| All This, and Heaven Too (1940) | Henriette (Moderato Maestoso) | 2:16:29 - A hand signing a release form | hopeful | leading lady | leaving | noble | prison | resolution | walking | writing |
All This, and Heaven Too (1940) | The Duke (Gravestone) | 2:16:48 - The Duke's gravestone | death | gentle | gravestone | graveyard | grieving | leading lady | resolution | somber | voice-over |
All This, and Heaven Too (1940) | Heaven Theme (Expressivo) | 2:17:25 - Henriette leaves with Henry Field | comforting | death | gravestone | graveyard | grieving | hopeful | leading lady | minister | resolution | voice-over | wave |
All This, and Heaven Too (1940) | Desperation (Mysterioso) | 2:17:47 - Henriette narrates her story | child | leading lady | mysterious | resolution | school | storytelling | student | teacher | tense |
All This, and Heaven Too (1940) | The Duchess | 2:17:58 - Henriette narrates her story | child | leading lady | resolution | school | storytelling | student | teacher | tense |
All This, and Heaven Too (1940) | Underscoring (Tense) | 2:18:09 - Children listening to Henriette | child | leading lady | resolution | school | storytelling | student | teacher | tense |
All This, and Heaven Too (1940) | Columbia Gem of the Ocean | 2:18:19 - Children listening to Henriette | child | hopeful | leading lady | resolution | school | storytelling | student | teacher |
All This, and Heaven Too (1940) | Henriette (Adagio) | 2:18:52 - A child begins crying | child | crying | leading lady | resolution | school | somber | storytelling | student | teacher |
All This, and Heaven Too (1940) | Henriette (Dolschissimo) | 2:21:00 - Henriette kisses a child on the cheek | child | conversing | gentle | leading lady | leaving | minister | resolution | school | student | sweet | teacher |
All This, and Heaven Too (1940) | Heaven Theme (Resolution) | 2:21:31 - Henriette reacts to Henry | gentle | leading lady | looking | minister | resolution | school | sweet | teacher |
All This, and Heaven Too (1940) | Henriette + Falling Snow | 2:21:43 - Henriette sees the falling snow | combination of themes | hearing voices | leading lady | minister | resolution | school | snow | teacher | tense |
All This, and Heaven Too (1940) | Henriette (Resolution) + Falling Snow (Resolution) | 2:22:03 - Henry talks to Henriette | combination of themes | conversing | gentle | leading lady | minister | promising | resolution | school | snow | teacher |
| 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 (Pleading) | 1:21:26 - Jerry talks to the cops | building | conflict | deceptive resolution | heroic | hopeful | leading man | pleading | priest | street |
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 |
| 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) | 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 (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) | Happy Land (The End) | 1:57:05 - Mortimer carries Elaine away | altered dominant | bride | countermelody | driver | end title sequence | familiar tune | groom | kissing | leading lady | leading man | resolution | street | The End | upbeat |
| 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) | Mars Dies | 1:51:43 - Mars falls dead to the ground | criminal | death | dying | falling | leading lady | leading man | love interest | mysterious | ominous | private eye | resolution | room | stinger | tense | underscoring |
The Big Sleep (1946) | Marlowe (Risoluto) | 1:52:01 - Marlowe walks to the phone | bold | death | leading lady | leading man | love interest | mysterious | plotting | private eye | resolution | room | tense |
The Big Sleep (1946) | Carmen (Tense) | 1:52:28 - Marlowe talks on the phone | conversing | leading lady | leading man | love interest | lying | mysterious | phone call | private eye | resolution | room | tense | uneasy |
The Big Sleep (1946) | Vivian | 1:52:48 - Marlowe talks to Vivian | conversing | leading lady | leading man | love | love interest | private eye | resolution | romantic | room |
The Big Sleep (1946) | Vivian (Expressivo) | 1:53:20 - Marlowe pulls Vivian close | conversing | leading lady | leading man | love | love interest | private eye | resolution | romantic | room |
| 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 | 0:27:59 - Eddie plays the piano | 9th chord | 13th chord | advance plot | brother | composer | composing | deceptive resolution | enharmonic respelling | leading man | musician | on-screen music | piano | playing | romantic | room | source music | transcribed by ear |
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 (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 | 1:32:32 - Violins playing | 9th chord | 11th chord | 13th chord | audience | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dramatic | Gershwinesque | leading lady | listening | musician | on-screen music | orchestra | playing | romantic | sentimental | sequence | source music | watching | zoom in |
City for Conquest (1940) | Tone Poem A (Tutti) | 1:33:02 - Peggy watches from the audience | 9th chord | 11th chord | 13th chord | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dramatic | fragmentation | Gershwinesque | leading lady | listening | musician | on-screen music | orchestra | playing | point-of-view shot | romantic | source music | watching | zoom in |
City for Conquest (1940) | Tone Poem A (Very Broad) | 1:34:24 - Peggy reacts to the music | 9th chord | 13th chord | audience | bold | Carnegie Hall | chromatic parallelism | chromatic scale | chromatic sequence | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dissonant bass | dramatic | Gershwinesque | leading lady | leading man | listening | musician | newspaper | newspaper stand | on-screen music | orchestra | playing | radio | romantic | source music | street | watching | zoom out |
City for Conquest (1940) | Tone Poem A (Grandioso) | 1:36:11 - Audience enjoying the performance | 9th chord | 13th chord | altered dominant | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | double exposure | dramatic | Gershwinesque | leading lady | leading man | listening | musician | on-screen music | orchestra | playing | romantic | sentimental | smiling | source music | watching |
City for Conquest (1940) | Tone Poem A (Tutti 2) | 1:36:41 - Danny's figure appears in the concert hall | 9th chord | 13th chord | AABA structure | added-note chord | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | crying | deceptive resolution | double exposure | dramatic | Gershwinesque | leading man | listening | mode mixture | musician | on-screen music | orchestra | playing | romantic | sentimental | smiling | source music | watching | zoom out |
City for Conquest (1940) | Sidewalks of New York (Soliloquy) | 1:42:56 - Old timer talks to himself | altered dominant | chromatic parallelism | conversing | countermelody | old man | resolution | sentimental | soliloquy |
City for Conquest (1940) | Sidewalks of New York (Snake) | 1:43:16 - Old timer talks to himself | 64 chord | conversing | gentle | old man | resolution | romantic | soliloquy |
| Crime School (1938) | Signature | 0:00:00 - Warner Brothers shield | bold | chromatic mediant | deceptive resolution | fanfare | main title | opening title sequence | starring list | WB shield |
Crime School (1938) | The Courthouse | NIF - not in film | cut from film | deceptive resolution | noble | parallelism |
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) | 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) | Sue (Grazioso Mysterioso) | 1:13:38 - Frankie confronts Sue and Mark | cheerful | common-tone diminished 7th | conflict | conversing | deceptive resolution | dining | gun | happy | hero | heroine | leading lady | leading man | room | stick up | stinger | teenager | tone cluster | whole-tone chord |
Crime School (1938) | Underscoring (Tense) | 1:14:26 - Mark talks to policeman | chromatic scale | conflict | deceptive resolution | gun | hero | heroine | hiding | knocking | leading lady | leading man | lying | mode mixture | pedal tone | police | room | teenager | tense | underscoring |
Crime School (1938) | Resolution | 1:22:31 - Sue enters the room | 42 chord | antagonist | calm | chromatic parallelism | chromatic scale | comical | conversing | hero | leading man | reformatory | resolution | resolution | tense | tritone |
Crime School (1938) | The Courthouse (Judge) | 1:22:53 - Door to the judge's chambers | courthouse | cut from film | entering | judge | noble | resolution |
Crime School (1938) | Sue (Allegretto) | 1:24:18 - Boys talk about Sue | 9th chord | chromatic parallelism | conversing | courthouse | fragmentation | gang | optimistic | resolution | sequence | teenager |
Crime School (1938) | Sue (The End) | 1:24:27 - The End | added-note chord | resolution | The End | triumphant |
| 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 (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) | 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) | 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 (Ending) | 1:30:23 - A train rushes away | detective | foreign key modulation | leading man | mode mixture | optimistic | passionate | plagal cadence | resolution | resolution | running | teenager | train station | triumphant |
They Made Me a Criminal (1939) | Running | 1:30:35 - Johnnie runs to Tommy | leading man | mickey-mousing | optimistic | passionate | resolution | resolution | running | teenager | train station | triumphant |
| Deep Valley (1947) | Sneaking (Molto Rubato) | 1:40:51 - Libby runs to find Barry | death scene | forest | leading lady | mysterious | resolution | running | tense |
Deep Valley (1947) | Barry (Appassionato) | 1:41:02 - Libby arrives at the cabin | cabin | calling | death scene | leading lady | passionate | resolution | searching |
Deep Valley (1947) | Molto Expressivo | 1:41:09 - Libby looks for Barry | calling | death scene | forest | leading lady | passionate | resolution | searching |
Deep Valley (1947) | Barry (Dolce) | 1:41:24 - Libby finds Barry | convict | death scene | finding | forest | fugitive | gentle | leading lady | leading man | love interest | resolution | searching |
Deep Valley (1947) | Deep Valley (Delicato 2) | 1:41:39 - Libby goes to Barry | comforting | convict | crying | death scene | delicate | dying | forest | fugitive | gentle | leading lady | leading man | love interest | resolution | reuniting | tender |
Deep Valley (1947) | Deep Valley (Dying) | 1:42:30 - Barry talks to Libby | comforting | convict | crying | death scene | delicate | dying | forest | fugitive | gentle | leading lady | leading man | love interest | resolution | reuniting | tender |
Deep Valley (1947) | Passing away | 1:43:19 - Barry dies | convict | death | death scene | delicate | dying | forest | fugitive | gentle | leading lady | leading man | love interest | mickey-mousing | resolution | tender |
Deep Valley (1947) | Breeze | 1:43:22 - Libby looks at Barry | convict | crying | death | death scene | ethereal | forest | fugitive | leading lady | leading man | love interest | magical | resolution | wind effect |
Deep Valley (1947) | Breeze + Love Theme | 1:43:32 - Libby embraces Barry | combination of themes | convict | crying | death | death scene | ethereal | forest | fugitive | leading lady | leading man | love interest | magical | resolution | wind effect |
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) | Law (Working) | 1:44:28 - Libby looks at the worksite | calm | construction site | dog | leading lady | resolution | watching | worker | working |
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 |
Deep Valley (1947) | Deep Valley (Appassionato) | 1:44:57 - Libby looks off into the distance | dog | forest | leading lady | leading man | passionate | resolution | watching |
Deep Valley (1947) | Deep Valley (Sostenuto) | 1:45:05 - Jeff and Libby on the cliffside | dog | forest | leading lady | leading man | passionate | resolution | walking |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Denied) | 0:18:23 - Mabel talks to Joe | conflict | deceptive resolution | denial | expectant | gentle | guard | hopeful | leading lady | leading man | prison | prisoner | stinger | 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) | Dust Be My Destiny (Ethereal) | 0:24:50 - Joe tells Mabel he loves her | barn | common-tone diminished 7th | deceptive resolution | inversion | kissing | leading lady | leading man | love scene | romantic |
Dust Be My Destiny (1939) | Dust Be My Destiny (Fateful Decision) | 0:26:17 - Joe and Mabel decide to run away together | barn | confused | deceptive resolution | fragmentation | hopeful | leading lady | leading man | mode mixture | runaway | turning point |
Dust Be My Destiny (1939) | 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 (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) | 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 (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 (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 (Train) | 1:26:17 - Joe and Mabel on the train | 11th chord | added-note chord | happy | leading lady | leading man | resolution | sequence | 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 |
| Flamingo Road (1949) | Signature | 0:00:00 - Warner Brothers shield | bold | chromatic mediant | deceptive resolution | fanfare | opening title sequence | WB shield |
Flamingo Road (1949) | Lane (Poco Con Moto) | NIF - not in film | conversing | cut from film | cut from film | deceptive resolution | leading lady | leading man | lovers meet | parallelism | police | room |
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) | 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 (Somber) | 0:40:31 - Field talks to Lane's co-worker | 9th chord | 11th chord | advance plot | café | common-tone diminished 7th chord | conversing | coworker | deceptive resolution | diminished 7th chord | leading man | linear chromaticism | politician | reverse picardy | sigh gesture | somber |
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) | 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) | The Capitol | 0:56:03 - The Olympic City capitol building | chromatic mediant | courthouse | deceptive resolution | establish setting | Mixolydian mode | noble | self-borrowing |
Flamingo Road (1949) | Titus 2 (Triste) | NIF - not in film | cut from film | cut from film | police station | resolution | self-borrowing |
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 |
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 |
Flamingo Road (1949) | Lute Mae (Delicato) | 1:33:28 - Lane smiles as Dan | 13th chord | added-note chord | crying | delicate | husband | kissing | leading lady | leading man | prison | resolution | reuniting | romance | self-borrowing | sentimental | wife |
Flamingo Road (1949) | If I Could Be With You (Ecstatic) | 1:33:37 - Lane walks away | added-note chord | altered dominant | artwork in score | chromatic parallelism | friend | husband | joyous | leading lady | leading man | leaving | prison | resolution | reuniting | romance | secondary dominant | The End | thematic transference | triumphant | wife |
| Hell on Frisco Bay (1955) | Steve | 1:36:31 - Steve surfaces | dock | gentle | heroic | inspector | leading man | resolution from here on? | swimming |
| Her Kind of Man (1946) | Water | 1:17:41 - Steve's corpse | corpse | criminal | death | flowing | gambler | henchman | leading lady | leading man | murderer | panning shot | police | reporter | resolution | singer | street | swirling | tense | tragic | voice-over | water | water effect | wife |
| I Was a Communist for the FBI (1951) | Family (Writing) | 1:21:44 - Matt is reunited with his son | family | love | resolution |
| In This Our Life (1942) | Stanley (Tenderly) | NIF - not in film | cut from film | resolution |
In This Our Life (1942) | The End | NIF - not in film | cut from film | resolution |
In This Our Life (1942) | Underscoring (Tense) | 1:35:07 - Policemen on the radio | calling | police | police station | reporting | resolution | room | solemn | somber | stinger | tense | underscoring |
In This Our Life (1942) | Love Theme (Slowly) | 1:35:39 - Craig answers a phone call | comforting | conversing | leading lady | leading man | resolution | room | solemn | somber | tender | The End |
| The Informer (1935) | The Wearin' o' the Green (Headquarters) | 0:31:29 - Irish rebel headquarters | 64 chord | advance plot | deceptive resolution | dissonant bass | familiar tune | folk song | Irish | rebel | room | tense | waiting |
The Informer (1935) | Mary | 0:38:47 - Rebels talk about Frankie's sister Mary | 64 chord | advance plot | augmented sixth chord | conversing | deceptive resolution | headquarters | love | mode mixture | rebel | romantic | room | Scotch snap |
The Informer (1935) | 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) | Judges | 1:06:10 - Camera pans to the faces of the judges | courtroom | courtroom scene | deceptive resolution | headquarters | judge | judging | justice | noble | room |
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 |
| Key Largo (1948) | Signature | 0:00:00 - Warner Brothers shield | bold | chromatic mediant | deceptive resolution | fanfare | opening title sequence | WB shield |
Key Largo (1948) | Moanin’ Low (Triste) | 1:38:30 - Gaye leaves | familiar tune | father | hotel | leading lady | moll | resolution | somber | thinking | waiting |
Key Largo (1948) | Relief | 1:38:40 - Nora answers the phone | answering | hopeful | hotel | leading lady | leading man | relieved | resolution | telephone |
Key Largo (1948) | McCloud (Tenderly) | 1:39:12 - Nora tells her father the good news | father | hopeful | hoping | hotel | leading lady | light | opening | relieved | resolution | sunlight | thinking | window |
Key Largo (1948) | McCloud (Maestoso) | 1:39:43 - McCloud steers the boat home | boat | hopeful | leading man | resolution | returning | sailing | triumphant |
| The Letter (1940) | Leslie (Not in Film) | NIF - not in film | advance plot | cut from film | deceptive resolution | suspension |
The Letter (1940) | Robert and Leslie (Triste) | 0:42:17 - Leslie and Howard talk about her husband | advance plot | appoggiatura | calm | chromatic mediant | crying | hospital | lawyer | leading lady | letter | love theme | resolution | sigh gesture | somber | suspension | tender |
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) | Foxtrot No. 3 | 1:33:58 - Camera pans to the party | added-note chord | calm | dance music | foxtrot | plantation | resolution | source music | zoom in |
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 |
The Letter (1940) | Leslie (Ending) | 1:34:28 - Camera pans to the moon | appoggiatura | glorious | minor-major 7th chord | moon | oscillation | plagal cadence | plantation | resolution |
| Lightning Strikes Twice (1951) | Liza (Aftermath) | 1:29:20 - Priest says the mystery of the crime is all clear now | resolution |
| 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) | Kay and Veda (Excited) | 1:13:21 - Veda drives away in her new car | added-note chord | advance plot | altered dominant | car | child | deceptive resolution | driving | excited | happy | heroine | kissing | leading lady | love interest | room | running |
Mildred Pierce (1945) | Underscoring (Tense) | 1:14:53 - Mildred and Monte argue | 9th chord | added-note chord | arguing | bitter | breakup | conflict | deceptive resolution | heroine | leading lady | love interest | room | tense | underscoring |
Mildred Pierce (1945) | Work (Montage) | 1:34:44 - Montage of Mildred and Monte's marriage | added-note chord | cheerful | deceptive resolution | ex-husband | glass | heroine | leading lady | love interest | mickey-mousing | mode mixture | montage | newspaper | self-borrowing | shadow |
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) | Kay and Veda (Allegretto Grazioso) | 1:39:47 - Monte is happy to see Veda | added-note chord | advance plot | antagonist | cheerful | conversing | daughter | deceptive resolution | reuniting | room | welcoming |
Mildred Pierce (1945) | Kay and Veda (Triste) | 1:49:37 - Veda is led out by the police | antagonist | conversing | daughter | defeat | detective | heroine | leading lady | leaving | mother | murderer | police station | resigned | resolution | sigh gesture | 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) | Everybody's Doing It Now | 0:03:48 - Horses and buggies in a small town street | altered dominant | buggy | common-tone diminished 7th | deceptive resolution | driving | establish setting | establish time | horse | playful | popular song | riding | street |
The Life of Vergie Winters (1934) | Lullaby (Harp Solo) | 1:03:33 - John tells Joan about her parents | conflict | daughter | deceiving | deceptive resolution | leading man | love interest | lullaby | lying | revealing | room | secondary dominant | surprise | tender | wife |
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 |
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 (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 | conversing | dock | exotic | father | fisherman | leading lady | peaceful | 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 | resolution | street | The End | walking |
| Kid Galahad (1937) | Heart's Affair (Yearning) | 0:44:11 - Ward and Nick leave the farm | advance plot | altered dominant | car | deceptive resolution | driving | farm | leading man | leaving | manager | mother | not by Steiner | parting | sentimental | sister | transcribed by ear | yearning gesture |
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) | Heart's Affair (Kiss) | 0:58:47 - Ward talks to Marie | AABA structure | altered dominant | cheerful | conversing | deceptive resolution | farm | happy | kissing | leading man | love scene | mode mixture | sister | transcribed by ear |
Kid Galahad (1937) | Heart's Affair (Trouble) | 1:15:53 - Ward talks to Marie at the farm | advance plot | deceptive resolution | embracing | farm | kissing | leading man | romantic | sister | transcribed by ear |
| Traveling Husbands (1931) | Ring Around the Rosy | 1:09:30 - Men sing and dance | children's song | dancing | exciting | leading lady | leading man | on-screen music | resolution | room | salesman | singing | source music | transcribed by ear |
Traveling Husbands (1931) | There's a Sob in My Heart (Sentimental) | 1:10:39 - People are sad as the radio plays | AABA structure | altered dominant | augmented sixth chord | countermelody | crying | leading lady | leading man | popular song | radio | resolution | room | salesman | sentimental | somber | transcribed by ear |
| The Unfaithful (1947) | Attorney | 0:42:51 - Close up of sign on the lawyer's door | deceptive resolution | door | glorious | heroic | law office | office | sign | transition |
The Unfaithful (1947) | Attorney | 1:09:14 - Larry drives to the art shop | deceptive resolution | driving | heroic | lawyer | street | transition |
The Unfaithful (1947) | Ask Anyone Who Knows | 1:34:08 - Paula reads the paper in her apartment | calm | conversing | friend | husband | radio | reading | resolution | room | source music |
The Unfaithful (1947) | Would You Believe Me | 1:36:54 - Paula talks with Bob | calm | conversing | friend | husband | radio | reading | resolution | room | source music |
The Unfaithful (1947) | Unfaithful (Distressed) | 1:41:24 - Bob talks with Larry | conversing | husband | lawyer | minor-major 7th chord | ostinato | resolution | room | somber | wife |
The Unfaithful (1947) | Unfaithful (Leaving) | 1:42:32 - Bob talks with Chris | conversing | husband | lawyer | ostinato | resolution | room | somber | wife |
The Unfaithful (1947) | Unfaithful (Dolce) | 1:46:08 - Bob talks with Chris | conversing | hopeful | husband | lawyer | ostinato | peaceful | plagal cadence | resolution | resolution | resolution | romantic | room | triumphant | wife |
| 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) | Surprise Symphony (Theme and Variations) | 0:02:37 - David enters his home | augmented triad | classical music | deceptive resolution | establish character | familiar tune | Haydn | hero | home | playful | quotation | scored source music | source music | street | whistling |
We Are Not Alone (1939) | Appassionato | 0:03:13 - Gerald is scolded by his mother | antagonist | boy | child | chromatic parallelism | chromatic scale | deceptive resolution | dominant 7th chord | establish character | fragmentation | harmonic sequence | hero | home | linear chromaticism | mother | passionate | scolding | sequence | telling a story | tense |
We Are Not Alone (1939) | Tommy | 0:08:41 - David and Tommy talk about cats | 64 chord | boy | cat | deceptive resolution | doctor | establish character | hero | mode mixture | office | parallelism | playful |
We Are Not Alone (1939) | I Do Like to Be Beside the Seaside | 0:10:56 - David visits an injured Leni | chromatic mediant | deceptive resolution | doctor | establish character | familiar tune | foreign key modulation | gentle | hero | heroine | mode mixture | quotation | room | step modulation |
We Are Not Alone (1939) | Surprise Symphony (Calm) | 0:12:01 - David's treatment is successful | calm | classical music | countermelody | deceptive resolution | doctor | establish character | familiar tune | Haydn | hero | heroine | quotation | room |
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 (Newspaper) | 0:31:52 - David sits and whistles | 9th chord | classical music | deceptive resolution | familiar tune | foreshadowing | happy | Haydn | hero | home | ominous | quotation | reveal | transition | whistling |
We Are Not Alone (1939) | Frohe Botschaft (Crying) | 0:45:45 - Leni kisses Gerald | 9th chord | 64 chord | advance plot | antagonist | boy | child | crying | deceptive resolution | familiar tune | folk song | fragmentation | German | heroine | home | leaving | mode mixture | mother | quotation | room | sequence | somber | tritone |
We Are Not Alone (1939) | 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 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) | La Marseillaise | 1:15:41 - News bulletins in a window | advance plot | announcing | deceptive resolution | familiar tune | French | patriotic | shop | sign | street | war | window |
We Are Not Alone (1939) | Surprise Symphony (Someday) | 1:39:55 - David is hopeful | 64 chord | classical music | comforting | conversing | deceptive resolution | dream-like | familiar tune | foreign key modulation | gentle | Haydn | hero | heroine | imagining | love scene | prison | quotation | sweet |
We Are Not Alone (1939) | 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 Woman in White (1948) | Ann (Waltz 2) | 1:46:13 - A close-up on the Countess | criminal | death | embracing | friend | friend | leading lady | leading man | love interest | murder | murderer | necklace | reacting | resolution | revenge | room | tender | victim | waltz | wife |
The Woman in White (1948) | Laura | 1:46:37 - Walter, Marian, and Laura together | asylum | conversing | friend | happy | murderer | necklace | patient | resolution | time lapse | voice-over | waltz |
The Woman in White (1948) | Laura (Harp Countermelody) | 1:46:55 - The camera pans from the asylum | arriving | butler | child | conversing | father | happy | husband | leading man | mansion | resolution | voice-over | waltz |
The Woman in White (1948) | Pavan (Major) | 1:47:33 - Walter with his daughter Ann | child | conversing | father | greeting | husband | leading man | noble | resolution | voice-over | yard |
The Woman in White (1948) | The Self Banished (The End) | 1:47:51 - Walter with the children | book | child | conversing | embracing | father | greeting | husband | kissing | leading lady | leading man | mother | resolution | tender | The End | voice-over | wife | yard |
| The Public Defender (1931) | Public Defender | 0:00:14 - Title and balancing scales (in motion) | balancing | deceptive resolution | main title | opening title sequence | romantic | scale | sequence | starring list | transcribed by ear |
| Hold ‘Em Jail (1932) | Bide-More Alma Mater | 1:04:44 - Bidemore celebrates their victory | celebrating | comic | crowd | field | love interest | politician | prisoner | resolution | source music | upbeat | warden |
Hold ‘Em Jail (1932) | The Prisoner's Song | 1:05:19 - Spider talks to Violet | comic | conversing | field | prisoner | resolution | source music | upbeat |
| Before Dawn (1933) | Wedding March | 0:59:55 - Two lovers kissing and The End | detective | familiar tune | fanfare | kissing | leading lady | leading man | plagal cadence | resolution | romantic | secondary dominant | transcribed by ear | triumphant |
| Blind Adventure (1933) | My Imaginary Sweetheart (Coda) | 0:01:33 - View of London | calm | city | deceptive resolution | establish setting | transcribed by ear |
| Dangerous Corner (1934) | Chanson | 1:02:06 - A man turns on the radio | alternate timeline | calm | classical music | conversing | friend | radio | resolution | room | source music | suspect |
Dangerous Corner (1934) | Wedding March | 1:03:10 - A woman opens a cigarette case | alternate timeline | cheerful | classical music | conversing | friend | music box | resolution | room | source music |
Dangerous Corner (1934) | Won't You Believe | 1:03:30 - A man adjusts the radio | AABA structure | alternate timeline | conversing | dancing | drinking | friend | popular music | radio | resolution | room | source music | upbeat |
Dangerous Corner (1934) | The Trysting Place | 1:04:35 - Charles talks to Ann in the moonlight | alternate timeline | balcony | conversing | friend | mode mixture | popular music | proposal | proposing | radio | resolution | romantic | sequence | source music | triadic transformation |
| Gridiron Flash (1934) | Gridiron Flash | 1:02:36 - The scoreboard | added-note chord | athlete | celebrating | countermelody | crowd | football | football game | leading lady | leading man | march | resolution | The End | upbeat |
| 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 |
Don’t Turn ‘em Loose (1936) | Here Comes the Bride | 1:04:36 - Mildred at her wedding | bride | calm | father | guest | mother | parallel period | pleasant | resolution | walking | wedding | wedding | wedding |
| We're Only Human (1935) | Isn't This a Night For Love (The End) | 1:08:36 - Pete kisses Sally | 9th chord | altered dominant | car | detective | end title sequence | kissing | leading lady | leading man | love interest | mode mixture | reporter | resolution | romantic | The End | 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 |
| Without Honor (1949) | Twilight (Resolution) | 0:55:26 - Jane walks out of the orchard | antagonist | brother | calm | child | conversing | husband | leading lady | leading man | orchard | resolution | scout | street |
Without Honor (1949) | Twilight (Morendo) | NIF - not in film | ambulance | cut from film | driving | resolution | street |
Without Honor (1949) | Valse Triste (Tempo de Beguin) | 1:00:38 - Bill watches them leave | antagonist | brother | conversing | convincing | hopeful | husband | leading man | resolution | room | thinking |
Without Honor (1949) | Valse Triste (Mexico) | 1:02:08 - Fred packs his things | antagonist | brother | cheerful | conversing | convincing | husband | leading man | Mexican | resolution | room | thinking |
Without Honor (1949) | Valse Triste (Tempo de Beguin) | 1:02:32 - Bill talks to Fred | antagonist | brother | conversing | convincing | hopeful | husband | leading man | resolution | room | thinking |
Without Honor (1949) | Valse Triste (Reeds) | 1:04:26 - Fred argues with Bill | antagonist | arguing | brother | husband | leading man | resolution | room | tense |
Without Honor (1949) | Valse Triste (Triple Beguin) | 1:05:18 - Fred starts to leave for the hospital | antagonist | arguing | brother | fighting | husband | leading man | punching | resolution | tense | yard |
Without Honor (1949) | Appassionato 2 (Broad) | 1:05:32 - Fred gets in his car | anger | antagonist | brother | car | complaining | departing | dramatic | driving | husband | leading man | resolution | street | tense | yard |
Without Honor (1949) | Valse Triste (Agitato) | 1:05:49 - Bill tries to stop Fred | anger | antagonist | brother | car | chasing | complaining | departing | dramatic | driving | harsh | husband | leading man | resolution | running | street | tense | yelling |
Without Honor (1949) | The End | 1:06:25 - Bill in the middle of the road | anger | antagonist | brother | dramatic | leading man | looking | resolution | standing | street | The End |
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