passes | double exposure | dream sequence | hectic | montage | pedal tone | transcribed by ear |
Are These Our Children? (1931) | Dreams (Montage) | 0:29:57 - Eddie drinks | angry | diminished 7th chord | double exposure | dreaming | dream sequence | drinking | fragmentation | gun | hectic | leading man | montage | pedal tone | room | sequence |
Are These Our Children? (1931) | Underscoring (Dark) | 0:30:25 - Eddie attacks boy | arguing | clock | dark | diminished 7th chord | double exposure | dream sequence | fighting | kissing | leading man | love interest | mickey-mousing | montage | ominous | pedal tone | stinger | ticking |
Are These Our Children? (1931) | Dreams (Transition 8) | 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 |
| Arsenic and Old Lace (1944) | Happy Land (Screwy Gavotte) | 0:00:39 - Cast list | 9th chord | 64 chord | added-note chord | cast list | happy | opening title sequence | ostinato | pedal tone | upbeat |
Arsenic and Old Lace (1944) | Chromatic Fall | 0:00:58 - Max Steiner's name | 42 chord | cast list | chromatic parallelism | chromatic scale | dramatic | opening title sequence | pedal tone |
Arsenic and Old Lace (1944) | Sidewalks of New York (Expressivo) | 0:01:53 - A ship sailing under a bridge | 64 chord | boat | bridge | calm | card | city | establish place | familiar tune | pedal tone | sailing | transition |
Arsenic and Old Lace (1944) | The Old Maid | 0:04:17 - Mortimer talks to Elaine | added-note chord | arguing | conversing | enharmonic modulation | establish character | kissing | leading lady | leading man | marriage | mode mixture | office | parallel period | pedal tone | romantic | self-borrowing |
Arsenic and Old Lace (1944) | The Aunts (Allegretto) | 0:13:52 - The aunts run to the window | advance plot | aunt | cheerful | harmonic sequence | leading lady | mode mixture | pedal tone | room | running |
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 (Frightened) | 0:45:22 - The aunts peek through the kitchen window | aunt | brother | conversing | crazy person | criminal | doctor | establish character | face | fear | leading lady | leading man | murderer | mysterious | Neapolitan | ominous | parallel 63s | pedal tone | room | snooping | watching |
Arsenic and Old Lace (1944) | The Aunts (Frightened) | 0:50:20 - Jonathan and Dr. Einstein talk | advance plot | brother | crazy person | criminal | digging | doctor | familiar tune | leading man | march | murderer | Neapolitan | on-screen music | parallel 63s | patriotic tune | pedal tone | plotting | room | source and scoring overlap | tense | whistling |
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) | The Aunts (Frightened) | 1:01:49 - Aunts talk to Jonathan | arguing | aunt | brother | conflict | crazy person | fear | fragmentation | leading lady | leading man | murderer | Neapolitan | parallel 63s | pedal tone | room | tense |
| The Big Sleep (1946) | Walking | 0:01:26 - Carmen walks down the stairs | arriving | daughter | deceptive resolution | descending | establish character | femme fatale | leading man | mysterious | parallelism | pedal tone | private eye | room | walking |
The Big Sleep (1946) | Walking | 0:13:02 - Marlowe leaves the mansion | butler | leading man | mysterious | parallelism | pedal tone | private eye | room | transition | walking |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 0:13:20 - Marlowe goes to talk to librarian | advance plot | leading man | library | mysterious | pedal tone | private eye | researching | writing |
The Big Sleep (1946) | Walking | 0:13:39 - Marlowe walks down the street | advance plot | calm | investigating | leading man | parallelism | pedal tone | private eye | street | walking |
The Big Sleep (1946) | Walking (Extended) | 0:15:03 - Marlowe walks across the street | advance plot | calm | chromatic sequence | foreign key modulation | fragmentation | investigating | leading man | parallelism | pedal tone | private eye | street | walking |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 0:20:17 - Marlowe gets out to see the second car | car | investigating | investigation scene | leading man | mysterious | pedal tone | private eye | rain | street | tense | walking |
The Big Sleep (1946) | Walking | NIF - not in film | deleted scene | deleted scene | investigating | investigation | leading man | mysterious | parallelism | pedal tone | private eye | room | searching | tense |
The Big Sleep (1946) | Walking (Extended) | NIF - not in film | deleted scene | deleted scene | foreign key modulation | investigating | investigation | leading man | mysterious | parallelism | pedal tone | private eye | room | searching | tense | walking |
The Big Sleep (1946) | Walking (The Car) | NIF - not in film | car | deleted scene | driving | femme fatale | foreign key modulation | leading man | parallelism | pedal tone | private eye | room | sequential modulation | tense | transition |
The Big Sleep (1946) | Walking | 0:25:22 - Vivian walks down the hall | advance plot | butler | calm | inserted scene | leading lady | leading man | not in score | parallelism | pedal tone | private eye | reused recording | room | walking |
The Big Sleep (1946) | Walking | 0:32:10 - Marlowe walks to his office | advance plot | arriving | calm | leading lady | leading man | parallelism | pedal tone | private eye | room | walking |
The Big Sleep (1946) | Marlowe (Decisive) | 0:47:04 - Marlowe walks out the door | added-note chord | advance plot | bold | decisive | leading man | leaving | pedal tone | private eye | room |
The Big Sleep (1946) | Underscoring (Tense) | 1:16:43 - Marlowe and Vivian argue | accusing | car | chromatic parallelism | half-diminished 7th chord | leading lady | leading man | love interest | love scene | pedal tone | private eye | tense | underscoring |
The Big Sleep (1946) | Walking (Interrupted) | 1:22:27 - Marlowe walks down the street | investigating | investigation scene | leading man | parallelism | pedal tone | private eye | street | tense | walking |
The Big Sleep (1946) | Jones | 1:23:24 - Jones enters | advance plot | chromatic parallelism | leading man | mysterious | parallelism | pedal tone | private eye | street | tense | walking |
The Big Sleep (1946) | Walking (Hesitant) | 1:26:55 - Marlowe walks into a building | fragmentation | hallway | investigation scene | leading man | neutral | pain | parallelism | pedal tone | private eye | sequential modulation | walking |
The Big Sleep (1946) | Jones (Eavesdropping) | 1:27:22 - Marlowe hears Jones talking to someone | chromatic parallelism | eavesdropping | hallway | investigation scene | leading man | mysterious | parallelism | pedal tone | private eye | sneaking | tense |
The Big Sleep (1946) | Jones (Dolce) | 1:31:04 - Marlowe sits down on the couch | chromatic parallelism | death | death scene | leading man | mourning | parallelism | pedal tone | private eye | room | somber | victim |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 1:31:23 - Marlowe gets up to answer the phone | added-note chord | conversing | death scene | informer | leading man | mysterious | pedal tone | phone call | private eye | room |
The Big Sleep (1946) | Jones (Triste) | 1:32:02 - Marlowe leaves the office | death scene | informer | leading man | mourning | mysterious | parallelism | pedal tone | private eye | room | somber |
The Big Sleep (1946) | Jones (Suspenseful) | 1:35:47 - Marlowe talks to two thugs | conflict | criminal | dark | diminution | investigating | leading man | lying | murderer | mysterious | parallelism | pedal tone | private eye | shop | suspenseful |
The Big Sleep (1946) | Walking (Extended) | 1:45:45 - Marlowe and Vivian walk up to house | fragmentation | leading lady | leading man | love interest | outside | parallelism | pedal tone | private eye | sequential modulation | tense | transition | walking |
The Big Sleep (1946) | Carmen (Tense) | 1:52:28 - Marlowe talks on the phone | conversing | leading lady | leading man | love interest | lying | mysterious | oscillation | pedal tone | phone call | private eye | resolution | room | tense | uneasy | whole-tone chord |
| The Breaking Point (1950) | Calm | 0:01:08 - Ships in a harbor | augmented triad | boat | calm | conductor score | harbor | opening title sequence | pedal tone |
The Breaking Point (1950) | Calm | 1:35:38 - Lucy leaves | augmented triad | boat | climax | comforting | conversing | crying | ethereal | leading lady | leading man | pedal tone | sailor | sweet | wife |
| Caged (1950) | Train Whistle Hallucination | NIF - not in film | acceleration | agitated | bed | breaking | chromatic parallelism | chromatic scale | crazy person | crying | cut from film | diminished 7th chord | dramatic | glass | hallucinating | leading lady | mad scene | ostinato | pedal tone | polychord | prison | prisoner | screaming | smashing |
Caged (1950) | Wailing + Train Whistle Hallucination | NIF - not in film | acceleration | agitated | bed | chromatic parallelism | chromatic scale | combination of themes | crazy person | crying | crying effect | cut from film | diminished 7th chord | dramatic | glass | leading lady | mad scene | ostinato | pedal tone | polychord | prison | prisoner | rushing | unlocking | wailing |
Caged (1950) | Swimmy (Party) | NIF - not in film | advance plot | chromatic parallelism | cut from film | pedal tone | syncopation |
| His Greatest Gamble (1934) | Morning Glory Fanfare | 0:00:12 - Title of film; starring list | fanfare | noble | opening title sequence | pedal tone | starring list | title of film | transcribed by ear |
| 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 |
| Crime School (1938) | Underscoring (Mysterious) | 0:09:53 - Frankie sneaks in the house | concern | conversing | dissonant bass | establish character | heroine | leading lady | mysterious | pedal tone | room | sister | sneaking | sneaky | teenager | underscoring | whole-tone chord | whole-tone scale |
Crime School (1938) | The Patrol Wagon | 0:21:41 - Boys get loaded into the patrol wagon | car | chromatic parallelism | cut from film | dissonant bass | pedal tone | police car | traveling |
Crime School (1938) | Underscoring (Mysterious) | 0:24:12 - Gang settles into their room | advance plot | conversing | dissonant bass | gang | mysterious | pedal tone | reformatory | teenager | underscoring |
Crime School (1938) | Underscoring (Gentle) | 0:49:47 - Mark talks about making this room their home | comedy | deceptive resolution | gang | gentle | hero | leading man | leaving | pedal tone | reformatory | teasing | teenager | underscoring | whole-tone chord |
Crime School (1938) | Fireman | 0:56:46 - Boiler room worker orders kids back | action scene | fanfare | gang | heroic | parallelism | pedal tone | protecting | reformatory | rushing | teenager | worker | yelling |
Crime School (1938) | Underscoring (Mysterious) | 1:12:35 - The boys walk through the city | escape | gang | mysterious | pedal tone | plotting | sneaking | street | teenager | tense |
Crime School (1938) | Underscoring (Tense) | 1:14:26 - Mark talks to policeman | chromatic scale | conflict | deceptive resolution | gun | hero | heroine | hiding | knocking | leading lady | leading man | lying | mode mixture | pedal tone | police | room | teenager | tense | underscoring |
| They Made Me a Criminal (1939) | Transition | 0:00:07 - Starring list | added-note chord | chromatic parallelism | dissonant bass | dramatic | main title | opening title sequence | pedal tone | starring list | tense | title of film |
They Made Me a Criminal (1939) | The Ladder | 0:30:11 - Tommy sitting on a ladder | cheerful | chromatic scale | common-tone diminished 7th | conflict | diminished 7th chord | dissonant bass | fun | ladder | pedal tone | ranch | teenager | working |
They Made Me a Criminal (1939) | The Fugitive (Hiding) | 1:02:31 - Detective buys tickets to Johnnie's match | advance plot | detective | hiding | leading man | pedal tone | room | suspenseful | tense |
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) | On the Make (Appassionato) | 1:25:51 - Peggy wants to go with Johnnie | 9th chord | altered dominant | climax | detective | embracing | kissing | leading lady | leading man | leaving | linear chromaticism | mode mixture | pedal tone | romantic | room | sentimental | sigh gesture | tender |
| Dust Be My Destiny (1939) | Marching | 0:10:10 - Inmates marching | establish location | leading man | march | marching | parallelism | pedal tone | prison | prisoner | somber |
Dust Be My Destiny (1939) | Marching | 0:12:27 - Inmates marching | establish character | march | marching | pedal tone | prison | prisoner | somber |
Dust Be My Destiny (1939) | Dust Be My Destiny (Expectant) | 0:18:08 - Mabel leaves | advance plot | expectant | gentle | guard | hopeful | leading lady | leading man | pedal tone | prison | prisoner | sweet |
Dust Be My Destiny (1939) | Dust Be My Destiny (Dolceeessimo) | NIF - not in film | barn | cut from film | deceptive resolution | foreign key modulation | intervallic expansion | love scene | pedal tone | sequence | sweet |
Dust Be My Destiny (1939) | Underscoring (Romantic) | 0:21:46 - Mabel talks with Joe | barn | leading lady | leading man | love scene | pedal tone | romantic | underscoring |
Dust Be My Destiny (1939) | Running away | 0:26:45 - Joe and Mabel run away | barn | conflict | diminished 7th chord | dramatic | leading lady | leading man | mickey-mousing | pedal tone | runaway | running |
Dust Be My Destiny (1939) | Agitato Risoluto | 0:35:11 - Joe and Mabel hide under the stairs | agitated | alley | chromatic parallelism | concerned | danger | escape | hiding | leading lady | leading man | pedal tone | runaway | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Parting Ways) | 0:38:56 - Joe and Mabel part | altered dominant | common-tone diminished 7th | conflict | dark | leading lady | leading man | leaving | mode mixture | pedal tone | runaway | somber | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Regret) | 0:39:53 - Joe walks away sadly | conflict | dark | leading lady | leading man | parallelism | pedal tone | runaway | somber | street |
Dust Be My Destiny (1939) | My Wild Irish Rose (Waltz) | 0:44:17 - Mabel and Nick talk | develop character | diner | familiar tune | friend | gentle | leading lady | leading man | on-screen music | pedal tone | popular song | shopkeeper | singing | source music |
Dust Be My Destiny (1939) | Dust Be My Destiny (Sordini) | 0:48:21 - Joe talks to the jailer | chromatic parallelism | jail | jail break | leading man | major triad | mysterious | pedal tone | tense | warden |
Dust Be My Destiny (1939) | Underscoring (Tense) | 0:48:34 - Joe talks to the jailer | jail | jail break | leading man | pedal tone | tense | underscoring | warden |
Dust Be My Destiny (1939) | Dust Be My Destiny (Grandioso) | 0:50:50 - Joe and Mabel outside | 42 chord | 64 chord | deceptive resolution | escaping | friend | heroic | jail break | leading lady | leading man | pedal tone | shopkeeper | street | triumphant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Emergency Room) | 1:11:01 - The hospital waiting room | 64 chord | advance plot | concern | hospital | leading lady | pedal tone | police | reporter |
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 |
Dust Be My Destiny (1939) | Dust Be My Destiny (Cornered) | 1:12:21 - Mabel and Joe decide what to do | 9th chord | conflict | hero | hospital | inversion | leading lady | leading man | pedal tone | tense |
Dust Be My Destiny (1939) | Dust Be My Destiny (Tragico) | 1:13:35 - Mabel turns Joe in to the police | confession | conflict | dark | hospital | leading lady | leading man | parallelism | pedal tone | suspect | tragic |
| Each Dawn I Die (1939) | Headlines | 0:41:50 - Newspaper headline is shown | 9th chord | chromatic parallelism | dark | fanfare | headline | montage | montage | newspaper | pedal tone |
| Flamingo Road (1949) | Arabian Riff (Not in Film) | NIF - not in film | conversing | cut from film | cut from film | deceptive resolution | leading lady | leading man | lovers meet | pedal tone | police | room | source to score |
Flamingo Road (1949) | If I Could Be With You (Lightly) | NIF - not in film | altered dominant | common-tone diminished 7th | cut from film | cut from film | flirting | leading lady | leading man | lovers meet | pedal tone | police | room |
Flamingo Road (1949) | Traveling | NIF - not in film | added-note chord | chromatic mediant | common-tone diminished 7th | cut from film | cut from film | deceptive resolution | leading lady | leading man | lovers meet | pedal tone | police | room |
Flamingo Road (1949) | If I Could Be With You (Dolce) | 0:17:22 - Lane and Field talk | conversing | falling in love scene | leading lady | leading man | love interest | pedal tone | police | porch | sentimental | source to score |
Flamingo Road (1949) | Goodnight | 0:17:45 - Lane and Field talk | blue note | conversing | falling in love scene | leading lady | leading man | love interest | peaceful | pedal tone | police | porch |
Flamingo Road (1949) | Lane (Dolce) | 0:17:58 - Lane flirts with Field | falling in love scene | flirting | leading lady | leading man | love interest | pedal tone | playful | police | porch | sweet |
Flamingo Road (1949) | If I Could Be With You (Ethereal) | 0:18:06 - Lane watches Field drive away | common-tone diminished 7th | falling in love scene | leading lady | leading man | leaving | love interest | pedal tone | police | porch | sentimental | source to score |
Flamingo Road (1949) | Lane (Ethereal) | 0:30:02 - Lane and Field kiss in the moonlight | added-note chord | augmentation | kissing | lake | leading lady | leading man | love interest | love scene | pedal tone | romance | romantic |
Flamingo Road (1949) | Lane (Hopeful) | 0:41:58 - Lane talks to a fellow prisoner | advance plot | conversing | deceptive resolution | gentle | hopeful | leading lady | pedal tone | prison | prisoner |
Flamingo Road (1949) | Lane (Ominous) | 1:21:22 - A hand rings the doorbell | advance plot | leading lady | mysterious | ominous | pausing | pedal tone | ringing | room |
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 |
| Her Kind of Man (1946) | Scrapbook | 0:00:59 - A busy newsroom | bluesy | journalist | pedal tone | room | transition | voice-over | working |
Her Kind of Man (1946) | Underscoring (Tense [Steiner]) | 1:12:07 - Steve talks to Candy | advance plot | arguing | chromatic parallelism | conversing | criminal | gambler | henchman | leading man | murderer | pedal tone | slapping | tense | underscoring | warehouse |
| In This Our Life (1942) | Meno | 0:00:34 - Cast list | 64 chord | cast list | chromatic parallelism | deceptive resolution | dramatic | fanfare | opening title sequence | pedal tone | tritone |
In This Our Life (1942) | Asa (Expressivo) | 0:02:33 - Asa walks | conversing | deceptive resolution | establish character | gentle | mode mixture | noble | pedal tone | street | walking | worker |
In This Our Life (1942) | Asa (Molto Expressivo) | 0:23:49 - Roy leaves | 64 chord | added-note chord | conflict | dark | father | leading lady | leaving | mode mixture | pedal tone | reverse picardy | room | somber |
In This Our Life (1942) | Driving + Love Theme | 0:39:07 - Roy and Craig in a car | 9th chord | altered dominant | calm | car | combination of themes | conversing | driving | iii chord | leading lady | leading man | love interest | love scene | oscillation | pedal tone | romantic | suspension |
In This Our Life (1942) | Underscoring (Tense) | 1:05:14 - Craig in his office | advance plot | arriving | augmented triad | lawyer | leading lady | leading man | office | pc set | pedal tone | tense | underscoring |
In This Our Life (1942) | Police | 1:09:16 - A police car arrives | arriving | car | chromatic scale | driving | investigation scene | menacing | pedal tone | police | room | tense |
In This Our Life (1942) | Underscoring (Tense) | 1:09:25 - Policemen approach the house | arriving | chromatic parallelism | conversing | criminal | investigation scene | leading lady | mysterious | pedal tone | police | room | tense | walking | watching |
In This Our Life (1942) | Stanley (Driving Away) | 1:29:06 - Craig goes to the phone | agitated | calling | chromatic parallelism | chromatic sequence | climax | diminished 7th chord | lawyer | leading man | pedal tone | room | telephone | walking |
| The Informer (1935) | Yankee Doodle (Fateful Decision) | 0:12:56 - Gypo has a vision of the wanted poster | American | contemplating | deciding | familiar tune | flashback | leading man | linear chromaticism | montage | mysterious | patriotic tune | pedal tone | pivotal scene | room | street | tense | vision |
The Informer (1935) | Katie (Fateful Decision) | 0:13:48 - Gypo heads towards the British headquarters | American | church bell | contemplating | deciding | diminished 7th chord | familiar tune | leading man | mickey-mousing | mysterious | parallelism | patriotic tune | pedal tone | pivotal scene | police station | street | tense |
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 Informer (1935) | Here Comes the Bride | 0:49:55 - Dream sequence of a voyage to America | 64 chord | advance plot | antagonist | boat | double exposure | dreaming | familiar tune | leading lady | leading man | pedal tone | romantic | ship | street | vision | wedding |
The Informer (1935) | Dan and Mary | 0:55:53 - Dan and Mary talk alone | ABA structure | chromatic parallelism | deceptive resolution | diminished 7th chord | dissonant bass | embracing | half-diminished 7th chord | hero | love interest | love scene | love theme | mode mixture | passionate | pedal tone | romantic | room |
The Informer (1935) | Dan and Mary (Legato) | 1:07:46 - Gypo looks at Mary | antagonist | courtroom | courtroom scene | delicate | gentle | headquarters | leading man | pedal tone | room | sister | suspect | watching |
The Informer (1935) | Judges (Maestoso) | 1:08:01 - Gypo looks at the judges | 64 chord | chromatic scale | courtroom | courtroom scene | headquarters | judge | judging | pedal tone | room | serious | somber | watching |
The Informer (1935) | Blind Man (Tribunal) | 1:08:08 - Gypo looks at the blind man | 64 chord | accusing | antagonist | blind man | chromatic scale | courtroom | courtroom scene | headquarters | leading man | pedal tone | room | serious | suspect | watching |
The Informer (1935) | The Informer (Confession) | 1:16:00 - Gypo confesses and cries | 9th chord | altered dominant | antagonist | confessing | confession | courtroom | courtroom scene | crying | deceptive resolution | diminished 7th chord | dissonant bass | guilt | half-diminished 7th chord | headquarters | leading man | pedal tone | pedal tone | remorseful | room | traitor |
The Informer (1935) | Begging | 1:25:13 - Katie pleads for Gypo | advance plot | begging | diminished 7th chord | dissonant bass | leading lady | love interest | pedal tone | rebel | room | sequence | serious | tense |
The Informer (1935) | The Informer (Pathetic) | 1:29:48 - Gypo stumbles toward Frankie's mother | antagonist | church | climax | diminished 7th chord | dying | gentle | leading man | main theme | pedal tone | somber | stumbling | traitor | walking |
| The Letter (1940) | Robert and Leslie | 0:15:28 - Robert comforts Leslie | advance plot | appoggiatura | comforting | crying | gentle | home | leading lady | love theme | murder | pedal tone | sigh gesture | suspension |
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) | Robert and Leslie | 0:20:07 - Leslie looks in the drawer | appoggiatura | embracing | home | husband | leading lady | love scene | love theme | pedal tone | romantic | sigh gesture | suspension |
The Letter (1940) | Mrs. Hammond (Appassionato) | 0:24:12 - Mrs. Hammond looks at her husband | Aeolian mode | Chinese | Chinese | death | delicate | establish character | grieving | open fifth | parallel fifths | parallelism | passionate | pedal tone | pentatonic | plantation | widow |
The Letter (1940) | Lento Mysterioso | 0:50:37 - Leslie and Howard alone | advance plot | altered dominant | home | lawyer | leading lady | mysterious | planning | sad | upper pedal tone | whole-tone chord |
The Letter (1940) | Mrs. Hammond (Grandioso) | 0:53:54 - Leslie approaches the car | antagonist | Chinese | Chinese | driving | lawyer | leading lady | mysterious | open fifth | parallel fifths | pedal tone | pentatonic | plantation | transition |
The Letter (1940) | Mrs. Hammond (Mysterioso) | 0:56:29 - Howard and Leslie wait in the shop | antagonist | Chinatown | Chinese | Chinese | exotic | lawyer | leading lady | mysterious | open fifth | parallel fifths | parallelism | pedal tone | pentatonic | shop | tense | transition | waiting |
The Letter (1940) | Mrs. Hammond (Dagger) | 0:57:04 - Leslie looks at a Chinese dagger | antagonist | Chinatown | Chinese | Chinese | dagger | exotic | lawyer | leading lady | mysterious | open fifth | parallel fifths | parallelism | pedal tone | pentatonic | polytonality | shop | tense | transition | waiting |
The Letter (1940) | Robert and Leslie (Mournful) | 1:19:00 - Robert cries after hearing the confession | conflict | crying | crying gesture | home | husband | lawyer | leading lady | letter | love theme | mournful | murder | pedal tone | retardation | sad | suspension |
The Letter (1940) | Leslie (Guilty) | 1:19:41 - The full moon on a dark night | dramatic | moon | oscillation | panning shot | pedal tone | plantation | suspension | transition |
The Letter (1940) | Underscoring (Dark) | NIF - not in film | climax | dark | home | lacework | leading lady | leaving | pedal tone |
The Letter (1940) | Underscoring (Mysterious) | 1:26:07 - Leslie talks to Robert | climax | conversing | home | husband | leading lady | mysterious | open fifth | oscillation | pedal tone | staring | underscoring |
The Letter (1940) | Leslie (Ethereal) | 1:26:36 - Leslie and Robert look at each other | climax | home | husband | leading lady | oscillation | pc set | pedal tone | staring | tense |
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 |
| Lightning Strikes Twice (1951) | Lightning 2 | 0:00:41 - Title card, cast list and prison | cast list | chromatic parallelism | dark | opening title sequence | parallelism | pedal tone | self-borrowing | thunder effect |
Lightning Strikes Twice (1951) | Shelly 2 (Misterioso) | 0:19:14 - Shelly gets ready for bed | actor | added-note chord | candle | concerned | establish character | leading lady | leading man | oscillation | pedal tone | preparing | room | suspect | thinking | thoughtful | worried |
Lightning Strikes Twice (1951) | Father Paul (Carriage) | 0:35:13 - Priest riding in a carriage | added-note chord | arriving | carriage | dog | flashback | galloping | horse | leading man | mode mixture | mysterious | pedal tone | priest | ranch | suspect | traveling | upbeat | voice-over |
Lightning Strikes Twice (1951) | Trev (Misterioso) | 0:40:30 - Shelly and Liza talk | actor | advance plot | chromatic parallelism | conversing | dissonant bass | glass | leading lady | mysterious | pedal tone | rancher | street | underscoring | uneasy | walking |
Lightning Strikes Twice (1951) | Shelly (Gallop) | 0:40:52 - Shelly riding on a horse | actor | arriving | countryside | galloping | galloping effect | horse | leading lady | ostinato | pedal tone | riding | transition | upbeat |
Lightning Strikes Twice (1951) | Shelly (Dolce) + Shelly 2 | 0:41:00 - Shelly gets off of her horse | actor | arriving | calm | combination of themes | horse | leading lady | ostinato | pedal tone | ranch | transition | walking | worker |
Lightning Strikes Twice (1951) | Shelly (Gallop 2) + Shelly 2 | 0:42:19 - Shelly riding on a horse | actor | arriving | calm | combination of themes | countryside | galloping | galloping effect | horse | leading lady | ostinato | pedal tone | riding | transition | traveling | upbeat |
Lightning Strikes Twice (1951) | Shelly 2 (Dolcissimo) | 0:44:07 - Shelly looks at Trev | actor | cliff | conversing | countryside | falling in love scene | gentle | leading lady | leading man | love interest | oscillation | pedal tone | romance | romantic | suspect |
| Mildred Pierce (1945) | Mildred | 0:01:23 - Cast list and wave effect | cast list | mickey-mousing | opening title sequence | optimistic | pedal tone | romantic | triumphant | water | wave |
Mildred Pierce (1945) | Mildred (Somber) | 0:01:37 - A house on the beach | added-note chord | beach | establish setting | mickey-mousing | mode mixture | optimistic | pedal tone | somber | water | wave |
Mildred Pierce (1945) | Mildred (Pier) | 0:02:15 - Santa Monica pier at night | chromatic parallelism | dock | establish character | fragmentation | heroine | leading lady | mickey-mousing | pedal tone | pondering | sequence | somber | walking | water | wave |
Mildred Pierce (1945) | Hall of Justice | 0:13:35 - The Los Angeles Hall of Justice | advance plot | arriving | bold | detective | entering | heroine | justice | leading lady | parallelism | pedal tone | police | police station | walking |
Mildred Pierce (1945) | Bert (Triste) | 0:24:26 - Bert and Mildred separate | augmented sixth chord | breaking up | crying | establish character | fragmentation | heroine | husband | leading lady | leaving | Neapolitan | pedal tone | room | somber |
Mildred Pierce (1945) | Mildred (Tense) | 0:28:43 - Mildred goes to open the door | advance plot | fragmentation | heroine | leading lady | pedal tone | room | tense | walking |
Mildred Pierce (1945) | Mildred (Delicate) | 0:32:04 - Mildred walks up the stairs | advance plot | gentle | heroine | leading lady | parallelism | pedal tone | room | up | walking |
Mildred Pierce (1945) | Work (Molto Grazioso) | 0:48:16 - Mildred works at her restaurant | cheerful | common-tone diminished 7th | friend | heroine | ladder | leading lady | legs | pedal tone | restaurant | self-borrowing | transition | working |
Mildred Pierce (1945) | It Can't Be Wrong (Uneasy) | 1:05:36 - Bert stares angrily at Monte | advance plot | dark | ex-husband | familiar tune | glaring | heroine | leading lady | leaving | love interest | pedal tone | popular music | restaurant | source to score | tense | uneasy |
Mildred Pierce (1945) | Mildred (Tenderly) | 1:19:37 - Wally talks about a settlement | antagonist | chromatic parallelism | conflict | conversing | daughter | fragmentation | friend | heroine | leading lady | pedal tone | room | tender |
Mildred Pierce (1945) | Bert (Somber) | 1:37:06 - Bert talks with Mildred in her new house | advance plot | augmented sixth chord | conversing | ex-husband | heroine | leading lady | pedal tone | room | somber |
Mildred Pierce (1945) | Mildred (The End) | 1:50:07 - Mildred leaves with Bert | added-note chord | ex-husband | heroine | leading lady | leaving | pedal tone | police station | resolution | triumphant |
| The Life of Vergie Winters (1934) | Funeral March | 0:01:12 - A funeral march | altered dominant | brass band | classical music | crowd | establish place | funeral | funeral march | marching | mode change | on-screen music | parallel 63s | pedal tone | performer | secondary dominant | somber | source music | street | watching |
The Life of Vergie Winters (1934) | London Bridge is Falling Down | 0:03:31 - Children dancing in a circle | cheerful | child | children's song | dancing | establish setting | parallelism | park | pedal tone | playing |
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) | Lullaby (Military Band) | 0:45:45 - Newspaper montage | 64 chord | fanfare | leading man | love interest | montage | pedal tone | politician | soldier | triumphant |
The Life of Vergie Winters (1934) | Stars and Stripes Forever (Allegro) | 0:46:04 - Newspaper montage | 64 chord | added-note chord | gentle | leading lady | leading man | love interest | montage | patriotic tune | pedal tone | politician | soldier |
The Life of Vergie Winters (1934) | 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 (Sentimental) | 0:53:43 - Vergie talks with John by the lake | conversing | leading lady | leading man | love scene | outside | pedal tone | secret love | secret lover | tender |
The Life of Vergie Winters (1934) | Lullaby (Flowing) | 0:53:59 - John talks with Vergie by the lake | altered dominant | conversing | diminished 7th chord | happy | leading lady | leading man | love scene | outside | pedal tone | reassuring | secret love | secret lover |
The Life of Vergie Winters (1934) | Lullaby (Poco Con Moto) | 0:54:53 - Joan and Vergie talk about the future | 13th chord | altered dominant | conversing | dissonant bass | gentle | leading lady | leading man | longing | love scene | outside | pedal tone | secret love | secret lover | sigh gesture |
The Life of Vergie Winters (1934) | Underscoring (Lyrical) | 1:02:52 - Laura reveals that Joan is adopted | conflict | daughter | deflecting | hesitating | leading man | love interest | mode mixture | peaceful | pedal tone | room | surprise | wife |
The Life of Vergie Winters (1934) | Old Lavender (Allegretto) | 1:04:31 - Ranny reacts to the revelation | chromatic mediant | conflict | conversing | daughter | foreign key modulation | fragmentation | leading man | light | love interest | mode mixture | optimistic | pedal tone | room | wife |
The Life of Vergie Winters (1934) | Old Lavender (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) | Old Lavender (Ethereal) | 1:05:26 - Ranny talks to Joan's parents | added-note chord | common-chord modulation | conflict | conversing | daughter | leading man | love interest | mode mixture | pedal tone | room | sentimental | wife |
The Life of Vergie Winters (1934) | Lullaby (Tender) | 1:05:45 - Ranny leaves with Joan | 13th chord | conflict | daughter | leading man | leaving | love interest | peaceful | pedal tone | room | wife |
The Life of Vergie Winters (1934) | Lullaby (Passionate) | 1:09:39 - John and Vergie embrace | 9th chord | advance plot | embracing | leading lady | leading man | pedal tone | romantic | room | secret lover | tense |
The Life of Vergie Winters (1934) | Lullaby (Allegro) | 1:18:34 - Newspaper headline | bold | conversing | daughter | dissonant bass | fragmentation | husband | montage | pedal tone | prison | waiting |
The Life of Vergie Winters (1934) | Lullaby (Very Ethereal) | 1:19:04 - Vergie exits the prison | daughter | dissonant bass | husband | leading lady | pedal tone | prison | prisoner | resolution | somber | suspect | tense | walking |
| 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 (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) | 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) | Underscoring (Tender) | 1:38:49 - Nick lies dying on a table | climax | dying | linear chromaticism | manager | pedal tone | room | somber | tender |
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) | 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) | Unfaithful (Tragic) | 0:24:34 - Mrs. Tanner walks down the street | advance plot | antagonist | husband | leading lady | newspaper | ostinato | panicked | panicking | pedal tone | police station | street | transition | trolley | victim | widow |
The Unfaithful (1947) | Underscoring (Tense) | 0:43:21 - Lady talks to Larry | advance plot | conversing | law office | lawyer | office | pedal tone | tense | underscoring |
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 (Ostinato) | 0:50:56 - Chris leaves Larry's office | advance plot | exiting | law office | lawyer | leading lady | office | pedal tone | somber |
The Unfaithful (1947) | Walking | 1:09:50 - Bob goes for a walk | husband | park | pedal tone | tense | transition | walking |
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 (Leaving) | 1:42:32 - Chris prepares to leave | 9th chord | conversing | husband | lawyer | mode mixture | ostinato | pedal tone | 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) | Heart of Oak | 0:01:02 - View of London ("England, 1914") | 64 chord | added-note chord | bold | British | card | England | establish location | familiar tune | folk song | London | march | pedal tone | setting |
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) | Surprise Symphony (Not in film) | NIF - not in film | classical music | cut from film | doctor | establish character | familiar tune | Haydn | hero | heroine | pedal tone | quotation | room |
We Are Not Alone (1939) | Frohe Botschaft (Tenderly) | 0:14:22 - Leni takes off her wig | 64 chord | doctor | establish character | familiar tune | folk song | German | hero | heroine | pedal tone | quotation | room | tender |
We Are Not Alone (1939) | Frohe Botschaft (Ethereal) | 0:25:12 - David tells his son about his patient, Leni | 9th chord | 64 chord | advance plot | boy | child | conversing | familiar tune | father | folk song | German | hero | home | mode mixture | pedal tone | quotation | sweet |
We Are Not Alone (1939) | Surprise Symphony (Lullaby) | 0:25:36 - David asks his son to help Leni | advance plot | boy | child | classical music | conversing | familiar tune | father | Haydn | hero | home | pedal tone | quotation | sweet |
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) | Barcarolle | 0:44:06 - Gerald talks about sailing | 9th chord | advance plot | barcarolle | boy | child | dissonant bass | heroine | home | hopeful | imagination | pedal tone | room | telling a story |
We Are Not Alone (1939) | Tragico | 0:46:40 - Gerald faces his mother | advance plot | antagonist | appoggiatura | boy | child | conversing | dark | home | mother | pedal tone | room | sad | stinger | tragic |
We Are Not Alone (1939) | Underscoring (Tense) | 1:03:56 - The crowd outside | agitated | chromatic scale | conflict | confused | crowd | hero | linear chromaticism | metric dissonance | pedal tone | polychord | riot | rioting | street | tense | underscoring |
We Are Not Alone (1939) | Surprise Symphony (Allegretto) | 1:14:16 - David helps Leni buy a ticket | advance plot | classical music | conversing | familiar tune | fragmentation | gentle | Haydn | hero | heroine | optimistic | pedal tone | quotation | sequence | sweet | train station |
We Are Not Alone (1939) | Underscoring (Tense) | 1:15:25 - David is taken away by the police | 9th chord | added-note chord | arresting | conflict | hero | heroine | pedal tone | police | tense | train station | underscoring |
We Are Not Alone (1939) | Frohe Botschaft (Hopeful) | 1:38:41 - David comforts Leni | 9th chord | comforting | conversing | familiar tune | folk song | German | hero | heroine | love scene | mode mixture | pedal tone | plagal cadence | prison | quotation | somber |
We Are Not Alone (1939) | Heart Break | 1:40:11 - David and Leni kiss | 9th chord | appoggiatura | dissonant bass | first kiss | hero | heroine | kissing | love | love scene | mode mixture | passionate | pedal tone | prison | suspension |
We Are Not Alone (1939) | Underscoring (Subtle) | 1:41:29 - David walks down the prison corridor | advance plot | augmented triad | conversing | delicate | diminished 7th chord | helping | hero | pedal tone | prison | underscoring | whole-tone chord |
We Are Not Alone (1939) | Surprise Symphony (Whistling) | 1:48:34 - David whistles as he thinks | advance plot | augmentation | classical music | deceptive resolution | familiar tune | gentle | Haydn | hero | on-screen music | pedal tone | prison | quotation | score to source | source music | sweet | whistling |
| The Public Defender (1931) | Mystery (End Title) | 1:08:56 - A kiss and The End | arguing | end title sequence | kissing | leading man | mode mixture | pedal tone | romantic | room | The End | transcribed by ear |
| Three Who Loved (1931) | Transition | 0:00:45 - Cast list | cast list | cheerful | linear chromaticism | opening title sequence | pedal tone | pleasant | starring list | title of film | transcribed by ear |
| Is My Face Red? (1932) | You Bunch of Fun (Transition) | 0:01:08 - Cast list | excited | main title | opening title sequence | pedal tone | transcribed by ear |
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 |
Is My Face Red? (1932) | Sailing | 0:19:56 - Boat moves through the water | boat | common-tone diminished 7th | crowd | excited | mode mixture | pedal tone | sailing | transcribed by ear | transition |
| State’s Attorney (1932) | Bluesy Transition | 0:01:15 - Black screen | blues | bluesy | exciting | Gershwinesque | opening title sequence | pedal tone | transcribed by ear |
| Thirteen Women (1932) | Ursula | 0:01:11 - A quotation about suicide | book | chromatic mediant | dark | opening title sequence | pedal tone | psychology | tragic | transcribed by ear |
Thirteen Women (1932) | The Train | 0:01:33 - A rushing train | chromatic mediant | mickey-mousing | pedal tone | rushing | sorting | train | train | train whistle | transcribed by ear | transition | traveling | upbeat |
Thirteen Women (1932) | Ursula (Exotic) + The Train | 0:23:07 - Helen points the gun at herself and cries | antagonist | combination of themes | crying | exotic | exoticism | gun | Gypsy major scale | hypnotic | murderer | murder scene | pedal tone | suicide | tense | train | train | train effect | transcribed by ear | traveling | victim |
Thirteen Women (1932) | Ursula (Suicide) | 0:24:18 - Helen commits suicide | antagonist | chromaticism | committing suicide | dying | exotic | exoticism | gun | gunshot | hypnotic | murderer | murder scene | pc set | pedal tone | stinger | suicide | tense | train | train | train effect | transcribed by ear | traveling | victim |
| Blind Adventure (1933) | Opening Fanfare | 0:00:16 - Title of film and starring list | cast list | chromatic mediant | cloud | exciting | fanfare | opening title sequence | pedal tone | title of film | transcribed by ear |
| Emergency Call (1933) | Ambulance | 0:00:11 - Main titles over a speeding ambulance | ambulance | augmented triad | dissonant bass | Dorian mode | dramatic | driving | half-diminished 7th chord | main title | opening title sequence | parallelism | paramedic | pedal tone | siren | street | through-composed | whole-tone |
| Headline Shooter (1933) | You Bunch of Fun (Transition) | 0:01:08 - Video cast list | augmented triad | chromatic parallelism | excited | opening title sequence | parallelism | pedal tone | reused recording | transcribed by ear | video cast list |
| Dangerous Corner (1934) | Introduction | 0:00:05 - Beeping RKO radio tower | opening title sequence | pedal tone | romantic | title of film | transcribed by ear |
Dangerous Corner (1934) | Finishing School | 0:00:17 - Title of the film | altered dominant | cast list | common-tone diminished 7th | mode mixture | opening title sequence | parallel double period | pedal tone | romantic | 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 |
Dangerous Corner (1934) | Finishing School (Lilting) | 0:01:25 - On-screen text introducing the story | mode mixture | on-screen text | opening title sequence | pedal tone | romantic | transcribed by ear |
Dangerous Corner (1934) | Fall of the Star | 0:17:05 - Newspaper headline about a suicide | common-tone diminished 7th | dramatic | headline | montage | montage | newspaper | pedal tone | somber | transcribed by ear |
| Gridiron Flash (1934) | Fanfare | 0:00:16 - Title of the film | fanfare | opening title sequence | pedal tone | starring list | title of film | upbeat |
| Hat, Coat, and Glove (1934) | Transient Love | 0:00:12 - Title of film; starring list; cast list | AABA structure | added-note chord | altered dominant | cast list | chromatic mediant | common-tone diminished 7th | opening title sequence | pedal tone | pleasant | starring list | title of film | transcribed by ear |
| Murder on the Blackboard (1934) | Murder Fanfare | 0:00:23 - Film title zooming out from a blackboard | blackboard | dark | fanfare | opening title sequence | parallelism | pedal tone | title of film | transcribed by ear |
| Star of Midnight (1935) | Midnight in Manhattan (Montage) | 0:54:11 - Feet walking | bus | chromatic parallelism | fragmentation | hurried | montage | pedal tone | street | transcribed by ear | traveling | walking |
| Don’t Turn ‘em Loose (1936) | Souvenir No. 16 | 1:03:53 - John at his daughter's wedding | bride | calm | conversing | father | guest | mother | pedal tone | pleasant | resolution | wedding | wedding | wedding |
| 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) | 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 |
We're Only Human (1935) | Kong 1 | 0:28:23 - Pete jumps on a criminal | action scene | bank | chromatic parallelism | detective | dramatic | fighting | gangster | jumping | leading man | pedal tone | punching | tense |
We're Only Human (1935) | Begging | 0:29:35 - Pete talks with Danny | action scene | arguing | bank | detective | diminished 7th chord | dissonant bass | gangster | leading man | pedal tone | sequence | serious | tense | victim |
We're Only Human (1935) | Kong 3 | 1:01:06 - Pete leaves | car | chromatic parallelism | climax | conflict | departing | detective | diminished 7th chord | dramatic | hurried | leading lady | leading man | pedal tone | reporter | rushing | sequence | street | victim |
We're Only Human (1935) | Game 1 | 1:01:21 - Driving in a car | car | car | chromatic sequence | climax | conflict | detective | dissonant bass | dramatic | driving | hurried | leading lady | leading man | pedal tone | reporter | rushing | victim | wipe |
We're Only Human (1935) | Game 2 | 1:01:56 - Witness threatens to kill the criminals | acceleration | arguing | car | car | chromatic parallelism | climax | conflict | detective | dramatic | driving | hurried | leading lady | leading man | pedal tone | reporter | rushing | threat | threatening | victim |
We're Only Human (1935) | Game 5 | 1:05:03 - Pete prepares to shoot | chromatic parallelism | climax | conflict | detective | gangster | gunshot | leading man | murderer | pc set | pedal tone | room | shooting | sneaking | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Game 7 | 1:05:48 - Pete runs up the stairs | 9th chord | climax | conflict | detective | dramatic | gangster | leading man | murderer | parallelism | pc set | pedal tone | room | running | rushing | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Game 8 | 1:05:55 - Pete advances slowly | arguing | chromatic scale | climax | conflict | detective | gangster | half-diminished 7th chord | hostage | leading man | murderer | pedal tone | polychord | room | sneaking | taunting | tense | tricking | underscoring |
| Another Face (1935) | Suicide Transition | 0:01:57 - Gangsters arrive at doctor's office | arriving | conversing | doctor | establish setting | gangster | mysterious | office | parallelism | pedal tone |
Another Face (1935) | Russian Waltz (Meno) + The Iron Door | 0:02:11 - Gangsters talk with doctor | chromatic scale | combination of themes | conversing | doctor | establish character | gangster | mysterious | nurse | office | pedal tone | tense |
Another Face (1935) | Courage + The Iron Door | 0:02:53 - Close up on the nurse | dramatic | establish character | gangster | headline | laughing | newspaper | nurse | office | pedal tone | reacting | reading | stinger | tense |
| Caged (1950) | Underscoring (Dark) | 0:56:40 - Kitty and Harper | advance plot | chromatic parallelism | dark | guard | low-angle shot | pc set | pedal tone | prison | prisoner | shadow | threatening | underscoring |
Caged (1950) | Molto Expressivo (The End) | 1:36:13 - The End | dark | dramatic | end title sequence | pedal tone | plagal cadence | The End |
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