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1432 results for "room" in 54 films — see also bathroom | bedroom | kitchen | office

Film	Theme name	Instance	Tags
All This, and Heaven Too (1940)	The Duke (Quasi Mysterioso)	0:14:49 - Henriette hears the Duke and Duchess arguing	arriving \| butler \| common-chord modulation \| deceptive resolution \| duchess \| duke \| establish setting \| interrupting \| leading lady \| leading man \| mysterious \| room \| tense
All This, and Heaven Too (1940)	The Duchess (Agitato)	0:22:02 - The Duchess argues with the Duke	agitated \| arguing \| chromatic scale \| chromatic sequence \| distressed \| duchess \| duke \| establish character \| leading lady \| leading man \| mode mixture \| room
All This, and Heaven Too (1940)	Underscoring (Agitated)	0:22:23 - The Duke rebukes the Duchess	agitated \| arguing \| chromatic parallelism \| chromatic scale \| distressed \| dominant 7th chord \| duchess \| duke \| establish character \| leading lady \| leading man \| room
All This, and Heaven Too (1940)	Rushing	0:22:31 - The Duchess rushes after the Duke	agitated \| arguing \| augmented triad \| distressed \| duchess \| duke \| establish character \| leading lady \| leading man \| mickey-mousing \| rising \| room \| rushing \| turn figure
All This, and Heaven Too (1940)	Pleading	0:22:41 - The Duchess pleads with the Duke to stay	acceleration \| agitated \| arguing \| chromatic sequence \| distressed \| duchess \| duke \| establish character \| fragmentation \| leading lady \| leading man \| parallelism \| pleading \| room
All This, and Heaven Too (1940)	Desperation (Furioso)	0:22:53 - The Duchess curses the Duke	agitated \| arguing \| dissonant bass \| distressed \| duchess \| duke \| establish character \| leading lady \| leading man \| parallelism \| pleading \| priest \| room \| tense
All This, and Heaven Too (1940)	Fairy Tale	0:23:13 - Henriette reads a fairy tale	added-note chord \| book \| calm \| child \| delicate \| establish character \| fairy tale \| governess \| leading lady \| pentatonic \| pleasant \| room \| storytelling
All This, and Heaven Too (1940)	Fairy Godmother	0:23:28 - Henriette reads a fairy tale	9th chord \| altered dominant \| book \| calm \| child \| delicate \| establish character \| fairy tale \| foreign key modulation \| governess \| leading lady \| magical \| pleasant \| room \| storytelling
All This, and Heaven Too (1940)	Henriette (Fairy Tale)	0:23:50 - Henriette reads a fairy tale	book \| calm \| child \| countermelody \| delicate \| duke \| establish character \| fairy tale \| governess \| leading lady \| leading man \| magical \| pleasant \| room \| storytelling
All This, and Heaven Too (1940)	Illness	0:26:16 - The Duke asks about Raynald	advance plot \| delicate \| duke \| gentle \| governess \| leading lady \| leading man \| parallelism \| room \| worrying
All This, and Heaven Too (1940)	Henriette (Molto tranquillo)	0:26:30 - The Duke talks to Henriette	added-note chord \| advance plot \| conversing \| countermelody \| delicate \| duke \| gentle \| governess \| leading lady \| room \| worrying
All This, and Heaven Too (1940)	The War of the Roses	0:27:13 - Henriette plays the harpsichord	advance plot \| child \| children's song \| dancing \| governess \| leading lady \| on-screen music \| pleasant \| room \| singing \| source music
All This, and Heaven Too (1940)	The War of the Roses	0:28:23 - The girls sing	advance plot \| child \| children's song \| dancing \| governess \| leading lady \| on-screen music \| pleasant \| room \| singing \| source music
All This, and Heaven Too (1940)	Underscoring (Tense)	NIF - not in film	advance plot \| child \| chromatic wedge \| conversing \| cut from film \| duchess \| governess \| leading lady \| room \| tense \| underscoring
All This, and Heaven Too (1940)	Rubato	NIF - not in film	9th chord \| added-note chord \| advance plot \| arguing \| child \| cut from film \| deceptive resolution \| duchess \| governess \| leading lady \| room \| tense
All This, and Heaven Too (1940)	Desperation (Very Dramatic)	NIF - not in film	advance plot \| altered dominant \| arguing \| child \| cut from film \| duchess \| governess \| leading lady \| room \| tense
All This, and Heaven Too (1940)	Underscoring (Tense)	0:30:19 - Henriette dresses Raynald	9th chord \| advance plot \| arguing \| caring \| child \| duke \| governess \| illness \| leading lady \| leading man \| room \| sequence \| tense \| underscoring
All This, and Heaven Too (1940)	Underscoring (Gentle)	0:30:34 - Henriette puts Raynald in bed	advance plot \| arguing \| caring \| child \| chromatic sequence \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| mode mixture \| room \| tense \| underscoring
All This, and Heaven Too (1940)	Romance	0:30:48 - Henriette talks with the Duke	added-note chord \| advance plot \| arguing \| child \| duke \| governess \| illness \| leading lady \| leading man \| romantic \| room \| sequence
All This, and Heaven Too (1940)	Henriette (Andante)	0:31:04 - The Duke apologizes to Henriette	9th chord \| 64 chord \| advance plot \| apologizing \| child \| conversing \| duke \| foreign key modulation \| governess \| illness \| leading lady \| leading man \| romantic \| room
All This, and Heaven Too (1940)	The Duke (Tranquillo)	0:31:41 - The doctor treats Raynald	advance plot \| caring \| child \| conversing \| doctor \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| room \| somber
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	0:32:53 - Henriette helps Raynald	advance plot \| caring \| child \| common-chord modulation \| conversing \| delicate \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| room \| sweet
All This, and Heaven Too (1940)	Counting	0:33:30 - Henriette counts tangerine slices	advance plot \| calm \| child \| chromatic sequence \| conversing \| counting \| distracting \| duke \| governess \| illness \| leading lady \| leading man \| pc set \| room \| tense \| wedge \| zoom in
All This, and Heaven Too (1940)	Henriette (Molto Tranquillo 2)	0:34:17 - Henriette comforts Raynald	advance plot \| augmented sixth chord \| child \| comforting \| common-chord modulation \| conversing \| dark \| delicate \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| mode mixture \| parallel 63s \| room \| suspension
All This, and Heaven Too (1940)	Raynald (Dark)	0:34:52 - Raynald talks with Henriette	advance plot \| child \| comforting \| conversing \| dark \| death \| duke \| foreign key modulation \| governess \| illness \| leading lady \| leading man \| room
All This, and Heaven Too (1940)	Lullaby	0:35:08 - Henriette sings a lullaby	advance plot \| calm \| caring \| child \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| lullaby \| room \| scored source music \| singing
All This, and Heaven Too (1940)	Raynald (Lullaby)	0:35:24 - Henriette talks to the Duke	advance plot \| calm \| caring \| child \| conversing \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| lullaby \| mode mixture \| room
All This, and Heaven Too (1940)	Lullaby	0:35:39 - Henriette sings a lullaby	advance plot \| calm \| caring \| child \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| lullaby \| room \| scored source music \| singing
All This, and Heaven Too (1940)	Henriette (Very Emotional)	0:35:57 - The Duke thanks Henriette	advance plot \| calm \| child \| common-chord modulation \| conversing \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| mode mixture \| parallel 63s \| room
All This, and Heaven Too (1940)	Lullaby (Morendo)	0:36:25 - Henriette sings a lullaby	advance plot \| calm \| caring \| child \| chromatic mediant \| duke \| gentle \| governess \| illness \| leading lady \| leading man \| room \| singing
All This, and Heaven Too (1940)	The Prayer	0:36:36 - The Abbe prays for Raynald	child \| common-chord modulation \| duke \| governess \| hymn-like \| illness \| leading lady \| leading man \| parallelism \| praying \| priest \| religious scene \| room \| sequence \| somber
All This, and Heaven Too (1940)	Underscoring (Tense)	0:37:37 - They rise from prayer	added-note chord \| child \| chromatic scale \| chromatic wedge \| conversing \| deceptive resolution \| duchess \| duke \| governess \| illness \| leading lady \| leading man \| leaving \| priest \| religious scene \| room \| somber \| tense
All This, and Heaven Too (1940)	The Duchess (Agitato)	0:38:09 - The Duchess argues with the doctor	arguing \| common-chord modulation \| doctor \| duchess \| illness \| leading lady \| mode mixture \| religious scene \| room \| syncopation \| tense
All This, and Heaven Too (1940)	Raynald (Adagio)	0:38:26 - The doctor takes Raynald's pulse	9th chord \| advance plot \| caring \| child \| chromatic scale \| conversing \| doctor \| duke \| governess \| governess \| illness \| leading lady \| leading man \| room \| solemn
All This, and Heaven Too (1940)	Raynald (Triste)	0:39:16 - The Duke talks to Henriette	64 chord \| advance plot \| child \| conversing \| duke \| governess \| illness \| leading lady \| leading man \| room \| somber
All This, and Heaven Too (1940)	The Duchess (Expressivo con Schmalzo)	0:39:24 - The Duchess writes a letter	angry \| chromatic sequence \| crying \| despair \| duchess \| foreign key modulation \| leading lady \| mad scene \| on-screen text \| room \| sequence \| sequential modulation \| writing
All This, and Heaven Too (1940)	Desperation	0:39:54 - The Duchess writes a letter	angry \| chromatic scale \| crying \| despair \| duchess \| leading lady \| mad scene \| on-screen text \| parallelism \| room \| writing
All This, and Heaven Too (1940)	Rushing	0:40:15 - The Duchess rushes to the Abbe	angry \| arguing \| augmented triad \| despair \| duchess \| leading lady \| mad scene \| mickey-mousing \| priest \| room \| turn figure
All This, and Heaven Too (1940)	Pleading (Extended)	0:40:26 - The Abbe talks with the Duchess	9th chord \| angry \| arguing \| chromatic sequence \| despair \| duchess \| fragmentation \| leading lady \| mad scene \| oscillation \| parallelism \| priest \| room
All This, and Heaven Too (1940)	Desperation (Very Emotional)	0:41:00 - The Duchess pleads with the Abbe	angry \| arguing \| chromatic scale \| chromatic sequence \| crying \| despair \| dissonant bass \| illness \| leading lady \| mad scene \| priest \| room
All This, and Heaven Too (1940)	Raynald (Andante)	0:41:36 - Henriette and the Duke by Raynald's bedside	9th chord \| 64 chord \| augmented sixth chord \| child \| chromatic sequence \| conversing \| duke \| governess \| hopeful \| illness \| illness scene \| leading lady \| leading man \| parallelism \| room \| solemn \| somber
All This, and Heaven Too (1940)	Henriette (Ethereal)	0:42:36 - Henriette asks to open the window	9th chord \| bright \| child \| conversing \| duke \| foreign key modulation \| governess \| half-diminished 7th chord \| hopeful \| illness \| illness scene \| leading lady \| leading man \| room \| sequence \| timid
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)	Rushing 2	0:43:14 - The Duchess rushes into the room	arguing \| child \| duchess \| duke \| governess \| half-diminished 7th chord \| hurried \| illness \| illness scene \| leading lady \| leading man \| mickey-mousing \| room \| rushing
All This, and Heaven Too (1940)	Desperation (Furioso)	0:43:28 - The Duchess rushes out of the room	angry \| child \| despair \| dissonant bass \| duchess \| duke \| governess \| hurrying \| illness \| illness scene \| leading lady \| leading man \| leaving \| room
All This, and Heaven Too (1940)	Desperation (Calming)	0:43:35 - Henriette closes the window	calm \| caring \| child \| dark \| dissonant bass \| duke \| fragmentation \| governess \| hopeful \| illness \| illness scene \| leading lady \| leading man \| 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 Expressivo)	0:44:33 - Henriette reads a letter from the Duchess	advance plot \| common-chord modulation \| governess \| leading lady \| letter \| on-screen text \| positive \| reading \| 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)	Underscoring (Mysterious)	0:46:43 - The Duchess stares at Henriette	chromatic wedge \| conversing \| duchess \| governess \| leading lady \| linear chromaticism \| mysterious \| pc set \| room \| transition \| underscoring
All This, and Heaven Too (1940)	Henriette (Very Emotional)	0:49:01 - The Duke looks at Henriette	advance plot \| child \| chromatic scale \| common-chord modulation \| common-tone diminished 7th \| conversing \| delicate \| duke \| gentle \| governess \| leading lady \| leading man \| looking \| romance \| romantic \| room
All This, and Heaven Too (1940)	Fanfan la Tulipe	0:51:48 - Henriette plays the harpsichord	advance plot \| child \| dancing \| duke \| folk music \| governess \| leading lady \| leading man \| on-screen music \| playing \| room \| upbeat
All This, and Heaven Too (1940)	Louise	0:52:39 - Louise hugs her father	added-note chord \| advance plot \| appoggiatura \| child \| conversing \| duke \| excited \| governess \| happy \| hugging \| leading lady \| leading man \| mode mixture \| room
All This, and Heaven Too (1940)	The Duke (Lohengrin)	0:52:53 - The Duke gives Louise his rose	advance plot \| calm \| child \| conversing \| countermelody \| duke \| fragmentation \| governess \| hugging \| kind \| leading lady \| leading man \| room \| sequence
All This, and Heaven Too (1940)	Louise (Poco Animato)	0:53:39 - Louise talks to Henriette	advance plot \| child \| conversing \| excited \| governess \| happy \| leading lady \| room \| sequential modulation
All This, and Heaven Too (1940)	Henriette (Poco Animato)	0:53:44 - Henriette puts out the lights	advance plot \| child \| conversing \| excited \| fragmentation \| governess \| happy \| leading lady \| room \| sequential modulation
All This, and Heaven Too (1940)	Henriette (Music Box)	0:54:04 - Henriette puts Louise to bed	advance plot \| augmented sixth chord \| calm \| child \| common-tone diminished 7th \| conversing \| goodnight \| governess \| happy \| leading lady \| lullaby \| mode mixture \| music box \| room
All This, and Heaven Too (1940)	Gossip	0:55:36 - Scissors cut a newspaper clipping	9th chord \| advance plot \| chromatic parallelism \| cutting \| dissonant bass \| gossiper \| gossiping \| harsh \| minor second \| newspaper \| room \| scissors \| tense
All This, and Heaven Too (1940)	The Duchess (Broadly)	0:55:55 - A newspaper clipping	advance plot \| distressed \| gossiper \| newspaper \| reading \| romantic \| room
All This, and Heaven Too (1940)	Henriette (Mysterioso)	0:56:02 - A newspaper clipping	advance plot \| gossiper \| gossiping \| half-diminished 7th chord \| mysterious \| newspaper \| room \| tense
All This, and Heaven Too (1940)	Underscoring (Mysterious)	0:56:57 - The Duchess enters	advance plot \| child \| conversing \| governess \| half-diminished 7th chord \| leading lady \| maid \| mysterious \| room \| tense \| trouble \| underscoring
All This, and Heaven Too (1940)	The Duchess (Arguing)	1:00:32 - Henriette leaves	added-note chord \| arguing \| conflict \| dramatic \| duchess \| duke \| governess \| leading lady \| leading man \| linear chromaticism \| listening \| romantic \| room \| serious \| trouble
All This, and Heaven Too (1940)	Underscoring (Dramatic)	1:01:03 - Henriette packs her things	arguing \| conflict \| dramatic \| duke \| governess \| leading lady \| leading man \| room \| trouble
All This, and Heaven Too (1940)	Desperation (Very Emotional)	1:01:26 - Henriette talks to the Duke	arguing \| chromatic sequence \| conflict \| dramatic \| duke \| governess \| leading lady \| leading man \| room \| trouble
All This, and Heaven Too (1940)	Pleading (Extended)	1:01:39 - The Duke responds to Henriette	9th chord \| arguing \| chromatic sequence \| conflict \| dramatic \| duke \| governess \| leading lady \| leading man \| room \| trouble
All This, and Heaven Too (1940)	Desperation (Very Emotional)	1:02:00 - The Duke talks to Henriette	arguing \| chromatic scale \| chromatic sequence \| conflict \| dissonant bass \| dramatic \| duke \| governess \| leading lady \| leading man \| room \| trouble
All This, and Heaven Too (1940)	Henriette (Emotional)	1:02:28 - The Duke talks to Henriette	chromatic sequence \| conflict \| conversing \| duke \| governess \| leading lady \| leading man \| mode mixture \| romance \| romantic \| room
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)	La Parisienne (Expressivo)	1:06:51 - The children pray	advance plot \| calm \| child \| governess \| leading lady \| mode mixture \| praying \| room
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)	Isabelle	1:07:33 - Isabelle cries	advance plot \| augmented sixth chord \| child \| chromatic sequence \| comforting \| crying \| governess \| leading lady \| room \| sequence \| serious \| somber
All This, and Heaven Too (1940)	Isabelle 2	1:08:44 - Isabelle talks to Henriette	advance plot \| child \| comforting \| countermelody \| crying \| governess \| leading lady \| room \| serious \| somber
All This, and Heaven Too (1940)	Henriette (Gentle)	1:09:26 - Isabelle talks to Henriette	9th chord \| advance plot \| child \| chromatic parallelism \| comforting \| crying \| gentle \| governess \| leading lady \| Neapolitan \| room \| sweet
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)	The Duchess (Expressivo)	1:10:42 - The Duke complains to Henriette	abrupt \| advance plot \| angry \| chromatic parallelism \| complaining \| duke \| governess \| leading lady \| leading man \| room \| sequential modulation
All This, and Heaven Too (1940)	Henriette (Transition)	1:10:55 - The Duke talks to Henriette	advance plot \| calm \| common-tone diminished 7th \| conversing \| duke \| enharmonic modulation \| governess \| leading lady \| leading man \| room
All This, and Heaven Too (1940)	Henriette (Rubato)	1:11:14 - The Duke talks to Henriette	9th chord \| added-note chord \| advance plot \| calm \| conversing \| duke \| governess \| leading lady \| leading man \| mode mixture \| peaceful \| room
All This, and Heaven Too (1940)	Henriette + Falling Snow	1:12:16 - The Duke talks to Henriette	advance plot \| augmented triad \| chromatic parallelism \| combination of themes \| conversing \| duke \| governess \| leading lady \| leading man \| mickey-mousing \| mode mixture \| room \| snow \| snow globe \| snowing \| uneasy
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)	Underscoring (Dramatic)	1:13:19 - Henriette watches the falling snow	advance plot \| arriving \| butler \| dissonant bass \| dramatic \| duchess \| duke \| leading lady \| leading man \| outside \| panning shot \| pc set \| point-of-view shot \| room \| sigh gesture \| underscoring \| watching
All This, and Heaven Too (1940)	The Duchess (Con Moto)	1:13:45 - Henriette watches the Duke and Duchess	advance plot \| dramatic \| duchess \| duke \| leading lady \| leading man \| leaving \| painful \| point-of-view shot \| room \| sequential modulation \| watching
All This, and Heaven Too (1940)	Desperation (Dark)	1:13:56 - Henriette watches the Duke leaving	9th chord \| advance plot \| altered dominant \| dark \| dissonant bass \| duke \| leading man \| leaving \| parallelism \| point-of-view shot \| room \| watching
All This, and Heaven Too (1940)	Henriette (Agitato)	1:14:39 - The Duke paces anxiously	9th chord \| advance plot \| agitated \| conflicted \| dissonant bass \| duke \| half-diminished 7th chord \| leading man \| pacing \| pondering \| room \| turbulent
All This, and Heaven Too (1940)	The Duchess (The Letter)	1:14:48 - A letter is pushed under the door	9th chord \| advance plot \| agitated \| chromatic parallelism \| conflicted \| deceptive resolution \| duke \| fragmentation \| leading man \| letter \| pacing \| pondering \| room \| turbulent
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)	Henriette (Quasi Agitato)	1:17:45 - Henriette paces anxiously	acceleration \| advance plot \| agitated \| conflicted \| dissonant bass \| fragmentation \| gift \| governess \| half-diminished 7th chord \| leading lady \| pacing \| pondering \| room \| sequence \| turbulent
All This, and Heaven Too (1940)	Henriette (Tristan)	1:18:13 - Henriette opens a gift	9th chord \| advance plot \| fragmentation \| gift \| governess \| happy \| leading lady \| opening \| pump-up modulation \| room \| snow globe
All This, and Heaven Too (1940)	Henriette + Falling Snow	1:18:26 - Snow swirling in a snow globe	advance plot \| calm \| chromatic parallelism \| combination of themes \| deceptive resolution \| gift \| governess \| leading lady \| room \| snow \| snow globe \| snowing \| swirling
All This, and Heaven Too (1940)	Rushing	1:19:33 - The Duchess rushes forward	angry \| arguing \| augmented triad \| compound melody \| conflict \| desperate \| duchess \| duke \| hurried \| leading lady \| leading man \| room \| rushing \| turn figure
All This, and Heaven Too (1940)	Pleading (Extended 2)	1:19:43 - The Duchess pleads with the Duke	9th chord \| acceleration \| arguing \| chromatic sequence \| conflict \| desperate \| duchess \| duke \| fragmentation \| leading lady \| leading man \| parallelism \| room
All This, and Heaven Too (1940)	Desperation (Very Emotional)	1:20:06 - The Duchess threatens the Duke	arguing \| augmented triad \| chromatic scale \| chromatic sequence \| conflict \| desperate \| dissonant bass \| duchess \| duke \| leading lady \| leading man \| room \| tense \| threatening
All This, and Heaven Too (1940)	Desperation (Sempre Accelerando	1:20:39 - The Duke and Duchess argue	acceleration \| arguing \| augmented triad \| chromatic scale \| chromatic sequence \| conflict \| desperate \| dissonant bass \| duchess \| duke \| leading lady \| leading man \| panning shot \| pc set \| room \| screaming \| tense \| threatening
All This, and Heaven Too (1940)	Underscoring (Tense)	1:20:55 - Henriette calms the children down	caretaker \| child \| conflict \| crying \| dissonant bass \| governess \| leading lady \| pc set \| room \| tense
All This, and Heaven Too (1940)	Underscoring (Somber)	1:21:26 - The Duke descends the stairs	child \| chromatic scale \| conflict \| conversing \| crying gesture \| descending \| governess \| leading lady \| room \| somber \| tense
All This, and Heaven Too (1940)	The Duchess (Calm)	1:22:05 - Henriette asks about the Duchess	calm \| conflict \| conversing \| dissonant bass \| duchess \| duke \| foreign key modulation \| leading lady \| leading man \| room
All This, and Heaven Too (1940)	Henriette (Slowly)	1:22:19 - The Duke bids farewell to Henriette	64 chord \| calm \| conflict \| conversing \| deceptive resolution \| duchess \| duke \| gentle \| leading lady \| leading man \| mode mixture \| room \| sigh gesture
All This, and Heaven Too (1940)	Underscoring (Tender)	1:26:48 - The Duke talks with the servants	11th chord \| 13th chord \| 64 chord \| added-note chord \| advance plot \| arriving \| common-tone diminished 7th \| conversing \| duke \| gentle \| governess \| leading lady \| leading man \| light \| pentatonic \| room \| servant
All This, and Heaven Too (1940)	Grazioso	1:27:26 - Madame Gauthier talks about the children	9th chord \| 64 chord \| added-note chord \| advance plot \| cheerful \| conversing \| duke \| governess \| leading lady \| leading man \| room \| servant
All This, and Heaven Too (1940)	Raynald	1:27:35 - Madame Gauthier talks about Raynald	64 chord \| advance plot \| cheerful \| chromatic sequence \| conversing \| deceptive resolution \| duke \| governess \| leading lady \| leading man \| room \| servant
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)	Heaven Theme	1:28:16 - Henriette tells the Duke about herself	added-note chord \| common-chord modulation \| duke \| falling in love scene \| gentle \| governess \| leading lady \| leading man \| room \| storytelling
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)	The Duchess (Agitato)	1:34:41 - Henriette rushes away from the Duchess	chattering \| child \| chromatic sequence \| common-chord modulation \| conflict \| conversing \| duchess \| governess \| leading lady \| mode mixture \| room \| somber \| worried
All This, and Heaven Too (1940)	Underscoring (Agitated)	1:35:05 - Henriette with the children	advance plot \| agitated \| child \| chromatic parallelism \| chromatic scale \| chromatic sequence \| conversing \| governess \| leading lady \| room \| worried
All This, and Heaven Too (1940)	Spring Time (Shimmery)	1:35:12 - Henriette opens a gift	9th chord \| 64 chord \| added-note chord \| advance plot \| cheerful \| child \| conversing \| foreign key modulation \| gift \| governess \| leading lady \| light \| opening \| room
All This, and Heaven Too (1940)	The Duchess (Distracted)	1:35:21 - Henriette opens a gift	advance plot \| agitated \| child \| conversing \| gift \| governess \| leading lady \| opening \| room \| worried
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)	Spring Time (Moderato)	1:35:45 - Henriette opens a gift	9th chord \| 64 chord \| advance plot \| augmentation \| calm \| child \| chromatic mediant \| foreign key modulation \| gift \| governess \| leading lady \| locket \| opening \| parallelism \| room \| tender
All This, and Heaven Too (1940)	Henriette (Dolschissimo)	1:36:07 - Henriette reads the locket inscription	64 chord \| advance plot \| calm \| child \| chromatic mediant \| conversing \| crying \| dissonant bass \| foreign key modulation \| gift \| governess \| leading lady \| locket \| mode mixture \| room \| stinger \| tender \| tense
All This, and Heaven Too (1940)	Underscoring (Somber)	1:37:35 - Henriette talks with the Duke	chromatic scale \| conversing \| duke \| governess \| leading lady \| leading man \| love scene \| room \| somber \| underscoring
All This, and Heaven Too (1940)	Expressivo	1:38:15 - Henriette talks with the Duke	chromatic mediant \| conversing \| desperate \| duke \| foreign key modulation \| governess \| leading lady \| leading man \| love scene \| romantic \| room \| sequential modulation
All This, and Heaven Too (1940)	The Duchess (Tender)	1:38:39 - Henriette talks with the Duke	chromatic mediant \| conversing \| duke \| foreign key modulation \| gentle \| governess \| leading lady \| leading man \| love scene \| room \| sequential modulation \| tender
All This, and Heaven Too (1940)	Desperation (Ethereal)	1:38:54 - Henriette talks with the Duke	conversing \| duke \| ethereal \| governess \| leading lady \| leading man \| love scene \| parallelism \| room
All This, and Heaven Too (1940)	Henriette (Sehr Delicatessen)	1:39:12 - Henriette talks with the Duke	calm \| conversing \| duke \| gentle \| governess \| leading lady \| leading man \| love scene \| room \| sweet \| tender
All This, and Heaven Too (1940)	Henriette (Romantic)	1:39:53 - The Duke reads the locket inscription	9th chord \| chromatic mediant \| conversing \| crying \| crying gesture \| duke \| foreign key modulation \| gentle \| governess \| leading lady \| leading man \| love scene \| mode mixture \| romantic \| room \| sigh gesture \| tender
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)	Raynald	1:41:25 - Henriette says goodbye to the children	child \| common-chord modulation \| conversing \| crying \| farewell scene \| foreign key modulation \| gentle \| governess \| leading lady \| room \| tender
All This, and Heaven Too (1940)	Raynald (Dark)	1:41:54 - Raynald talks with Henriette	child \| chromatic sequence \| conversing \| crying \| deceptive resolution \| farewell scene \| governess \| leading lady \| room \| somber
All This, and Heaven Too (1940)	Lullaby (Tender)	1:42:13 - Henriette says goodbye to the children	child \| conversing \| deceptive resolution \| farewell scene \| governess \| leading lady \| room \| somber
All This, and Heaven Too (1940)	Henriette (Mysterioso)	1:42:50 - An apartment building	double exposure \| half-diminished 7th chord \| letter \| montage \| room \| somber \| writing
All This, and Heaven Too (1940)	Henriette (Sweepingly)	1:45:32 - Henriette reads a letter	cheerful \| leading lady \| letter \| pleasant \| room \| transition
All This, and Heaven Too (1940)	Henriette (Appassionato 2)	1:46:00 - Henriette descends the staircase	9th chord \| 11th chord \| added-note chord \| anxious \| chromatic sequence \| common-tone diminished 7th \| descending \| excited \| foreign key modulation \| hurrying \| leading lady \| not mickey-moused \| room \| stairs \| transition \| walking
All This, and Heaven Too (1940)	Henriette (Tristan)	1:46:15 - Henriette greets the children	9th chord \| arriving \| child \| duke \| fragmentation \| grand \| greeting \| leading lady \| leading man \| pump-up modulation \| reunion scene \| romantic \| room
All This, and Heaven Too (1940)	Henriette (Meno)	1:46:24 - Henriette talks with the children	arriving \| calm \| child \| duke \| greeting \| leading lady \| leading man \| mode mixture \| Neapolitan \| reunion scene \| room
All This, and Heaven Too (1940)	Henriette (Calm)	1:46:38 - Henriette talks with the Duke	calm \| child \| conversing \| duke \| gentle \| leading lady \| leading man \| reunion scene \| room \| uneasy
All This, and Heaven Too (1940)	Spring Time (Flowers)	1:47:09 - The children give flowers to Henriette	added-note chord \| cheerful \| child \| conversing \| leading lady \| pleasant \| reunion scene \| room \| sequential modulation
All This, and Heaven Too (1940)	Gossip 2	1:47:20 - Henriette sees her landlady gossiping	9th chord \| chromatic parallelism \| dissonant bass \| duke \| gossiper \| gossiping \| harsh \| landlady \| leading man \| minor second \| reunion scene \| room \| tense \| watching
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)	The Duchess (Tense)	1:48:04 - Henriette talks with the Duke	arguing \| conflict \| duke \| leading lady \| leading man \| room \| sequential modulation \| tense
All This, and Heaven Too (1940)	Desperation (Tense)	1:48:14 - The Duke talks with Henriette	chromatic parallelism \| chromatic sequence \| conflict \| conversing \| dissonant bass \| duke \| leading lady \| leading man \| room \| tense
All This, and Heaven Too (1940)	Screwissimo	1:48:47 - The Duke goes mad	chromatic scale \| conflict \| conversing \| creepy \| disturbing \| duke \| leading lady \| leading man \| madness \| ominous \| room \| whole-tone chord
All This, and Heaven Too (1940)	Desperation (Slow)	1:48:58 - The Duke leaves	chromatic scale \| conflict \| dissonant bass \| duke \| leading lady \| leading man \| leaving \| ominous \| room \| tense
All This, and Heaven Too (1940)	The Murder	1:51:56 - The Duke advances towards the Duchess	approaching \| blur \| chromatic scale \| climax \| dark \| diminished 7th chord \| duchess \| duke \| leading lady \| leading man \| menacing \| murder \| murdering \| murder scene \| ominous \| pc set \| room \| strangling
All This, and Heaven Too (1940)	Desperation (Subito)	1:52:22 - Soldiers climb the stairs	64 chord \| ascending \| conflict \| landlady \| leading lady \| not mickey-moused \| room \| soldier \| suspect \| tense
All This, and Heaven Too (1940)	The Duchess (Dramatic)	1:52:48 - Soldiers confront Henriette	accusing \| arresting \| augmented sixth chord \| conflict \| landlady \| leading lady \| ominous \| realizing \| room \| soldier \| suspect \| tense
All This, and Heaven Too (1940)	Henriette (Noble)	2:13:19 - Henriette comes into the Duke's room	arriving \| dark \| death scene \| detective \| duke \| dying \| hopeful \| leading lady \| leading man \| mode mixture \| noble \| prisoner \| room \| soldier \| suspect
All This, and Heaven Too (1940)	Dying	2:13:46 - The Duke in his death bed	chromatic scale \| conversing \| death bed \| death scene \| detective \| dissonant bass \| duke \| dying \| leading lady \| leading man \| prisoner \| questioning \| room \| sad \| soldier \| suspect
All This, and Heaven Too (1940)	Henriette (Duet)	2:14:06 - A close-up on Henriette	appoggiatura \| chromatic parallelism \| conversing \| death bed \| death scene \| deceptive resolution \| detective \| duke \| dying \| leading lady \| leading man \| mode mixture \| prisoner \| questioning \| room \| sad \| soldier \| suspect \| tender
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
All This, and Heaven Too (1940)	Henriette (Confession of Love)	2:15:34 - The Duke confesses his love	added-note chord \| caretaker \| chromatic mediant \| common-tone modulation \| confessing \| conversing \| death bed \| death scene \| duke \| dying \| foreign key modulation \| leading man \| love \| mode mixture \| room \| somber
The Amazing Dr. Clitterhouse (1938)	Una Voce Poco Fa	0:00:54 - A woman plays the piano	calm \| leading man \| listening \| on-screen music \| party \| pianist \| room \| singer \| singing \| sneaking \| source music \| stealing \| thief
The Amazing Dr. Clitterhouse (1938)	The Last Rose of Summer	0:03:14 - A woman sings	calm \| doctor \| folk song \| Irish \| leading man \| listening \| on-screen music \| party \| pianist \| room \| singer \| singing \| sneaking \| source music \| stealing \| thief
The Amazing Dr. Clitterhouse (1938)	Eine kleine Nachtmusik	0:35:00 - Phonograph plays Mozart record	advance plot \| doctor \| gangster \| leading man \| Mozart \| neutral \| plotting \| record player \| room \| source music \| thief
The Amazing Dr. Clitterhouse (1938)	Eine kleine Nachtmusik	0:41:57 - Phonograph plays Mozart record	advance plot \| doctor \| gangster \| leading man \| moll \| Mozart \| neutral \| plotting \| record player \| room \| source music \| thief
The Amazing Dr. Clitterhouse (1938)	Underscoring (Tense)	0:52:15 - Policemen report the alarm	9th chord \| operator \| reporting \| robbery \| room \| telephone \| tense
The Amazing Dr. Clitterhouse (1938)	I Wanna Go Back to Bali	0:53:48 - Gangsters meet in an apartment	advance plot \| conversing \| criminal \| dance music \| doctor \| gangster \| hero \| leading man \| lying \| playful \| radio \| room \| thief
The Amazing Dr. Clitterhouse (1938)	Doctor Leaves	0:57:38 - Dr. Clitterhouse leaves	advance plot \| doctor \| door \| exiting \| gangster \| hero \| leading lady \| leading man \| leaving \| linear chromaticism \| opening \| room \| tense \| wedge \| whole-tone chord
The Amazing Dr. Clitterhouse (1938)	Rocks	0:57:55 - Rocks has an idea	advance plot \| antagonist \| gangster \| plotting \| room \| tense
The Amazing Dr. Clitterhouse (1938)	Underscoring (Mysterious)	0:57:58 - Dr. Clitterhouse talks with Jo	conversing \| doctor \| gangster \| leading lady \| leading man \| love scene \| mysterious \| room \| tense
The Amazing Dr. Clitterhouse (1938)	Jo	0:58:18 - Dr. Clitterhouse talks with Jo	13th chord \| added-note chord \| altered dominant \| chromatic mediant \| conversing \| doctor \| foreign key modulation \| gangster \| leading lady \| leading man \| love scene \| room \| sequence \| tender
The Amazing Dr. Clitterhouse (1938)	Jo (At the Phone)	0:59:24 - Rocks takes the phone apart	9th chord \| advance plot \| antagonist \| combination of themes \| dark \| gangster \| leading lady \| ominous \| plotting \| room \| tense
The Amazing Dr. Clitterhouse (1938)	Underscoring (Tense)	1:00:10 - Jo and Rocks quarrel	advance plot \| antagonist \| arguing \| dissonant bass \| gangster \| half-diminished 7th chord \| leading lady \| quarreling \| room \| tense
Angels With Dirty Faces (1938)	Monday Morning	0:18:15 - Rocky talks to Frazier in his office	advance plot \| cheerful \| conversing \| gangster \| lawyer \| leading man \| popular music \| room \| source music
Angels With Dirty Faces (1938)	So Help Me (If I Don't Love You)	0:19:36 - Rocky leaves the nightclub	advance plot \| conversing \| gangster \| lawyer \| leading man \| popular music \| room \| sentimental \| source music
Angels With Dirty Faces (1938)	The Gangster (Elevator Music)	0:42:40 - Elevator goes up	advance plot \| chromatic parallelism \| elevator \| gangster \| half-diminished 7th chord \| lawyer \| leading man \| mickey-mousing \| rising \| room \| tense
Angels With Dirty Faces (1938)	Underscoring (Romantic)	1:01:43 - Rocky and Laury talk	altered dominant \| conversing \| dissonant bass \| gangster \| leading lady \| leading man \| linear chromaticism \| love scene \| romantic \| room \| underscoring
Angels With Dirty Faces (1938)	Rocky and Laury (Sentimental)	1:01:59 - Rocky and Laury talk	added-note chord \| altered dominant \| conversing \| gangster \| leading lady \| leading man \| love scene \| parallel period \| romantic \| room
Angels With Dirty Faces (1938)	Foxtrot	1:02:20 - Rocky and Laury look out the window	added-note chord \| altered dominant \| common-tone diminished 7th \| dreaming \| foxtrot \| gangster \| hoping \| leading lady \| leading man \| looking \| love scene \| mode mixture \| romantic \| room
Angels With Dirty Faces (1938)	The Cartoon	1:04:49 - Jerry looks at newspaper cartoon of Rocky	9th chord \| advance plot \| cartoon \| chromatic parallelism \| comical \| leading man \| priest \| reading \| room
Angels With Dirty Faces (1938)	The Cook	1:05:06 - The cook hands a package to Jerry	advance plot \| comical \| conversing \| cook \| Irish \| leading man \| parallel fifths \| priest \| room
Angels With Dirty Faces (1938)	Sanctus (Mysterioso)	1:05:33 - Jerry looks at note from Rocky	advance plot \| charity \| classical music \| common-chord modulation \| friendship \| leading man \| letter \| mode mixture \| money \| mysterious \| pedal tone \| priest \| room \| sacred \| source to score \| thinking
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 (Mysterious)	1:09:33 - Jerry leaves	42 chord \| gangster \| leading man \| leaving \| money \| montage \| mysterious \| priest \| room \| turning point
Angels With Dirty Faces (1938)	Tossing money	1:09:33 - Jerry throws Rocky's money on the table	42 chord \| gangster \| leading man \| mickey-mousing \| money \| mysterious \| priest \| room \| tossing \| turning point
Angels With Dirty Faces (1938)	Pleading	1:11:08 - Laury pleads for Rocky	9th chord \| advance plot \| appoggiatura \| circle of fifths \| common-chord modulation \| crying \| leading lady \| leading man \| love interest \| pleading \| priest \| room \| somber
Angels With Dirty Faces (1938)	Jerry	1:11:35 - Jerry talks to Laury	9th chord \| advance plot \| deceptive resolution \| foreign key modulation \| leading lady \| leading man \| love interest \| memory \| pleading \| priest \| room \| tender
Angels With Dirty Faces (1938)	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)	Mac gets shot	1:16:35 - Mac gets shot and dies	agitated \| chromatic parallelism \| chromatic scale \| conflict \| death \| dramatic \| dying \| falling \| gangster \| gun \| gunshot \| lawyer \| leading man \| mickey-mousing \| room \| shooting
Angels With Dirty Faces (1938)	Breaking in	1:18:11 - Rocky enters the building	conflict \| down \| gangster \| jumping \| landing \| leading man \| mickey-mousing \| room \| sneaking \| sneaky
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
Are These Our Children? (1931)	Makes You Forget Your Troubles (Eddie Sings)	0:19:30 - Eddie arrives home	advance plot \| arriving \| cheerful \| leading man \| on-screen music \| room \| singing \| source music \| transcribed by ear
Are These Our Children? (1931)	Makes You Forget Your Troubles (Eddie Sings)	0:20:44 - Eddie eats	advance plot \| cheerful \| eating \| humming \| leading man \| on-screen music \| room \| source music \| transcribed by ear
Are These Our Children? (1931)	Makes You Forget Your Troubles (Dream Sequence)	0:20:51 - Eddie dreams	advance plot \| augmented sixth chord \| cheerful \| double exposure \| dreaming \| dream sequence \| eating \| fragmentation \| frantic \| half-diminished 7th chord \| humming \| leading man \| room \| scored source music \| sequence \| source music
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 (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)	Makes You Forget Your Troubles (Listesso Tempo)	0:30:13 - Eddie commits a crime	angry \| chromatic scale \| double exposure \| dreaming \| dream sequence \| fragmentation \| hectic \| leading man \| montage \| room
Are These Our Children? (1931)	Moonbeams (Flashback)	0:30:18 - Eddie dances with Flo	dance hall \| dancing \| double exposure \| dream sequence \| flashback \| hectic \| leading man \| love interest \| montage \| room \| waltz
Are These Our Children? (1931)	Humming	0:31:57 - Heinie hums	advance plot \| calm \| humming \| old man \| room \| source music
Are These Our Children? (1931)	St. James Infirmary	0:41:24 - Young people lounging around	advance plot \| Dixieland \| friend \| lazy \| leading man \| lounging \| love interest \| murderer \| radio \| room \| source music
Are These Our Children? (1931)	St. James Infirmary	0:42:08 - Young people talking	advance plot \| conversing \| Dixieland \| friend \| lazy \| leading man \| love interest \| murderer \| radio \| room \| source music
Are These Our Children? (1931)	Dreams (Newspaper Montage)	0:45:04 - Newspaper headlines	augmentation \| comforting \| common-chord modulation \| crying \| double exposure \| grandmother \| headline \| love interest \| mickey-mousing \| montage \| newspaper \| room \| somber \| spinning
Are These Our Children? (1931)	Dreams (Risoluto 2)	0:53:55 - Newspaper headlines	advance plot \| arresting \| dark \| detective \| double exposure \| fragmentation \| friend \| headline \| leading man \| love interest \| murderer \| newspaper \| ominous \| room \| sequential modulation \| spinning \| thematic transformation \| underscoring
Arsenic and Old Lace (1944)	Rondo Alla Turca	0:06:25 - Teddy plays the harpsichord	aunt \| brother \| classical music \| conversing \| crazy person \| establish character \| harpsichord \| leading lady \| old man \| on-screen music \| playing \| room \| source music \| upbeat \| victim
Arsenic and Old Lace (1944)	The Aunts	0:09:05 - Aunt Abby scurries across the room	aunt \| crazy person \| delicate \| establish character \| foreign key modulation \| gentle \| harmonic sequence \| hurrying \| leading lady \| room \| scurrying
Arsenic and Old Lace (1944)	Happy Land (Lento)	0:09:11 - Reverend talks about the Brewster sisters	added-note chord \| aunt \| brother \| calm \| conversing \| crazy person \| establish character \| familiar tune \| gentle \| kindness \| leading lady \| old man \| room \| victim
Arsenic and Old Lace (1944)	Happy Land (Lento)	0:12:31 - The aunts talk	advance plot \| aunt \| brother \| conversing \| crazy person \| familiar tune \| foreign key modulation \| gentle \| leading lady \| mysterious \| plotting \| room \| sequence \| tender \| whole-tone chord \| whole-tone scale
Arsenic and Old Lace (1944)	The Aunts (Grazioso Con Moto)	0:13:16 - The aunts talk	advance plot \| aunt \| brother \| cheerful \| conversing \| crazy person \| delicate \| foreign key modulation \| gentle \| harmonic sequence \| leading lady \| plotting \| room
Arsenic and Old Lace (1944)	Happy Land (Grazioso)	0:13:34 - The aunts talk	advance plot \| aunt \| conversing \| leading lady \| magical \| plotting \| room \| whole-tone chord
Arsenic and Old Lace (1944)	Wind blowing	0:13:48 - Wind blows the curtains at the window	advance plot \| aunt \| blowing \| chromatic parallelism \| leading lady \| looking \| mysterious \| room \| wind \| wind effect
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)	Opens window	0:13:59 - The aunts open the window	advance plot \| aunt \| half-diminished 7th chord \| leading lady \| mickey-mousing \| opening \| raising \| room \| upbeat \| window
Arsenic and Old Lace (1944)	Here Comes the Bride (Full)	0:14:00 - Elaine appears in the window	aunt \| bride \| cheerful \| chromatic mediant \| common-chord modulation \| conversing \| crazy person \| familiar tune \| greeting \| groom \| leading lady \| leading man \| love \| love scene \| on-screen music \| pleasant \| room \| score to source \| source music \| street \| whistling
Arsenic and Old Lace (1944)	Here Comes the Bride	0:17:02 - Mortimer whistles	aunt \| cheerful \| familiar tune \| groom \| leading lady \| leading man \| love \| love scene \| on-screen music \| room \| source music \| whistling
Arsenic and Old Lace (1944)	Break the News to Mother	0:18:44 - Teddy sings	advance plot \| aunt \| brother \| cheerful \| crazy person \| familiar tune \| groom \| leading lady \| leading man \| on-screen music \| room \| singing \| source music \| war song
Arsenic and Old Lace (1944)	Jonathan	0:18:54 - Jonathan Brewster's picture is shown	advance plot \| aunt \| conversing \| diminished 7th chord \| groom \| leading lady \| leading man \| ominous \| pc set \| picture \| room \| sinister \| stinger
Arsenic and Old Lace (1944)	Here Comes the Bride	0:19:52 - Mortimer at the window seat	advance plot \| familiar tune \| groom \| leading man \| on-screen music \| room \| source music \| upbeat \| whistling
Arsenic and Old Lace (1944)	Happy Land	0:20:06 - Abby sings	advance plot \| aunt \| cheerful \| familiar tune \| groom \| leading lady \| leading man \| on-screen music \| room \| score to source \| sequence \| singing \| source music
Arsenic and Old Lace (1944)	Jonathan	0:23:14 - Mortimer reacts to the reveal	calling \| conversing \| dialing \| diminished 7th chord \| groom \| leading man \| ominous \| pc set \| quartal chord \| reveal \| room \| sinister \| stinger \| telephone effect \| thinking \| turning point
Arsenic and Old Lace (1944)	Here Comes the Bride (Elaine Whistles)	0:23:44 - Elaine whistles out of her window	agitated \| bride \| cheerful \| chromatic scale \| dark \| diminished 7th chord \| familiar tune \| groom \| leading lady \| leading man \| on-screen music \| room \| scored source music \| source music \| turning point \| whistling
Arsenic and Old Lace (1944)	Here Comes the Bride (Running)	0:23:58 - Mortimer runs to the door	9th chord \| 13th chord \| aunt \| bride \| child \| chromatic scale \| crazy person \| dark \| familiar tune \| groom \| Halloween \| intervallic expansion \| leading lady \| leading man \| murderer \| room \| running \| rushing \| source music \| source to score \| trick-or-treating \| turning point
Arsenic and Old Lace (1944)	Happy Land	0:24:16 - Abby, Martha, and Mortimer in the kitchen	advance plot \| aunt \| cheerful \| child \| crazy person \| familiar tune \| groom \| leading lady \| leading man \| murderer \| on-screen music \| room \| singing \| source music
Arsenic and Old Lace (1944)	Here Comes the Bride	0:26:22 - Elaine whistles on the phone	advance plot \| bride \| cheerful \| familiar tune \| groom \| leading lady \| leading man \| on-screen music \| room \| source music \| telephone \| whistling
Arsenic and Old Lace (1944)	Break the News to Mother	0:29:30 - Mortimer listens to Teddy sing	advance plot \| brother \| cheerful \| crazy person \| familiar tune \| groom \| leading man \| on-screen music \| room \| singing \| source music
Arsenic and Old Lace (1944)	Here Comes the Bride	0:31:04 - Elaine whistles in Mortimer's ear	advance plot \| bride \| cheerful \| familiar tune \| groom \| leading lady \| leading man \| on-screen music \| room \| source music \| whistling
Arsenic and Old Lace (1944)	The Aunts	0:39:01 - The aunts talk	advance plot \| aunt \| cleaning \| conversing \| crazy person \| foreign key modulation \| harmonic sequence \| leading lady \| murderer \| room \| upbeat
Arsenic and Old Lace (1944)	Happy Land (Screwyoso)	0:39:06 - The aunts talk	added-note chord \| advance plot \| altered dominant \| aunt \| calm \| cleaning \| conversing \| crazy person \| familiar tune \| hat \| leading lady \| murderer \| ominous \| room \| stinger \| suspension
Arsenic and Old Lace (1944)	Happy Land (String Quartet)	0:39:28 - The aunts set the table	advance plot \| aunt \| cleaning \| conversing \| crazy person \| direct modulation \| evaded cadence \| familiar tune \| hymn-like \| leading lady \| murderer \| peaceful \| room
Arsenic and Old Lace (1944)	The Aunts (Frightened)	0:39:58 - The aunts see shadows at the door	augmentation \| aunt \| conversing \| crazy person \| dark \| establish character \| fear \| foreign key modulation \| fragmentation \| knocking \| leading lady \| murderer \| mysterious \| Neapolitan \| ominous \| parallel 63s \| pedal tone \| room \| shadow \| whispering
Arsenic and Old Lace (1944)	Jonathan 2	0:40:30 - Jonathan enters the house	arriving \| chromatic scale \| chromatic wedge \| close-up \| criminal \| dark \| dissonant bass \| establish character \| leading man \| observing \| ominous \| pc set \| room \| walking \| zoom in
Arsenic and Old Lace (1944)	Scar	0:40:54 - The scar on Jonathan's face	close-up \| criminal \| dark \| establish character \| horn flare \| leading man \| observing \| ominous \| pc set \| polychord \| room \| scar
Arsenic and Old Lace (1944)	Home Sweet Home (Ominous)	0:41:03 - Jonathan looks around the house	added-note chord \| augmented triad \| brother \| conversing \| crazy person \| criminal \| dark \| dissonant bass \| distortion \| doctor \| establish character \| familiar tune \| leading man \| observing \| ominous \| room
Arsenic and Old Lace (1944)	Scar (Misterioso)	0:41:31 - They see the food	brother \| conversing \| crazy person \| criminal \| doctor \| establish character \| leading man \| mysterious \| observing \| pc set \| polychord \| room
Arsenic and Old Lace (1944)	Home Sweet Home (Expressivo) + Scar	0:41:42 - Abby talks to Jonathan	altered dominant \| augmented triad \| aunt \| brother \| combination of themes \| conversing \| convincing \| crazy person \| criminal \| distortion \| doctor \| establish character \| expressive \| familiar tune \| leading lady \| leading man \| murderer \| mysterious \| ominous \| room
Arsenic and Old Lace (1944)	Underscoring (Tense)	0:42:08 - Jonathan talks to the aunts	aunt \| brother \| conversing \| crazy person \| criminal \| doctor \| establish character \| leading lady \| leading man \| murderer \| mysterious \| parallelism \| room \| tense \| underscoring
Arsenic and Old Lace (1944)	Scar (Face)	0:42:29 - Jonathan talks about his scar	augmented triad \| aunt \| brother \| chromatic parallelism \| conversing \| crazy person \| criminal \| doctor \| establish character \| fragmentation \| leading lady \| leading man \| murderer \| mysterious \| pc set \| polychord \| room \| scar \| tense
Arsenic and Old Lace (1944)	Mysterioso Pizzicato	0:42:41 - Martha talks about scary movies	aunt \| brother \| conversing \| crazy person \| criminal \| dissonant bass \| doctor \| establish character \| familiar tune \| leading lady \| leading man \| murderer \| mysterious \| room \| scar \| silent film music
Arsenic and Old Lace (1944)	Underscoring (Tense)	0:42:56 - Jonathan glares at Dr. Einstein	aunt \| brother \| conversing \| crazy person \| criminal \| diminished 7th chord \| doctor \| establish character \| leading lady \| leading man \| murderer \| oscillation \| room \| scar \| tense
Arsenic and Old Lace (1944)	Jonathan 2	0:43:08 - Jonathan talks about the operation	aunt \| brother \| chromatic scale \| chromatic wedge \| crazy person \| criminal \| dark \| dissonant bass \| doctor \| establish character \| grabbing \| leading lady \| leading man \| murderer \| ominous \| pc set \| room \| struggling \| threatening
Arsenic and Old Lace (1944)	Scar	0:43:20 - Dr. Einstein talks to the aunts	aunt \| brother \| conversing \| crazy person \| criminal \| dark \| doctor \| establish character \| leading lady \| leading man \| murderer \| ominous \| pc set \| polychord \| room
Arsenic and Old Lace (1944)	Home Sweet Home (Ominous)	0:43:28 - Dr. Einstein talks to the aunts	added-note chord \| altered dominant \| aunt \| brother \| conversing \| crazy person \| criminal \| distortion \| doctor \| establish character \| familiar tune \| leading lady \| leading man \| murderer \| room \| split-fifth chord \| tense
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)	Scar	0:45:29 - Dr. Einstein describes how he will fix Jonathan's face	aunt \| brother \| conversing \| crazy person \| criminal \| dark \| doctor \| establish character \| face \| leading lady \| leading man \| murderer \| ominous \| pc set \| planning \| polychord \| room \| wipe
Arsenic and Old Lace (1944)	Jonathan 2	0:49:12 - Jonathan threatens the aunts	advance plot \| aunt \| brother \| chromatic scale \| chromatic wedge \| crazy person \| criminal \| dark \| dissonant bass \| doctor \| fear \| leading lady \| leading man \| murderer \| ominous \| pc set \| room \| threatening
Arsenic and Old Lace (1944)	Scar	0:49:36 - Dr. Einstein calls to Jonathan	advance plot \| aunt \| brother \| crazy person \| criminal \| dark \| doctor \| fear \| leading lady \| leading man \| murderer \| ominous \| pc set \| polychord \| room \| threatening
Arsenic and Old Lace (1944)	Underscoring (Tense)	0:49:45 - Jonathan follows Dr. Einstein	advance plot \| altered dominant \| brother \| conversing \| crazy person \| criminal \| digging \| dissonant bass \| doctor \| familiar tune \| leading man \| march \| murderer \| on-screen music \| patriotic tune \| pc set \| plotting \| room \| source and scoring overlap \| tense \| tone cluster \| whistling
Arsenic and Old Lace (1944)	When Johnny Comes Marching Home	0:49:45 - Dr. Einstein spies on Teddy	advance plot \| brother \| crazy person \| criminal \| dark \| digging \| doctor \| familiar tune \| leading man \| march \| murderer \| on-screen music \| patriotic tune \| room \| source and scoring overlap \| tense \| whistling
Arsenic and Old Lace (1944)	Scar (Dark)	0:50:14 - Jonathan and Dr. Einstein watch Teddy dig	advance plot \| brother \| conversing \| crazy person \| criminal \| dark \| digging \| dissonant bass \| doctor \| familiar tune \| leading man \| march \| murderer \| on-screen music \| patriotic tune \| room \| source and scoring overlap \| watching \| whistling
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 (Grazioso Con Moto)	0:52:20 - The aunts move through the kitchen	advance plot \| aunt \| calm \| conversing \| crazy person \| foreign key modulation \| harmonic sequence \| leading lady \| murderer \| pleasant \| room
Arsenic and Old Lace (1944)	Wind blowing 2	0:52:32 - The aunts walk to the window	advance plot \| aunt \| blowing \| chromatic parallelism \| crazy person \| half-diminished 7th chord \| leading lady \| looking \| murderer \| mysterious \| room \| wind \| wind effect \| window
Arsenic and Old Lace (1944)	Stinger	0:52:41 - Jonathan suddenly appears at the window	advance plot \| aunt \| brother \| crazy person \| dramatic \| harsh \| leading lady \| leading man \| murderer \| opening \| room \| stinger \| surprise \| whole-tone chord \| window
Arsenic and Old Lace (1944)	Jonathan 2	0:52:48 - Jonathan comes in the window	advance plot \| aunt \| brother \| chromatic scale \| chromatic wedge \| crazy person \| dark \| darkness \| dissonant bass \| doctor \| intimidating \| leading lady \| leading man \| murderer \| ominous \| pc set \| room \| staring \| tense
Arsenic and Old Lace (1944)	Jonathan (Fragmented)	0:53:35 - Jonathan and the doctor go up the stairs	advance plot \| aunt \| brother \| conversing \| crazy person \| dark \| darkness \| doctor \| fragmentation \| intimidating \| leading lady \| leading man \| murderer \| ominous \| pc set \| room \| tense
Arsenic and Old Lace (1944)	The Aunts	0:53:55 - Aunt Abby goes to the front door	advance plot \| aunt \| brother \| calm \| crazy person \| darkness \| harmonic sequence \| leading lady \| leading man \| murderer \| room \| silhouette \| staring \| upbeat \| walking
Arsenic and Old Lace (1944)	Underscoring (Mysterious)	0:54:01 - Aunt Abby goes up the stairs	advance plot \| aunt \| brother \| crazy person \| darkness \| intimidating \| leading lady \| leading man \| murderer \| mysterious \| room \| silhouette \| staring \| underscoring
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)	Underscoring (Tense)	0:54:30 - Jonathan goes up the stairs	advance plot \| brother \| crazy person \| darkness \| leading man \| murderer \| mysterious \| room \| sneaking \| tense \| tone cluster \| underscoring \| walking
Arsenic and Old Lace (1944)	Happy Land (Dirge)	0:54:54 - Teddy looks for the body in the dark	advance plot \| brother \| corpse \| crazy person \| creaking \| darkness \| dirge \| familiar tune \| mysterious \| opening \| pc set \| room \| sneaking \| tense \| walking \| whole-tone chord
Arsenic and Old Lace (1944)	Funeral March	0:55:21 - Teddy carries the body down the stairs	advance plot \| brother \| carrying \| chromatic scale \| corpse \| crazy person \| darkness \| diminution \| dirge \| familiar tune \| foreign key modulation \| funeral march \| linear chromaticism \| ominous \| ostinato \| room \| tritone \| walking
Arsenic and Old Lace (1944)	Underscoring (Dark)	0:56:27 - Einstein looks around in the dark	advance plot \| brother \| crazy person \| dark \| darkness \| descending \| doctor \| leading man \| match \| murderer \| plotting \| room \| sneaking \| underscoring
Arsenic and Old Lace (1944)	Blows out match	0:56:48 - Einstein blows out the match	advance plot \| blowing \| brother \| crazy person \| darkness \| doctor \| extinguishing \| leading man \| match \| mickey-mousing \| murderer \| room \| tense \| whole-tone scale
Arsenic and Old Lace (1944)	Jonathan 2 (Dark)	0:57:04 - Jonathan exits	advance plot \| brother \| chromatic scale \| chromatic wedge \| conversing \| crazy person \| dark \| darkness \| dissonant bass \| doctor \| falling \| leading man \| murderer \| mysterious \| pc set \| polychord \| room \| stinger
Arsenic and Old Lace (1944)	Underscoring (Tense)	0:58:10 - Someone knocks at the door	advance plot \| brother \| chromatic scale \| conversing \| corpse \| crazy person \| darkness \| doctor \| knocking \| leading man \| murderer \| pc set \| room \| sequence \| sneaking \| tense \| underscoring
Arsenic and Old Lace (1944)	Here Comes the Bride (Tense)	0:58:28 - Elaine comes in the door	advance plot \| bride \| calling \| darkness \| entering \| familiar tune \| half-diminished 7th chord \| leading lady \| room \| sequence \| sneaking \| tense
Arsenic and Old Lace (1944)	Scar (Tense)	0:58:39 - Close-up on Dr. Einstein's face	advance plot \| bride \| brother \| calling \| close-up \| crazy person \| darkness \| doctor \| entering \| fear \| fragmentation \| leading lady \| leading man \| murderer \| polychord \| room \| sneaking \| tense
Arsenic and Old Lace (1944)	Jonathan 2	0:58:55 - Jonathan emerges from the shadows	advance plot \| bride \| brother \| chromatic scale \| chromatic wedge \| conversing \| crazy person \| darkness \| dissonant bass \| doctor \| fear \| leading lady \| leading man \| murderer \| pc set \| questioning \| room \| sinister
Arsenic and Old Lace (1944)	Jonathan 2 (Ominous)	1:00:36 - Jonathan backs Elaine into a corner	advance plot \| anger \| augmented triad \| bride \| brother \| chromatic scale \| crazy person \| dissonant bass \| doctor \| fear \| hurting \| leading lady \| leading man \| murderer \| ominous \| polychord \| questioning \| room \| stinger \| tense \| threatening
Arsenic and Old Lace (1944)	Underscoring (Dramatic)	1:01:21 - They take Elaine into the cellar	9th chord \| aunt \| bride \| brother \| chromatic scale \| conflict \| crazy person \| darkness \| diminished 7th chord \| doctor \| dramatic \| fear \| fighting \| gagging \| harmonic sequence \| leading lady \| leading man \| metric dissonance \| murderer \| oscillation \| room \| running \| self-borrowing \| struggling \| suspenseful \| underscoring
Arsenic and Old Lace (1944)	Organ Stinger	1:01:40 - Aunts emerge in black upstairs	arguing \| aunt \| brother \| conflict \| crazy person \| leading lady \| leading man \| murderer \| ominous \| room \| stinger
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
Arsenic and Old Lace (1944)	Symphony No. 5: I	1:27:02 - Teddy plays the bugle	advance plot \| crazy person \| familiar tune \| groom \| leading man \| playing \| room \| singing \| startled
Arsenic and Old Lace (1944)	Molto Agitato	1:29:57 - Jonathan ties Mortimer to a chair	9th chord \| brother \| captive \| chromatic parallelism \| conflict \| crazy person \| diminished 7th chord \| doctor \| dramatic \| fear \| gagging \| leading man \| mickey-mousing \| murderer \| room \| stinger \| tying \| victim
Arsenic and Old Lace (1944)	The Victim	1:30:11 - Mortimer tied up in a chair	brother \| captive \| conflict \| crazy person \| doctor \| fear \| leading man \| murderer \| ominous \| parallel fifths \| quartal chord \| room \| tense \| tone cluster \| torturing \| tritone \| victim
Arsenic and Old Lace (1944)	Knives	1:31:05 - Mortimer looks at the knives	acceleration \| brother \| captive \| chromatic parallelism \| close-up \| conflict \| crazy person \| diminution \| doctor \| fear \| layering \| leading man \| murderer \| ominous \| oscillation \| ostinato \| pc set \| polychord \| room \| tense \| tone cluster \| torturing \| victim
Arsenic and Old Lace (1944)	Panic	1:31:48 - Einstein agrees to do the torture	alcohol \| brother \| captive \| chromatic parallelism \| chromatic scale \| conflict \| crazy person \| doctor \| dramatic \| fear \| leading man \| murderer \| oscillation \| panicked \| panicking \| polychord \| room \| sequence \| split-third chord \| tense \| torturing \| victim
Arsenic and Old Lace (1944)	Scar (Fast)	1:32:11 - Einstein finds some wine	alcohol \| brother \| captive \| conflict \| crazy person \| doctor \| dramatic \| fear \| hurrying \| leading man \| murderer \| panicking \| polychord \| room \| tense \| torturing \| victim
Arsenic and Old Lace (1944)	How Dry I Am (Mysterious)	1:32:25 - Einstein and Jonathan start to drink the wine	alcohol \| brother \| captive \| conflict \| crazy person \| doctor \| drinking \| familiar tune \| fear \| leading man \| murderer \| mysterious \| polychord \| room \| victim \| whole-tone chord
Arsenic and Old Lace (1944)	Underscoring (Tense)	1:32:35 - They toast to Mortimer	alcohol \| brother \| captive \| clinking \| conflict \| crazy person \| doctor \| fear \| glass effect \| leading man \| murderer \| mysterious \| pc set \| polychord \| room \| tense \| toasting \| underscoring \| victim
Arsenic and Old Lace (1944)	Bugle Call	1:32:56 - Teddy plays the bugle	brother \| bugle \| bugle call \| captive \| conflict \| crazy person \| doctor \| dramatic \| fear \| leading man \| murderer \| on-screen music \| playing \| room \| source music \| victim
Arsenic and Old Lace (1944)	Bugle Call	1:49:14 - Mortimer blows the bugle	bugle \| bugle call \| climax \| dramatic \| leading man \| on-screen music \| playing \| room \| source music
Arsenic and Old Lace (1944)	Happy Land	1:50:41 - Mortimer sings	bugle call \| climax \| leading man \| on-screen music \| room \| singing \| source music \| upbeat
Beyond the Forest (1949)	Rosa (Grazioso)	0:15:01 - Rosa enters the lodge	advance plot \| arriving \| cheerful \| leading lady \| room \| wife \| working
Beyond the Forest (1949)	Hurrying	0:15:09 - Rosa lights a fire	advance plot \| hurrying \| leading lady \| room \| upbeat \| wife \| working
Beyond the Forest (1949)	Rosa (Grazioso)	0:15:23 - Rosa gets a drink	advance plot \| hurrying \| leading lady \| room \| upbeat \| wife \| working
Beyond the Forest (1949)	Hurrying	0:15:35 - Rosa carries a drink	advance plot \| hurrying \| leading lady \| room \| upbeat \| wife \| working
Beyond the Forest (1949)	Loyalton 2 (Andante)	0:22:47 - Lewis helps a patient	advance plot \| doctor \| gentle \| healing \| helping \| leading man \| patient \| room \| sickness \| somber \| tender
Beyond the Forest (1949)	Underscoring (Gentle)	0:23:29 - Lewis arrives home	advance plot \| arriving \| doctor \| gentle \| leading man \| room \| tender \| underscoring
Beyond the Forest (1949)	Lewis (Triste)	0:23:53 - Lewis at home	advance plot \| arriving \| doctor \| leading man \| room \| tender \| tense
Beyond the Forest (1949)	Courthouse (Agitato Quasi Rubato)	0:31:12 - Rosa arrives home	advance plot \| angry \| arriving \| leading lady \| room \| upset \| yelling
Beyond the Forest (1949)	Rosa (Sombre)	0:32:36 - Rosa walks away	advance plot \| leading lady \| room \| somber \| sulking \| tense \| upset \| walking
Beyond the Forest (1949)	Chicago (Molto Expressivo)	0:37:20 - Rosa sees the mink coat	advance plot \| coat \| contemplating \| expressive \| familiar tune \| jealousy \| leading lady \| popular tune \| room \| wife
Beyond the Forest (1949)	Chicago (Misterioso)	0:38:47 - Rosa lights a match	advance plot \| contemplating \| dramatic \| familiar tune \| jealousy \| leading lady \| obsession \| obsessive \| passage of time \| popular tune \| room \| smoking \| tense \| wife
Beyond the Forest (1949)	Rosa (Slower)	0:39:05 - Rosa in bed	advance plot \| calm \| contemplating \| dark \| leading lady \| leading man \| panning shot \| restlessness \| room \| smoking \| wife
Beyond the Forest (1949)	Running (Quasi Misterioso)	0:42:06 - Rosa looks through the account book	advance plot \| leading lady \| mysterious \| ominous \| reading \| room \| wife \| writing
Beyond the Forest (1949)	Lewis (Moderato Quasi Rubato)	0:42:23 - Lewis talks to some men	advance plot \| calm \| conversing \| doctor \| leading man \| room \| somber \| source and scoring overlap \| street \| townsfolk \| walking \| warm
Beyond the Forest (1949)	Chicago	0:43:37 - Rosa sews	advance plot \| arriving \| familiar tune \| leading lady \| leading man \| on-screen music \| popular tune \| room \| score to source \| sewing \| singing \| source and scoring overlap \| source music \| upbeat \| wife
Beyond the Forest (1949)	Hurrying (Molto Agitato)	0:44:13 - Rosa picks up the money	frantic \| grabbing \| hurried \| leading lady \| money \| room \| transition
Beyond the Forest (1949)	Rosa (Molto Tranquillo)	0:57:36 - Lewis opens the door	arriving \| calm \| dark \| doctor \| leading lady \| leading man \| reunion scene \| room \| wife
Beyond the Forest (1949)	Lewis (Tender)	0:58:28 - Lewis takes care of Rosa	calm \| conversing \| doctor \| kissing \| leading lady \| leading man \| reunion scene \| room \| tender \| wife
Beyond the Forest (1949)	Whisper While You’re Waltzing	1:01:34 - People at a party	conversing \| crowd \| dance scene \| doctor \| eating \| folk music \| gentle \| leading lady \| leading man \| on-screen music \| party \| playing \| room \| source music \| waltz \| wife
Beyond the Forest (1949)	For He’s a Jolly Good Fellow	1:02:12 - Folk musicians	arriving \| cake \| cheerful \| conversing \| crowd \| dance scene \| doctor \| familiar tune \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| tuning \| wife \| wind
Beyond the Forest (1949)	The Arkansas Traveler	1:02:55 - Folk musicians	crowd \| dancer \| dance scene \| dancing \| doctor \| folk music \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| square dance caller \| square dance music \| upbeat \| wife
Beyond the Forest (1949)	Portland Fancy	1:03:11 - People dancing	crowd \| dancer \| dance scene \| dancing \| doctor \| folk music \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| square dance caller \| square dance music \| upbeat \| wife
Beyond the Forest (1949)	Devil’s Dream	1:03:26 - People dancing	crowd \| dancer \| dance scene \| dancing \| doctor \| folk music \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| square dance caller \| square dance music \| upbeat \| wife
Beyond the Forest (1949)	Little Brown Jug	1:03:57 - People dancing	crowd \| dancer \| dance scene \| dancing \| doctor \| folk music \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| square dance caller \| square dance music \| upbeat \| wife
Beyond the Forest (1949)	Varsovienne	1:04:52 - Moose talks with Mr. Latimer	conversing \| dance scene \| folk music \| friend \| friend \| leading lady \| leading man \| love interest \| on-screen music \| party \| plotting \| proposal \| room \| sneaking \| source music \| square dance music \| upbeat
Beyond the Forest (1949)	Underscoring (Dramatic)	1:08:24 - Moose warns Rosa	anger \| dramatic \| friend \| harsh \| leading lady \| observing \| room \| stinger \| turning point \| underscoring \| warning \| warning
Beyond the Forest (1949)	Chicago (Harmonics)	1:08:31 - Rosa reacts to Moose's warning	anger \| angry \| contemplating \| familiar tune \| harsh \| leading lady \| ominous \| popular tune \| reacting \| room \| turning point
Beyond the Forest (1949)	Underscoring (Dramatic)	1:08:36 - Rosa hits the table	anger \| angry \| contemplating \| dramatic \| harsh \| hitting \| leading lady \| pounding \| reacting \| room \| turning point \| underscoring
Beyond the Forest (1949)	Rosa (Violent)	1:08:54 - Rosa slowly turns	anger \| angry \| contemplating \| harsh \| leading lady \| ominous \| reacting \| room \| turning point
Beyond the Forest (1949)	Rosa (Violent) + Chicago	1:09:01 - Rosa heads outside	anger \| angry \| combination of themes \| contemplating \| departing \| familiar tune \| harsh \| leading lady \| ominous \| popular tune \| reacting \| room \| turning point
Beyond the Forest (1949)	Rosa (Heavy)	1:12:58 - Rosa and Lewis drive away	arriving \| departing \| dramatic \| funeral \| husband \| leading lady \| leading man \| murderer \| room \| somber \| transition \| victim
Beyond the Forest (1949)	Lewis (Crescendo)	1:13:15 - Rosa and Lewis at home	arriving \| calm \| conversing \| dark \| dramatic \| husband \| leading lady \| leading man \| murderer \| room \| transition \| victim \| yelling
Beyond the Forest (1949)	Threat	1:16:14 - Rosa lunges forward	advance plot \| dark \| harsh \| leading lady \| lunging \| murderer \| ominous \| room \| staring \| stinger \| threatening \| violent
Beyond the Forest (1949)	Underscoring (Mysterious)	1:16:20 - Rosa stares out the window	advance plot \| departing \| leading lady \| maid \| murderer \| mysterious \| plotting \| room \| street \| underscoring \| walking \| watching
Beyond the Forest (1949)	Running (A Little Heavier)	1:16:28 - Rosa heads downstairs	advance plot \| hurrying \| leading lady \| murderer \| mysterious \| plotting \| room \| tense
Beyond the Forest (1949)	Rosa (Listesso)	1:16:48 - Rosa takes the maid's things	advance plot \| dark \| disguise \| dressing \| harsh \| leading lady \| murderer \| ominous \| room \| stealing \| violent
Beyond the Forest (1949)	Rosa (Molto Tranquillo 2)	1:20:12 - Rosa in bed	advance plot \| calm \| leading lady \| murderer \| recovering \| resting \| room \| sickness \| sleeping \| sultry \| waking
Beyond the Forest (1949)	Chicago (Molto Tranquillo)	1:20:35 - Rosa in bed	advance plot \| banging \| calm \| familiar tune \| leading lady \| maid \| murderer \| popular tune \| recovering \| resting \| room \| sentimental \| sickness
Beyond the Forest (1949)	Chicago (Molto Expressivo)	1:20:43 - The maid in the kitchen	advance plot \| familiar tune \| leading lady \| maid \| murderer \| popular tune \| recovering \| resting \| room \| sentimental \| sickness \| upbeat
Beyond the Forest (1949)	Rosa (Agitato Misterioso)	1:22:49 - Rosa in bed	agitated \| fever \| illness scene \| leading lady \| murderer \| room \| sickness \| sweating \| tense \| walking
Beyond the Forest (1949)	Sawmill + Steam Whistle	1:23:17 - Rosa opens the window	agitated \| combination of themes \| fever \| illness scene \| leading lady \| machinery effect \| mickey-mousing \| murderer \| opening \| raising \| room \| sickness \| sweating \| tense \| waiting \| whistle effect
Beyond the Forest (1949)	Sawmill + Fever	1:23:26 - Rosa rubs her forehead	agitated \| combination of themes \| fever \| illness scene \| leading lady \| machinery effect \| maid \| murderer \| room \| sickness \| sickness effect \| sweating \| tense \| waiting
Beyond the Forest (1949)	Rosa (Fever)	1:23:41 - The maid sweeping	bleak \| drinking \| fever \| illness scene \| leading lady \| maid \| murderer \| oppressive \| pounding \| room \| sickness \| waiting
Beyond the Forest (1949)	Lewis (Triste 2)	1:24:09 - Lewis walks inside	arriving \| calm \| doctor \| fever \| illness scene \| leading lady \| leading man \| murderer \| room \| sickness \| solemn \| street \| waiting \| walking
Beyond the Forest (1949)	Chicago	1:27:10 - Rosa sings to herself	delirious \| familiar tune \| fever \| illness scene \| leading lady \| maid \| murderer \| on-screen music \| popular tune \| room \| score to source \| sickness \| singing \| source music
Beyond the Forest (1949)	Chicago (Echo Chambre)	1:28:20 - Rosa prepares to leave	angry \| arguing \| climax \| crazed \| delirious \| eerie \| familiar tune \| leading lady \| mad \| madness \| mad scene \| maid \| murderer \| popular tune \| preparing \| room \| stumbling \| unsettling \| yelling
Beyond the Forest (1949)	Chicago (She Walks Down)	1:29:25 - Rosa walks down the stairs	climax \| dark \| descending \| familiar tune \| leading lady \| madness \| mad scene \| maid \| mickey-mousing \| murderer \| popular tune \| room \| solemn \| stairs \| stumbling
The Big Sleep (1946)	Underscoring (Tense)	0:01:01 - Sign for the Sternwood mansion	arriving \| butler \| establish character \| leading man \| mansion \| private eye \| room \| tense \| underscoring
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)	Flirtation	0:01:42 - Carmen flirts with Marlowe	chromatic parallelism \| chromatic scale \| comical \| daughter \| establish character \| femme fatale \| flirting \| half-diminished 7th chord \| leading man \| private eye \| room
The Big Sleep (1946)	Marlowe	0:02:01 - Marlowe gives Carmen a fake name	added-note chord \| comical \| common-tone dominant 7th \| daughter \| establish character \| femme fatale \| flirting \| leading man \| private eye \| room
The Big Sleep (1946)	Marlowe (Sly)	0:02:12 - Marlowe and Carmen talk	daughter \| establish character \| femme fatale \| flirting \| leading man \| mysterious \| private eye \| room
The Big Sleep (1946)	Carmen falls	0:02:20 - Carmen falls into Marlowe's arms	daughter \| diminished 7th chord \| establish character \| falling \| femme fatale \| flirting \| leading man \| mickey-mousing \| playful \| private eye \| room \| whole-tone chord
The Big Sleep (1946)	Carmen	0:02:21 - Carmen in Marlowe's arms	daughter \| establish character \| femme fatale \| flirting \| half-diminished 7th chord \| leading man \| mysterious \| oscillation \| private eye \| room \| whole-tone chord
The Big Sleep (1946)	Sternwood	0:02:31 - Carmen walks away	9th chord \| added-note chord \| altered dominant \| bluesy \| daughter \| establish character \| femme fatale \| leading man \| Neapolitan \| private eye \| retardation \| room \| seductive \| walking
The Big Sleep (1946)	Underscoring (Tense)	0:02:45 - Marlowe goes to meet Sternwood	9th chord \| altered dominant \| butler \| chromatic scale \| establish character \| leading man \| private eye \| room \| tense \| underscoring \| 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)	Underscoring (Mysterious)	0:23:44 - Marlowe investigates the crime scene	chromatic scale \| investigating \| investigation scene \| leading man \| mysterious \| private eye \| room \| underscoring
The Big Sleep (1946)	Marlowe (Augmented)	0:23:56 - Marlowe investigates the crime scene	altered dominant \| augmentation \| investigating \| investigation scene \| leading man \| mickey-mousing \| mysterious \| private eye \| room \| snapping \| thinking
The Big Sleep (1946)	Underscoring (Mysterious)	0:24:05 - Marlowe advances	chromatic scale \| investigating \| investigation scene \| leading man \| mickey-mousing \| mysterious \| private eye \| room \| searching \| whole-tone chord
The Big Sleep (1946)	Underscoring (Mysterious)	NIF - not in film	added-note chord \| alternation \| deleted scene \| deleted scene \| half-diminished 7th chord \| investigating \| investigation \| leading man \| mickey-mousing \| mysterious \| private eye \| room \| searching \| underscoring \| whole-tone chord
The Big Sleep (1946)	Turns light on	NIF - not in film	deleted scene \| deleted scene \| investigating \| investigation \| leading man \| light \| light switch \| mickey-mousing \| mysterious \| private eye \| room \| searching \| turning on \| whole-tone chord
The Big Sleep (1946)	Turns light on	NIF - not in film	deleted scene \| deleted scene \| investigating \| investigation \| leading man \| light \| light switch \| mickey-mousing \| mysterious \| private eye \| room \| searching \| turning on \| whole-tone chord
The Big Sleep (1946)	Water running	NIF - not in film	deleted scene \| deleted scene \| faucet \| flowing \| half-diminished 7th chord \| investigating \| investigation \| leading man \| mickey-mousing \| mysterious \| oscillation \| private eye \| room \| searching \| water
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)	Underscoring (Tense)	NIF - not in film	deleted scene \| deleted scene \| investigating \| investigation \| leading man \| mysterious \| private eye \| room \| searching \| tense
The Big Sleep (1946)	Carmen (Clues)	NIF - not in film	clue \| deleted scene \| deleted scene \| half-diminished 7th chord \| investigating \| investigation \| key \| leading man \| mysterious \| oscillation \| private eye \| room \| searching \| tense \| whole-tone chord
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)	Marlowe (Investigating)	NIF - not in film	added-note chord \| deleted scene \| deleted scene \| dramatic \| investigating \| investigation \| leading man \| private eye \| room \| searching \| sequential modulation \| tense
The Big Sleep (1946)	Underscoring (Dramatic)	NIF - not in film	deleted scene \| deleted scene \| diminished 7th chord \| dramatic \| investigating \| investigation \| leading man \| private eye \| room \| searching \| tense
The Big Sleep (1946)	Underscoring (Mysterious)	0:24:09 - Marlowe searches for clues	investigating \| investigation scene \| leading man \| mysterious \| pc set \| private eye \| room \| searching \| secret code \| whole-tone chord
The Big Sleep (1946)	Turning page	0:24:20 - Marlowe turns the page in the code book	chromatic scale \| clue \| investigating \| investigation scene \| leading man \| mysterious \| private eye \| room \| searching \| secret code \| turning \| whole-tone chord
The Big Sleep (1946)	Carmen (Foreboding)	0:24:22 - Marlowe sees the name Sternwood in a code book	added-note chord \| clue \| foreboding \| investigating \| investigation scene \| leading man \| name on screen \| private eye \| room \| searching \| secret code
The Big Sleep (1946)	Marlowe (Thinking)	0:24:26 - Marlowe tries to solve the mystery	added-note chord \| chromatic parallelism \| chromatic scale \| clue \| investigating \| investigation scene \| leading man \| mysterious \| private eye \| room \| secret code \| thinking
The Big Sleep (1946)	Marlowe (Risoluto)	0:24:39 - Marlowe searches for clues	added-note chord \| chromatic parallelism \| fragmentation \| investigating \| investigation scene \| leading man \| private eye \| resolved \| room \| searching
The Big Sleep (1946)	Underscoring (Dramatic)	0:24:57 - Dead body on the floor	corpse \| death \| dramatic \| femme fatale \| investigating \| investigation scene \| leading man \| private eye \| room \| searching \| stinger \| tense \| underscoring
The Big Sleep (1946)	Carmen (Drugged)	NIF - not in film	deleted scene \| femme fatale \| helping \| investigation \| leading man \| mysterious \| oscillation \| ostinato \| private eye \| room \| tense \| tritone oscillation \| whole-tone chord
The Big Sleep (1946)	Turns light off	NIF - not in film	deleted scene \| femme fatale \| investigation \| leading man \| light \| light switch \| mysterious \| private eye \| room \| tense \| turning off \| whole-tone chord
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)	Carmen	NIF - not in film	arriving \| butler \| chromatic mediant \| deleted scene \| femme fatale \| leading man \| private eye \| room \| tense \| transition
The Big Sleep (1946)	Marlowe (Molto Misterioso)	0:25:05 - Marlowe arrives at Carmen's house	arriving \| butler \| departing \| dissonant bass \| femme fatale \| inserted scene \| leading man \| not in score \| private eye \| reused recording \| room \| 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)	Marlowe (Grazioso)	0:25:28 - Marlowe asks Vivian to help with Carmen	added-note chord \| advance plot \| butler \| conversing \| femme fatale \| half-diminished 7th chord \| inserted scene \| leading lady \| leading man \| mysterious \| not in score \| private eye \| reused recording \| room
The Big Sleep (1946)	Marlowe (Misterioso)	0:27:44 - Marlowe returns to the scene of the crime	arriving \| investigating \| investigation scene \| leading man \| mysterious \| private eye \| room
The Big Sleep (1946)	Marlowe 2 (Blood Stain)	0:27:54 - Marlowe discovers that the body is missing	11th chord \| chromatic scale \| investigating \| investigation scene \| leading man \| private eye \| room \| tense
The Big Sleep (1946)	Marlowe (Sneaking)	0:28:16 - Marlowe investigates the crime scene	dark \| dissonant bass \| investigating \| investigation scene \| leading man \| mysterious \| private eye \| room \| sneaking \| tritone
The Big Sleep (1946)	Marlowe (Major)	0:28:47 - Marlowe's name on his apartment door	arriving \| leading man \| mode mixture \| mysterious \| name on screen \| noble \| private eye \| room \| sequential modulation \| transition
The Big Sleep (1946)	Entering	NIF - not in film	arriving \| augmented sixth chord \| deleted scene \| entering \| gentle \| leading man \| not in score \| parallel 63s \| parallelism \| private eye \| room \| transition \| walking
The Big Sleep (1946)	Marlowe (Melancholy)	NIF - not in film	added-note chord \| arriving \| deleted scene \| leading man \| melancholy \| not in score \| private eye \| room \| transition
The Big Sleep (1946)	Underscoring (Tense)	0:28:58 - Marlowe tries to crack the code	leading man \| pc set \| private eye \| researching \| room \| tense \| threat \| transition \| tritone \| writing
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 (Grazioso)	0:32:29 - Marlowe talks with Vivian	advance plot \| conversing \| half-diminished 7th chord \| leading lady \| leading man \| mysterious \| private eye \| room
The Big Sleep (1946)	Marlowe (Ear Music)	0:46:52 - Marlowe thinks	advance plot \| chromatic scale \| fragmentation \| leading man \| mysterious \| private eye \| room \| tense \| thinking \| whole-tone chord
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 (Mysterious)	0:48:15 - Marlowe talks to Joe Brody	blackmailer \| chromatic parallelism \| conversing \| criminal \| gun \| investigation scene \| leading man \| mysterious \| private eye \| room \| suspect \| underscoring
The Big Sleep (1946)	Marlowe (Augmented)	0:48:55 - Joe pulls a gun on Marlowe	altered dominant \| augmentation \| blackmailer \| conversing \| criminal \| gun \| investigation scene \| leading man \| mysterious \| private eye \| room \| suspect
The Big Sleep (1946)	Underscoring (Tense)	0:51:31 - Joe reacts to the doorbell ringing	blackmailer \| chromatic parallelism \| conflict \| conversing \| criminal \| doorbell \| gun \| leading lady \| leading man \| mysterious \| pc set \| private eye \| room \| suspect \| tense \| tone cluster \| underscoring \| whole-tone chord
The Big Sleep (1946)	Sternwood (Threatening)	0:51:52 - Carmen enters holding a gun on Brody	blackmailer \| blue note \| conflict \| criminal \| dark \| dissonant bass \| femme fatale \| gun \| leading lady \| leading man \| private eye \| room \| sinister \| stinger \| suspect \| threatening \| whole-tone chord
The Big Sleep (1946)	Underscoring (Dramatic)	0:52:02 - Marlowe pushes Agnes	blackmailer \| chromatic parallelism \| chromatic scale \| conflict \| criminal \| diminished 7th chord \| dramatic \| falling \| femme fatale \| gun \| leading lady \| leading man \| private eye \| room \| suspect \| tense \| tripping \| underscoring
The Big Sleep (1946)	Carmen (Misterioso)	0:52:18 - Joe gives the picture to Marlowe	blackmail \| blackmailer \| conflict \| conversing \| criminal \| evidence \| femme fatale \| half-diminished 7th chord \| leading lady \| leading man \| mysterious \| private eye \| room \| suspect \| whole-tone chord
The Big Sleep (1946)	Sternwood (Extended)	0:52:29 - Carmen asks for her picture back	9th chord \| altered dominant \| blackmail \| chromatic parallelism \| conflict \| diminished 7th chord \| evidence \| femme fatale \| flirting \| leading lady \| leading man \| mysterious \| pc set \| private eye \| room \| seductive \| whole-tone chord
The Big Sleep (1946)	Carmen (Violent)	0:52:58 - Vivian and Carmen leave	blackmailer \| conflict \| criminal \| dissonant bass \| femme fatale \| leading lady \| leading man \| leaving \| mysterious \| private eye \| room \| suspect \| whole-tone \| whole-tone chord
The Big Sleep (1946)	Slapping	0:53:02 - Carmen slaps Joe with her purse	blackmailer \| conflict \| criminal \| dissonant bass \| femme fatale \| leading lady \| leading man \| mickey-mousing \| private eye \| room \| slamming \| slapping \| suspect \| tense \| violence \| whole-tone chord
The Big Sleep (1946)	Running out	0:56:36 - Marlowe runs after the killer	assassin \| chase scene \| chasing \| chromatic scale \| combination of themes \| dramatic \| gun \| gunshot \| leading man \| mickey-mousing \| murder \| murderer \| private eye \| room \| running \| stairs \| stinger
The Big Sleep (1946)	Down the Stairs + The Chase + Marlowe (Action)	0:56:39 - Marlowe chases the killer	assassin \| chase scene \| chasing \| chromatic parallelism \| chromatic scale \| descending \| dissonant bass \| dramatic \| gun \| gunshot \| heroic \| layering \| leading man \| murderer \| private eye \| room \| running \| stairs \| tense
The Big Sleep (1946)	Marlowe (Misterioso)	0:59:14 - Marlowe ties up Carol	assassin \| corpse \| dark \| half-diminished 7th chord \| investigating \| investigation scene \| leading man \| murderer \| mysterious \| pc set \| private eye \| room \| rope \| stinger \| tying up
The Big Sleep (1946)	Marlowe (Ear Business)	0:59:42 - Marlowe pulls on his ear	added-note chord \| corpse \| fragmentation \| investigating \| investigation scene \| leading man \| mysterious \| private eye \| room \| thinking
The Big Sleep (1946)	Marlowe 2 (Dialing)	0:59:47 - Marlowe walks to the phone	calling \| chromatic scale \| corpse \| dialing \| half-diminished 7th chord \| investigating \| investigation scene \| leading man \| mysterious \| private eye \| room \| spinning \| tense
The Big Sleep (1946)	Vivian + Marlowe (Ear Business)	NIF - not in film	advance plot \| altered dominant \| combination of themes \| conversing \| cut from film \| deleted scene \| deleted scene \| leading lady \| leading man \| love interest \| mysterious \| private eye \| romantic \| room \| thinking \| whole-tone
The Big Sleep (1946)	Marlowe (Phone Call)	NIF - not in film	advance plot \| bold \| calling \| cut from film \| deleted scene \| deleted scene \| dialing \| leading man \| phone \| private eye \| room \| sequence \| tense \| whole-tone chord
The Big Sleep (1946)	Carmen	NIF - not in film	advance plot \| burning \| calling \| cut from film \| deleted scene \| deleted scene \| half-diminished 7th chord \| leading man \| mysterious \| phone \| private eye \| room \| tense \| whole-tone chord
The Big Sleep (1946)	Carmen (Clues)	NIF - not in film	advance plot \| calling \| cut from film \| deleted scene \| deleted scene \| leading man \| mysterious \| phone \| private eye \| room \| tense \| whole-tone chord
The Big Sleep (1946)	Marlowe (Not in Film)	NIF - not in film	9th chord \| 11th chord \| advance plot \| conversing \| cut from film \| femme fatale \| leading man \| private eye \| room
The Big Sleep (1946)	Drops hat	NIF - not in film	9th chord \| advance plot \| cut from film \| dropping \| femme fatale \| hat \| leading man \| mickey-mousing \| private eye \| room
The Big Sleep (1946)	Sternwood (Extended)	NIF - not in film	added-note chord \| advance plot \| altered dominant \| chromatic scale \| conversing \| cut from film \| femme fatale \| leading man \| private eye \| room \| whole-tone chord
The Big Sleep (1946)	Underscoring (Tense)	NIF - not in film	advance plot \| chromatic parallelism \| conversing \| cut from film \| diminished 7th chord \| femme fatale \| leading man \| oscillation \| private eye \| room \| tritone \| underscoring \| whole-tone chord
The Big Sleep (1946)	You!	NIF - not in film	advance plot \| chromatic scale \| conversing \| cut from film \| femme fatale \| fragmentation \| leading man \| private eye \| room \| tone cluster
The Big Sleep (1946)	Marlowe (Major)	NIF - not in film	advance plot \| chromatic parallelism \| conversing \| cut from film \| femme fatale \| leading man \| mode mixture \| pc set \| private eye \| room
The Big Sleep (1946)	Bites hand	NIF - not in film	advance plot \| biting \| chromatic parallelism \| cut from film \| femme fatale \| leading man \| mickey-mousing \| pc set \| private eye \| room \| stinger
The Big Sleep (1946)	Carmen (Not in Film)	NIF - not in film	advance plot \| conversing \| cut from film \| femme fatale \| leading man \| oscillation \| private eye \| room \| whole-tone chord
The Big Sleep (1946)	Marlowe (Sostenuto)	1:24:25 - Marlowe cleans up	advance plot \| half-diminished 7th chord \| leading man \| pain \| private eye \| recovering \| room \| somber \| tender \| weary
The Big Sleep (1946)	Glass drops	1:29:49 - Jones drops his glass	breaking \| death \| death scene \| dropping \| glass \| leading man \| mickey-mousing \| murder \| mysterious \| pc set \| poison \| private eye \| room \| victim \| violent
The Big Sleep (1946)	Jones falls	1:29:50 - Jones falls and dies	chromatic parallelism \| death \| death scene \| dying \| falling \| leading man \| major 7th chord \| mickey-mousing \| murder \| mysterious \| pc set \| poison \| private eye \| room \| victim \| violent
The Big Sleep (1946)	Underscoring (Tense)	1:30:01 - Marlowe investigates the crime scene	dark \| death \| death scene \| dying \| leading man \| murder \| private eye \| room \| tense \| underscoring \| victim
The Big Sleep (1946)	Marlowe (Risoluto)	1:30:12 - Marlowe makes a phone call	added-note chord \| bold \| conversing \| death scene \| fragmentation \| leading man \| phone call \| private eye \| room \| victim
The Big Sleep (1946)	Underscoring (Tense)	1:30:24 - Marlowe makes a phone call	conversing \| death scene \| leading man \| pc set \| phone call \| private eye \| room \| tense \| underscoring \| victim \| whole-tone chord
The Big Sleep (1946)	Wrong Address	1:30:46 - Marlowe ends the phone call	9th chord \| altered dominant \| chromatic parallelism \| conversing \| death \| death scene \| half-diminished 7th chord \| leading man \| phone call \| private eye \| room \| somber \| victim
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)	Underscoring (Tense)	1:31:48 - Marlowe talks to Agnes on the phone	conversing \| death scene \| informer \| leading man \| pc set \| phone call \| private eye \| room \| tense \| underscoring
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)	Marlowe (Whole Tone)	1:39:25 - Marlowe talks to Vivian	captive \| conversing \| leading lady \| leading man \| love interest \| love scene \| mysterious \| private eye \| room \| tense \| whole-tone \| whole-tone chord \| whole-tone scale
The Big Sleep (1946)	Marlowe (Phone Call)	1:39:39 - Marlowe talks to Vivian	captive \| conversing \| leading lady \| leading man \| love interest \| love scene \| mysterious \| private eye \| room \| sequence \| tense \| whole-tone chord
The Big Sleep (1946)	Carmen	1:39:52 - Marlowe talks to Vivian	captive \| conversing \| half-diminished 7th chord \| leading lady \| leading man \| love interest \| love scene \| musical clue \| music reveals thoughts \| mysterious \| private eye \| room \| whole-tone chord
The Big Sleep (1946)	Vivian	1:40:03 - Marlowe and Vivian kiss	9th chord \| 13th chord \| AABA structure \| added-note chord \| altered dominant \| captive \| chromatic mediant \| chromatic parallelism \| common-tone dominant 7th \| foreign key modulation \| freeing \| kissing \| leading lady \| leading man \| love interest \| love scene \| Neapolitan \| private eye \| romantic \| room \| suspension
The Big Sleep (1946)	Questions	1:40:44 - Vivian tries to free Marlowe	captive \| chromatic parallelism \| freeing \| leading lady \| leading man \| love interest \| love scene \| private eye \| room \| tense
The Big Sleep (1946)	Marlowe (Misterioso)	1:41:01 - Marlowe plans his escape	action scene \| leading lady \| leading man \| love interest \| mysterious \| planning \| private eye \| room \| tense
The Big Sleep (1946)	Marlowe 2	1:41:18 - Marlowe goes outside	action scene \| chromatic scale \| escaping \| leading lady \| leading man \| love interest \| mysterious \| private eye \| room \| screaming \| tense
The Big Sleep (1946)	Hangs up phone	1:47:07 - Marlowe hangs up the phone	climax \| hanging up \| leading lady \| leading man \| love interest \| mickey-mousing \| mysterious \| private eye \| room
The Big Sleep (1946)	Hurrying	1:47:07 - Marlowe and Vivian make a plan	chromatic sequence \| climax \| fragmentation \| hurrying \| leading lady \| leading man \| love interest \| parallelism \| planning \| private eye \| room \| tense
The Big Sleep (1946)	Marlowe (Misterioso)	1:47:26 - Marlowe drops a bullet	climax \| fear \| leading lady \| leading man \| love interest \| mysterious \| private eye \| room \| shaking \| tense
The Big Sleep (1946)	Marlowe 2	1:47:31 - Car pulls up outside	chromatic scale \| climax \| fear \| leading lady \| leading man \| love interest \| mysterious \| private eye \| room \| shaking \| tense \| tritone
The Big Sleep (1946)	Carmen (Drugged)	1:48:08 - Marlowe watches men outside	climax \| criminal \| fear \| leading lady \| leading man \| love interest \| mysterious \| ominous \| planning \| private eye \| room \| tense \| waiting
The Big Sleep (1946)	Marlowe (Danger)	1:48:32 - Men approach the house	climax \| fear \| hiding \| leading man \| mysterious \| ominous \| pc set \| planning \| private eye \| room \| tense \| tone cluster \| underscoring \| waiting
The Big Sleep (1946)	Marlowe (Misterioso)	1:48:55 - Marlowe sneaks up behind Mars	climax \| criminal \| fear \| hiding \| leading man \| mysterious \| private eye \| room \| sneaking \| tense
The Big Sleep (1946)	Marlowe 2	1:49:05 - Marlowe holds a gun on Mars	climax \| criminal \| fear \| leading man \| mysterious \| ominous \| private eye \| room \| sneaking \| tense
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	added-note chord \| bold \| death \| fragmentation \| 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 \| oscillation \| pedal tone \| phone call \| private eye \| resolution \| room \| tense \| uneasy \| whole-tone chord
The Big Sleep (1946)	Vivian	1:52:48 - Marlowe talks to Vivian	9th chord \| 13th chord \| chromatic parallelism \| conversing \| leading lady \| leading man \| love \| love interest \| Neapolitan \| private eye \| resolution \| romantic \| room
The Big Sleep (1946)	Vivian (Expressivo)	1:53:20 - Marlowe pulls Vivian close	9th chord \| 13th chord \| chromatic parallelism \| conversing \| foreign key modulation \| leading lady \| leading man \| love \| love interest \| private eye \| resolution \| romantic \| room \| suspension
The Breaking Point (1950)	Make Love With a Guitar	0:33:28 - Harry arrives home	advance plot \| arriving \| calm \| child \| conversing \| leading man \| musician \| neighbor \| on-screen music \| room \| sailor \| source music \| street \| wife \| yard
The Breaking Point (1950)	Don't Take Your Love From Me	1:05:42 - Harry arrives at Leona's apartment	ABAC structure \| advance plot \| conversing \| floozy \| leading lady \| leading man \| mellow \| room \| sailor \| source music
Caged (1950)	Mrs. Benton (Not in Film 3)	NIF - not in film	altered dominant \| chromatic mediant \| conversing \| cut from film \| establish character \| gentle \| guard \| leading lady \| mode mixture \| office \| pregnancy \| prison \| prisoner \| reading \| room \| sigh gesture \| warden
His Greatest Gamble (1934)	Home Sweet Home	0:03:14 - Philip and Alice go home	child \| establish character \| gentle \| humming \| leading man \| on-screen music \| room \| sleeping \| source music
City for Conquest (1940)	Scales	0:09:16 - Danny and Peggy go upstairs	arguing \| conversing \| establish character \| leading lady \| leading man \| mother \| on-screen music \| piano \| room \| source music \| tedious \| transcribed by ear
City for Conquest (1940)	Tone Poem A	0:10:50 - Eddie plays the piano	brother \| composer \| conversing \| establish character \| leading man \| musician \| piano \| playing \| romantic \| room \| score to source \| source music \| transcribed by ear
City for Conquest (1940)	Tone Poem A (Very Broad)	0:12:16 - Eddie plays the piano	13th chord \| brother \| chromatic parallelism \| chromatic scale \| composer \| conversing \| describing \| dissonant bass \| establish character \| explaining \| leading man \| musician \| name of film \| pentatonic \| piano \| playing \| romantic \| room \| source music \| transcribed by ear
City for Conquest (1940)	Tone Poem A (Unattainable Stars)	0:12:37 - Eddie plays the piano	brother \| chromatic parallelism \| composer \| conversing \| describing \| establish character \| explaining \| leading man \| musician \| piano \| playing \| romantic \| room \| somber \| source music \| transcribed by ear
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)	My Old Kentucky Home	0:16:04 - Mickey sings to himself	advance plot \| boxer \| calm \| conversing \| folk music \| leading man \| locker room \| manager \| singing \| source music
City for Conquest (1940)	Shadow Waltz (Ethereal)	0:24:48 - Peggy peeks out of her door	added-note chord \| advance plot \| arriving \| chromatic parallelism \| chromatic wedge \| common-tone diminished 7th \| entering \| gentle \| leading lady \| mysterious \| parallelism \| room \| sneaking \| source to score
City for Conquest (1940)	I'm Just Wild About Harry (Delicato)	0:25:06 - Peggy calls Murray	11th chord \| added-note chord \| advance plot \| altered dominant \| calling \| common-tone diminished 7th \| conversing \| leading lady \| mode mixture \| pleasant \| room \| source to score \| telephone \| upbeat
City for Conquest (1940)	Tone Poem A	0:27:25 - Eddie composes at the piano	advance plot \| brother \| composer \| composing \| leading man \| musician \| on-screen music \| parallelism \| piano \| playing \| romantic \| room \| source music \| transcribed by ear
City for Conquest (1940)	Tone Poem A	0:27:40 - Eddie plays the piano	13th chord \| advance plot \| brother \| composer \| composing \| leading man \| musician \| on-screen music \| 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 (Grazioso)	0:30:04 - Danny shaves	altered dominant \| common-chord modulation \| conversing \| delicate \| fragmentation \| gentle \| leading lady \| leading man \| love scene \| room \| shaving
City for Conquest (1940)	Tone Poem A (Dolce)	0:30:28 - Peggy talks to Danny	9th chord \| 11th chord \| arguing \| chromatic parallelism \| common-chord modulation \| conversing \| flirting \| gentle \| leading lady \| leading man \| love scene \| playful \| room \| shaving
City for Conquest (1940)	Peggy pokes Danny	0:30:47 - Peggy pokes Danny	11th chord \| flirting \| leading lady \| leading man \| love scene \| mickey-mousing \| playful \| room \| shaving \| teasing
City for Conquest (1940)	Only Fooling	0:30:54 - Peggy cleans Danny's face	arguing \| common-tone modulation \| conversing \| diminished 7th chord \| flirting \| leading lady \| leading man \| love scene \| parallelism \| playful \| room \| shaving
City for Conquest (1940)	Tone Poem A (Expressivo)	0:31:00 - Peggy apologizes to Danny	9th chord \| added-note chord \| appoggiatura \| chromatic mediant \| common-tone diminished 7th \| conversing \| foreign key modulation \| kiss \| kissing \| leading lady \| leading man \| love scene \| parallelism \| romantic \| room
City for Conquest (1940)	In the Evening	0:45:08 - Peggy in her dressing room	arguing \| boxer \| conflict \| conversing \| crying \| dancer \| dressing room \| leading lady \| leading man \| parallel double period \| punching \| source music \| upbeat
City for Conquest (1940)	A Girl Like You	0:46:49 - Danny in Peggy's dressing room	boxer \| conflict \| crying \| dancer \| dressing room \| leading lady \| leading man \| leaving \| parallel double period \| source music \| upbeat
City for Conquest (1940)	Adios Muchachos	0:50:27 - Peggy arrives home	advance plot \| arriving \| cheerful \| conversing \| dancer \| leading lady \| parallel double period \| record player \| room \| source music \| tango
City for Conquest (1940)	Adios Muchachos	0:51:19 - Peggy talks with Murray	advance plot \| arriving \| cheerful \| conversing \| dancer \| leading lady \| parallel double period \| record player \| room \| source music \| tango
City for Conquest (1940)	Where Were You When the Moon Came Out (Fragment)	0:56:56 - Eddie plays the piano	advance plot \| composer \| composing \| musician \| on-screen music \| piano \| room \| source music
City for Conquest (1940)	Garden of the Moon	1:00:04 - Backstage at the Club Madrid	AABA structure \| advance plot \| conversing \| dancer \| dressing room \| leading lady \| preparing \| source music \| upbeat
City for Conquest (1940)	Miramar	1:00:44 - Danny prepares for a fight	advance plot \| boxer \| conversing \| leading man \| locker room \| manager \| march \| parallel double period \| preparing \| source music \| upbeat
City for Conquest (1940)	Piggy Wiggy Woo	1:10:52 - Peggy cries	advance plot \| conversing \| crying \| dancer \| dressing room \| leading lady \| source music \| upbeat
City for Conquest (1940)	Mysterioso	1:13:36 - Googi leaves	augmented triad \| chromatic parallelism \| criminal \| gangster \| leaving \| locker room \| manager \| murder scene \| mysterious \| parallelism \| whole-tone
City for Conquest (1940)	Where Were You When the Moon Came Out	1:19:38 - Danny resting in bed	advance plot \| blur \| brother \| composer \| dancing \| leading man \| listening \| musician \| on-screen music \| parallel double period \| playing \| room \| singer \| singing \| source music \| upbeat \| victim
City for Conquest (1940)	Where Were You When the Moon Came Out (Sad)	1:20:48 - Eddie plays the piano	advance plot \| altered dominant \| blur \| brother \| composer \| leading man \| musician \| on-screen music \| playing \| room \| sentimental \| source music \| victim \| watching
City for Conquest (1940)	Tone Poem A (The Song of the City)	1:23:05 - Eddie plays the piano	9th chord \| 13th chord \| advance plot \| brother \| common-chord modulation \| composer \| diminished 7th chord \| leading man \| listening \| musician \| on-screen music \| playing \| romantic \| room \| source music \| transcribed by ear \| victim
City for Conquest (1940)	Tone Poem A (Lento 2)	1:28:11 - Peggy cries	9th chord \| advance plot \| altered dominant \| conversing \| crying \| foreign key modulation \| friend \| leading lady \| room \| sequence \| somber
City for Conquest (1940)	Tone Poem D (Dolce)	1:28:33 - Gladys talks to Peggy	9th chord \| 11th chord \| advance plot \| blue note \| chromatic sequence \| comforting \| common-tone diminished 7th \| conversing \| crying \| friend \| gentle \| leading lady \| mode mixture \| newspaper \| parallel fifths \| room \| sweet
City for Conquest (1940)	Tone Poem A (Maestoso)	1:29:11 - Peggy looks up	advance plot \| friend \| hopeful \| leading lady \| mode mixture \| newspaper \| reading \| room \| suspension
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)	Sue (Quasi Blues)	0:11:08 - Sue talks to Frankie	bluesy \| chromatic parallelism \| common-chord modulation \| conversing \| crying \| establish character \| foreign key modulation \| Gershwinesque \| heroine \| leading lady \| room \| somber
Crime School (1938)	The Boiler Room	0:54:27 - Boys talk about stoking the boiler	action scene \| auctioning \| boiler room \| chromatic parallelism \| chromatic scale \| dissonant bass \| fanfare \| gang \| heroic \| reformatory \| teenager \| working
Crime School (1938)	Gangster Blues (Mechanical)	0:54:46 - Boys get to work	13th chord \| action scene \| added-note chord \| altered dominant \| boiler room \| coal \| danger \| fire \| fire \| frantic \| gang \| gauge \| heat \| hurrying \| mechanical \| reformatory \| sequence \| shoveling \| smoke \| teenager \| temperature \| temperature \| working
Crime School (1938)	Temperature rising	0:54:53 - Close up of rising temperature gauge	action scene \| boiler room \| danger \| frantic \| gang \| gauge \| heat \| mechanical \| mickey-mousing \| reformatory \| rising \| teenager \| temperature \| tense \| tone cluster \| watching
Crime School (1938)	Temperature stable	0:55:07 - Close up of stable temperature gauge	action scene \| boiler room \| danger \| frantic \| gang \| gauge \| heat \| mechanical \| mickey-mousing \| reformatory \| teenager \| temperature \| tense \| tone cluster \| watching
Crime School (1938)	Temperature oscillating	0:55:28 - Close up of oscillating temperature gauge	action scene \| boiler room \| danger \| frantic \| gang \| gauge \| heat \| mechanical \| mickey-mousing \| reformatory \| teenager \| temperature \| tense \| tone cluster \| watching
Crime School (1938)	Boiler Overheating	0:55:31 - Danger as the boiler gets really hot	action scene \| arguing \| boiler room \| danger \| frantic \| gang \| gauge \| heat \| hurrying \| linear chromaticism \| mechanical \| pc set \| reformatory \| shoveling \| teenager \| temperature \| tense \| tone cluster \| worker \| working
Crime School (1938)	Gangster Blues (Explosion)	0:56:04 - The boiler explodes	13th chord \| action scene \| added-note chord \| boiler room \| collapsing \| escaping \| exploding \| explosion \| foreign key modulation \| frantic \| gang \| mechanical \| reformatory \| running \| sequence \| teenager \| tense \| worker \| yelling
Crime School (1938)	Underscoring (Dramatic)	0:56:50 - Mark goes to rescue Squirt	action scene \| altered dominant \| boiler room \| chromatic parallelism \| dissonant bass \| dramatic \| hero \| leading man \| linear chromaticism \| reformatory \| rushing \| saving \| teenager \| tense \| underscoring
Crime School (1938)	Temperature rising 2	0:57:12 - The temperature gauge rises	action scene \| altered dominant \| boiler room \| chromatic parallelism \| danger \| dramatic \| gauge \| heat \| hero \| leading man \| mickey-mousing \| reformatory \| rising \| teenager \| temperature \| tense
Crime School (1938)	Explosion	0:57:21 - Mark pulls Squirt out of the boiler room	action scene \| ascending \| boiler room \| destruction \| dissonant bass \| dramatic \| exploding \| explosion \| hero \| leading man \| mickey-mousing \| reformatory \| rising \| stairs \| teenager \| tense \| tone cluster
Crime School (1938)	Window opening 2	1:13:25 - Frankie opens the window	conflict \| mysterious \| opening \| room \| teenager \| up \| window
Crime School (1938)	Parting curtains	1:13:27 - Frankie parts the curtains	conflict \| curtain \| minor scale \| mysterious \| opening \| parting \| room \| teenager
Crime School (1938)	Sue (Sneaky)	1:13:28 - Frankie sneaks in with his gun	breaking in \| conflict \| distortion \| fragmentation \| gun \| room \| sequence \| sneaking \| teenager \| tense
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)	Lights on	1:15:26 - Sue turns the lights on	conflict \| hero \| heroine \| leading lady \| leading man \| light \| mickey-mousing \| room \| tense \| turning on
They Made Me a Criminal (1939)	M-O-T-H-E-R	0:05:01 - Drunken man sings	comical \| drunk \| establish character \| on-screen music \| room \| singing \| source music
They Made Me a Criminal (1939)	So Help Me (If I Don't Love You)	0:05:54 - Johnnie and Goldie relaxing	drinking \| floozy \| jaunty \| kissing \| leading man \| murder scene \| popular song \| radio \| room \| source music
They Made Me a Criminal (1939)	When a Prince of a Fella Meets a Cinderella	0:06:23 - Johnnie talks to his manager	dancing \| drinking \| floozy \| jaunty \| laughing \| leading man \| murder scene \| parallel double period \| partying \| radio \| room \| source music
They Made Me a Criminal (1939)	Saving Myself For You (I've Been)	0:08:02 - Johnnie at a party	AABA structure \| attacking \| conversing \| drinking \| fighting \| floozy \| jaunty \| leading man \| murder \| murdering \| murder scene \| partying \| radio \| room \| source music \| violence
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)	Reading	0:15:29 - Johnnie reads a newspaper	advance plot \| chromatic scale \| dissonant bass \| leading man \| newspaper \| reading \| room \| tense \| whole-tone chord
They Made Me a Criminal (1939)	Underscoring (Dramatic)	0:16:01 - Johnnie rushes inside	advance plot \| chromatic scale \| dramatic \| leading man \| minor-major 7th chord \| newspaper \| room \| rushing \| underscoring
They Made Me a Criminal (1939)	Underscoring (Somber)	0:22:16 - Close-up on Johnnie	advance plot \| leading man \| money \| realizing \| room \| somber \| stinger \| underscoring
They Made Me a Criminal (1939)	Underscoring (Tender)	0:26:58 - Peggy helps Johnnie	9th chord \| 64 chord \| heroine \| leading lady \| leading man \| lovers meet \| mode mixture \| nursing \| room \| tender \| underscoring
They Made Me a Criminal (1939)	The Fugitive (Recovering)	0:27:13 - Peggy takes care of Johnnie	9th chord \| foreign key modulation \| heroine \| leading lady \| leading man \| lovers meet \| nursing \| recovering \| romance \| room \| sweet \| waking
They Made Me a Criminal (1939)	Peggy (Dolce)	0:28:20 - Peggy talks to Johnnie	9th chord \| 11th chord \| 13th chord \| deceptive resolution \| foreign key modulation \| heroine \| kissing \| leading lady \| leading man \| lovers meet \| nursing \| recovering \| romance \| room \| sweet \| tender
They Made Me a Criminal (1939)	Underscoring (Tense)	0:28:51 - The sheriff comes in	conflict \| dark \| diminished 7th chord \| entering \| fear \| leading man \| room \| sheriff \| surprise \| tense \| underscoring
They Made Me a Criminal (1939)	The Fugitive (Excitedly)	0:29:07 - Johnnie talks to the sheriff	anxiety \| anxious \| conflict \| leading man \| linear chromaticism \| lying \| room \| sheriff
They Made Me a Criminal (1939)	The Fugitive (Relieved)	0:29:25 - Johnnie listens to the sheriff	altered dominant \| conflict \| conversing \| leading man \| peaceful \| room \| tranquil
They Made Me a Criminal (1939)	The Fugitive (Leaving)	0:29:45 - Johnnie prepares to leaves	conflict \| foreign key modulation \| leading man \| ranch \| room \| sneaking \| yearning
They Made Me a Criminal (1939)	The Fugitive (Apology)	0:48:31 - Johnnie and Peggy talk	9th chord \| conversing \| hero \| leading lady \| leading man \| love scene \| romantic \| room \| secondary dominant \| tender
They Made Me a Criminal (1939)	Peggy (Delicatissimo)	0:49:16 - Johnnie and Peggy kiss	9th chord \| 11th chord \| 13th chord \| hero \| kissing \| leading lady \| leading man \| love scene \| romantic \| room
They Made Me a Criminal (1939)	Marcia Grotesque	1:01:48 - Johnnie talks to another boxer	advance plot \| altered dominant \| comical \| conversing \| hero \| leading man \| march \| mode mixture \| room
They Made Me a Criminal (1939)	Underscoring (Tense)	1:02:14 - Johnnie overhears the detective	advance plot \| chromatic scale \| detective \| dissonant bass \| hiding \| leading man \| ominous \| room \| tense \| underscoring
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)	Marche Funebre	1:02:45 - Boys look at poster of a boxer	64 chord \| advance plot \| Chopin \| classical music \| conversing \| dark \| death \| poster \| room \| teenager
They Made Me a Criminal (1939)	The Fugitive (Ashamed)	1:03:55 - Johnnie tells them he can't fight	9th chord \| conflict \| dark \| foreign key modulation \| harmonic sequence \| leading lady \| leading man \| lying \| room \| somber \| teenager
They Made Me a Criminal (1939)	On the Make (Dolce)	1:05:13 - Peggy talks to Johnnie	added-note chord \| altered dominant \| arguing \| conflict \| leading lady \| leading man \| linear chromaticism \| lying \| room \| tender
They Made Me a Criminal (1939)	Underscoring (Tense)	1:05:52 - Johnny talks to Peggy	conflict \| dramatic \| half-diminished 7th chord \| harmonic sequence \| leading lady \| leading man \| lying \| room \| tense \| underscoring
They Made Me a Criminal (1939)	On the Make (Heartbreak)	1:06:05 - Johnny talks to Peggy	9th chord \| arguing \| conflict \| dissonant bass \| dramatic \| leading lady \| leading man \| room \| slamming \| somber \| tense
They Made Me a Criminal (1939)	On the Make (Crying)	1:06:29 - Peggy cries after Johnnie leaves	11th chord \| conflict \| crying \| leading lady \| leading man \| room \| somber
They Made Me a Criminal (1939)	The Fugitive (Let Down)	1:06:51 - The boys talk about Johnnie	added-note chord \| arguing \| conflict \| criticizing \| foreign key modulation \| leading man \| room \| somber \| teenager
They Made Me a Criminal (1939)	The Fugitive (Going Away)	1:07:38 - Tommy talks to Johnnie	conflict \| leading man \| lonely \| packing \| room \| somber \| teenager \| thinking
They Made Me a Criminal (1939)	On the Make (Tenderly)	1:07:57 - Tommy talks to Johnnie	9th chord \| ABAB structure \| altered dominant \| arguing \| chromatic mediant \| conversing \| direct modulation \| foreign key modulation \| hero \| leading man \| room \| tender \| turning point
They Made Me a Criminal (1939)	On the Make (Lohenblueish)	1:09:07 - Johnnie decides that he will stay	added-note chord \| augmentation \| chromatic mediant \| direct modulation \| foreign key modulation \| hero \| hopeful \| hopeless \| leading man \| linear chromaticism \| passionate \| room \| thinking \| turning point \| zoom in
They Made Me a Criminal (1939)	The Fugitive (Religioso)	1:09:41 - Johnnie looks at a picture	9th chord \| hero \| leading man \| Neapolitan \| room \| tender \| thinking \| turning point
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)	Peggy (Waiting)	1:24:39 - The detective talks to Johnnie	chromatic scale \| climax \| dark \| detective \| diminished 7th chord \| dissonant \| dissonant bass \| leading lady \| leading man \| lying \| ominous \| room \| waiting
They Made Me a Criminal (1939)	Lying	1:25:16 - Johnnie lies to Peggy about where he's going	added-note chord \| augmented sixth chord \| climax \| common-chord modulation \| detective \| dissonant bass \| foreign key modulation \| leading lady \| leading man \| lying \| minor-major 7th chord \| room \| turbulent
They Made Me a Criminal (1939)	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
Deep Valley (1947)	Joe	0:01:29 - A dog	cheerful \| dog \| establish character \| friendly \| leading lady \| mother \| opening \| porch \| room \| running \| upbeat \| waking
Deep Valley (1947)	Joe (Poco Meno Expressivo)	0:01:59 - Libby gets up	dog \| dressing \| establish character \| leading lady \| mother \| room \| scolding \| upbeat \| waking
Deep Valley (1947)	Drudge	0:03:59 - Libby goes downstairs	descending \| establish character \| leading lady \| room \| somber \| stairs \| upset \| walking
Deep Valley (1947)	Homestead (Morendo)	0:06:44 - Cliff makes his bed	cleaning \| establish character \| father \| room \| somber
Deep Valley (1947)	Homestead (Moderato)	0:15:18 - Homestead in the distance	barnyard \| dark \| father \| gentle \| leading lady \| mother \| reading \| room \| transition
Deep Valley (1947)	Homestead (Sordini)	0:16:14 - Ellie talks with Libby	advance plot \| calm \| conversing \| delicate \| leading lady \| memory \| mother \| past \| room \| sentimental
Deep Valley (1947)	Underscoring (Tense)	0:17:06 - Ellie talks with Libby	advance plot \| conversing \| dark \| leading lady \| mother \| room \| stinger \| tense \| underscoring
Deep Valley (1947)	Homestead (Triste)	0:17:34 - Ellie talks with Libby	advance plot \| conversing \| dark \| leading lady \| mother \| room \| tense
Deep Valley (1947)	Underscoring (Somber)	0:17:55 - Libby talks with Ellie	advance plot \| conversing \| dark \| leading lady \| mother \| room \| somber \| underscoring
Deep Valley (1947)	Homestead (Somber)	0:18:26 - Ellie talks with Libby	advance plot \| conversing \| dark \| leading lady \| mother \| room \| somber
Deep Valley (1947)	Barry (Misterioso)	0:28:31 - Libby talks with Jeff	advance plot \| boss \| conversing \| dark \| leading lady \| leading man \| mysterious \| room \| somber
Deep Valley (1947)	Homestead (Morendo)	0:29:17 - Jeff talks with Libby	advance plot \| boss \| conversing \| leading lady \| leading man \| room \| somber
Deep Valley (1947)	Libby 3	0:29:40 - Close-up on Libby	advance plot \| boss \| conversing \| dance-like \| hesitant \| leading lady \| leading man \| room
Deep Valley (1947)	Libby (Stormy)	0:29:58 - Libby pulls away from Jeff's grasp	advance plot \| boss \| dark \| leading lady \| leading man \| leaving \| lightning \| room \| running \| storm \| thunder
Deep Valley (1947)	Libby 3	0:30:31 - Libby watches the storm	advance plot \| arriving \| boss \| hesitant \| leading lady \| leading man \| leaving \| lightning \| room \| storm \| thunder \| watching
Deep Valley (1947)	Underscoring (Dramatic)	0:31:10 - Close-up on Libby	arguing \| conflict \| crying \| dark \| dramatic \| father \| leading lady \| lightning \| room \| storm \| tense \| thunder \| underscoring
Deep Valley (1947)	Slap	0:32:20 - Cliff slaps Libby	conflict \| dramatic \| father \| leading lady \| lightning \| mickey-mousing \| room \| slapping \| storm \| thunder \| violence
Deep Valley (1947)	Earthquake	0:32:21 - An earthquake shakes the house	conflict \| dramatic \| earthquake \| father \| leading lady \| lightning \| mother \| room \| rushing \| shaking \| storm \| thunder
Deep Valley (1947)	Libby (Dark)	0:33:17 - Libby walks to her mother's room	conflict \| conversing \| dark \| leading lady \| lightning \| mother \| room \| somber \| storm \| thunder \| walking
Deep Valley (1947)	Libby (Slowly)	0:34:53 - Libby leaves her mother	conflict \| dark \| leading lady \| leaving \| lightning \| mother \| pleading \| room \| somber \| storm \| tense \| thunder
Deep Valley (1947)	Triste (Stormy)	0:35:16 - Shutters shaking in the wind	conflict \| dark \| leading lady \| leaving \| lightning \| mother \| pleading \| room \| somber \| storm \| thunder
Deep Valley (1947)	Homestead (Slowly)	0:37:05 - Ellie in her room	advance plot \| arriving \| father \| mother \| room \| somber \| street \| waiting
Deep Valley (1947)	Libby 2 (Misterioso)	0:37:32 - Cliff looks for Libby	advance plot \| calling \| father \| mysterious \| room \| searching \| tense
Deep Valley (1947)	Libby 3 (Dolce)	0:37:47 - Cliff looks for Libby	advance plot \| father \| room \| searching \| tender
Deep Valley (1947)	Drudge	0:38:02 - Ellie looks out the window	advance plot \| father \| mother \| room \| tender \| waiting
Deep Valley (1947)	Libby 3 (Brief)	0:38:54 - Cliff closes a door	advance plot \| father \| mother \| room \| tender \| waiting
Deep Valley (1947)	Libby (Molto Expressivo)	0:57:13 - Libby looks at the homestead	leading lady \| mother \| mysterious \| reconciliation scene \| returning \| room \| somber \| street
Deep Valley (1947)	Triste (Timidly)	0:57:32 - Ellie leaves her room	cleaning \| father \| mother \| reconciliation scene \| room \| somber \| timid \| walking
Deep Valley (1947)	Homestead (Dolce)	0:57:50 - Ellie comes downstairs	father \| gentle \| mother \| reconciliation scene \| reuniting \| room \| sweet \| timid
Deep Valley (1947)	Homestead (Gentle)	1:01:50 - Ellie sits at the table	father \| gentle \| mother \| reconciliation scene \| room \| watching
Deep Valley (1947)	Underscoring (Dramatic)	1:02:02 - Libby in her room	advance plot \| arriving \| dramatic \| father \| leading lady \| police \| room \| searching \| street \| tense \| underscoring \| watching
Deep Valley (1947)	Law (Misterioso)	1:02:41 - Libby looks out the window	advance plot \| father \| leading lady \| manhunt \| mysterious \| police \| room \| searching \| street \| tense
Deep Valley (1947)	Barry (Misterioso)	1:02:50 - Libby runs to the door	advance plot \| leading lady \| mother \| mysterious \| room \| rushing \| tense
Deep Valley (1947)	Law (Tense)	1:02:57 - Libby goes down the stairs	advance plot \| leading lady \| mother \| room \| sneaking \| tense
Deep Valley (1947)	Barry (Misterioso)	1:03:09 - Ellie approaches	advance plot \| leading lady \| mother \| mysterious \| room \| sneaking
Deep Valley (1947)	Libby 3	1:03:21 - Ellie talks with LIbby	advance plot \| conversing \| hesitant \| leading lady \| lying \| mother \| room
Deep Valley (1947)	Libby (Stormy)	1:03:40 - Ellie talks with Libby	advance plot \| conversing \| hesitant \| leading lady \| lying \| mother \| room \| tense
Deep Valley (1947)	Underscoring (Tense)	1:03:52 - Libby sneaks away	advance plot \| leading lady \| packing \| room \| rushing \| tense \| underscoring
Deep Valley (1947)	Barry (Contrary Motion)	1:04:10 - Libby gathers things	advance plot \| leading lady \| mickey-mousing \| packing \| police \| rolling \| room \| rushing \| tense
Deep Valley (1947)	Barry (Molto Misterioso) + Love Theme	1:06:04 - Sheriff drinks coffee	action scene \| convict \| drinking \| forest \| fugitive \| leading lady \| leading man \| love interest \| mysterious \| police \| room \| somber \| walking
Deep Valley (1947)	Homestead (Lento)	1:07:51 - Ellie and Cliff play cards	advance plot \| calm \| cards \| conversing \| father \| leading lady \| mother \| playing \| room
Deep Valley (1947)	Homestead (Morendo)	1:08:13 - Libby talks with her parents	advance plot \| conversing \| father \| leading lady \| mother \| room \| somber
Deep Valley (1947)	Libby 3	1:08:56 - Jeff talks with Libby	advance plot \| conversing \| hesitant \| leading lady \| leading man \| room
Deep Valley (1947)	Libby (Stormy)	1:09:20 - Jeff talks with Libby	advance plot \| conversing \| hesitant \| leading lady \| leading man \| room \| tense
Deep Valley (1947)	Underscoring (Tense)	1:09:40 - Jeff talks with Libby	advance plot \| conversing \| leading lady \| leading man \| room \| stinger \| tense \| underscoring
Deep Valley (1947)	Libby (Triste)	1:10:09 - Libby reacts to the news	escape \| leading lady \| leading man \| reacting \| room \| somber
Deep Valley (1947)	Libby (Worried)	1:10:24 - Libby tosses and turns on her bed	anxiety \| anxious \| escape \| leading lady \| restless effect \| restlessness \| room \| tense \| worry \| worrying
Deep Valley (1947)	Libby (Agitated)	1:10:36 - Libby gets up from her bed	anxiety \| anxious \| escape \| leading lady \| restless effect \| restlessness \| room \| tense \| worry \| worrying
Deep Valley (1947)	Underscoring (Tense)	1:10:50 - Libby looks out the window	convict \| escape \| fugitive \| leading lady \| leading man \| looking \| love interest \| room \| searching \| tense \| underscoring \| yard
Deep Valley (1947)	Libby (Sneaking)	1:11:05 - Libby hurries away	escape \| leading lady \| room \| rushing \| sneaking \| sneaking effect \| tense
Dust Be My Destiny (1939)	Dust Be My Destiny (Worried)	0:46:02 - Mabel talks to the police	11th chord \| create suspense \| leading lady \| police \| room \| somber
Dust Be My Destiny (1939)	Whistling (Suspenseful)	0:46:25 - Mabel looks out the window	anxious \| cheerful \| concerned \| create suspense \| harmonic sequence \| leading lady \| leading man \| on-screen music \| police \| polytonality \| room \| scored source music \| source music \| whistling
Dust Be My Destiny (1939)	Underscoring (Dramatic)	0:46:42 - Mabel yells to Joe	chromatic scale \| create suspense \| diminished 7th chord \| dissonant bass \| dramatic \| escaping \| gun \| gunshot \| leading lady \| leading man \| police \| room \| runaway \| running \| street \| underscoring \| yelling
Dust Be My Destiny (1939)	Underscoring (Dark)	0:46:58 - Nick working	create suspense \| dark \| dissonant bass \| friend \| police \| room \| shopkeeper \| street \| underscoring
Dust Be My Destiny (1939)	Dust Be My Destiny (Radio)	0:52:28 - Mabel in an apartment	conflict \| leading lady \| leading man \| popular song \| radio \| room \| score to source \| somber \| source music
Dust Be My Destiny (1939)	Dust Be My Destiny (Arguing)	0:55:00 - Mabel confronts Joe	agitated \| arguing \| conflict \| dark \| leading lady \| leading man \| parallelism \| pc set \| pleading \| room
Dust Be My Destiny (1939)	Dust Be My Destiny (Transformation)	0:57:38 - Joe comes back to the apartment	dissonant bass \| foreign key modulation \| leading lady \| leading man \| linear chromaticism \| love scene \| mysterious \| room \| triumphant
Dust Be My Destiny (1939)	Dust Be My Destiny (Reunited)	0:58:04 - Joe embraces Mabel	9th chord \| 64 chord \| added-note chord \| embracing \| foreign key modulation \| leading lady \| leading man \| love scene \| romantic \| room \| triumphant
Dust Be My Destiny (1939)	Buzzing	1:01:05 - Men working in the dark room	64 chord \| action scene \| added-note chord \| buzzy \| chromatic parallelism \| dark room \| enharmonic modulation \| exciting \| foreign key modulation \| leading man \| mode mixture \| Neapolitan \| newspaper \| newspaper editor \| parallelism \| photographer \| photography \| pump-up modulation \| Rimsky-Korsakov \| working
Dust Be My Destiny (1939)	Dust Be My Destiny (Dolceeessimo)	1:08:53 - Joe and Mabel talk	advance plot \| chromatic mediant \| foreign key modulation \| hopeful \| intervallic expansion \| leading lady \| leading man \| peaceful \| room
Flamingo Road (1949)	If I Could Be With You	0:07:53 - Field hears music playing	carny \| conversing \| establish character \| leading lady \| leading man \| on-screen music \| parallel period \| police \| radio \| room \| sentimental \| singer \| singing \| source music
Flamingo Road (1949)	Lane (Moderato Grazioso)	NIF - not in film	conversing \| cut from film \| cut from film \| leading lady \| leading man \| lovers meet \| picardy third \| police \| room
Flamingo Road (1949)	Underscoring (Lyrical)	NIF - not in film	9th chord \| altered dominant \| conversing \| cut from film \| cut from film \| leading lady \| leading man \| lovers meet \| police \| room \| underscoring
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)	Underscoring (Lyrical)	NIF - not in film	chromatic parallelism \| conversing \| cut from film \| cut from film \| leading lady \| leading man \| lovers meet \| police \| room \| underscoring
Flamingo Road (1949)	Lane	NIF - not in film	conversing \| cut from film \| cut from film \| leading lady \| leading man \| lovers meet \| mode mixture \| police \| room
Flamingo Road (1949)	If I Could Be With You (Timidly)	NIF - not in film	chromatic parallelism \| conversing \| cut from film \| cut from film \| leading lady \| leading man \| lovers meet \| 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)	Lane (Not in Film)	NIF - not in film	conversing \| cut from film \| cut from film \| foreign key modulation \| leading lady \| leading man \| lovers meet \| mode mixture \| police \| room
Flamingo Road (1949)	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)	You Must Have Been a Beautiful Baby	0:43:13 - A woman sings and plays the piano	advance plot \| conversing \| employer \| leading lady \| on-screen music \| room \| sentimental \| singer \| singing \| source music
Flamingo Road (1949)	Drinking whiskey	0:49:50 - Dan drinks	chromatic parallelism \| comical \| distressed \| drinking \| leading lady \| leading man \| love interest \| lovers meet \| mickey-mousing \| politician \| quintal chord \| room
Flamingo Road (1949)	Lane (Lento)	0:50:04 - Dan meets Lane	added-note chord \| conversing \| countermelody \| gentle \| graceful \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room
Flamingo Road (1949)	Lane (Chromatic)	0:50:24 - Lane ties Dan's tie	9th chord \| chromatic parallelism \| conversing \| dark \| gentle \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room
Flamingo Road (1949)	Titus 2 (Agitato)	0:50:41 - Lane ties Dan's tie	chromatic parallelism \| conversing \| leading lady \| leading man \| love interest \| lovers meet \| mysterious \| politician \| room \| self-borrowing
Flamingo Road (1949)	Indigestion	0:50:48 - Lane complains of a hangover	chromatic parallelism \| chromatic scale \| comical \| distressed \| grumbling \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room
Flamingo Road (1949)	Lane	0:50:59 - Lane gives Dan his money	conversing \| delicate \| gentle \| leading lady \| leading man \| love interest \| lovers meet \| mode mixture \| pleasant \| politician \| room
Flamingo Road (1949)	If I Could Be With You (Misterioso)	0:51:15 - Lane asks Dan about Field	chromatic parallelism \| conversing \| diminished 7th chord \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room \| uneasy
Flamingo Road (1949)	Molto Grazioso	0:51:40 - Dan notices Lane	conversing \| delicate \| flirting \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room
Flamingo Road (1949)	Lute Mae (Quasi Blues)	0:51:46 - Dan flirts with Lane	13th chord \| added-note chord \| conversing \| countermelody \| flirting \| flirty \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room \| self-borrowing \| sultry \| thematic transference
Flamingo Road (1949)	Slide whistle	0:53:00 - Dan surprises Lute Mae	comical \| employer \| leading lady \| leading man \| love interest \| mickey-mousing \| politician \| room \| surprising \| transition
Flamingo Road (1949)	Lute Mae (Tenderly)	1:03:37 - Dan is grateful for Lane's gift to him	13th chord \| added-note chord \| advance plot \| comical \| common-chord modulation \| conversing \| embracing \| happy \| husband \| leading lady \| leading man \| maid \| room \| self-borrowing \| tender \| wife
Flamingo Road (1949)	Flamingo Road (Tenderly)	1:03:58 - Dan and Lane have tea	advance plot \| conversing \| gentle \| husband \| leading lady \| leading man \| mode mixture \| room \| self-borrowing \| serving \| tea \| wife
Flamingo Road (1949)	Flamingo Road (Tense)	1:04:16 - Titus enters the room	advance plot \| combination of themes \| conversing \| leading lady \| leading man \| politician \| room \| self-borrowing \| sheriff \| tense \| whole-tone scale
Flamingo Road (1949)	Flamingo Road (Misterioso)	1:04:33 - Titus talks to Dan	advance plot \| combination of themes \| conversing \| distortion \| fragmentation \| leading lady \| leading man \| mysterious \| politician \| room \| self-borrowing \| sequence \| sheriff
Flamingo Road (1949)	Titus 2 (Threatening)	1:04:45 - Titus threatens Lane	advance plot \| chromatic parallelism \| leading lady \| room \| self-borrowing \| sheriff \| threatening \| threatening
Flamingo Road (1949)	Titus	1:04:55 - Titus insults Lane	advance plot \| dark \| leading lady \| leading man \| ominous \| politician \| room \| self-borrowing \| sheriff \| threatening
Flamingo Road (1949)	Titus	1:06:35 - Titus leaves	advance plot \| dark \| leading man \| leaving \| ominous \| politician \| room \| self-borrowing \| sheriff
Flamingo Road (1949)	Titus 2 (Slowly)	1:06:43 - Dan talks to Lane about Titus	advance plot \| chromatic parallelism \| leading lady \| leading man \| lying \| room \| self-borrowing \| tense
Flamingo Road (1949)	Lute Mae (Tenderly)	1:07:55 - Dan kisses Lane	13th chord \| added-note chord \| bluesy \| husband \| kissing \| leading lady \| leading man \| love scene \| room \| self-borrowing \| tender \| wife
Flamingo Road (1949)	Underscoring (Tense)	1:11:26 - Field drinks	alcohol \| arriving \| bullying \| conflict \| dramatic \| drinking \| leading man \| linear chromaticism \| politician \| room \| sheriff \| underscoring
Flamingo Road (1949)	Titus (Ominous)	1:11:44 - Titus argues with Field	arguing \| bullying \| conflict \| drinking \| leading man \| mysterious \| politician \| room \| self-borrowing \| sheriff \| tense
Flamingo Road (1949)	Underscoring (Tense)	1:11:51 - Titus argues with Field	arguing \| bullying \| conflict \| drinking \| leading man \| politician \| room \| sheriff \| tense \| underscoring
Flamingo Road (1949)	The Sheriff	1:12:01 - Titus stands and walks	arguing \| bullying \| chromatic parallelism \| conflict \| dark \| leading man \| mickey-mousing \| ominous \| politician \| room \| self-borrowing \| sheriff \| standing
Flamingo Road (1949)	Throwing whiskey and glass	1:12:08 - Titus throws whiskey in Field's face	alcohol \| breaking \| bullying \| conflict \| dramatic \| glass \| leading man \| mickey-mousing \| politician \| room \| sheriff \| slamming \| splashing \| throwing \| tone cluster \| whole-tone scale
Flamingo Road (1949)	Titus (Violent)	1:12:11 - Titus and Field argue	arguing \| bullying \| conflict \| dark \| leading man \| ominous \| politician \| room \| self-borrowing \| sheriff \| violent
Flamingo Road (1949)	Underscoring (Dramatic)	1:12:17 - Titus grabs Field and pushes him	bullying \| conflict \| dramatic \| leading man \| politician \| pushing \| room \| sheriff \| throwing \| underscoring \| violent
Flamingo Road (1949)	Anger	1:12:20 - Titus and Field face off	angry \| arguing \| bullying \| chromatic parallelism \| chromatic wedge \| conflict \| leading man \| pc set \| politician \| room \| self-borrowing \| sheriff \| tense
Flamingo Road (1949)	Rising Anger	1:12:26 - Titus throws open the door	angry \| arguing \| bullying \| chromatic parallelism \| conflict \| diminished 7th chord \| leading man \| politician \| room \| self-borrowing \| sheriff
Flamingo Road (1949)	Underscoring (Dramatic)	1:12:32 - Titus throws Field out the door	augmented triad \| bullying \| chromatic parallelism \| conflict \| dark \| dramatic \| leading man \| politician \| polychord \| pushing \| room \| sheriff \| throwing \| underscoring
Flamingo Road (1949)	Breaking door	1:12:39 - Titus breaks the glass door	breaking \| bullying \| conflict \| door \| dramatic \| leading man \| mickey-mousing \| politician \| polychord \| room \| sheriff \| smashing \| window
Flamingo Road (1949)	Titus 2 (Buzzer)	1:13:16 - Titus arrives	arriving \| chromatic parallelism \| dark \| entering \| leading lady \| maid \| ominous \| politician \| room \| self-borrowing \| sheriff \| transition
Flamingo Road (1949)	Titus (Ostinato)	1:17:09 - Dan looks at some papers	brooding \| conflict \| dark \| hopeful \| husband \| leading lady \| leading man \| ominous \| politician \| room \| self-borrowing \| wife
Flamingo Road (1949)	Lane (Tragic)	1:18:10 - Lane talks to Dan about Titus	angry \| anxious \| conflict \| conversing \| husband \| leading lady \| leading man \| ostinato \| politician \| room \| tragic \| wife
Flamingo Road (1949)	If I Could Be With You (Tragic)	1:18:35 - Lane tells Dan about Field	confessing \| conflict \| diminished 7th chord \| husband \| leading lady \| leading man \| love \| politician \| room \| tragic \| wife
Flamingo Road (1949)	Flamingo Road (Agitato)	1:18:50 - Dan gets upset with Lane	9th chord \| accusing \| angry \| augmented sixth chord \| conflict \| fragmentation \| husband \| leading lady \| leading man \| politician \| quartal chord \| room \| self-borrowing \| wife
Flamingo Road (1949)	Appassionato	1:19:10 - Dan argues with Lane	arguing \| chromatic parallelism \| conflict \| diminished 7th chord \| harmonic sequence \| husband \| leading lady \| leading man \| passionate \| politician \| room \| wife \| yearning
Flamingo Road (1949)	Flamingo Road (Molto Expressivo)	1:19:32 - Dan leaves	conflict \| husband \| leading lady \| leading man \| leaving \| politician \| room \| self-borrowing \| tragic \| wife
Flamingo Road (1949)	Flamingo Road (Triste)	1:19:43 - Lane watches Dan leave	altered dominant \| conflict \| husband \| leading lady \| leading man \| politician \| room \| self-borrowing \| somber \| waiting \| wife
Flamingo Road (1949)	Titus (Triste 2)	1:20:10 - Dan and Lane talk on the phone	calling \| conflict \| husband \| leading lady \| leading man \| politician \| room \| somber \| train station \| wife
Flamingo Road (1949)	Lane (Lonely)	1:21:12 - Lane in her room	advance plot \| leading lady \| lonely \| mickey-mousing \| pondering \| rising \| room \| somber \| waiting
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)	Lane (Descending the Staircase)	1:21:31 - Lane descends the stairs	advance plot \| delicate \| descending \| leading lady \| leading man \| love interest \| mickey-mousing \| mysterious \| parallelism \| room \| walking
Flamingo Road (1949)	If I Could Be With You (Triste)	1:22:18 - Field enters the house	death scene \| diminished 7th chord \| drunk \| drunk \| foreign key modulation \| leading lady \| leading man \| love interest \| room \| somber \| stumbling
Flamingo Road (1949)	Underscoring (Somber)	1:22:33 - Field stumbles through the house	chromatic parallelism \| conversing \| death scene \| drunk \| drunk \| leading lady \| leading man \| love interest \| room \| somber \| underscoring
Flamingo Road (1949)	If I Could Be With You (Drunk)	1:22:58 - Field and Lane talk about their past love	arguing \| chromatic parallelism \| death scene \| diminished 7th chord \| drunk \| leading lady \| leading man \| love interest \| room \| somber
Flamingo Road (1949)	Titus (Ostinato 2)	1:23:34 - Field and Lane talk about Titus and Dan	arguing \| dark \| death scene \| dramatic \| leading lady \| leading man \| love interest \| ominous \| ostinato \| room \| self-borrowing
Flamingo Road (1949)	Flamingo Road (Andante)	1:24:05 - Lane goes to get a drink for Field	altered dominant \| chromatic parallelism \| dark \| death scene \| gentle \| gunshot \| hopeful \| leading lady \| leading man \| love interest \| mode mixture \| room \| self-borrowing \| suicide \| walking \| warm
Flamingo Road (1949)	If I Could Be With You (Dead)	1:24:41 - Lane sees Field has committed suicide	augmentation \| death scene \| discovering \| gunshot \| leading lady \| leading man \| love interest \| reacting \| room \| suicide \| surprise \| tragic \| violent
Flamingo Road (1949)	Mob	1:28:20 - A mob forms outside of Lane's home	advance plot \| angry \| anxious \| augmented triad \| chromatic parallelism \| chromatic scale \| friend \| leading lady \| minor-major 7th chord \| mob \| mobbing \| ostinato \| polyrhythm \| room \| tense \| whole-tone chord
Flamingo Road (1949)	Titus	1:28:52 - Lane says Titus's name	advance plot \| conversing \| dark \| friend \| leading lady \| mob \| ominous \| room \| self-borrowing \| zoom in
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:24:15 - Steve goes home	advance plot \| arriving \| conductor score \| leading man \| room \| sentimental
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:24:44 - Steve packs	advance plot \| conductor score \| leading lady \| leading man \| packing \| room \| troubled
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:25:00 - Marcia enters	advance plot \| conductor score \| entering \| leading lady \| leading man \| room \| sentimental
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:25:14 - Marcia and Steve argue	advance plot \| arguing \| conductor score \| leading lady \| leading man \| room \| tense
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:25:27 - Marcia and Steve talk	advance plot \| agitated \| conductor score \| conversing \| leading lady \| leading man \| room
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:25:56 - Marcia and Steve talk	advance plot \| conductor score \| conversing \| leading lady \| leading man \| room \| somber
Hell on Frisco Bay (1955)	Picks up suitcase	0:26:22 - Steve picks up his suitcase	advance plot \| conductor score \| hurried \| leading man \| mickey-mousing \| picking up \| room \| rushing
Hell on Frisco Bay (1955)	Walking	0:26:31 - Marcia walks to the door	advance plot \| conductor score \| gangster \| hurried \| leading lady \| leading man \| mickey-mousing \| room \| walking
Hell on Frisco Bay (1955)	Underscoring (Dramatic)	0:27:50 - Steve fights Hammy	action scene \| conductor score \| dramatic \| fighting \| gangster \| hurried \| leading lady \| leading man \| room \| strangling \| tense \| underscoring
Hell on Frisco Bay (1955)	Underscoring (Tense)	0:28:03 - The gangsters leave	action scene \| conductor score \| conversing \| gangster \| leading lady \| leading man \| leaving \| room \| tense \| underscoring
Hell on Frisco Bay (1955)	Hell on Frisco Bay	0:28:43 - Marcia talks to Steve	action scene \| conductor score \| conversing \| leading lady \| leading man \| leaving \| room \| somber
Hell on Frisco Bay (1955)	Menace 2	0:28:55 - Marcia reacts to Steve's comment	action scene \| conductor score \| conversing \| leading lady \| leading man \| leaving \| room \| upset
Hell on Frisco Bay (1955)	Menace	0:29:01 - Steve cleans up	advance plot \| cleaning \| conductor score \| leading man \| ominous \| room
Hell on Frisco Bay (1955)	Menace	0:31:38 - Steve talks with the detective	advance plot \| conductor score \| conversing \| dark \| detective \| investigator \| leading man \| ominous \| room
Hell on Frisco Bay (1955)	Menace 2	0:32:00 - Steve talks with the detective	advance plot \| conductor score \| conversing \| dark \| detective \| investigator \| leading man \| ominous \| room
Hell on Frisco Bay (1955)	Georgie	0:36:40 - George talks to his son	advance plot \| caring \| child \| conductor score \| embracing \| father \| gentle \| room \| tender
Hell on Frisco Bay (1955)	Anna	0:46:05 - Anna talks with Amato	antagonist \| conductor score \| conversing \| establish character \| gangster \| gentle \| leading man \| room \| sentimental \| warning \| wife \| worrying
Hell on Frisco Bay (1955)	Amato	0:47:01 - Amato talks with Lye	advance plot \| antagonist \| brash \| conductor score \| conversing \| gangster \| harsh \| leading man \| room
Hell on Frisco Bay (1955)	Face twitching	0:47:44 - Amato talks with Lye	advance plot \| antagonist \| conductor score \| conversing \| gangster \| leading man \| room \| uneasy
Hell on Frisco Bay (1955)	Amato	0:48:03 - Amato teases Lye	advance plot \| agitated \| antagonist \| arguing \| conductor score \| gangster \| leading man \| room
Hell on Frisco Bay (1955)	Amato	0:48:11 - Amato threatens Lye	advance plot \| antagonist \| arguing \| brash \| conductor score \| dark \| gangster \| leading man \| room \| threatening
Hell on Frisco Bay (1955)	Anna	0:48:38 - Anna comforts Mario	advance plot \| comforting \| conductor score \| gangster \| gentle \| room \| sentimental \| wife
Hell on Frisco Bay (1955)	Menace	0:49:04 - Amato paces	action scene \| conductor score \| dark \| gangster \| leading man \| menacing \| pacing \| room
Hell on Frisco Bay (1955)	Underscoring (Dramatic)	0:51:36 - Amato yells at Steve	action scene \| angry \| arguing \| conductor score \| fighting \| gangster \| investigator \| leading man \| room \| underscoring \| violence \| yelling
Hell on Frisco Bay (1955)	Menace	0:58:13 - Bessie prepares to leave	chase scene \| conductor score \| floozy \| mysterious \| preparing \| room \| tense \| thinking
Hell on Frisco Bay (1955)	Steve	1:01:01 - Steve talks to Marcia	conductor score \| conversing \| entering \| gentle \| leading lady \| leading man \| love scene \| room
Hell on Frisco Bay (1955)	Underscoring (Subtle)	1:01:30 - Marcia talks to Steve	conductor score \| conversing \| gentle \| leading lady \| leading man \| love scene \| room \| underscoring
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:01:41 - Steve talks to Marcia	conductor score \| conversing \| leading lady \| leading man \| love scene \| room \| tense \| underscoring
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:01:53 - Marcia talks to Steve	conductor score \| conversing \| leading lady \| leading man \| love scene \| room \| somber
Hell on Frisco Bay (1955)	Menace	1:02:28 - Steve talks to Marcia	conductor score \| conversing \| dark \| leading lady \| leading man \| love scene \| room
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:02:45 - Marcia talks to Steve	conductor score \| conversing \| leading lady \| leading man \| love scene \| romantic \| room \| tender
Hell on Frisco Bay (1955)	Pleading	1:03:30 - Marcia talks to Steve	conductor score \| conversing \| leading lady \| leading man \| love scene \| room \| tender
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:03:46 - Marcia talks to Steve	conductor score \| conversing \| dark \| leading lady \| leading man \| love scene \| room \| tender
Hell on Frisco Bay (1955)	Menace	1:04:15 - Steve answers the phone	advance plot \| conductor score \| dark \| investigator \| leading man \| mysterious \| room \| waiting
Hell on Frisco Bay (1955)	Steve	1:04:47 - Steve hangs up the phone	advance plot \| conductor score \| dark \| gentle \| investigator \| leading man \| room \| waiting
Hell on Frisco Bay (1955)	Anna	1:04:54 - Anna talks to Amato	advance plot \| antagonist \| conductor score \| conversing \| dark \| gangster \| gentle \| leading man \| room \| wife
Hell on Frisco Bay (1955)	It Can't Be Wrong	1:09:26 - Amato talks to Lye	advance plot \| antagonist \| calm \| conversing \| gangster \| leading man \| room \| source music
Hell on Frisco Bay (1955)	Underscoring (Mysterious)	1:24:05 - Amato calls detective	advance plot \| calling \| gangster \| leading man \| mysterious \| room \| statue \| tense \| underscoring
Hell on Frisco Bay (1955)	Anna	1:24:31 - Amato calls detective	advance plot \| conversing \| gangster \| leading man \| mysterious \| religious \| religious \| room
Hell on Frisco Bay (1955)	Anna	1:25:41 - Amato looks at the statue	advance plot \| gangster \| leading man \| looking \| mysterious \| religious \| room \| tense
Hell on Frisco Bay (1955)	Kay	1:28:35 - Steve leaves with Kay	comforting \| gentle \| investigator \| leading man \| leaving \| love interest \| room \| turning point \| witness
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:28:48 - Marcia wakes up and answers the door	gentle \| leading lady \| room \| turning point \| waking
Hell on Frisco Bay (1955)	Kay	1:29:11 - Steve enters with Kay	arriving \| entering \| investigator \| leading lady \| leading man \| love interest \| room \| somber \| turning point \| witness
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:29:23 - Marcia calls the police	agitated \| calling \| investigator \| leading lady \| leading man \| leaving \| love interest \| room \| turning point \| witness
Hell on Frisco Bay (1955)	Underscoring (Tense)	1:29:55 - Marcia talks to Kay	conversing \| leading lady \| love interest \| room \| tense \| turning point \| witness
Hell on Frisco Bay (1955)	Underscoring (Dramatic)	1:30:27 - Steve tells Anna that Mario was murdered	advance plot \| conversing \| dark \| investigator \| leading man \| murder \| ominous \| priest \| room \| shock \| wife
Hell on Frisco Bay (1955)	Anna	1:30:35 - Anna tells Steve where to find Amato	advance plot \| betraying \| conversing \| dark \| investigator \| leading man \| ominous \| priest \| room \| somber \| wife
Hell on Frisco Bay (1955)	Menace	1:31:01 - Amato prepares to leave	action scene \| agitated \| gangster \| leading man \| packing \| room
Hell on Frisco Bay (1955)	Menace 2	1:31:19 - Amato prepares to leave	action scene \| agitated \| gangster \| leading man \| packing \| room
Hell on Frisco Bay (1955)	Menace	1:31:32 - Amato picks up his gun	action scene \| conversing \| dramatic \| gangster \| leading man \| packing \| room
Hell on Frisco Bay (1955)	Lye	1:32:01 - Lye confronts Amato	action scene \| conversing \| gangster \| gun \| leading man \| lying \| room \| uneasy
Hell on Frisco Bay (1955)	Amato	1:32:23 - Amato shoots Lye	action scene \| brash \| gangster \| gun \| gunshot \| leading man \| murder \| murdering \| room \| shooting \| tense \| violence \| yelling
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)	It Had to Be You	0:12:33 - Steve whistles	establish character \| gambler \| leading lady \| leading man \| love interest \| love scene \| on-screen music \| room \| sentimental \| singer \| source music \| whistling
Her Kind of Man (1946)	April in Paris	0:12:48 - Steve enters Georgia's dressing room	AABA structure \| conversing \| establish character \| gambler \| kissing \| leading lady \| leading man \| love interest \| love scene \| popular music \| room \| sentimental \| singer \| source music
Her Kind of Man (1946)	Underscoring (Dark [Waxman])	0:17:02 - Steve fights Felix	action scene \| arguing \| conversing \| criminal \| dark \| death \| dramatic \| gambler \| gun \| gunshot \| leading lady \| leading man \| love interest \| owner \| punching \| room \| self-defense \| shooting \| singer \| stinger \| tense \| underscoring
Her Kind of Man (1946)	It Had to Be You (Kissing)	0:18:22 - Steve kisses Georgia	action scene \| augmented triad \| gambler \| kissing \| leading lady \| leading man \| love interest \| minor-major 7th chord \| room \| singer \| source to score \| tense
Her Kind of Man (1946)	Underscoring (Dark [Waxman])	0:18:32 - Candy enters	action scene \| conversing \| criminal \| dark \| gambler \| henchman \| leading man \| owner \| room \| stinger \| tense \| underscoring
Her Kind of Man (1946)	Underscoring (Gentle)	0:19:34 - A telegram	gambler \| gentle \| leading man \| montage \| montage \| reading \| room \| telegram \| underscoring
Her Kind of Man (1946)	It Had to Be You	0:29:37 - Georgia and Don	balcony \| cheery \| conversing \| gambler \| leading lady \| leading man \| love interest \| love scene \| on-screen music \| reporter \| room \| source music \| whistling
Her Kind of Man (1946)	Bulletin Board	0:32:45 - Don leaves	bluesy \| conversing \| crew \| departing \| gambler \| leading man \| reporter \| room \| source and scoring overlap \| stage \| transition \| upbeat
Her Kind of Man (1946)	It Had to Be You (Somber)	0:44:48 - Georgia leaves	9th chord \| arguing \| conflict \| departing \| gambler \| leading lady \| leading man \| love interest \| room \| somber \| underscoring
Her Kind of Man (1946)	It Had to Be You	0:47:09 - Georgia gets ready for bed	advance plot \| cheery \| gambler \| leading lady \| leading man \| love interest \| on-screen music \| preparing \| room \| source music \| waiting \| whistling
Her Kind of Man (1946)	It Had to Be You (Passionate)	0:47:50 - Georgia talks with Steve	arguing \| conversing \| dark \| gambler \| kissing \| leading lady \| leading man \| love interest \| love scene \| passionate \| romantic \| room \| sequence \| source to score \| turbulent
Her Kind of Man (1946)	Here Comes the Bride	0:49:40 - Steve proposes to Georgia	classical music \| criminal \| familiar tune \| gambler \| henchman \| leading lady \| leading man \| love interest \| love scene \| proposing \| reporter \| romantic \| room \| tense
Her Kind of Man (1946)	It Had to Be You (Dramatic)	0:51:26 - Don shoves Candy	arguing \| conflict \| criminal \| departing \| dramatic \| fighting \| gambler \| henchman \| leading man \| reporter \| room \| underscoring
Her Kind of Man (1946)	Newspaper	0:51:32 - A newspaper article	advance plot \| leading man \| newspaper \| reporter \| room \| tense \| uneasy \| writing
Her Kind of Man (1946)	Flashback	0:53:57 - A man sweeping	conversing \| flashback \| flashback \| leading man \| mysterious \| reporter \| reporting \| room \| storytelling \| tense \| waiter \| witness
Her Kind of Man (1946)	Burning paper	0:55:22 - Burning paper	burning \| fire effect \| leading man \| mickey-mousing \| reporter \| room \| tense \| turning point
Her Kind of Man (1946)	Underscoring (Mysterious)	1:05:01 - A dark door	advance plot \| arriving \| conversing \| husband \| leading man \| mysterious \| reporter \| room \| underscoring \| widow
Her Kind of Man (1946)	It Had to Be You (Sneaky)	1:05:51 - Georgia hides Candy	advance plot \| criminal \| familiar tune \| henchman \| leading lady \| leading man \| mysterious \| popular music \| reporter \| room \| singer \| sneaking \| sneaky \| source to score \| wife
Her Kind of Man (1946)	Underscoring (Dramatic [Steiner])	1:14:17 - Cop looks at his watch	climax \| conversing \| criminal \| double-cross \| dramatic \| henchman \| leading lady \| leading man \| parallelism \| police \| reporter \| room \| singer \| stinger \| telephone \| tense \| underscoring \| watch \| wife
I Was a Communist for the FBI (1951)	Underscoring (Dramatic)	0:24:58 - Matt reacts	chromatic parallelism \| chromatic scale \| chromatic wedge \| departing \| diminished 7th chord \| dissonant bass \| dramatic \| insult \| leading man \| neighbor \| reacting \| room \| stinger \| transition \| undercover agent
I Was a Communist for the FBI (1951)	Family	0:25:26 - Matt looks at a photo album	advance plot \| baby \| common-tone modulation \| deceptive resolution \| double exposure \| flashback \| foreign key modulation \| gentle \| leading man \| letter \| looking \| love \| memory \| mode mixture \| photograph \| room \| self-borrowing \| sentimental \| smiling \| son \| tender \| thinking \| undercover agent \| voice-over \| writing
I Was a Communist for the FBI (1951)	Family (Molto Expressivo)	0:26:15 - Matt writes a letter to his son	9th chord \| added-note chord \| advance plot \| baby \| deceptive resolution \| double exposure \| flashback \| foreign key modulation \| gentle \| leading man \| letter \| looking \| love \| memory \| photograph \| room \| self-borrowing \| sentimental \| smiling \| son \| tender \| thinking \| undercover agent \| voice-over \| writing
I Was a Communist for the FBI (1951)	Family (Triste)	0:38:00 - Matt enters his home	advance plot \| common-chord modulation \| foreign key modulation \| leading man \| pacing \| room \| self-borrowing \| solemn \| somber \| thinking \| undercover agent
I Was a Communist for the FBI (1951)	Agitato Molto Misterioso	0:38:32 - Matt notices that he has lost his letter	advance plot \| chromatic parallelism \| leading man \| letter \| mysterious \| ostinato \| pc set \| polychord \| reacting \| room \| searching \| tense \| undercover agent \| whole-tone chord
I Was a Communist for the FBI (1951)	Turns on lights	0:58:50 - Agent turns on the lights	communist \| create suspense \| light \| mickey-mousing \| room \| spy \| tense \| tritone \| turning on
I Was a Communist for the FBI (1951)	Searching	0:58:52 - The communists search the room	communist \| create suspense \| mickey-mousing \| room \| searching \| sneaking \| spy \| tense
I Was a Communist for the FBI (1951)	FBI (Molto Marcato)	0:59:03 - FBI man enters with a gun	agent \| arresting \| communist \| gun \| leading lady \| leading man \| murder scene \| noble \| room \| sneaking \| spy \| stinger \| street \| teacher \| tense \| undercover agent
I Was a Communist for the FBI (1951)	Undercover Agent (Tense)	0:59:26 - FBI man holds gun on commie agents	acceleration \| agent \| arresting \| communist \| dark \| dialing \| gun \| murder scene \| room \| spy \| tense \| tritone oscillation
I Was a Communist for the FBI (1951)	Throws lamp	0:59:39 - Commie throws lamp at FBI man	agent \| augmented triad \| chromatic parallelism \| communist \| dramatic \| falling \| lamp \| mickey-mousing \| murder scene \| room \| spy \| throwing
I Was a Communist for the FBI (1951)	Agents Fight	0:59:39 - Communists fight the FBI man	agent \| attacking \| augmented triad \| chromatic parallelism \| communist \| death \| dramatic \| fighting \| knife \| minor-major 7th chord \| murder \| murder scene \| pc set \| polychord \| room \| spy \| stabbing \| stinger \| tritone oscillation
I Was a Communist for the FBI (1951)	Undercover Agent (Newspaper)	1:04:11 - FBI agents talk	agent \| conversing \| dark \| leading man \| newspaper \| ominous \| planning \| polychord \| room \| transition \| tritone oscillation \| undercover agent
I Was a Communist for the FBI (1951)	Undercover Agent (Risoluto)	1:09:39 - FBI agents walk away	agent \| interrogating \| interrogation \| leading man \| mysterious \| polychord \| questioning \| room \| shallow focus \| suspicion \| tense \| tritone oscillation \| undercover agent
I Was a Communist for the FBI (1951)	Agitato Molto Misterioso	1:10:18 - Communists interrogate Matt	chromatic parallelism \| chromatic scale \| communist \| interrogating \| interrogation \| leading man \| mysterious \| ostinato \| pc set \| questioning \| room \| shallow focus \| suspicion \| tense \| undercover agent \| whole-tone scale
I Was a Communist for the FBI (1951)	Undercover Agent	1:10:36 - Communists interrogate Matt	communist \| interrogating \| interrogation \| leading man \| mysterious \| polychord \| questioning \| room \| shallow focus \| suspicion \| tense \| threatening \| tritone oscillation \| undercover agent
I Was a Communist for the FBI (1951)	Underscoring (Tense)	1:10:41 - Communists interrogate Matt	chromatic scale \| communist \| dark \| interrogating \| interrogation \| leading man \| questioning \| room \| shallow focus \| suspicion \| tense \| threatening \| undercover agent \| underscoring
In This Our Life (1942)	Roy	0:02:59 - Roy descends a staircase	64 chord \| conversing \| daughter \| delicate \| establish character \| father \| foreign key modulation \| gentle \| greeting \| leading lady \| maid \| room
In This Our Life (1942)	Stanley (She Runs)	0:07:32 - Stanley runs inside	arriving \| chromatic parallelism \| chromatic sequence \| diminution \| establish character \| hurried \| leading lady \| mickey-mousing \| room \| running \| sequence \| street
In This Our Life (1942)	Stanley (Rubato)	0:11:58 - Stanley talks with Roy	conversing \| establish character \| leading lady \| mysterious \| pc set \| room \| sister \| stinger
In This Our Life (1942)	Roy (Dolce)	0:12:06 - Roy talks with Stanley	added-note chord \| altered dominant \| conversing \| establish character \| gentle \| half-diminished 7th chord \| leading lady \| room \| sequence \| sister \| sweet
In This Our Life (1942)	Expressivo	0:12:28 - Stanley talks with Roy	chromatic scale \| conversing \| establish character \| expressive \| leading lady \| plagal cadence \| retardation \| room \| sister
In This Our Life (1942)	Big Sweep	0:12:41 - Stanley leaves	altered dominant \| dramatic \| establish character \| leading lady \| pc set \| room \| sister \| stinger \| tense \| watching
In This Our Life (1942)	Roy (Triste)	0:12:54 - Roy walks up the stairs	9th chord \| altered dominant \| countermelody \| establish character \| foreign key modulation \| gentle \| leading lady \| room \| somber \| walking
In This Our Life (1942)	Caring	0:13:08 - Roy talks to Peter	9th chord \| advance plot \| chromatic parallelism \| conversing \| leading lady \| leading man \| packing \| parallelism \| passionate \| room \| tender
In This Our Life (1942)	Stanley (Peter Lies)	0:13:28 - Peter talks about his trip	9th chord \| advance plot \| appoggiatura \| conversing \| leading lady \| leading man \| lying \| musical clue \| packing \| room \| serious \| somber
In This Our Life (1942)	Roy (In Love)	0:13:39 - Roy is relieved	64 chord \| advance plot \| calm \| chromatic sequence \| conversing \| dissonant bass \| leading lady \| leading man \| room \| sequential modulation \| whole-tone chord
In This Our Life (1942)	Discussion	0:13:57 - Roy talks with Peter	9th chord \| advance plot \| altered dominant \| conversing \| leading lady \| leading man \| passionate \| reverse picardy \| room \| serious \| somber
In This Our Life (1942)	Roy (Rubato)	0:14:34 - Roy talks with Peter	9th chord \| advance plot \| chromatic parallelism \| conversing \| dark \| fragmentation \| leading lady \| leading man \| major 7th chord \| playful \| room
In This Our Life (1942)	Pleadingly	0:14:53 - Roy looks at Peter	advance plot \| altered dominant \| common-tone dominant 7th \| conversing \| leading lady \| leading man \| room \| yearning
In This Our Life (1942)	Roy (Lento)	0:14:59 - Roy talks about their future	64 chord \| advance plot \| common-chord modulation \| conversing \| dark \| deceptive resolution \| dissonant bass \| embracing \| leading lady \| leading man \| room \| sweet
In This Our Life (1942)	Stanley B (Agitato)	0:15:19 - Peter replies to Roy	advance plot \| agitated \| arguing \| chromatic scale \| dissonant bass \| half-diminished 7th chord \| leading lady \| leading man \| room \| tense \| whole-tone chord
In This Our Life (1942)	Roy (Morendo)	0:15:43 - Roy responds to Peter	added-note chord \| advance plot \| augmented sixth chord \| conversing \| embracing \| leading lady \| leading man \| room \| serious \| somber
In This Our Life (1942)	Stanley (Maestoso)	0:16:11 - Peter closes the door	advance plot \| brash \| dark \| half-diminished 7th chord \| leading lady \| leading man \| leaving \| room \| serious
In This Our Life (1942)	Stanley (Valse Triste)	0:16:22 - Roy looks out the window	9th chord \| advance plot \| altered dominant \| appoggiatura \| circle of fifths \| dark \| leading lady \| leading man \| leaving \| room \| somber \| waltz \| watching \| window
In This Our Life (1942)	Stanley	0:16:44 - Craig comes inside	9th chord \| advance plot \| appoggiatura \| circle of fifths \| dark \| father \| leading lady \| leading man \| room \| somber \| waltz
In This Our Life (1942)	Stanley Introduction	0:16:56 - Craig talks with Asa	9th chord \| advance plot \| chromatic scale \| conversing \| father \| fiancé \| leading lady \| room \| tense \| underscoring
In This Our Life (1942)	Stanley	0:17:11 - Stanley comes down the stairs	9th chord \| advance plot \| appoggiatura \| circle of fifths \| conversing \| fiancé \| kissing \| leading lady \| room \| sultry
In This Our Life (1942)	Stanley B (Slowly)	0:17:20 - Stanley talks with Craig	advance plot \| conversing \| dramatic \| fiancé \| half-diminished 7th chord \| kissing \| leading lady \| lying \| room \| sultry
In This Our Life (1942)	Stanley B (Poco Agitato)	0:17:44 - Stanley packs her things	advance plot \| agitated \| chromatic sequence \| fragmentation \| leading lady \| packing \| room \| tense
In This Our Life (1942)	Stanley (Packing)	0:17:51 - Stanley packs her things	9th chord \| advance plot \| agitated \| appoggiatura \| circle of fifths \| leading lady \| packing \| room \| tense
In This Our Life (1942)	Stanley B (Agitato)	0:18:08 - Asa arrives in a car	advance plot \| agitated \| arriving \| butler \| chromatic scale \| chromatic sequence \| dissonant bass \| father \| half-diminished 7th chord \| room \| tense
In This Our Life (1942)	Asa (Triste)	0:21:45 - Asa arrives home	64 chord \| arriving \| common-tone diminished 7th \| conflict \| father \| leading lady \| room \| solemn \| somber \| tense
In This Our Life (1942)	Stanley (Con Moto)	0:22:19 - Roy talks about Stanley's letter	13th chord \| angry \| bitter \| chromatic scale \| conflict \| conversing \| father \| half-diminished 7th chord \| leading lady \| letter \| parallelism \| pc set \| room
In This Our Life (1942)	Roy (Risoluto)	0:22:40 - Roy talks to Asa	64 chord \| chromatic parallelism \| conflict \| conversing \| deceptive resolution \| father \| gentle \| leading lady \| room
In This Our Life (1942)	Expressivo	0:22:51 - Roy talks to Asa	altered dominant \| chromatic scale \| conflict \| conversing \| expressive \| father \| leading lady \| plagal cadence \| retardation \| room
In This Our Life (1942)	Big Sweep (Turn)	0:23:03 - Roy looks in the mirror	altered dominant \| conflict \| conversing \| expressive \| father \| leading lady \| room
In This Our Life (1942)	Roy (Grazioso)	0:23:08 - Roy looks in the mirror	9th chord \| conflict \| conversing \| countermelody \| father \| foreign key modulation \| leading lady \| mysterious \| room
In This Our Life (1942)	Caring	0:23:19 - Asa talks to Roy	9th chord \| chromatic parallelism \| conflict \| conversing \| father \| leading lady \| room \| sentimental \| underscoring
In This Our Life (1942)	Asa (Ostinato)	0:23:26 - Asa talks to Roy	chromatic parallelism \| conflict \| conversing \| dark \| father \| leading lady \| ostinato \| room \| sequential modulation \| serious \| whole-tone chord
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)	South American Way	0:24:06 - A spinning record	AABA structure \| advance plot \| conversing \| dancing \| Latin-American \| leading lady \| leading man \| love interest \| popular music \| record player \| room \| source music \| upbeat
In This Our Life (1942)	Stanley Introduction (Extended)	0:36:41 - Peter goes home	9th chord \| arriving \| car \| chromatic scale \| leading man \| love scene \| room \| solemn \| somber \| tense
In This Our Life (1942)	Stanley (Cello Solo)	0:37:11 - Peter sits on the couch	9th chord \| contemplating \| enharmonic respelling \| leading man \| love scene \| room \| sigh gesture \| somber
In This Our Life (1942)	Flirting	0:37:31 - Peter goes to Stanley	9th chord \| 64 chord \| conversing \| flirting \| happy \| leading lady \| leading man \| love scene \| mode mixture \| room
In This Our Life (1942)	Stanley (Grazioso)	0:37:56 - Stanley talks to Peter	9th chord \| added-note chord \| appoggiatura \| circle of fifths \| conversing \| flirting \| happy \| leading lady \| leading man \| love scene \| pleasant \| room \| sultry
In This Our Life (1942)	Blues in the Night	0:42:47 - Stanley puts a record on the phonograph	arguing \| blue note \| blues \| conflict \| leading lady \| leading man \| record player \| room \| source music \| upbeat
In This Our Life (1942)	Love Theme (Valse Sentimentale)	0:46:31 - Roy talks with her uncle	9th chord \| altered dominant \| conversing \| iii chord \| leading lady \| leading man \| love scene \| pleasant \| proposal \| room \| tender \| uncle \| waltz
In This Our Life (1942)	Phone Call	0:47:29 - Asa answers the phone	bad news \| conversing \| dark \| eerie \| father \| mysterious \| pc set \| phone call \| room \| telephone \| tense \| tone cluster \| turning point
In This Our Life (1942)	Funereal	0:48:25 - Asa calls for the others	bad news \| conversing \| father \| leading lady \| leading man \| room \| solemn \| stinger \| turning point \| uncle
In This Our Life (1942)	Underscoring (Somber)	0:48:46 - Asa relates the bad news	9th chord \| bad news \| conversing \| deceptive resolution \| father \| leading lady \| leading man \| room \| sigh gesture \| somber \| turning point \| uncle \| underscoring
In This Our Life (1942)	Underscoring (Dark)	0:49:21 - Asa tells them Peter committed suicide	conversing \| dark \| father \| leading lady \| leading man \| room \| stinger \| suicide \| triadic transformation \| turning point \| uncle \| underscoring
In This Our Life (1942)	Stanley B (Agitato)	0:49:32 - Uncle Fitzroy asks about Stanley	agitated \| altered dominant \| arguing \| chromatic scale \| chromatic sequence \| dissonant bass \| father \| leading lady \| leading man \| room \| suicide \| tense \| turning point \| uncle \| whole-tone chord
In This Our Life (1942)	Roy (Morendo 2)	0:49:54 - Roy reacts to the bad news	added-note chord \| appoggiatura \| augmented sixth chord \| conversing \| father \| leading lady \| leading man \| mode change \| room \| serious \| somber \| suicide \| turning point \| uncle
In This Our Life (1942)	Roy (Delicate)	0:50:40 - Roy arrives at Stanley's apartment	advance plot \| arriving \| deceptive resolution \| foreign key modulation \| friend \| gentle \| leading lady \| room \| sweet
In This Our Life (1942)	Underscoring (Gentle)	0:50:58 - Roy talks with Betty	added-note chord \| advance plot \| chromatic parallelism \| conversing \| friend \| gentle \| leading lady \| parallelism \| room \| tender \| underscoring \| whole-tone chord
In This Our Life (1942)	Door opens	0:51:37 - Betty opens the door	advance plot \| door \| friend \| gentle \| leading lady \| mickey-mousing \| opening \| room \| whole-tone chord
In This Our Life (1942)	Caring	0:51:39 - Roy greets Stanley	9th chord \| advance plot \| arriving \| chromatic parallelism \| gentle \| leading lady \| room \| sister \| tender \| widow
In This Our Life (1942)	Stanley (Peter Lies)	0:51:55 - Roy at Stanley's bedside	9th chord \| advance plot \| appoggiatura \| conversing \| gentle \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Stanley B (Slowly)	0:52:05 - Roy at Stanley's bedside	9th chord \| advance plot \| agitated \| chromatic scale \| chromatic sequence \| conversing \| dissonant bass \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Stanley (Packing)	0:52:23 - Roy at Stanley's bedside	9th chord \| advance plot \| appoggiatura \| conversing \| gentle \| leading lady \| room \| sister \| tense \| widow
In This Our Life (1942)	Stanley (Valse Triste)	0:52:42 - Stanley talks to Roy	9th chord \| advance plot \| agitated \| altered dominant \| appoggiatura \| circle of fifths \| conversing \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Stanley B (Valse Triste)	0:52:48 - Stanley talks to Roy	9th chord \| advance plot \| agitated \| conversing \| dissonant bass \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Stanley	0:52:56 - Stanley talks to Roy	9th chord \| advance plot \| agitated \| appoggiatura \| circle of fifths \| conversing \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Discussion	0:53:04 - Stanley talks to Roy	9th chord \| advance plot \| agitated \| altered dominant \| conversing \| leading lady \| room \| sister \| whole-tone chord \| widow
In This Our Life (1942)	Stanley B (Valse Triste)	0:53:17 - Stanley cries	9th chord \| advance plot \| agitated \| chromatic scale \| chromatic sequence \| conversing \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Stanley	0:53:23 - Roy comforts Stanley	9th chord \| advance plot \| appoggiatura \| circle of fifths \| comforting \| crying \| gentle \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Stanley Introduction	0:53:32 - Roy comforts Stanley	9th chord \| advance plot \| chromatic scale \| comforting \| crying \| leading lady \| room \| sister \| tense \| widow
In This Our Life (1942)	Stanley	0:53:46 - Roy comforts Stanley	9th chord \| advance plot \| appoggiatura \| calm \| circle of fifths \| comforting \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Stanley (Morendo)	0:53:56 - Roy puts Stanley to bed	9th chord \| advance plot \| calm \| comforting \| harmonic sequence \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Roy (Tender)	0:54:15 - Roy tucks Stanley in	64 chord \| advance plot \| augmented sixth chord \| conversing \| foreign key modulation \| gentle \| leading lady \| room \| sister \| widow
In This Our Life (1942)	Blues in the Night	0:54:51 - Stanley dresses	advance plot \| blues \| dressing \| leading lady \| record player \| room \| source music \| upbeat \| widow
In This Our Life (1942)	How Do I Know It's Sunday	0:57:12 - Stanley starts a record playing	AABA structure \| advance plot \| conversing \| crying \| dancing \| father \| flirting \| leading lady \| leading man \| popular music \| record player \| room \| sister \| source music \| upbeat \| widow
In This Our Life (1942)	Uncle Fitzroy	1:04:26 - Uncle Fitzroy talks to Stanley	augmented sixth chord \| conflict \| conversing \| crying \| dancing \| flirting \| leading lady \| room \| solemn \| uncle \| whole-tone chord \| widow
In This Our Life (1942)	Anger	1:04:56 - Stanley gets angry	angry \| arguing \| chromatic scale \| conflict \| leading lady \| leaving \| minor-major 7th chord \| pc set \| room \| running \| tense \| uncle \| upset \| widow \| yelling
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 (Descending Staircase)	1:09:49 - Policemen enter the house	arriving \| conversing \| criminal \| investigating \| investigation scene \| leading lady \| mysterious \| pc set \| police \| room \| sneaking \| tense \| walking \| watching
In This Our Life (1942)	Stanley Introduction (Extended 3)	1:12:42 - Stanley talks with Roy	9th chord \| advance plot \| conversing \| criminal \| leading lady \| lying \| room \| tense
In This Our Life (1942)	Stanley (Molto Expressivo)	1:12:57 - Stanley talks with Roy	13th chord \| advance plot \| augmented sixth chord \| calm \| chromatic parallelism \| conversing \| criminal \| leading lady \| lying \| room
In This Our Life (1942)	Roy (Triste 2)	1:13:12 - Roy talks with Minerva	advance plot \| conversing \| leading lady \| maid \| mother \| questioning \| room \| solemn \| somber
In This Our Life (1942)	Minerva and Parry	1:13:29 - Minerva talks with Roy	9th chord \| 11th chord \| advance plot \| blue note \| calm \| chromatic mediant \| common-tone diminished 7th \| conversing \| foreign key modulation \| leading lady \| maid \| mellow \| mother \| questioning \| room \| sentimental \| solemn \| spiritual
In This Our Life (1942)	You're a Lucky Guy	1:16:20 - Stanley dances	AABA structure \| advance plot \| arriving \| conversing \| criminal \| dancing \| drinking \| leading lady \| popular music \| record player \| room \| source music \| upbeat
In This Our Life (1942)	Autumn Nocturne	1:17:45 - Stanley puts on a record	AABA structure \| accusing \| arguing \| conflict \| criminal \| defending \| leading lady \| lying \| popular music \| record player \| room \| sentimental \| source music
In This Our Life (1942)	Stanley (Agitato)	1:25:21 - Craig talks to Stanley	agitated \| climax \| conversing \| criminal \| father \| lawyer \| leading lady \| leading man \| mother \| pc set \| room \| suspect
In This Our Life (1942)	Underscoring (Tense) + South American Way	1:25:34 - Stanley reacts	accusing \| climax \| criminal \| father \| lawyer \| leading lady \| leading man \| lying \| mother \| mysterious \| ominous \| remembered source music \| remembering \| room \| source and scoring overlap \| source music \| suspect \| tense \| underscoring
In This Our Life (1942)	Stanley (Valse Triste)	1:26:23 - Stanley confesses	9th chord \| altered dominant \| appoggiatura \| arguing \| circle of fifths \| climax \| confessing \| confession \| criminal \| crying \| dramatic \| father \| lawyer \| leading lady \| leading man \| mother \| room \| suspect \| whole-tone chord
In This Our Life (1942)	Stanley B (Slowly Extended)	1:26:39 - Stanley confesses	9th chord \| agitated \| arguing \| chromatic scale \| chromatic sequence \| climax \| confessing \| confession \| criminal \| crying \| dissonant bass \| father \| lawyer \| leading lady \| leading man \| lying \| mother \| room \| suspect
In This Our Life (1942)	Expressivo (Extended)	1:27:04 - Lavinia rises	added-note chord \| arguing \| chromatic scale \| climax \| criminal \| emotional \| father \| lawyer \| leading lady \| leading man \| mother \| pleading \| retardation \| room \| suspect
In This Our Life (1942)	Big Sweep (Subtle)	1:27:23 - Stanley reacts	9th chord \| climax \| conversing \| criminal \| father \| lawyer \| leading lady \| leading man \| mother \| pc set \| plotting \| room \| suspect \| tense \| underscoring
In This Our Life (1942)	Stanley (Extended)	1:27:33 - Stanley goes upstairs	9th chord \| appoggiatura \| circle of fifths \| climax \| conversing \| criminal \| crying \| father \| lawyer \| leading lady \| leading man \| mother \| room \| somber \| suspect \| uneasy
In This Our Life (1942)	Love Theme (Gentle)	1:27:58 - Roy talks to Craig	9th chord \| accusing \| altered dominant \| climax \| conversing \| criminal \| crying \| embracing \| gentle \| iii chord \| lawyer \| leading lady \| leading man \| room \| sneaking \| tender
In This Our Life (1942)	Big Sweep	1:28:57 - Stanley escapes	11th chord \| altered dominant \| climax \| criminal \| dramatic \| driving \| escaping \| lawyer \| leading lady \| leading man \| pc set \| room \| underscoring \| 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
In This Our Life (1942)	Stanley B (Agitato)	1:29:27 - Stanley runs inside	agitated \| butler \| chromatic sequence \| criminal \| dissonant bass \| half-diminished 7th chord \| leading lady \| room \| running \| street \| transition
In This Our Life (1942)	Stanley (Triste)	1:29:42 - Stanley enters the house	9th chord \| agitated \| appoggiatura \| circle of fifths \| criminal \| leading lady \| room \| running \| sigh gesture \| somber \| tense \| transition \| uncle
In This Our Life (1942)	Anger (Agitato)	1:31:34 - Stanley yells at her uncle	agitated \| angry \| arguing \| conflict \| criminal \| distressed \| leading lady \| minor-major 7th chord \| oscillation \| room \| uncle \| yelling
In This Our Life (1942)	Maestoso	1:31:51 - Stanley runs off crying	conflict \| criminal \| crying \| departing \| dissonant bass \| dramatic \| leading lady \| polychord \| room \| running \| street \| uncle \| yelling
In This Our Life (1942)	Stanley B (Very Agitated)	1:32:15 - Stanley hides from the police	agitated \| chromatic scale \| conflict \| criminal \| dissonant bass \| fragmentation \| hiding \| leading lady \| mysterious \| police \| room \| running \| rushing \| street
In This Our Life (1942)	Fast Driving (Dark)	1:35:07 - Policemen on the radio	calling \| oscillation \| pc set \| police \| police station \| reporting \| resolution \| room \| solemn \| somber \| stinger
In This Our Life (1942)	Underscoring (Tense)	1:35:22 - Policemen on the radio	altered dominant \| calling \| police \| police station \| reporting \| resolution \| room \| solemn \| somber \| 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 (Mysterious)	0:08:57 - Frankie enters the Dunboy house to join the rebels	arriving \| diminished 7th chord \| dissonant bass \| establish character \| familiar tune \| folk song \| hero \| Irish \| leading man \| mysterious \| parallelism \| room \| street \| tense
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)	Blood Money (Delicato)	0:28:43 - Gypo drops four coins on the floor	antagonist \| augmented triad \| coin \| dropping \| leading man \| mickey-mousing \| money \| mourner \| pivotal scene \| room \| staring \| tense \| whole-tone
The Informer (1935)	The Informer (Tense)	0:29:21 - Gypo defends himself	antagonist \| coin \| leading man \| money \| mourner \| mysterious \| pivotal scene \| room \| Scotch snap \| staring \| tense \| whole-tone \| whole-tone chord
The Informer (1935)	The Informer (Suspicion)	0:29:47 - Gypo leaves the wake	64 chord \| antagonist \| coin \| crying \| dissonant bass \| dropping \| giving \| leading man \| leaving \| mickey-mousing \| money \| mourner \| pivotal scene \| room \| Scotch snap \| sigh gesture \| somber \| staring
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)	Fanfare	0:31:44 - Irish rebel headquarters	advance plot \| fanfare \| mysterious \| rebel \| room \| underscoring \| waiting
The Informer (1935)	The Informer (Burning Poster) + Blood Money	0:32:03 - Gypo in rebel headquarters	advance plot \| antagonist \| burning \| combination of themes \| diminished 7th chord \| fire \| headquarters \| leading man \| mickey-mousing \| mysterious \| octatonic \| rebel \| rising \| room \| Scotch snap \| tense \| tone cluster
The Informer (1935)	The Informer (Accused)	0:38:40 - Rebel accuses Gypo of being the informer	64 chord \| advance plot \| conversing \| headquarters \| parallelism \| rebel \| room \| suspicion \| tense
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)	Underscoring (Tense)	0:39:05 - Rebels talk about Gypo	advance plot \| conversing \| half-diminished 7th chord \| headquarters \| rebel \| room \| tense \| underscoring
The Informer (1935)	The Wearin' o' the Green (Bugle Call)	0:39:25 - Rebels plan to watch Gypo	advance plot \| conversing \| familiar tune \| folk song \| headquarters \| Irish \| parallelism \| rebel \| room \| tense
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)	The Informer (Dan Talking)	0:56:57 - Dan and Mary talk about an informer	conversing \| hero \| love interest \| love scene \| mysterious \| room \| walking bass
The Informer (1935)	The Wearin' o' the Green (Somber)	0:57:08 - Dan and Mary talk about the rebel organization	64 chord \| conversing \| diminished 7th chord \| familiar tune \| folk song \| hero \| heroic \| love interest \| love scene \| room \| tense
The Informer (1935)	The Informer (Pedal Tone)	0:57:34 - Dan and Mary talk about Gypo	conversing \| hero \| love interest \| love scene \| mysterious \| room
The Informer (1935)	The Wearin' o' the Green (Fragment)	0:57:42 - Dan and Mary talk about a rebel meeting	conversing \| familiar tune \| folk song \| hero \| love interest \| love scene \| room \| sentimental
The Informer (1935)	Dan and Mary (Dolce)	0:57:51 - Dan tells Mary: "I'll come back for you"	11th chord \| common-tone diminished 7th \| crying \| dissonant bass \| embracing \| hero \| love interest \| love scene \| love theme \| mode mixture \| romantic \| room
The Informer (1935)	Peter Mulligan	1:05:37 - Peter Mulligan sits and holds a crucifix	courtroom \| courtroom scene \| folk-like \| headquarters \| mode mixture \| room \| somber \| suspect \| waiting
The Informer (1935)	The Wearin' o' the Green (Rebel Jury)	1:05:48 - Camera pans to show all of the faces of the rebel jury	64 chord \| bold \| courtroom \| courtroom scene \| familiar tune \| fanfare \| folk song \| headquarters \| judging \| jury \| meter change \| mode mixture \| noble \| panning shot \| patriotic \| plagal cadence \| rebel \| room
The Informer (1935)	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)	Falling down the stairs	1:06:19 - Gypo falls down the stairs	9th chord \| antagonist \| chromatic scale \| courtroom scene \| down \| dramatic \| falling \| headquarters \| leading man \| mickey-mousing \| rebel \| room \| stairs \| suspect
The Informer (1935)	Peter Mulligan	1:07:25 - Mulligan cries	courtroom scene \| headquarters \| mode mixture \| room \| somber \| suspect \| waiting
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)	Underscoring (Tense)	1:08:34 - Gypo accuses Peter	64 chord \| accusing \| courtroom \| courtroom scene \| headquarters \| mickey-mousing \| room \| stinger \| suspect \| tense
The Informer (1935)	Pleading	1:08:57 - Peter defends himself	added-note chord \| anxious \| chromaticism \| courtroom \| courtroom scene \| defending \| headquarters \| pleading \| room \| stinger \| suspect
The Informer (1935)	The Informer (Laughing)	1:09:04 - Gypo laughs at Peter	accusing \| antagonist \| augmented sixth chord \| bold \| courtroom \| courtroom scene \| headquarters \| leading man \| octatonic \| room \| serious \| suspect
The Informer (1935)	Blood Money (The Trial) + Blind Man (The Trial)	1:15:13 - The rebels ask Gypo where he got the money	antagonist \| axis of symmetry \| blind man \| combination of themes \| courtroom \| courtroom scene \| fanfare \| headquarters \| interrogating \| interrogation \| leading man \| mirroring \| money \| mysterious \| questioning \| room \| suspect
The Informer (1935)	Katie (The Trial)	1:15:36 - The rebels ask Gypo about Katie	antagonist \| axis of symmetry \| courtroom \| courtroom scene \| headquarters \| interrogating \| interrogation \| leading man \| mirroring \| money \| mysterious \| questioning \| room \| suspect
The Informer (1935)	Blood Money (The Trial) + The Informer (The Trial)	1:15:40 - Dan asks "Who was the informer?"	antagonist \| axis of symmetry \| combination of themes \| courtroom \| courtroom scene \| headquarters \| interrogating \| interrogation \| inversion \| leading man \| mirroring \| money \| mysterious \| questioning \| room \| suspect \| whole-tone
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)	Katie (Despair)	1:16:18 - Gypo confesses and cries	antagonist \| climax \| confessing \| confession \| courtroom \| courtroom scene \| crying \| dissonant bass \| guilt \| headquarters \| leading man \| remorseful \| room \| sequence \| traitor
The Informer (1935)	The Informer (Tranquillo)	1:16:35 - Gypo is taken away	antagonist \| arresting \| authentic cadence \| climax \| confessing \| confession \| courtroom \| courtroom scene \| crying \| guilt \| headquarters \| hero \| leading man \| leaving \| love interest \| pleading \| remorseful \| room \| traitor
The Informer (1935)	Blood Money (Ostinato)	1:17:10 - Gypo waits in his cell while the rebels draw straws	advance plot \| antagonist \| dripping \| escaping \| gun \| headquarters \| leading man \| mysterious \| ostinato \| prison \| rebel \| room \| shooting \| tense \| traitor \| whispering \| worrying
The Informer (1935)	The Escape	1:19:46 - Gypo escapes and a chase ensues	advance plot \| antagonist \| chromatic scale \| dramatic \| escaping \| headquarters \| hurrying \| leading man \| mickey-mousing \| prison \| rebel \| room \| running \| traitor \| whole-tone \| whole-tone chord
The Informer (1935)	The Informer (Risoluto)	1:20:12 - Rebels plan to catch Gypo	advance plot \| arriving \| headquarters \| octatonic \| planning \| rebel \| room \| tense \| whole-tone chord
The Informer (1935)	Underscoring (Dramatic)	1:20:24 - Rebels plan how to catch Gypo	9th chord \| 64 chord \| advance plot \| bold \| fanfare \| headquarters \| hurrying \| planning \| rebel \| room \| tense
The Informer (1935)	Blood Money (Ostinato)	1:22:00 - Gypo confesses to Katie	antagonist \| confessing \| leading lady \| leading man \| love interest \| love scene \| money \| ostinato \| room \| tense \| traitor \| whole-tone
The Informer (1935)	Katie (Allegro Appassionato)	1:22:20 - Gypo talks to Katie	antagonist \| confessing \| leading lady \| leading man \| love interest \| love scene \| room \| sequence \| tense \| traitor
The Informer (1935)	By the Fire	1:22:36 - Gypo rests by the fire	antagonist \| half-diminished 7th chord \| leading lady \| leading man \| love interest \| love scene \| romantic \| room \| suspension \| traitor \| yearning
The Informer (1935)	Katie (Dolcissimo)	1:22:57 - Gypo talks to Katie	antagonist \| chromatic sequence \| leading lady \| leading man \| love \| love interest \| love scene \| romantic \| room \| traitor \| yearning
The Informer (1935)	Dan and Mary (Adagio)	1:23:36 - Dan and Mary talk	11th chord \| dissonant bass \| love \| love interest \| love scene \| rebel \| romantic \| room \| yearning
The Informer (1935)	Dan and Mary	1:24:05 - Dan and Mary talk	conversing \| love \| love interest \| love scene \| rebel \| romantic \| room
The Informer (1935)	Ireland	1:24:14 - Dan and Mary talk about the rebel movement	conversing \| folk-like \| love \| love interest \| love scene \| rebel \| romantic \| room
The Informer (1935)	Dan and Mary (In Love)	1:24:19 - Dan and Mary talk about love	love \| love interest \| love scene \| rebel \| romantic \| room \| yearning
The Informer (1935)	Katie (Begging)	1:24:42 - Katie pleads for Gypo	64 chord \| advance plot \| begging \| leading lady \| love interest \| rebel \| room \| sequence \| serious \| tense
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 (Begging)	1:25:50 - Katie pleads for Gypo	advance plot \| begging \| dramatic \| leading lady \| love interest \| main theme \| rebel \| room
The Informer (1935)	Dan and Mary (Begging)	1:25:53 - Katie talks to Mary about loving Gypo	advance plot \| begging \| gentle \| leading lady \| love interest \| rebel \| room \| sequence \| tender
The Informer (1935)	The Informer (Sympathetic)	1:26:35 - Katie tells Dan where Gypo is	advance plot \| eavesdropping \| leading lady \| love interest \| main theme \| rebel \| room \| spying \| tense
The Informer (1935)	Begging 2	1:26:41 - Katie begs for Gypo's life	advance plot \| anxiety \| begging \| chromatic scale \| despair \| leading lady \| love interest \| rebel \| room \| sequence \| tense
The Informer (1935)	Katie (Furioso)	1:26:55 - Katie becomes desperate	advance plot \| anxiety \| begging \| chromatic parallelism \| despair \| dissonant bass \| fragmentation \| leading lady \| love interest \| rebel \| room \| sentence form \| sequence \| tense \| whole-tone chord
The Informer (1935)	Blood Money (Ostinato)	1:27:32 - Rebels come to capture Gypo	antagonist \| climax \| leading man \| mysterious \| ostinato \| rebel \| room \| sneaking \| tense \| traitor \| whispering
The Informer (1935)	The Escape (The Fight)	1:28:25 - Rebels shoot through the door	antagonist \| augmented triad \| chromatic parallelism \| chromatic scale \| climax \| down \| dramatic \| escaping \| falling \| fighting \| leading man \| linear chromaticism \| mickey-mousing \| rebel \| room \| running \| tense \| traitor \| whole-tone
Lightning Strikes Twice (1951)	Shelly	0:07:42 - Shelly wakes up	actor \| calm \| establish character \| leading lady \| owner \| room \| waking
Lightning Strikes Twice (1951)	Menace (Ominous)	0:17:50 - Newspaper headline about Trev	actor \| conversing \| dark \| establish character \| headline \| leading lady \| leading man \| newspaper \| ominous \| room \| suspect
Lightning Strikes Twice (1951)	Trev (Screwy)	0:18:19 - Trev hands a candle to Shelly	actor \| candle \| conversing \| establish character \| leading lady \| leading man \| mysterious \| room \| suspect \| tense \| uneasy
Lightning Strikes Twice (1951)	Shelly (Concerned)	0:18:30 - Shelly looks at Trev	actor \| candle \| concerned \| conversing \| establish character \| leading lady \| leading man \| room \| suspect \| tense \| thinking
Lightning Strikes Twice (1951)	Shelly 2 (Worried)	0:18:41 - Shelly walks to her room	actor \| candle \| concerned \| establish character \| leading lady \| room \| walking \| worried
Lightning Strikes Twice (1951)	Shelly 3	0:18:52 - Shelly puts down her candle	actor \| candle \| concerned \| establish character \| leading lady \| leading man \| room \| suspect \| unpacking \| walking \| worried
Lightning Strikes Twice (1951)	Shelly 2 (Misterioso)	0:19:14 - Shelly gets ready for bed	actor \| candle \| concerned \| establish character \| leading lady \| leading man \| preparing \| room \| suspect \| thinking \| thoughtful \| worried
Lightning Strikes Twice (1951)	Blows out candle	0:19:35 - Shelly blows out a candle	actor \| blowing \| candle \| establish character \| leading lady \| light \| mickey-mousing \| mysterious \| room \| turning off
Lightning Strikes Twice (1951)	Fear	0:19:42 - Shelly lies down in the dark	actor \| darkness \| establish character \| fear \| leading lady \| leading man \| listening \| room \| suspect \| tense \| thinking
Lightning Strikes Twice (1951)	Shelly and Trev	NIF - not in film	actor \| blowing \| candle \| cut from film \| establish character \| leading lady \| leading man \| light \| room \| suspect \| tense \| turning off
Lightning Strikes Twice (1951)	Shelly and Trev (Smile)	0:20:20 - Shelly looks at Trev	actor \| calm \| establish character \| leading lady \| leading man \| looking \| morning \| peaceful \| room \| sleeping \| smiling \| staring \| suspect \| thinking \| waking
Lightning Strikes Twice (1951)	Molto Agitato	0:32:50 - String gets angry	actor \| anger \| arguing \| brother \| conflict \| dramatic \| leading lady \| priest \| rancher \| room \| tense
Lightning Strikes Twice (1951)	Menace (Poco Meno)	0:33:06 - String argues	actor \| anger \| arguing \| brother \| conflict \| leading lady \| priest \| rancher \| room \| tense
Lightning Strikes Twice (1951)	Anger	0:33:15 - String gets angry	actor \| anger \| arguing \| brother \| conflict \| crying \| dramatic \| leading lady \| priest \| rancher \| room \| tense \| yelling
Lightning Strikes Twice (1951)	Father Paul	0:33:25 - Liza comforts String	actor \| anger \| brother \| comforting \| conflict \| crying \| dark \| leading lady \| priest \| rancher \| room \| somber \| tense
Lightning Strikes Twice (1951)	Shelly (Peaceful) + Shelly 2 (Peaceful)	1:07:58 - Trev and Shelly embrace	actor \| calm \| combination of themes \| conversing \| embracing \| kissing \| leading lady \| leading man \| love interest \| love scene \| mother \| owner \| ranch \| romantic \| room \| suspect
Lightning Strikes Twice (1951)	Shelly and Trev (Misterioso)	1:09:40 - Shelly and Myra talk	actor \| advance plot \| conversing \| leading lady \| mother \| mysterious \| owner \| room \| tense
Lightning Strikes Twice (1951)	Allargando	1:10:03 - Shelly learns that Liza loves Trev	actor \| advance plot \| concerned \| conversing \| dark \| leading lady \| mother \| owner \| room \| tense
Lightning Strikes Twice (1951)	El Pregon de Santiago	1:11:53 - Johnny plays the guitar and sings	actor \| Cuban \| friend \| guitar \| husband \| leading lady \| leading man \| on-screen music \| party \| performer \| room \| serenading \| singing \| suspect \| upbeat
Lightning Strikes Twice (1951)	La Paloma	1:12:40 - Johnny sings briefly	actor \| friend \| guitar \| husband \| leading lady \| leading man \| Mexican \| on-screen music \| party \| performer \| room \| serenading \| singing \| suspect \| upbeat
Lightning Strikes Twice (1951)	Pulls doorknob	1:16:03 - Shelly pulls off the doorknob	actor \| danger \| doorknob \| husband \| leading lady \| leading man \| love scene \| mickey-mousing \| mysterious \| pulling \| room \| suspect \| suspicion \| tense
Lightning Strikes Twice (1951)	Mournful (Quasi Misterioso)	1:16:09 - Trev talks with Shelly	actor \| calm \| conversing \| fear \| husband \| leading lady \| leading man \| love scene \| room \| suspect \| suspicion \| worrying
Lightning Strikes Twice (1951)	Shelly and Trev (Dolce)	1:16:52 - Trev embraces Shelly	actor \| calm \| conversing \| embracing \| happy \| husband \| leading lady \| leading man \| love scene \| relief \| room \| suspect
Lightning Strikes Twice (1951)	Shelly (Molto Grazioso) + Shelly 2	1:17:01 - Shelly smiles at Trev	actor \| calm \| conversing \| embracing \| happy \| husband \| leading lady \| leading man \| love scene \| room \| suspect
Lightning Strikes Twice (1951)	Underscoring (Somber)	1:17:15 - Trev stares at Shelly	actor \| dark \| husband \| leading lady \| leading man \| love scene \| reacting \| room \| somber \| suspect \| underscoring
Lightning Strikes Twice (1951)	Shelly and Trev (Tenderly)	1:17:31 - Trev and Shelly embrace	actor \| conversing \| embracing \| husband \| kissing \| leading lady \| leading man \| love scene \| romantic \| room \| solemn \| suspect
Lightning Strikes Twice (1951)	Shelly and Trev (Smile)	1:17:51 - Shelly gets ready for bed	actor \| husband \| leading lady \| leading man \| love scene \| romantic \| room \| suspect \| undressing
Lightning Strikes Twice (1951)	Menace (Expressivo)	1:18:00 - Shelly is worried	actor \| concern \| danger \| hearing voices \| leading lady \| mad scene \| room \| tense \| worried \| worrying
Lightning Strikes Twice (1951)	Mournful	1:18:16 - Shelly is worried	actor \| concern \| cut from film \| danger \| hearing voices \| leading lady \| mad scene \| room \| tense \| worried \| worrying
Lightning Strikes Twice (1951)	Menace (Molto Misterioso)	1:18:21 - Shelly panics	actor \| concerned \| crying \| hearing voices \| leading lady \| mad scene \| panicking \| room \| violence \| worried \| worrying
Lightning Strikes Twice (1951)	Spider	1:18:41 - Trev hits a spider	actor \| bug effect \| fear \| hitting \| husband \| leading lady \| leading man \| mad scene \| room \| running \| scurrying \| spider \| suspect \| tense
Lightning Strikes Twice (1951)	Mournful (Scared)	1:18:45 - Shelly is afraid of Trev	actor \| crying \| fear \| husband \| leading lady \| leading man \| mad scene \| room \| somber \| suspect \| worrying
Lightning Strikes Twice (1951)	Afraid	1:19:02 - Shelly leaves Trev in fear	actor \| crying \| dramatic \| escaping \| fanfare \| fear \| husband \| leading lady \| leading man \| mad scene \| room \| self-borrowing \| stinger \| suspect \| worrying
Lightning Strikes Twice (1951)	Shelly (Escaping)	1:19:17 - Shelly flees from Trev	actor \| dramatic \| escaping \| fear \| fleeing \| husband \| leading lady \| leading man \| mad scene \| room \| running \| suspect \| unlocking
Lightning Strikes Twice (1951)	Menace (Misterioso)	1:19:48 - Trev calls Harvey	arguing \| conversing \| husband \| leading man \| mad scene \| mysterious \| room \| suspect \| suspense \| telephone
Lightning Strikes Twice (1951)	Father Paul (Ominous)	1:21:26 - Liza admits to murder	brother \| confessing \| confession \| dark \| murderer \| ominous \| rancher \| room \| truth \| turning point
Lightning Strikes Twice (1951)	Molto Agitato	1:21:32 - String gets angry	anger \| angry \| brother \| murderer \| rancher \| room \| threatening \| turning point
Lightning Strikes Twice (1951)	Menace (Poco Meno)	1:21:41 - String calms down	brother \| conversing \| danger \| murderer \| rancher \| room \| tense \| thematic transference \| turning point
Lightning Strikes Twice (1951)	Anger (Extended)	1:21:51 - String plans to leave	brother \| conversing \| murderer \| plotting \| rancher \| room \| tense \| turning point \| underscoring
Lightning Strikes Twice (1951)	Liza (Dolce)	1:22:09 - Liza in a daze	disorientation \| lost love \| murderer \| rancher \| romantic \| room \| tender \| thinking \| turning point
Lightning Strikes Twice (1951)	Trev (Ethereal)	1:22:19 - Liza in a daze	disorientation \| lost love \| murderer \| rancher \| room \| thinking \| turning point \| uneasy
Lightning Strikes Twice (1951)	Menace (Tense)	1:22:36 - Liza wanders through the house	headlights \| murderer \| rancher \| room \| tense \| thinking \| turning point \| uneasy \| wandering
Lightning Strikes Twice (1951)	Menace (Expressivo)	1:22:56 - Liza looks out the window	actor \| arriving \| car \| dark \| leading lady \| looking \| menacing \| murderer \| obsessive \| ranch \| rancher \| room \| turning point \| watching \| worrying
Lightning Strikes Twice (1951)	Shelly (Frantic)	NIF - not in film	actor \| conflict \| crying \| cut from film \| dark \| frantic \| leading lady \| murderer \| rancher \| room
Lightning Strikes Twice (1951)	Menace (Frantic)	NIF - not in film	actor \| arguing \| conflict \| cut from film \| dark \| frantic \| leading lady \| murderer \| rancher \| room
Lightning Strikes Twice (1951)	Menace (Attack)	NIF - not in film	actor \| attacking \| attempted murder \| conflict \| cut from film \| dark \| frantic \| leading lady \| murderer \| rancher \| room \| strangling
Lightning Strikes Twice (1951)	Shelly (Attack)	NIF - not in film	actor \| arriving \| attacking \| attempted murder \| conflict \| cut from film \| dark \| frantic \| friend \| husband \| leading lady \| leading man \| murderer \| rancher \| room \| rushing \| strangling
Lightning Strikes Twice (1951)	Shelly 2 (Attack)	NIF - not in film	actor \| arriving \| attacking \| attempted murder \| conflict \| cut from film \| dark \| frantic \| friend \| husband \| leading lady \| leading man \| murderer \| rancher \| room \| rushing \| strangling
Lightning Strikes Twice (1951)	Shelly 3 (Attack)	NIF - not in film	actor \| arriving \| attacking \| attempted murder \| conflict \| cut from film \| dark \| frantic \| friend \| husband \| leading lady \| leading man \| murderer \| rancher \| room \| rushing \| strangling
Lightning Strikes Twice (1951)	Trev (Realization)	1:26:36 - Close-up on Trev's face	actor \| anger \| chasing \| climax \| close-up \| dark \| friend \| husband \| leading lady \| leading man \| menacing \| murderer \| rancher \| realizing \| room \| zoom in
Lightning Strikes Twice (1951)	Underscoring (Dramatic)	1:26:47 - Trev runs after Liza	actor \| anger \| chasing \| climax \| dramatic \| friend \| husband \| leading lady \| leading man \| murderer \| rancher \| room \| running \| underscoring
Lightning Strikes Twice (1951)	Escape	1:26:51 - Liza runs away	actor \| brother \| chasing \| climax \| dark \| escaping \| friend \| husband \| leading lady \| leading man \| murderer \| ranch \| rancher \| room \| tense
Lightning Strikes Twice (1951)	Escape (Getaway)	1:27:08 - Trev runs back inside	actor \| brother \| chasing \| climax \| dramatic \| escaping \| friend \| husband \| leading lady \| leading man \| murderer \| ranch \| rancher \| room \| tense
Mildred Pierce (1945)	Monte is shot	0:01:50 - Monte is shot	chromatic parallelism \| collapsing \| death \| dying \| falling \| gun \| gunshot \| major 7th chord \| mickey-mousing \| murder \| murder scene \| room \| staggering \| tragic
Mildred Pierce (1945)	Mildred (Murder)	0:01:59 - Bullet holes in the mirror	11th chord \| augmented sixth chord \| dark \| death \| dying \| leaving \| murder \| murder scene \| room \| somber
Mildred Pierce (1945)	Underscoring (Dramatic)	0:08:53 - Wally looks for Mildred	9th chord \| action scene \| ascending \| augmented triad \| chromatic parallelism \| chromatic scale \| down \| dramatic \| falling \| friend \| half-diminished 7th chord \| hurrying \| knocking \| mickey-mousing \| room \| searching \| setup \| suspenseful \| underscoring \| walking \| whole-tone chord \| whole-tone scale
Mildred Pierce (1945)	Wally tries to open door	0:08:53 - Wally tries to open the door	action scene \| augmented triad \| chromatic scale \| door \| frantic \| friend \| knocking \| mickey-mousing \| room \| stinger
Mildred Pierce (1945)	Wally goes upstairs	0:09:28 - Wally ascends the spiral staircase	9th chord \| action scene \| ascending \| chromatic scale \| dramatic \| friend \| mickey-mousing \| room \| spiral staircase \| stairs \| whole-tone chord
Mildred Pierce (1945)	Wally knocks on the door	0:09:59 - Wally knocks on a door	action scene \| door \| dramatic \| friend \| knocking \| mickey-mousing \| room
Mildred Pierce (1945)	Lamp falls	0:10:03 - Wally knocks over a lamp	action scene \| body \| dramatic \| falling \| friend \| lamp \| mickey-mousing \| reveal \| room \| whole-tone chord
Mildred Pierce (1945)	Murdered Man	0:10:06 - Wally discovers the body	action scene \| corpse \| dark \| death \| dramatic \| friend \| linear chromaticism \| looking \| mickey-mousing \| murder \| room \| split-7th chord \| telephone \| tense \| victim
Mildred Pierce (1945)	Phone rings	0:10:16 - Phone rings	action scene \| death \| friend \| mickey-mousing \| murder \| ringing \| room \| split-7th chord \| telephone \| tense \| victim
Mildred Pierce (1945)	Underscoring (Dramatic)	0:10:21 - Wally reacts to the situation	action scene \| breaking \| chromatic parallelism \| chromatic scale \| chromatic wedge \| death \| dramatic \| escaping \| friend \| half-diminished 7th chord \| hurrying \| mickey-mousing \| murder \| room \| running \| smashing \| sneaking \| telephone \| underscoring \| victim \| walking \| whole-tone chord \| worrying
Mildred Pierce (1945)	Wally stands up and walks	0:10:21 - Wally stands up to go to the phone	action scene \| friend \| mickey-mousing \| rising \| room \| standing \| tense \| up \| victim \| walking
Mildred Pierce (1945)	Wally walks	0:10:32 - Wally hurriedly walks away	action scene \| chromatic parallelism \| dramatic \| friend \| half-diminished 7th chord \| hurrying \| mickey-mousing \| room \| victim \| walking
Mildred Pierce (1945)	Wally sneaks	0:10:37 - Wally sneaks down the hall	action scene \| diminished 7th chord \| friend \| mickey-mousing \| room \| sneaking \| tense \| victim
Mildred Pierce (1945)	Breaks door with chair	0:10:47 - Wally smashes a glass door with a chair	action scene \| breaking \| chair \| door \| dramatic \| friend \| glass \| mickey-mousing \| room \| smashing \| victim
Mildred Pierce (1945)	Glass falls	0:10:49 - The glass door breaks	action scene \| breaking \| door \| dramatic \| falling \| friend \| glass \| mickey-mousing \| room \| smashing \| victim \| whole-tone chord
Mildred Pierce (1945)	Mildred (Ominous)	0:12:43 - The detectives talk to Mildred	advance plot \| chromatic sequence \| conversing \| dark \| detective \| fragmentation \| heroine \| imitation \| leading lady \| ominous \| room
Mildred Pierce (1945)	Bert	0:20:18 - Bert comes home	9th chord \| added-note chord \| arriving \| common-chord modulation \| cooking \| establish character \| flashback \| gentle \| heroine \| husband \| leading lady \| mode mixture \| room \| self-borrowing \| street
Mildred Pierce (1945)	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)	Waltz Brillante	0:26:39 - Veda plays the piano	advance plot \| child \| classical music \| conversing \| dancing \| familiar tune \| gentle \| heroine \| leading lady \| on-screen music \| parallel period \| playing \| room \| source music \| waltz
Mildred Pierce (1945)	Waltz Brillante	0:27:21 - Veda plays the piano	advance plot \| child \| classical music \| conversing \| familiar tune \| gentle \| heroine \| leading lady \| on-screen music \| playing \| room \| source music \| waltz
Mildred Pierce (1945)	Kay and Veda (Ashamed)	0:28:13 - Mildred overhears Veda complaining about her new dress	advance plot \| child \| heroine \| leading lady \| Neapolitan \| room \| sigh gesture \| somber \| watching
Mildred Pierce (1945)	Mildred (Lonely)	0:28:20 - Mildred looks through her desk	advance plot \| bill \| flashback \| foreign key modulation \| gun \| heroine \| leading lady \| lonely \| mode mixture \| photograph \| room \| somber \| voice-over \| writing
Mildred Pierce (1945)	Mildred (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)	Kay and Veda (Dolce)	0:32:13 - Mildred and Veda talk about Kay	added-note chord \| advance plot \| child \| conversing \| heroine \| leading lady \| mode mixture \| room \| sleeping \| sweet
Mildred Pierce (1945)	Kay and Veda (Coy)	0:32:32 - Veda talks to her mother	advance plot \| child \| chromatic parallelism \| conversing \| heroine \| leading lady \| parallelism \| room \| sleeping \| uneasy
Mildred Pierce (1945)	Mildred (Waltz Fantasy)	0:32:38 - Veda fantasizes about her mother marrying Wally	9th chord \| advance plot \| appoggiatura \| child \| chromatic parallelism \| dreaming \| fantasy \| greed \| heroine \| leading lady \| room \| uneasy
Mildred Pierce (1945)	Mildred (Dark)	0:32:58 - Mildred scolds Veda	advance plot \| child \| dark \| heroine \| leading lady \| room \| scolding
Mildred Pierce (1945)	Kay and Veda (Deception)	0:33:08 - Veda lies to her mother	64 chord \| advance plot \| child \| chromatic parallelism \| deceiving \| deception \| heroine \| leading lady \| room \| selfishness \| unstable \| whole-tone
Mildred Pierce (1945)	Mildred (Risoluto)	0:33:23 - Mildred resolves to give her daughter nice things	64 chord \| advance plot \| child \| determined \| heroic \| heroine \| leading lady \| noble \| promising \| resolved \| room
Mildred Pierce (1945)	Kay and Veda (Dolce Foxtrot)	0:33:37 - Mildred puts Veda to bed	64 chord \| added-note chord \| advance plot \| child \| chromatic parallelism \| dark \| heroine \| leading lady \| mode mixture \| optimistic \| promising \| room \| tragic
Mildred Pierce (1945)	Work (Singing Lesson)	0:37:17 - Veda sings	added-note chord \| child \| double exposure \| heroine \| leading lady \| montage \| on-screen music \| room \| scored source music \| self-borrowing \| singing \| upbeat \| voice-over \| working
Mildred Pierce (1945)	Ballet Lesson	0:37:25 - Kay dances	9th chord \| 11th chord \| ballet \| child \| dancing \| double exposure \| graceful \| heroine \| leading lady \| montage \| pleasant \| room \| voice-over
Mildred Pierce (1945)	South American Way	0:37:36 - Veda sings and plays while Kay dances	child \| dancing \| heroine \| leading lady \| music scene \| on-screen music \| playing \| popular music \| room \| sequence \| singing \| source music \| upbeat
Mildred Pierce (1945)	Mazurka in B-Flat Major (Tense)	0:38:47 - Veda plays a Chopin Mazurka	arguing \| child \| classical music \| common-tone diminished 7th \| conflict \| familiar tune \| half-diminished 7th chord \| heroine \| leading lady \| on-screen music \| playing \| quotation \| room \| scored source music \| source music \| tense \| upbeat \| waltz
Mildred Pierce (1945)	Secret Revealed	0:39:10 - Mildred argues with Veda	angry \| arguing \| child \| chromatic parallelism \| chromatic scale \| chromatic wedge \| conflict \| harsh \| heroine \| leading lady \| linear chromaticism \| octatonic chord \| room \| tense
Mildred Pierce (1945)	Mildred (Appassionato)	0:39:22 - Mildred argues with Veda	angry \| arguing \| child \| chromatic scale \| conflict \| foreign key modulation \| heroine \| leading lady \| raising \| room \| standing \| tense \| whole-tone scale
Mildred Pierce (1945)	Mildred raises Veda	0:39:22 - Mildred lifts her daughter up by the arm	angry \| arguing \| child \| conflict \| heroine \| leading lady \| mickey-mousing \| raising \| room \| standing \| tense \| whole-tone scale
Mildred Pierce (1945)	Mildred B (Angry)	0:39:30 - Mildred argues with Veda	11th chord \| angry \| arguing \| child \| conflict \| fragmentation \| heroine \| leading lady \| room \| slapping \| tense
Mildred Pierce (1945)	Mildred (Regretful)	0:39:37 - Mildred regrets slapping Veda	apologizing \| child \| chromatic mediant \| conflict \| foreign key modulation \| heroine \| hopeful \| leading lady \| mode mixture \| Neapolitan \| regretting \| room \| somber \| tritone
Mildred Pierce (1945)	Kay and Veda (Hopeful)	0:40:09 - Veda asks if they are going to be rich	child \| conflict \| foreign key modulation \| greed \| heroine \| hopeful \| leading lady \| room
Mildred Pierce (1945)	Work (Excited)	0:42:35 - Mildred and Wally leave	9th chord \| added-note chord \| excited \| excitement \| friend \| heroine \| leading lady \| leaving \| room \| self-borrowing \| shadow \| transition \| work
Mildred Pierce (1945)	Bert (Sentimentale)	0:48:03 - Mildred watches her children leave	heroine \| husband \| leading lady \| leaving \| oscillation \| room \| serious \| somber \| thinking \| transition \| whole-tone chord
Mildred Pierce (1945)	Walking	0:49:48 - Driving to the beach house	9th chord \| beach house \| cheerful \| driving \| falling in love scene \| friend \| heroine \| leading lady \| parallelism \| room \| traveling \| walking
Mildred Pierce (1945)	Opens closet	0:49:57 - Mildred slides open a door	9th chord \| cheerful \| falling in love scene \| heroine \| leading lady \| love interest \| mickey-mousing \| opening \| room \| sliding
Mildred Pierce (1945)	It Can't Be Wrong	0:51:16 - Monte plays a record for Mildred	AABA structure \| conversing \| heroine \| kissing \| leading lady \| love interest \| love scene \| popular music \| record \| record player \| romantic \| room \| score to source borrowing \| source music
Mildred Pierce (1945)	Pneumonia	0:54:25 - A doctor works on Kay	child \| chromatic scale \| dark \| death scene \| doctor \| dying \| ex-husband \| heroine \| illness \| leading lady \| mickey-mousing \| nurse \| oscillation \| patient \| pc set \| room \| sick person \| somber \| tense \| treating \| turning point \| waiting \| watching
Mildred Pierce (1945)	Kay and Veda (Dying)	0:55:05 - Kay's family waits and watches	11th chord \| child \| dark \| death scene \| doctor \| dying \| ex-husband \| heroine \| illness \| leading lady \| nurse \| patient \| room \| sick person \| somber \| tense \| treating \| turning point \| waiting \| watching
Mildred Pierce (1945)	Pneumonia (Dying)	0:55:24 - Kay passes away	9th chord \| child \| chromatic parallelism \| dark \| death \| death scene \| doctor \| dying \| ex-husband \| heroine \| illness \| leading lady \| linear chromaticism \| minor-major 7th chord \| nurse \| oscillation \| patient \| room \| sick person \| somber \| tense \| treating \| turning point \| waiting \| watching
Mildred Pierce (1945)	Mildred (Mourning)	0:56:07 - Mildred mourns Kay's death	9th chord \| augmented sixth chord \| child \| death \| death scene \| doctor \| ex-husband \| heroine \| leading lady \| mourning \| nurse \| patient \| room \| sick person \| somber \| turning point
Mildred Pierce (1945)	Kay and Veda (Tenderly)	0:56:34 - Veda and Mildred mourn for Kay	added-note chord \| calm \| child \| death \| death scene \| ex-husband \| heroine \| hopeful \| leading lady \| mode mixture \| mourning \| plagal cadence \| room \| somber \| turning point
Mildred Pierce (1945)	Kay and Veda (Subtle)	1:09:27 - bill; photograph; gun	advance plot \| augmented sixth chord \| conversing \| friend \| heroine \| leading lady \| mode mixture \| room \| subtle \| voice-over
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)	Kay and Veda (Sly)	1:13:55 - Mildred tells Monte to not see Veda	arguing \| breakup \| chromatic wedge \| chromatic wedge \| conflict \| disagreement \| heroine \| leading lady \| love interest \| ominous \| room \| sinister \| tense \| whole-tone chord
Mildred Pierce (1945)	Kay and Veda (Troubled)	1:14:06 - Mildred and Monte argue	arguing \| breakup \| chromatic scale \| chromatic sequence \| conflict \| disagreement \| fragmentation \| heroine \| leading lady \| love interest \| ominous \| room \| sinister \| tense \| whole-tone chord \| whole-tone scale
Mildred Pierce (1945)	Mildred (Agitato)	1:14:37 - Mildred and Monte argue	agitated \| arguing \| breakup \| conflict \| distortion \| half-diminished 7th chord \| heroine \| leading lady \| love interest \| room \| tense
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)	It Can't Be Wrong (Bitter)	1:15:29 - Mildred writes Monte a check	arguing \| bitter \| breakup \| conflict \| dissonant bass \| familiar tune \| fragmentation \| heroine \| leading lady \| love interest \| mickey-mousing \| popular music \| room \| source to score \| tense
Mildred Pierce (1945)	Closes blinds	1:15:59 - Mildred closes the blinds	blinds \| breakup \| closing \| conflict \| down \| heroine \| leading lady \| mickey-mousing \| room \| somber \| window
Mildred Pierce (1945)	Mildred (Angry)	1:18:21 - Mildred walks out of an argument	9th chord \| aggressive \| angry \| arriving \| chromatic parallelism \| conflict \| heroine \| hurrying \| leading lady \| leaving \| Neapolitan \| room \| walking
Mildred Pierce (1945)	Underscoring (Tense)	1:18:34 - Veda tells her mother she is married	antagonist \| chromatic parallelism \| chromatic wedge \| conflict \| conversing \| daughter \| diminished 7th chord \| friend \| heroine \| leading lady \| oscillation \| reverse stinger \| room \| tense \| underscoring
Mildred Pierce (1945)	Secret Revealed	1:18:59 - Veda talks to her mother	antagonist \| chromatic parallelism \| chromatic scale \| chromatic wedge \| conflict \| conversing \| daughter \| fear \| friend \| heroine \| leading lady \| linear chromaticism \| octatonic chord \| room \| surprise \| tense
Mildred Pierce (1945)	Kay and Veda (Coy)	1:19:11 - Veda talks to her mother	antagonist \| apologizing \| chromatic parallelism \| conflict \| daughter \| friend \| heroine \| leading lady \| room \| tense
Mildred Pierce (1945)	Mildred (Waltz Fantasy)	1:19:18 - Mildred talks to Veda	9th chord \| antagonist \| appoggiatura \| chromatic parallelism \| comforting \| conflict \| daughter \| dream-like \| friend \| heroine \| leading lady \| room \| tense
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)	Kay and Veda (Troubled 2)	1:21:34 - Veda looks at the divorce settlement check	antagonist \| blackmail \| chromatic scale \| chromatic sequence \| conflict \| daughter \| fragmentation \| heroine \| laughing \| leading lady \| mickey-mousing \| mocking \| room \| troubled \| ugly \| whole-tone chord
Mildred Pierce (1945)	Kay and Veda (Agitato)	1:22:22 - Veda and her mother argue	agitated \| antagonist \| arguing \| augmented sixth chord \| blackmail \| chromatic sequence \| conflict \| daughter \| fragmentation \| heroine \| leading lady \| room \| tense
Mildred Pierce (1945)	Kay and Veda (Ominous)	1:22:43 - Veda argues with her mother	antagonist \| arguing \| conflict \| dark \| daughter \| heroine \| insulting \| leading lady \| ominous \| room \| ugly
Mildred Pierce (1945)	Mildred (Appassionato)	1:23:00 - Veda expresses her disgust with her mother	angry \| antagonist \| arguing \| chromatic scale \| conflict \| daughter \| foreign key modulation \| heroine \| insulting \| leading lady \| room \| tense
Mildred Pierce (1945)	Mildred B (Angry 2)	1:23:09 - Mildred gets angry at Veda	angry \| antagonist \| arguing \| conflict \| daughter \| fragmentation \| heroine \| insulting \| leading lady \| room \| tense
Mildred Pierce (1945)	Mildred (Vicious)	1:23:21 - Veda insults her mother	angry \| antagonist \| arguing \| chromatic parallelism \| chromatic wedge \| conflict \| daughter \| heroine \| insulting \| leading lady \| reverse stinger \| room \| tense \| whole-tone chord
Mildred Pierce (1945)	Mildred B (Angry)	1:23:38 - Mildred tears up Veda's check	angry \| antagonist \| arguing \| check \| conflict \| daughter \| fighting \| heroine \| leading lady \| pc set \| room \| slapping \| tearing \| tense \| violence \| yelling
Mildred Pierce (1945)	Stunned Reaction	1:23:44 - Mildred is stunned after Veda slaps her	angry \| antagonist \| conflict \| daughter \| dramatic \| heroine \| leading lady \| pc set \| room \| staring \| stunned \| violence
Mildred Pierce (1945)	Runs upstairs	1:24:04 - Veda runs up the stairs	angry \| antagonist \| ascending \| conflict \| daughter \| mickey-mousing \| octatonic scale \| room \| stern
Mildred Pierce (1945)	Mildred (Tragic)	1:24:04 - Veda watches her daughter leave	altered dominant \| angry \| ascending \| conflict \| heroine \| leading lady \| leaving \| mickey-mousing \| octatonic scale \| room \| stern
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 stands and walks to window	1:38:02 - Mildred stands up and goes to the window	advance plot \| delicate \| graceful \| heroine \| leading lady \| mickey-mousing \| peaceful \| rising \| room \| standing \| up \| walking
Mildred Pierce (1945)	Kay and Veda (Returning Home)	1:38:10 - Mildred looks at Veda through the window	advance plot \| chromatic mediant \| conversing \| daughter \| deceptive resolution \| emotional \| foreign key modulation \| happy \| heroine \| leading lady \| loving \| mode mixture \| mother \| room \| warm \| watching
Mildred Pierce (1945)	Mildred (Happy Homecoming)	1:38:50 - Mildred and her daughter embrace	added-note chord \| advance plot \| apologizing \| chromatic mediant \| daughter \| embracing \| foreign key modulation \| forgiveness \| happy \| heroine \| leading lady \| loving \| mode mixture \| mother \| returning \| reuniting \| room \| warm
Mildred Pierce (1945)	Bert (Tenderly)	1:39:33 - Mildred thanks Bert	advance plot \| ex-husband \| gentle \| heroine \| leading lady \| mother \| room \| sweet \| thanking
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)	It Can't Be Wrong (Molto Misterioso)	1:42:42 - Mildred learns that Monte has betrayed her	9th chord \| bankruptcy \| betrayal \| dark \| familiar tune \| friend \| heroine \| leading lady \| love theme \| memory \| mysterious \| pc set \| popular music \| realizing \| room \| somber \| turning point \| whole-tone chord
Mildred Pierce (1945)	Mildred (Mad)	1:43:19 - Mildred makes a phone call	anger \| angry \| calling \| dissonant bass \| half-diminished 7th chord \| heroine \| leading lady \| room \| tense \| turbulent \| turning point \| walking
Mildred Pierce (1945)	Hopes Crushed	1:43:38 - Mildred realizes Monte has left her	chromatic scale \| dark \| dissonant bass \| heroine \| leading lady \| lost hope \| mickey-mousing \| realizing \| room \| tritone \| turning point
Mildred Pierce (1945)	Mildred B (Twist)	1:45:20 - Mildred walks into the beach house	arriving \| climax \| dark \| flashback \| heroine \| leading lady \| room
Mildred Pierce (1945)	Mildred (Ominous)	1:45:25 - Mildred walks downstairs	arriving \| climax \| dark \| fragmentation \| half-diminished 7th chord \| heroine \| imitation \| leading lady \| ominous \| room
Mildred Pierce (1945)	Secret Revealed	1:45:37 - Mildred finds Veda and Monte together	antagonist \| chromatic parallelism \| chromatic scale \| chromatic wedge \| climax \| dark \| daughter \| discovering \| kissing \| linear chromaticism \| reveal \| room \| stinger \| tense
Mildred Pierce (1945)	Kay and Veda (Agitato)	1:46:05 - Veda reveals that she is in love with Monte	antagonist \| augmented sixth chord \| betrayal \| betraying \| chromatic scale \| chromatic sequence \| climax \| dark \| daughter \| fragmentation \| heroine \| leading lady \| revealing \| room \| tense
Mildred Pierce (1945)	Kay and Veda (Very Slow)	1:46:22 - Mildred reacts to Veda's betrayal	antagonist \| betrayal \| climax \| contemplating \| dark \| daughter \| gun \| heroine \| leading lady \| ominous \| parallel 63s \| room
Mildred Pierce (1945)	Mildred (Tragic)	1:46:43 - Mildred runs away	altered dominant \| antagonist \| arguing \| betrayal \| chromatic scale \| climax \| daughter \| dramatic \| emotional \| half-diminished 7th chord \| heroine \| leading lady \| room \| running \| sequence
Mildred Pierce (1945)	Monte is shot 2	1:47:28 - Monte is shot	antagonist \| chromatic parallelism \| collapsing \| death \| dying \| falling \| gun \| gunshot \| major 7th chord \| mickey-mousing \| murder \| murderer \| murder scene \| room \| staggering \| tragic
Mildred Pierce (1945)	Kay and Veda (Ominous)	1:47:42 - Mildred rushes in to check on Veda	antagonist \| confessing \| dark \| daughter \| heroine \| leading lady \| lying \| murder \| murderer \| murder scene \| ominous \| room
Mildred Pierce (1945)	Mildred B (Angry)	1:48:06 - Veda confesses to Mildred	angry \| antagonist \| confessing \| confession \| daughter \| diminished 7th chord \| fragmentation \| heroine \| leading lady \| lying \| murderer \| murder scene \| pc set \| room \| tense
Mildred Pierce (1945)	Kay and Veda (Troubled)	1:48:22 - Veda pleads for help to escape	antagonist \| begging \| chromatic scale \| confessing \| daughter \| distressed \| fragmentation \| frantic \| heroine \| leading lady \| murderer \| murder scene \| room \| sequence \| whole-tone chord
Mildred Pierce (1945)	Mildred (Ominous)	1:48:41 - Mildred calls the police	antagonist \| begging \| chromatic sequence \| daughter \| fragmentation \| heroine \| imitation \| leading lady \| murderer \| murder scene \| ominous \| room \| tense
Mildred Pierce (1945)	Underscoring (Tense)	1:48:54 - Veda asks her mother not to turn her in	antagonist \| begging \| daughter \| foreign key modulation \| heroine \| leading lady \| murderer \| murder scene \| room \| tense \| underscoring
Mildred Pierce (1945)	Kay and Veda (Returning Home 2)	1:49:17 - Veda convinces her mother to not report her	antagonist \| crying \| daughter \| heroine \| leading lady \| loving \| mode mixture \| mother \| murderer \| murder scene \| reverse picardy \| room \| sacrificing \| tender \| warm
The Life of Vergie Winters (1934)	Lullaby (Not in Score)	0:32:18 - Vergie and John look at a baby picture	AABA structure \| calm \| common-chord modulation \| conversing \| cuddling \| leading lady \| leading man \| love interest \| love scene \| lullaby \| peaceful \| room \| score to source \| secret love \| transcribed by ear
The Life of Vergie Winters (1934)	Old Lavender	1:00:07 - Joan and Ranny talk	9th chord \| added-note chord \| altered dominant \| common-chord modulation \| conversing \| daughter \| direct modulation \| harmonic sequence \| light \| love interest \| love scene \| optimistic \| proposal \| proposing \| room \| transcribed by ear
The Life of Vergie Winters (1934)	Here Comes the Bride	1:00:46 - Joan and Ranny talk about marriage	common-chord modulation \| conversing \| daughter \| familiar tune \| gentle \| love interest \| love scene \| peaceful \| proposal \| proposing \| romantic \| room \| transcribed by ear
The Life of Vergie Winters (1934)	Lullaby (Clarinet Solo)	1:00:58 - John and Laura talk about Joan	added-note chord \| conflict \| conversing \| dramatic \| gentle \| leading man \| peaceful \| room \| stinger \| transcribed by ear \| wife
The Life of Vergie Winters (1934)	Lullaby (Agitated)	1:01:27 - John and Laura argue about Joan	agitated \| arguing \| common-tone diminished 7th \| conflict \| diminished 7th chord \| direct modulation \| fragmentation \| harmonic sequence \| leading man \| octatonic scale \| room \| tense \| transcribed by ear \| wife
The Life of Vergie Winters (1934)	Old Lavender	1:02:11 - Joan and Ranny enter	9th chord \| added-note chord \| altered dominant \| arguing \| common-chord modulation \| conflict \| conversing \| daughter \| direct modulation \| harmonic sequence \| leading man \| light \| love interest \| optimistic \| room \| surprise \| wife
The Life of Vergie Winters (1934)	Old Lavender (Celeste Solo)	1:02:43 - John paces around	conflict \| daughter \| direct modulation \| hesitating \| leading man \| love interest \| lying \| peaceful \| room \| surprise \| wife
The Life of Vergie Winters (1934)	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)	Lullaby (Adagio)	1:03:02 - Joan reacts	conflict \| daughter \| diminished 7th chord \| direct modulation \| dissonant bass \| leading man \| love interest \| revealing \| room \| stinger \| surprise \| tense \| wife
The Life of Vergie Winters (1934)	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)	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)	Here Comes the Bride (Slow)	1:05:05 - Ranny re-proposes to Joan	64 chord \| conflict \| daughter \| familiar tune \| leading man \| love interest \| peaceful \| proposal \| proposing \| room \| wife
The Life of Vergie Winters (1934)	Lullaby (Dolcissimo)	1:05:11 - Joan talks to Laura	9th chord \| conflict \| daughter \| leading man \| love interest \| peaceful \| proposal \| proposing \| room \| wife
The Life of Vergie Winters (1934)	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 (Doloroso)	1:05:58 - John talks with his wife Laura	9th chord \| arguing \| conflict \| dark \| leading man \| leaving \| reverse picardy \| room \| tense \| wife
The Life of Vergie Winters (1934)	A Boy and a Girl	1:07:00 - John and Vergie listen to the radio	advance plot \| altered dominant \| common-chord modulation \| conversing \| leading lady \| leading man \| listening \| room \| secret lover \| sentimental \| simulated source music \| source to score \| transcribed by ear
The Life of Vergie Winters (1934)	Lullaby (Dolce)	1:08:00 - Vergie talks with John	9th chord \| advance plot \| common-chord modulation \| conversing \| leading lady \| leading man \| room \| score to source \| secret lover \| tender
The Life of Vergie Winters (1934)	Lullaby (Cello Solo)	1:08:38 - Vergie talks with John	added-note chord \| advance plot \| common-chord modulation \| confident \| hopeful \| hoping \| leading lady \| leading man \| room \| secret lover \| sweet \| warm
The Life of Vergie Winters (1934)	Lullaby (Passionate)	1:09:39 - John and Vergie embrace	9th chord \| advance plot \| embracing \| leading lady \| leading man \| pedal tone \| romantic \| room \| secret lover \| tense
Rockabye (1932)	Improvised Lullaby	0:11:04 - Elizabeth sings a lullaby	advance plot \| calm \| daughter \| doll \| leading lady \| lullaby \| mother \| on-screen music \| room \| singing \| source music
Rockabye (1932)	Sleep, My Sweet	0:11:20 - Judy sings with her daughter	advance plot \| calm \| daughter \| humming \| leading lady \| lullaby \| mother \| on-screen music \| room \| score to source \| singing \| source music
Rockabye (1932)	A Bird in a Gilded Cage	0:29:09 - Snooks sings to herself	advance plot \| drunk \| mother \| on-screen music \| room \| singing \| source music
Out of the Fog (1941)	Drab	0:24:36 - Stella in bed	advance plot \| father \| ignoring \| knocking \| leading lady \| room \| smoking \| somber \| tense \| thinking \| whispering
Out of the Fog (1941)	South American Way	0:30:00 - Stella listens to the radio	advance plot \| conversing \| leading lady \| mother \| popular music \| radio \| room \| source music \| upbeat
Out of the Fog (1941)	Father and Daughter	0:33:12 - Jonah talks to Stella	advance plot \| conversing \| crying \| father \| gentle \| hugging \| leading lady \| mode mixture \| room \| tender
Out of the Fog (1941)	Stella and George (Extended)	0:41:45 - George talks to Stella	arguing \| boyfriend \| conversing \| foreign key modulation \| leading lady \| love scene \| room \| tender
Out of the Fog (1941)	Father and Daughter (Tender)	0:51:32 - Maps of Cuba	advance plot \| arriving \| conversing \| father \| fisherman \| leading lady \| mirror shot \| packing \| room \| tender \| tense
Out of the Fog (1941)	Drab (Extended)	0:51:50 - Stella talks with her father	advance plot \| conversing \| father \| fisherman \| foreign key modulation \| leading lady \| packing \| room \| sequence \| somber \| uneasy
Out of the Fog (1941)	Russian Barcarolle (Dark)	0:52:49 - Jonah reacts	advance plot \| conversing \| dark \| father \| fisherman \| leading lady \| room
Out of the Fog (1941)	Drab	0:53:05 - Stella talks with her father	advance plot \| conversing \| father \| fisherman \| leading lady \| room \| sequence \| somber \| uneasy
Out of the Fog (1941)	Russian Barcarolle (Troubled)	0:53:43 - Stella talks with her father	advance plot \| bold \| conversing \| dark \| father \| fisherman \| leading lady \| ominous \| room
Out of the Fog (1941)	Father and Daughter (Short)	0:54:23 - Stella and Jonah embrace	advance plot \| conversing \| departing \| father \| fisherman \| leading lady \| room \| tender
Out of the Fog (1941)	Russian Folk Song	0:54:43 - Jonah enters a room	advance plot \| arriving \| cheerful \| father \| fisherman \| folk music \| friend \| on-screen music \| room \| singing \| source music
Out of the Fog (1941)	Russian Barcarolle	0:55:11 - Sam sings a Russian folk song	advance plot \| cheerful \| father \| fisherman \| folk music \| friend \| on-screen music \| room \| score to source \| singing \| source music
Out of the Fog (1941)	Underscoring (Dark)	1:12:05 - Police ring the bell	action scene \| arguing \| conversing \| dark \| fisherman \| friend \| police \| ringing \| room \| street \| underscoring
Kid Galahad (1937)	The Moon Is In Tears Tonight (The Kid)	0:50:05 - Louise looks at her Kid Galahad scrapbook	advance plot \| cheerful \| countermelody \| not by Steiner \| organizing \| parallelism \| room \| scrapbook \| sister \| transcribed by ear
Kid Galahad (1937)	The Moon Is In Tears Tonight (Love's Sorrow)	0:53:05 - Ward professes his love for Marie	conversing \| heartbroken \| leading lady \| leading man \| love scene \| newspaper \| not by Steiner \| romantic \| room \| transcribed by ear
Kid Galahad (1937)	The Split Up	0:56:59 - Louise and Nick break up	appoggiatura \| conversing \| heartbroken \| leading lady \| love scene \| manager \| not by Steiner \| romantic \| room \| transcribed by ear
Kid Galahad (1937)	The Moon Is In Tears Tonight (Tender)	0:57:14 - Louise thinks of Ward	conversing \| leading lady \| love scene \| manager \| not by Steiner \| room \| tender \| transcribed by ear
Kid Galahad (1937)	The Split Up	0:57:45 - Louise says goodbye to Nick	appoggiatura \| conversing \| heartbroken \| leading lady \| love scene \| manager \| not by Steiner \| romantic \| room \| transcribed by ear
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
Traveling Husbands (1931)	There's a Sob in My Heart (Duet)	0:28:54 - Two lovers sing in a hotel room	AABA structure \| comedy \| love \| popular song \| romantic \| room \| salesman \| singing \| source music \| transcribed by ear
Traveling Husbands (1931)	There's a Sob in My Heart (Radio Waltz)	0:32:02 - Music is played on the radio	comedy \| listening \| popular song \| radio \| romantic \| room \| salesman \| source music \| transcribed by ear
Traveling Husbands (1931)	There's a Sob in My Heart (Radio Jazz)	0:32:29 - Music is played on the radio	altered dominant \| comedy \| dancing \| popular song \| radio \| room \| salesman \| source music \| transcribed by ear \| upbeat
Traveling Husbands (1931)	There's a Sob in My Heart (Radio Dance Band)	0:32:46 - Music is played on the radio	AABA structure \| chromatic mediant \| comedy \| dancing \| leading lady \| popular song \| radio \| room \| salesman \| source music \| transcribed by ear \| upbeat
Traveling Husbands (1931)	There's a Sob in My Heart (Arabian)	0:35:46 - Music is played on the radio	AABA structure \| advance plot \| Arabian \| dancing \| exoticism \| popular song \| radio \| romantic \| room \| salesman \| source music \| transcribed by ear
Traveling Husbands (1931)	There's a Sob in My Heart (Arabian)	0:38:56 - Music is played on the radio	advance plot \| Arabian \| dancing \| exoticism \| leading lady \| popular song \| radio \| romantic \| room \| salesman \| source music \| transcribed by ear
Traveling Husbands (1931)	Chimes	0:49:36 - A tune is played on church bells	advance plot \| calm \| church bell \| leading lady \| leading man \| room \| salesman \| source music \| transcribed by ear \| waiting
Traveling Husbands (1931)	Chimes 2	0:51:50 - A tune is played on church bells	advance plot \| calm \| church bell \| leading lady \| leading man \| room \| salesman \| source music \| transcribed by ear \| waiting
Traveling Husbands (1931)	There's a Sob in My Heart (Slow Waltz)	0:57:47 - Music is played on the radio	AABA structure \| advance plot \| arguing \| calm \| leading lady \| leading man \| mode mixture \| popular song \| radio \| room \| salesman \| source music \| transcribed by ear
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)	Chris 2	0:01:40 - Chris runs through the house	establish character \| graceful \| joyful \| leading lady \| room \| running
The Unfaithful (1947)	Unfaithful (Chris)	0:01:46 - Chris answers the phone	establish character \| foreshadowing \| leading lady \| mode change \| peaceful \| room
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 (Distressed)	0:52:17 - The maid turns on a lamp	9th chord \| advance plot \| arriving \| foreign key modulation \| forlorn \| leading lady \| maid \| obsession \| ostinato \| pc set \| room \| tense
The Unfaithful (1947)	Unfaithful (Agitated)	0:53:11 - Chris sees the place where the body was	advance plot \| distressed \| fearful \| leading lady \| obsession \| ostinato \| room \| sequential modulation \| staring
The Unfaithful (1947)	Attorney (Doorbell)	0:53:31 - Chris takes off her jacket	advance plot \| arriving \| enharmonic respelling \| heroic \| lawyer \| leading lady \| room \| stinger \| surprise
The Unfaithful (1947)	Unfaithful (Somber 2)	1:00:01 - Chris thinks	9th chord \| advance plot \| altered dominant \| augmented sixth chord \| chromatic mediant \| common-chord modulation \| conversing \| foreign key modulation \| husband \| leading lady \| mode mixture \| ostinato \| room \| somber \| tender
The Unfaithful (1947)	Unfaithful (Ominous)	1:09:06 - Chris on the phone	advance plot \| lawyer \| leading lady \| monophonic \| office \| phone call \| room \| tense \| thinking
The Unfaithful (1947)	Unfaithful (Menacing)	1:12:25 - Bob sees the statue	antagonist \| husband \| menacing \| monophonic \| ostinato \| pivotal scene \| realizing \| revealing \| room \| sequence \| staring \| statue \| threatening \| unveiling \| widow
The Unfaithful (1947)	Unfaithful (Attack 2)	1:13:06 - Bob attacks the art shop owner	9th chord \| angry \| antagonist \| attacking \| chromatic scale \| fighting \| husband \| pc set \| pivotal scene \| room \| widow \| zoom in
The Unfaithful (1947)	Unfaithful (Angry)	1:15:00 - Bob looks around	angry \| common-chord modulation \| deceptive resolution \| husband \| intense \| meandering \| Neapolitan \| ostinato \| room \| sequential modulation \| transition \| walking
The Unfaithful (1947)	Unfaithful (Rising Anger)	1:15:35 - Bob walks	angry \| chromatic scale \| fragmentation \| half-diminished 7th chord \| husband \| intense \| meandering \| oscillation \| ostinato \| room \| transition \| walking
The Unfaithful (1947)	Unfaithful (Not in Film)	NIF - not in film	acceleration \| arguing \| climax \| cut from film \| husband \| Neapolitan \| ostinato \| room \| sequential modulation \| tense \| wife
The Unfaithful (1947)	Tanner (Headlines)	1:24:17 - Chris is suspected of murder	altered dominant \| chromatic scale \| climax \| fragmentation \| friend \| hurrying \| montage \| newspaper \| newspaper boy \| panicked \| police station \| polychord \| polytonality \| quartal chord \| radio \| reporter \| room \| rushing \| street \| surprise \| tritone oscillation \| widow
The Unfaithful (1947)	Ask Anyone Who Knows	1:34:08 - Paula reads the paper	ABA structure \| calm \| conversing \| friend \| husband \| radio \| reading \| resolution \| room \| source music
The Unfaithful (1947)	Would You Believe Me	1:36:54 - Paula talks with Bob	ABAC structure \| calm \| conversing \| friend \| husband \| radio \| reading \| resolution \| room \| source music
The Unfaithful (1947)	Unfaithful (Distressed)	1:41:24 - Larry talks with Bob	9th chord \| conversing \| foreign key modulation \| husband \| lawyer \| ostinato \| pc set \| resolution \| room \| somber \| wife
The Unfaithful (1947)	Unfaithful (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
We Are Not Alone (1939)	I Do Like to Be Beside the Seaside	0:10:56 - David visits an injured Leni	chromatic mediant \| deceptive resolution \| doctor \| establish character \| familiar tune \| foreign key modulation \| gentle \| hero \| heroine \| mode mixture \| quotation \| room \| step modulation
We Are Not Alone (1939)	Surprise Symphony (Not Afraid)	0:11:24 - David sets Leni's wrist	chromatic scale \| classical music \| delicate \| doctor \| establish character \| familiar tune \| foreign key modulation \| fragmentation \| Haydn \| hero \| heroine \| quotation \| room \| somber
We Are Not Alone (1939)	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)	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)	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 (Quasi Rubato)	0:12:46 - David treats Leni's leg	classical music \| doctor \| establish character \| familiar tune \| fragmentation \| gentle \| Haydn \| hero \| heroine \| parallelism \| playful \| quotation \| room
We Are Not Alone (1939)	Surprise Symphony (Humbly)	0:13:10 - David treats Leni's leg	classical music \| common-tone diminished 7th \| doctor \| establish character \| familiar tune \| fragmentation \| gentle \| Haydn \| hero \| heroine \| hymn-like \| quotation \| room \| sweet
We Are Not Alone (1939)	Tenderness	0:13:40 - David talks to Leni	64 chord \| doctor \| establish character \| friendly \| hero \| heroine \| mode mixture \| room \| sequence \| tender
We Are Not Alone (1939)	I Do Like to Be Beside the Seaside (Tragico)	0:14:05 - Leni talks with David	doctor \| establish character \| familiar tune \| hero \| heroine \| minor-major 7th chord \| quotation \| room \| tragic
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)	Blue Danube	0:14:52 - Leni says she is from Austria	classical music \| doctor \| establish character \| familiar tune \| hero \| heroine \| mode mixture \| peaceful \| quotation \| room \| Strauss
We Are Not Alone (1939)	Surprise Symphony (Gute Nacht)	0:15:00 - David says goodnight in German to Leni	classical music \| doctor \| establish character \| familiar tune \| Haydn \| hero \| heroine \| peaceful \| perfect authentic cadence \| quotation \| room
We Are Not Alone (1939)	Captain Gerald	0:43:23 - Gerald tells Leni a story	added-note chord \| advance plot \| boy \| child \| exoticism \| foreign key modulation \| heroine \| home \| imagination \| room \| somber \| telling a story
We Are Not Alone (1939)	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)	Frohe Botschaft (Like a Sigh)	0:44:30 - Leni tells Gerald to not be afraid	advance plot \| conversing \| heroine \| home \| kindness \| promise \| room \| sad \| sigh gesture
We Are Not Alone (1939)	Jessica	0:45:10 - Jessica enters the room	9th chord \| advance plot \| antagonist \| chromatic parallelism \| chromatic scale \| conversing \| half-diminished 7th chord \| home \| mother \| room \| sour
We Are Not Alone (1939)	Surprise Symphony (Expanded)	0:45:36 - Leni hugs Gerald	advance plot \| boy \| child \| chromatic parallelism \| classical music \| dissonant bass \| familiar tune \| Haydn \| heroine \| home \| hugging \| quotation \| room \| sweet
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)	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)	Surprise Symphony (Tragico)	0:47:06 - Jessica gathers clothes for Gerald	advance plot \| antagonist \| boy \| child \| classical music \| conversing \| dark \| familiar tune \| Haydn \| home \| mother \| quotation \| room \| sad \| tragic
We Are Not Alone (1939)	Surprise Symphony (Turbulent)	0:50:14 - Jessica reacts to David's departure	11th chord \| angry \| antagonist \| chromatic parallelism \| classical music \| conflict \| crying \| dark \| familiar tune \| Haydn \| hero \| home \| husband \| leaving \| quotation \| room \| sad \| tragic \| wife
We Are Not Alone (1939)	Triste	0:50:45 - David talks to Leni	advance plot \| common-chord modulation \| conversing \| gentle \| hero \| heroine \| home \| room \| sad
We Are Not Alone (1939)	Frohe Botschaft (Triste)	0:51:10 - David talks to Leni	9th chord \| added-note chord \| advance plot \| conversing \| deceptive resolution \| familiar tune \| folk song \| foreign key modulation \| fragmentation \| German \| hero \| heroine \| home \| quotation \| room \| somber
We Are Not Alone (1939)	Surprise Symphony (Sneaky)	0:51:52 - David goes to bed	added-note chord \| advance plot \| antagonist \| classical music \| cook \| diminution \| familiar tune \| Haydn \| hero \| heroine \| home \| mickey-mousing \| mysterious \| quotation \| room \| sneaking \| somber
We Are Not Alone (1939)	Eine kleine Nachtmusik	0:52:05 - Program for the concert at the party	advance plot \| classical music \| concert \| familiar tune \| home \| joyful \| Mozart \| room \| source music
We Are Not Alone (1939)	Die Krähe	0:52:36 - Leni asks David about his work	advance plot \| antagonist \| calm \| classical music \| concert \| conversing \| cook \| familiar tune \| hero \| heroine \| home \| room \| Schubert \| source music
We Are Not Alone (1939)	Celebre Romance	0:54:24 - Leni asks David for a reference	ABAC structure \| advance plot \| antagonist \| calm \| classical music \| concert \| conversing \| cook \| familiar tune \| hero \| heroine \| home \| room \| Rubinstein \| source music
We Are Not Alone (1939)	Surprise Symphony	0:56:18 - David whistles on his way to breakfast	advance plot \| calm \| classical music \| familiar tune \| Haydn \| hero \| home \| quotation \| room \| whistling
We Are Not Alone (1939)	Tuning	0:59:20 - David tunes his violin	advance plot \| antagonist \| calm \| cook \| hero \| heroine \| home \| on-screen music \| room \| source music \| tuning \| violin
We Are Not Alone (1939)	Tuning	1:00:57 - David tunes his violin	advance plot \| antagonist \| calm \| cook \| hero \| heroine \| home \| on-screen music \| room \| source music \| tuning \| violin
We Are Not Alone (1939)	Celebre Romance	1:01:03 - David plays the violin	advance plot \| antagonist \| classical music \| cook \| familiar tune \| hero \| heroine \| home \| on-screen music \| peaceful \| playing \| romantic \| room \| Rubinstein \| sentence form \| source music \| source to score \| violin
We Are Not Alone (1939)	Celebre Romance (Accompanied)	1:01:56 - Gerald sneaks inside	boy \| child \| classical music \| common-tone modulation \| familiar tune \| hero \| heroine \| home \| mode mixture \| on-screen music \| peaceful \| pivotal scene \| playing \| romantic \| room \| Rubinstein \| secondary dominant \| source music \| violin
We Are Not Alone (1939)	Celebre Romance (Accompanied B)	1:02:47 - Gerald accidentally mixes up the contents of two bottles	boy \| child \| classical music \| deceptive resolution \| familiar tune \| hero \| heroine \| home \| linear chromaticism \| mode mixture \| on-screen music \| peaceful \| pivotal scene \| playing \| romantic \| room \| Rubinstein \| source music \| violin
We Are Not Alone (1939)	Frohe Botschaft (Ghostly)	1:49:22 - Gerald talks to Susan	antagonist \| boy \| child \| conclusion \| death \| eerie \| familiar tune \| folk song \| German \| home \| ominous \| quotation \| room \| tone cluster
We Are Not Alone (1939)	Surprise Symphony (Ghostly)	1:49:48 - Gerald talks to Susan	antagonist \| boy \| child \| classical music \| conclusion \| death \| eerie \| familiar tune \| Haydn \| home \| ominous \| on-screen music \| quotation \| remembered source music \| room \| source music \| tone cluster \| whistling
We Are Not Alone (1939)	Frohe Botschaft (Fading Away)	1:50:19 - Susan looks surprised	antagonist \| boy \| child \| conclusion \| death \| eerie \| familiar tune \| folk song \| fragmentation \| German \| home \| ominous \| quotation \| room \| tone cluster
We Are Not Alone (1939)	Frohe Botschaft (Singing)	1:50:32 - Gerald sings in the tub	9th chord \| 11th chord \| boy \| child \| conclusion \| death \| familiar tune \| folk song \| German \| home \| peaceful \| quotation \| room
We Are Not Alone (1939)	Frohe Botschaft (Singing) + Surprise Symphony	1:50:50 - Gerald sings in the tub	augmented triad \| boy \| child \| classical music \| combination of themes \| conclusion \| death \| familiar tune \| folk song \| German \| Haydn \| home \| mode mixture \| on-screen music \| peaceful \| quotation \| room \| source music \| whistling
We Are Not Alone (1939)	Frohe Botschaft (The End)	1:51:01 - The End	9th chord \| end title sequence \| familiar tune \| folk song \| German \| grand \| home \| mode mixture \| quotation \| room \| suspension \| The End
White Heat (1949)	Big Ed	0:06:00 - Big Ed talks to Cody	arriving \| dark \| establish character \| gangster \| leading man \| murderer \| room \| tense \| victim
White Heat (1949)	Thinking	0:06:23 - Cody walks across the room	establish character \| gangster \| leading man \| mother \| murderer \| room \| tense \| thinking \| victim \| walking
White Heat (1949)	Stirring the pot	0:06:29 - Ma stirs food in a pot	cooking \| establish character \| gangster \| leading man \| mother \| murderer \| room \| stirring \| uneasy \| victim
White Heat (1949)	Ma	0:06:34 - Ma cooks dinner	cooking \| establish character \| gangster \| leading man \| mother \| murderer \| room \| uneasy \| victim
White Heat (1949)	Moll	0:06:40 - Verna sleeps	calm \| establish character \| gangster \| leading lady \| leading man \| moll \| murderer \| room \| sleeping \| snoring \| waking
White Heat (1949)	Verna	0:06:56 - Verna gets up	arguing \| bluesy \| complaining \| dark \| establish character \| gangster \| leading lady \| leading man \| moll \| mother \| murderer \| rising \| room \| victim \| waking
White Heat (1949)	Cody (Molto Marcato)	NIF - not in film	cut from film \| room
White Heat (1949)	Rushing	0:10:49 - A gangster comes in the door	advance plot \| arguing \| dark \| gangster \| leading lady \| leading man \| moll \| mother \| murderer \| punching \| room \| storm \| tense \| victim \| wind
White Heat (1949)	Plotting	0:11:21 - Cody packs up money in a suitcase	conversing \| dark \| gangster \| leading lady \| leading man \| love scene \| moll \| money \| murderer \| packing \| room \| tense \| transition
White Heat (1949)	Verna (Molto Expressivo)	0:11:38 - Verna embraces Cody	bluesy \| conversing \| dark \| embracing \| flirting \| gangster \| kissing \| leading lady \| leading man \| love scene \| moll \| money \| mother \| murderer \| room \| victim \| waltz
White Heat (1949)	Underscoring (Dark)	0:12:14 - Zuckie pleads with Cody	conversing \| dark \| death \| funereal \| gangster \| leading lady \| leading man \| moll \| mother \| murderer \| murder scene \| pleading \| room \| underscoring \| victim
White Heat (1949)	Zuckie's Death	0:12:29 - Cody ignores Zuckie	crying \| dark \| death \| departing \| funereal \| gangster \| leading lady \| leading man \| moaning \| moll \| mother \| murderer \| murder scene \| pleading \| room \| somber \| victim
White Heat (1949)	Danger (Con Moto)	0:17:39 - Cody argues with Verna	agitated \| arguing \| conflict \| gangster \| leading lady \| leading man \| moll \| murderer \| room \| tense
White Heat (1949)	Verna falls	0:18:05 - Verna falls off the chair	agitated \| chair \| conflict \| couch \| falling \| gangster \| kicking \| landing \| leading lady \| leading man \| mickey-mousing \| moll \| murderer \| room \| tense
White Heat (1949)	Danger (Escaping)	0:23:32 - Verna and Ma rush out	action scene \| agent \| dramatic \| escaping \| gangster \| leading lady \| leading man \| moll \| mother \| murderer \| room \| rushing \| street \| wound
White Heat (1949)	Underscoring (Tense)	0:42:03 - Ma talks to the gangsters	advance plot \| conversing \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense \| underscoring
White Heat (1949)	Cody (Expressivo)	0:42:17 - Ma talks to Big Ed	advance plot \| conversing \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense
White Heat (1949)	Agitato	0:42:32 - Verna leaves the room	advance plot \| agitated \| conversing \| departing \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense \| underscoring
White Heat (1949)	Big Ed	0:42:41 - Big Ed leaves the room	advance plot \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense \| walking
White Heat (1949)	Cody 2 (Molto Misterioso)	1:09:13 - Cody adjusts his hat in the mirror	dressing \| fugitive \| gangster \| hat \| leading man \| mirror \| murderer \| mysterious \| prison break \| room \| tense
White Heat (1949)	Five O'Clock Whistle	1:11:01 - Verna watches Ed	advance plot \| conversing \| gangster \| leading lady \| love interest \| moll \| popular music \| radio \| room \| source music \| upbeat
White Heat (1949)	Underscoring (Tense)	1:13:20 - Big Ed walks up the stairs	action scene \| dark \| gangster \| leading lady \| love interest \| moll \| room \| tense \| underscoring \| walking
White Heat (1949)	Danger (Agitato)	1:13:33 - Verna sits up	action scene \| anxiety \| danger \| gangster \| leading lady \| listening \| love interest \| moll \| room \| tense
White Heat (1949)	Underscoring (Tense)	1:13:57 - Verna sneaks out of her bedroom	action scene \| leading lady \| moll \| room \| sneaking \| tense \| underscoring
White Heat (1949)	Plotting (Sneaking)	1:14:09 - Verna sneaks down the stairs	action scene \| descending \| leading lady \| mickey-mousing \| moll \| mysterious \| room \| sneaking \| stairs \| tense
White Heat (1949)	Underscoring (Tense)	1:14:13 - Verna looks for a way out	action scene \| leading lady \| moll \| room \| sneaking \| tense \| underscoring
White Heat (1949)	Running to window	1:14:22 - Verna runs to the window	action scene \| dramatic \| leading lady \| mickey-mousing \| moll \| opening \| room \| running \| stinger \| tense \| window
White Heat (1949)	Underscoring (Dramatic)	1:14:27 - Verna opens the window	action scene \| dramatic \| leading lady \| mickey-mousing \| moll \| room \| running \| stinger \| tense \| underscoring \| window
White Heat (1949)	Underscoring (Tense)	1:16:28 - Big Ed creates a decoy	decoy \| gangster \| gun \| love interest \| murder scene \| preparing \| room \| tense \| underscoring
White Heat (1949)	Underscoring (Mysterious)	1:16:51 - Cody and Verna climb through the window	gangster \| gun \| leading lady \| leading man \| moll \| murderer \| murder scene \| mysterious \| room \| sneaking \| sneaking effect \| tense \| underscoring \| window
White Heat (1949)	Verna (Uneasy)	1:18:05 - Big Ed kisses Verna	dark \| drinking \| embracing \| gangster \| gun \| kissing \| leading lady \| leading man \| love interest \| moll \| murderer \| murder scene \| room \| somber \| spying \| waiting
White Heat (1949)	Big Ed's Death	1:18:41 - Big Ed runs	dark \| death \| dramatic \| dying \| falling \| gangster \| gun \| gunshot \| leading lady \| leading man \| love interest \| mickey-mousing \| moll \| murder \| murderer \| murder scene \| room \| running \| rushing \| shooting \| violence
White Heat (1949)	Underscoring (Dramatic)	1:19:20 - Big Ed's body falls down the stairs	dark \| death \| dramatic \| falling \| fugitive \| gangster \| leading lady \| leading man \| love interest \| mickey-mousing \| moll \| murderer \| murder scene \| panning shot \| room \| stairs \| staring \| statue \| stinger \| undercover agent \| underscoring \| watching
White Heat (1949)	Panning	1:19:32 - Camera pans to the group	beans \| dramatic \| fugitive \| gangster \| leading lady \| leading man \| love interest \| mickey-mousing \| moll \| murderer \| panning shot \| room \| throwing \| transition \| undercover agent \| waiting
The Woman in White (1948)	Fairlie	0:18:35 - Walter leaves Mr. Fairlie	advance plot \| butler \| gentle \| leading man \| room \| walking
The Woman in White (1948)	The Carman's Whistle (Accompaniment)	0:19:09 - Walter walks to the window	advance plot \| gentle \| leading man \| room \| walking
The Woman in White (1948)	Fosco (Molto Misterioso)	0:19:16 - Fosco walks outside	advance plot \| garden \| leading man \| mysterious \| room \| tense \| walking \| watching
The Woman in White (1948)	Laura	0:21:27 - Walter talks with Laura	butler \| conversing \| establish character \| family \| gentle \| leading lady \| leading man \| refined \| room \| walking
The Woman in White (1948)	Laura (Harp Countermelody)	0:22:03 - The Fairlies sit at the table	butler \| conversing \| establish character \| family \| gentle \| leading lady \| leading man \| refined \| room \| walking
The Woman in White (1948)	Ann (Poco Agitato)	0:22:39 - Laura talks about a mysterious woman	butler \| conversing \| establish character \| family \| leading lady \| leading man \| mysterious \| room \| tense \| walking
The Woman in White (1948)	Fosco	0:22:53 - Closeup on Fosco's face	butler \| conversing \| establish character \| family \| leading lady \| leading man \| room \| tense \| walking
The Woman in White (1948)	The Carman's Whistle	0:23:04 - Walter talks about the woman in white	butler \| conversing \| establish character \| family \| leading lady \| leading man \| room \| tense \| walking
The Woman in White (1948)	Underscoring (Mysterious)	0:23:16 - Fosco gets up to leave	butler \| conversing \| establish character \| family \| leading lady \| leading man \| mysterious \| room \| walking
The Woman in White (1948)	Fosco	0:23:42 - Fosco walks up the stairs	butler \| establish character \| leading man \| pushing \| room \| rushing \| tense \| walking
The Woman in White (1948)	Pavan (Harpsichord)	0:26:05 - Laura plays the harpsichord	advance plot \| butler \| conversing \| family \| gentle \| harpsichord \| leading lady \| leading man \| on-screen music \| playing \| Renaissance music \| room \| source music
The Woman in White (1948)	Improvisation	0:28:47 - A monkey plays the harpsichord	advance plot \| conversing \| harpsichord \| leading lady \| leading man \| monkey \| on-screen music \| playing \| room \| source music \| startled
The Woman in White (1948)	Ann (Misterioso)	0:29:34 - Fosco sees Laura outside	advance plot \| conversing \| leading lady \| leading man \| mysterious \| room \| tense \| watching
The Woman in White (1948)	Limmeridge	0:30:46 - Marian talks to Walter	advance plot \| conversing \| cousin \| leading lady \| leading man \| noble \| refined \| room
The Woman in White (1948)	Fairlie (Expressivo)	0:30:58 - Marian talks to Walter	advance plot \| conversing \| cousin \| gentle \| leading lady \| leading man \| refined \| room
The Woman in White (1948)	Pavan (Garden 2)	0:55:17 - Marian talks to Mr. Fairlie	advance plot \| conversing \| cousin \| father \| leading lady \| room \| somber
The Woman in White (1948)	Fosco (Spying)	0:58:37 - Marian writes in her journal	advance plot \| cousin \| journal \| leading lady \| mysterious \| room \| somber \| thinking \| voice-over \| writing
The Woman in White (1948)	Pavan (Agitato 2)	0:58:59 - Laura enters Marian's room	advance plot \| conversing \| cousin \| greeting \| leading lady \| passionate \| room \| tense
The Woman in White (1948)	The Self Banished (Somber)	0:59:47 - Marian talks to Laura	advance plot \| conversing \| cousin \| gentle \| leading lady \| room \| somber
The Woman in White (1948)	The Self Banished (Tenderly)	1:00:22 - Laura talks to Marian	advance plot \| conversing \| cousin \| leading lady \| room \| tender
The Woman in White (1948)	Pavan (Distressed)	1:00:51 - Laura talks to Marian	advance plot \| agitated \| conversing \| cousin \| distressed \| leading lady \| room
The Woman in White (1948)	Pavan (Agitato)	1:01:02 - Laura talks to Marian	advance plot \| agitated \| conversing \| cousin \| leading lady \| room
The Woman in White (1948)	Asylum	1:01:26 - Laura suffers from a headache	aching \| advance plot \| agitated \| conversing \| cousin \| headache \| illness \| illness effect \| leading lady \| pain \| room \| somber \| tense \| victim
The Woman in White (1948)	Asylum (Molto Expressivo)	1:01:37 - Laura talks to Marian	advance plot \| calm \| conversing \| cousin \| headache \| illness \| leading lady \| pain \| recovering \| recovery \| room \| victim
The Woman in White (1948)	Pavan (Slow)	1:01:49 - Marian closes the door	advance plot \| cousin \| departing \| leading lady \| room \| somber \| victim
The Woman in White (1948)	Sneaking	1:02:12 - Marian leaves wearing a cloak	advance plot \| antagonist \| conversing \| cousin \| criminal \| eavesdropping \| father \| husband \| leading lady \| leading man \| room \| sneaking \| somber \| tense
The Woman in White (1948)	Fosco (Misterioso Slowly)	1:04:48 - Count Fosco leaves the room	advance plot \| antagonist \| conversing \| cousin \| criminal \| eavesdropping \| father \| husband \| leading lady \| leading man \| lightning \| mysterious \| room \| sneaking \| storm \| tense
The Woman in White (1948)	Pavan (Basses)	1:05:32 - Marian gets dressed	advance plot \| antagonist \| cousin \| criminal \| dressing \| leading lady \| leading man \| mysterious \| room \| shadow \| somber \| stinger \| surprising
The Woman in White (1948)	Fosco (Misterioso Moderato)	1:08:24 - Fosco is startled by a noise	antagonist \| butler \| conflict \| conversing \| cousin \| criminal \| leading lady \| leading man \| mysterious \| room
The Woman in White (1948)	Fosco (Marcato)	1:08:44 - Fosco talks to the servant	antagonist \| arguing \| butler \| confining \| conflict \| conversing \| cousin \| criminal \| dark \| leading lady \| leading man \| mysterious \| prisoner \| room
The Woman in White (1948)	Underscoring (Dramatic)	1:09:11 - Marian is locked in	antagonist \| confining \| conflict \| conversing \| cousin \| criminal \| dark \| dramatic \| husband \| leading lady \| leading man \| prisoner \| room \| underscoring
The Woman in White (1948)	Asylum (Dark)	1:09:26 - Fosco talks to Sir Percival	aching \| antagonist \| conflict \| conversing \| criminal \| dark \| headache \| husband \| illness \| leading lady \| leading man \| pain \| plotting \| prisoner \| room
The Woman in White (1948)	Asylum (Dolce)	1:09:46 - Laura senses someone in the room	advance plot \| appearing \| calm \| conversing \| headache \| illness \| leading lady \| pain \| room \| superimposed shot \| victim
The Woman in White (1948)	Ann (Poco Agitato)	1:09:55 - The woman in white talks to Laura	advance plot \| agitated \| calm \| conversing \| gentle \| headache \| illness \| leading lady \| pain \| room \| superimposed shot \| victim
The Woman in White (1948)	Appearing	1:10:28 - The woman in white disappears	advance plot \| antagonist \| criminal \| doctor \| hiding \| husband \| leading lady \| leading man \| magical \| mysterious \| room \| running \| superimposed shot \| victim
The Woman in White (1948)	Ann (Poco Agitato)	1:11:46 - Laura mentions the woman in white	agitated \| antagonist \| conflict \| conversing \| criminal \| doctor \| headache \| husband \| illness \| leading lady \| leading man \| pain \| room \| servant \| victim
The Woman in White (1948)	Fosco	1:12:05 - Fosco talks to the maid	agitated \| anger \| antagonist \| conflict \| criminal \| doctor \| headache \| husband \| illness \| leading lady \| leading man \| pain \| room \| searching \| servant \| tense \| victim \| walking
The Woman in White (1948)	Fosco (Molto Agitato)	1:12:15 - Fosco walks	agitated \| anger \| antagonist \| conflict \| criminal \| dark \| doctor \| headache \| husband \| illness \| leading lady \| leading man \| pain \| room \| rushing \| searching \| servant \| tense \| victim \| walking
The Woman in White (1948)	Ann (Accelerando)	1:12:32 - Fosco looks in the closet	agitated \| anger \| antagonist \| conflict \| criminal \| leading man \| mysterious \| room \| rushing \| searching \| walking
The Woman in White (1948)	Ann (Accelerando) + Fosco (Dark)	1:12:47 - Fosco leaves	agitated \| anger \| antagonist \| combination of themes \| conflict \| conversing \| criminal \| departing \| doctor \| husband \| leading man \| room \| rushing \| searching \| tense \| walking
The Woman in White (1948)	Fosco (Screwy)	1:13:05 - The countess enters quietly	advance plot \| arriving \| helping \| mysterious \| room \| sneaking \| tense \| time lapse \| victim \| wife
The Woman in White (1948)	Fosco (Sneaking)	1:13:18 - The countess sneaks into Laura's room	advance plot \| helping \| illness \| leading lady \| mysterious \| room \| servant \| sleeping \| sneaking \| tense \| victim \| wife
The Woman in White (1948)	Adagio	1:13:26 - The countess helps Laura	advance plot \| gentle \| helping \| illness \| leading lady \| room \| servant \| sleeping \| tense \| victim \| whispering \| wife
The Woman in White (1948)	Fosco (Sneaking)	1:13:48 - The maid leaves	advance plot \| departing \| helping \| illness \| leading lady \| mysterious \| room \| servant \| sleeping \| sneaking \| tense \| victim \| wife
The Woman in White (1948)	Underscoring (Mysterious)	1:13:57 - The countess looks around	advance plot \| helping \| illness \| leading lady \| mysterious \| room \| sleeping \| sneaking \| tense \| underscoring \| victim \| wife
The Woman in White (1948)	Ann (Waltz)	1:14:30 - The countess opens a secret door	advance plot \| foreshadowing \| helping \| leading lady \| room \| secret passageway \| sneaking \| tender \| victim \| waltz \| wife
The Woman in White (1948)	Ann (Lyrical)	1:15:15 - The countess approaches the woman in white	advance plot \| gentle \| helping \| leading lady \| lyrical \| room \| sleeping \| sneaking \| victim \| wife
The Woman in White (1948)	Ann 2	1:15:31 - The countess tends to the woman in white	advance plot \| gentle \| helping \| leading lady \| room \| sleeping \| sneaking \| stinger \| tender \| victim \| wife
The Woman in White (1948)	Hypnosis (Misterioso con moto)	1:16:57 - The countess talks to the woman in white	conversing \| death scene \| leading lady \| mysterious \| room \| tense \| victim \| wife
The Woman in White (1948)	Ann 2	1:17:48 - The woman in white talks to Laura	conversing \| death scene \| gentle \| leading lady \| room \| tender \| victim \| wife
The Woman in White (1948)	Ann	1:17:56 - The woman in white talks to Laura	conversing \| death scene \| leading lady \| mysterious \| room \| victim \| wife
The Woman in White (1948)	Hypnosis	1:18:17 - The woman in white hears Fosco's voice	death scene \| hearing voices \| leading lady \| madness \| mysterious \| room \| tense \| victim \| wife
The Woman in White (1948)	Fosco (Misterioso)	1:18:29 - The woman in white hears Sir Percival's voice	antagonist \| arriving \| criminal \| death scene \| hearing voices \| husband \| leading lady \| madness \| mysterious \| room \| screaming \| shock \| surprise \| tense \| victim \| wife
The Woman in White (1948)	Appearing	1:18:48 - The woman in white clutches her heart	antagonist \| criminal \| death scene \| dying \| husband \| leading lady \| mickey-mousing \| room \| screaming \| shock \| surprise \| tense \| victim \| wife
The Woman in White (1948)	Ann (Dead)	1:18:55 - The woman in white lies dead	antagonist \| conversing \| criminal \| dark \| death scene \| dying \| husband \| leading lady \| murderer \| room \| somber \| victim \| wife
The Woman in White (1948)	Ann (Slowly)	1:19:46 - The countess enters	angry \| antagonist \| criminal \| dark \| death scene \| glaring \| husband \| leading lady \| room \| shaking \| victim \| wife
The Woman in White (1948)	Pavan (Garden)	1:31:13 - Walter talks with Marian	conversing \| criminal \| friend \| husband \| leading lady \| leading man \| love scene \| murderer \| noble \| room \| spy \| spying
The Woman in White (1948)	Underscoring (Dramatic)	1:31:28 - Marian sees Sir Percival spying on them	conversing \| dramatic \| friend \| leading lady \| leading man \| love scene \| lyrical \| room \| stinger \| underscoring
The Woman in White (1948)	The Self Banished	1:31:42 - Walter Kisses Marian	conversing \| embracing \| friend \| gentle \| kissing \| leading lady \| leading man \| leaving \| love interest \| love scene \| romantic \| room \| thematic transference
The Woman in White (1948)	Pavan (Distressed)	1:37:17 - Walter reads a note from Marian	advance plot \| dark \| leading lady \| leading man \| note \| patient \| reading \| room \| victim \| wife
The Woman in White (1948)	Fosco (Molto Moderato)	1:38:43 - Fosco looks at Marian	advance plot \| criminal \| friend \| leading lady \| leading man \| love interest \| menacing \| murderer \| pacing \| room \| somber
The Woman in White (1948)	Underscoring (Tense)	1:39:05 - The butler enters	advance plot \| butler \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| room \| tense \| underscoring
The Woman in White (1948)	Fosco (Molto Moderato)	1:39:33 - Fosco talks to Marian	advance plot \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| menacing \| murderer \| room \| somber
The Woman in White (1948)	Underscoring (Tense)	1:44:06 - The countess enters	climax \| conversing \| criminal \| dark \| friend \| leading lady \| leading man \| love interest \| murderer \| necklace \| ominous \| room \| transcribed by ear \| wife
The Woman in White (1948)	Ann (Not in Score)	1:44:24 - Count Fosco talks to the Countess	climax \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| mysterious \| necklace \| room \| transcribed by ear \| wife
The Woman in White (1948)	Fosco (Screwy)	1:44:42 - The Countess walks across the room	climax \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| mysterious \| necklace \| room \| sneaking \| walking \| wife
The Woman in White (1948)	Fosco (Sneaking)	1:44:51 - The Countess walks across the room	climax \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| mysterious \| necklace \| room \| sneaking \| walking \| wife
The Woman in White (1948)	Adagio	1:45:00 - The Countess picks up a knife	climax \| conversing \| criminal \| friend \| knife \| leading lady \| leading man \| love interest \| murderer \| necklace \| room \| somber \| wife
The Woman in White (1948)	Fosco (Soft)	1:45:18 - The Count talks to Marian	arriving \| climax \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| mysterious \| necklace \| room \| wife
The Woman in White (1948)	Stabbing	1:45:23 - The Countess stabs Count Fosco	climax \| criminal \| dramatic \| dropping \| friend \| knife \| leading lady \| leading man \| love interest \| mickey-mousing \| murder \| murderer \| murdering \| necklace \| revenge \| room \| stabbing \| violent \| wife
The Woman in White (1948)	Fosco (Dying)	1:45:34 - The Countess picks up the necklace	arriving \| climax \| criminal \| death \| dramatic \| dying \| falling \| friend \| knife \| leading lady \| leading man \| love interest \| murder \| murderer \| necklace \| revenge \| rising \| room \| stinger \| tense \| victim \| violent \| wife
The Woman in White (1948)	Ann (Quasi Misterioso)	1:46:05 - Various close-ups	climax \| criminal \| death \| dying \| friend \| knife \| leading lady \| leading man \| love interest \| murder \| murderer \| necklace \| revenge \| room \| somber \| victim \| watching \| wife
The Woman in White (1948)	Ann (Waltz 2)	1:46:13 - A close-up on the Countess	criminal \| death \| embracing \| friend \| leading lady \| leading man \| love interest \| murder \| murderer \| necklace \| reacting \| resolution \| revenge \| room \| tender \| victim \| waltz \| wife
The Public Defender (1931)	He Walked Right In, Turned Around and Walked Right Out Again	0:30:49 - Man sings to himself as he walks away	advance plot \| cheerful \| leading man \| on-screen music \| room \| singing \| source music \| transcribed by ear
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)	My One Ambition is You	0:14:21 - Phil turns on the radio	AB structure \| advance plot \| cheerful \| conversing \| dancing \| pleasant \| radio \| room \| source music \| upbeat
Three Who Loved (1931)	Dance	0:17:09 - John and Helga talking	AB structure \| advance plot \| conversing \| pleasant \| radio \| room \| source music
Three Who Loved (1931)	Toy Harmonica	0:41:07 - Children at party	advance plot \| cheerful \| child \| on-screen music \| playing \| room \| source music \| toy
Three Who Loved (1931)	Toy Harmonica	0:42:54 - Children at party	advance plot \| cheerful \| child \| on-screen music \| playing \| room \| source music \| toy
Transgression (1931)	Flute Solo	0:43:22 - Don Arturo opens the door	calm \| conversing \| leading lady \| love interest \| love scene \| room \| source music
Transgression (1931)	Serenade	0:44:16 - Elsie and Don Arturo talking	ABAC structure \| calm \| conversing \| embracing \| kissing \| leading lady \| love interest \| love scene \| romantic \| room \| source music
Transgression (1931)	Gong	0:50:00 - Don Arturo is shot	death \| dying \| gun \| gunshot \| leading lady \| love interest \| murder \| murderer \| murdering \| murder scene \| room \| tense \| victim
Hold ‘Em Jail (1932)	Jingle Bells	0:07:51 - Spider sings	advance plot \| bothering \| business man \| comic \| comical \| goofing around \| on-screen music \| room \| salesman \| singing \| source music
Is My Face Red? (1932)	Keyhole (Gossip)	0:01:35 - Man and woman argue about a newspaper story	arguing \| argument \| dramatic \| establish setting \| gossip \| newspaper \| room \| sequence \| transcribed by ear
Is My Face Red? (1932)	Close to Me	0:13:53 - William and Peggy talk in a dressing room	advance plot \| altered dominant \| augmented sixth chord \| Broadway \| common-tone diminished 7th \| conversing \| dancer \| Gypsy major scale \| leading man \| popular music \| romantic \| room \| source music \| transcribed by ear
Ladies of the Jury (1932)	El Capitan March	0:28:41 - Jurors deliberate	advance plot \| conversing \| juror \| jury room \| leading lady \| march \| radio \| source music \| upbeat
Ladies of the Jury (1932)	There's a Sob in My Heart (Radio)	0:45:27 - Jurors deliberate	AABA structure \| advance plot \| conversing \| dancing \| juror \| jury room \| leading lady \| radio \| self-borrowing \| sentimental \| source music
Ladies of the Jury (1932)	I'm Just Wild About Harry	0:52:40 - Spencer sings	advance plot \| juror \| jury room \| on-screen music \| singing \| source music \| upbeat
Ladies of the Jury (1932)	All in Favor of Taking a Ride Say Aye	0:56:03 - Mayme sings	advance plot \| juror \| jury room \| on-screen music \| singing \| source music \| upbeat
Secrets of the French Police (1932)	Russian National Anthem	0:25:25 - A group of people sing the Russian national anthem	advance plot \| anthem \| balalaika \| familiar tune \| on-screen music \| patriotic \| patriotic tune \| playing \| room \| Russia \| singing
State’s Attorney (1932)	When I am Dead	0:12:59 - Tom sings to himself	advance plot \| cheerful \| humming \| lawyer \| on-screen music \| room \| singing \| source music
State’s Attorney (1932)	Bibelot	0:55:22 - Tom plays the piano	advance plot \| cheerful \| musician \| on-screen music \| playing \| room \| singing \| source music
The Phantom of Crestwood (1932)	Cimarron Theme	0:23:24 - Two people look at some portraits	AABC structure \| advance plot \| common-chord modulation \| conversing \| peaceful \| portrait \| room \| self-borrowing \| transcribed by ear
The Roadhouse Murder (1932)	Three Little Words	0:04:41 - A woman undresses	advance plot \| cheerful \| floozy \| on-screen music \| room \| singing \| source music
The Roadhouse Murder (1932)	Three Little Words	0:05:23 - A woman in the bathtub	advance plot \| cheerful \| floozy \| on-screen music \| room \| singing \| source music
Thirteen Women (1932)	The Swami	0:07:16 - The swami	Aeolian mode \| antagonist \| conversing \| establish character \| fortune \| fortune teller \| leading lady \| parallelism \| predicting \| room \| somber \| swami \| transcribed by ear
Thirteen Women (1932)	Thirteen Women (Destiny)	0:07:52 - Ursula talks to the swami	antagonist \| common-chord modulation \| conversing \| destiny \| establish character \| fortune teller \| harmonic sequence \| leading lady \| predicting \| relative key \| room \| somber \| swami \| transcribed by ear
Thirteen Women (1932)	The Swami (Past Life)	0:08:18 - The swami talks to Ursula	antagonist \| chromaticism \| chromatic parallelism \| conversing \| establish character \| fortune teller \| leading lady \| room \| somber \| swami \| transcribed by ear
Thirteen Women (1932)	Ursula (Romance)	0:08:37 - The swami kisses Ursula	antagonist \| embracing \| establish character \| fortune teller \| kissing \| leading lady \| romantic \| room \| secondary dominant \| swami \| transcribed by ear \| waltz
Thirteen Women (1932)	Ursula (Horoscope)	0:08:56 - The swami talks to Ursula	antagonist \| conversing \| establish character \| fate \| fortune teller \| leading lady \| mysterious \| predicting \| quintal chord \| room \| somber \| swami \| transcribed by ear
Thirteen Women (1932)	Ursula (Fate)	0:09:11 - The swami predicts Ursula's fate	antagonist \| conversing \| dark \| establish character \| fate \| fortune teller \| half-diminished 7th chord \| leading lady \| mickey-mousing \| mysterious \| predicting \| room \| somber \| stinger \| swami \| train whistle \| transcribed by ear
Thirteen Women (1932)	The Swami (Rising Tension)	0:09:53 - The swami shrinks from Ursula's gaze	antagonist \| conversing \| establish character \| fate \| fortune teller \| leading lady \| mysterious \| parallelism \| room \| swami \| tense \| transcribed by ear
Thirteen Women (1932)	Ursula (Hypnotic)	0:10:05 - Ursula hypnotizes the swami	antagonist \| diminished 7th chord \| establish character \| fortune teller \| hypnotic \| hypnotizing \| leading lady \| mysterious \| room \| seductive \| sleeping \| swami \| transcribed by ear
Thirteen Women (1932)	The Swami (Sleeping)	0:10:46 - Ursula leaves the swami	antagonist \| establish character \| fortune teller \| leading lady \| mysterious \| room \| sleeping \| swami \| transcribed by ear \| whole-tone \| whole-tone chord
Thirteen Women (1932)	Ursula (Horoscope)	0:10:57 - Ursula looks at the horoscope	advance plot \| antagonist \| appoggiatura \| horoscope \| leading lady \| march-like \| mysterious \| reading \| room \| transcribed by ear
Thirteen Women (1932)	Ursula (Agitato)	0:11:16 - Ursula tears up the horoscope	accented dissonance \| advance plot \| agitated \| antagonist \| destroying \| horoscope \| leading lady \| room \| tearing \| tense \| transcribed by ear
Thirteen Women (1932)	Ursula (Dark)	0:11:28 - Ursula reads a horoscope	64 chord \| advance plot \| antagonist \| dark \| funeral march \| horoscope \| leading lady \| reading \| room \| transcribed by ear
Thirteen Women (1932)	Ursula (Exotic)	0:11:45 - Ursula forges the swami's signature	advance plot \| antagonist \| dark \| exotic \| exoticism \| forging \| Gypsy major scale \| horoscope \| leading lady \| mysterious \| ostinato \| room \| signing \| transcribed by ear
Thirteen Women (1932)	Hazel murders husband	0:12:36 - Hazel murders her husband	double exposure \| dramatic \| half-diminished 7th chord \| headline \| husband \| knife \| murder \| murderer \| murdering \| murder scene \| newspaper \| room \| stabbing \| stinger \| transcribed by ear \| victim \| violent
Thirteen Women (1932)	Dramatic Agitato	0:12:41 - Hazel screams	augmented sixth chord \| chromatic scale \| double exposure \| dramatic \| half-diminished 7th chord \| headline \| letter \| murder \| murderer \| murder scene \| newspaper \| room \| screaming \| stinger \| transcribed by ear \| victim \| violent
Thirteen Women (1932)	Serenade	0:28:11 - Jo plays the piano	advance plot \| calm \| common-tone diminished 7th \| conversing \| friend \| gentle \| on-screen music \| piano \| playing \| room \| secondary dominant \| self-borrowing \| sentence form \| source music \| transcribed by ear
Thirteen Women (1932)	Ursula (Exotic)	0:32:54 - Burns enters the house	advance plot \| entering \| exotic \| exoticism \| Gypsy major scale \| leading lady \| love interest \| ostinato \| room \| transcribed by ear
Thirteen Women (1932)	Ursula (Romance 2)	0:33:10 - Burns kisses Ursula	9th chord \| advance plot \| kissing \| leading lady \| love interest \| Neapolitan \| romantic \| room \| secondary dominant \| transcribed by ear \| waltz
Thirteen Women (1932)	Ursula (Mysterious Waltz)	0:33:37 - Ursula talks to Burns	64 chord \| advance plot \| chromatic parallelism \| conversing \| half-diminished 7th chord \| leading lady \| love interest \| mode mixture \| romantic \| room \| transcribed by ear \| waltz
Thirteen Women (1932)	Ursula (Exotic 2)	0:33:52 - Ursula talks to Burns	advance plot \| conversing \| dark \| exotic \| exoticism \| Gypsy major scale \| leading lady \| love interest \| mysterious \| ostinato \| room \| transcribed by ear
Thirteen Women (1932)	Ursula (Exotic)	0:34:06 - Ursula argues with Burns	advance plot \| arguing \| dark \| exotic \| exoticism \| Gypsy major scale \| leading lady \| love interest \| mysterious \| ostinato \| room \| transcribed by ear
Dangerous Corner (1934)	Chanson	0:22:05 - A man turns on the radio	alternate timeline \| calm \| classical music \| conversing \| pivotal scene \| radio \| room \| source music
Dangerous Corner (1934)	Wedding March	0:23:10 - A woman opens a cigarette case	alternate timeline \| cheerful \| classical music \| conversing \| friend \| music box \| pivotal scene \| room \| source music \| suspect
Dangerous Corner (1934)	Wedding March	0:47:11 - A man opens a cigarette case	alternate timeline \| cheerful \| classical music \| conversing \| friend \| music box \| pivotal scene \| room \| source music \| suspect
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
Sing and Like It (1934)	Your Mother (Opening Title)	0:00:21 - Cast list	AABA structure \| added-note chord \| augmented sixth chord \| cast list \| jazz \| mode mixture \| opening title sequence \| radio \| room \| secondary dominant \| source music \| transcribed by ear \| upbeat
Sing and Like It (1934)	Indiana	0:01:30 - Ruby changes the radio station	ABAC structure \| boss \| conversing \| establish character \| gangster \| jazz \| leading lady \| leading man \| listening \| moll \| radio \| room \| source music \| upbeat
Sing and Like It (1934)	Dinah	0:02:34 - Ruby and Fenny listen to the radio	AABA structure \| arguing \| boss \| conversing \| establish character \| gangster \| gum \| jazz \| leading lady \| leading man \| listening \| moll \| radio \| room \| source music \| upbeat
Sing and Like It (1934)	It's Sunday Down in Caroline	0:04:11 - Fenny prepares for a meeting	AABA structure \| boss \| conversing \| establish character \| gangster \| jazz \| laughing \| leading lady \| leading man \| moll \| plotting \| radio \| room \| source music \| upbeat
Sing and Like It (1934)	Liebesträume	0:34:46 - Ruby enters the room	advance plot \| calm \| classical music \| conversing \| gangster \| leading lady \| moll \| musician \| on-screen music \| piano \| playing \| room \| secondary dominant \| source music
Sing and Like It (1934)	Your Mother	0:35:20 - Toots plays the piano	advance plot \| ballad \| gangster \| leading lady \| moll \| musician \| on-screen music \| piano \| playing \| room \| sentimental \| singing \| source music \| teasing \| tone cluster
Sing and Like It (1934)	Liebesträume	0:35:31 - Toots plays the piano	advance plot \| calm \| classical music \| conversing \| gangster \| leading lady \| moll \| musician \| on-screen music \| piano \| playing \| room \| secondary dominant \| source music
Sing and Like It (1934)	Hearts and Flowers	0:36:11 - Toots plays the piano	advance plot \| conversing \| gangster \| leading lady \| moll \| musician \| on-screen music \| parallel period \| piano \| playing \| popular song \| room \| sentimental \| source music
Sing and Like It (1934)	King Kong March	0:58:31 - Annie's name in lights	9th chord \| 11th chord \| 13th chord \| added-note chord \| advance plot \| arriving \| binary form \| boss \| common-tone diminished 7th \| critic \| crowd \| dressing room \| fanfare \| fanfare \| gangster \| leading lady \| lobby \| mode mixture \| neon lights \| parallelism \| self-borrowing \| singer \| street \| theater \| worker
Sing and Like It (1934)	Makes You Forget Your Troubles	1:08:27 - A man pours champagne	AABA structure \| announcing \| boss \| celebrating \| common-tone diminished 7th \| conversing \| crowd \| drinking \| gangster \| leading lady \| moll \| party \| party \| room \| singer \| source music \| upbeat
Sing and Like It (1934)	At Sunset	1:09:46 - The crowd leaves the party	boss \| conversing \| gangster \| leading lady \| moll \| parallel double period \| party \| party \| room \| sentimental \| singer \| source music
Gridiron Flash (1934)	Swing it Sister	0:21:09 - Eddie at a party	conversing \| friend \| leading lady \| leading man \| party \| popular music \| room \| upbeat
Gridiron Flash (1934)	Oh, Mama	0:22:48 - Pudge sings	athlete \| awkward \| crowd \| friend \| listening \| party \| room \| singing \| source music
Gridiron Flash (1934)	Dunlap Commandery	0:43:59 - Eddie in his room	advance plot \| cheering \| leading man \| march \| room \| thinking \| upbeat
Gridiron Flash (1934)	Gridiron Flash	0:45:19 - Eddie in his room	added-note chord \| advance plot \| cheering \| countermelody \| leading man \| march \| room \| upbeat
Hat, Coat, and Glove (1934)	Tonight is Mine	0:11:24 - Dorothea plays the piano	advance plot \| conversing \| leading lady \| leading man \| mode mixture \| on-screen music \| piano \| playing \| pleasant \| room \| source music
Star of Midnight (1935)	Swing it Sister	0:10:50 - Clay talks with Jim	AABA structure \| blackmail \| blackmailing \| conversing \| criminal \| detective \| establish character \| leading man \| radio \| room \| source music \| threatening \| upbeat
Star of Midnight (1935)	Pop Goes the Weasel	0:29:44 - Detective sits	advance plot \| cheerful \| conversing \| detective \| inspector \| leading man \| music box \| room \| source music
Star of Midnight (1935)	Pop Goes the Weasel	0:33:40 - Clay talks with Tim	advance plot \| cheerful \| conversing \| detective \| leading man \| music box \| room \| source music \| suspect
Star of Midnight (1935)	Improvisation	1:00:53 - Clay plays the piano	advance plot \| detective \| leading lady \| leading man \| piano \| playing \| room \| source music
Star of Midnight (1935)	Midnight in Manhattan (Phonograph)	1:14:27 - Clay plays a record on the phonograph	advance plot \| conversing \| detective \| leading lady \| leading man \| parallel double period \| phonograph \| room \| score to source \| sentimental \| source music
Star of Midnight (1935)	Midnight in Manhattan (Phonograph)	1:19:18 - Clay goes to answer the door	advance plot \| conversing \| detective \| leading lady \| leading man \| phonograph \| room \| score to source \| sentimental \| source music
Star of Midnight (1935)	Midnight in Manhattan (Phonograph)	1:20:25 - Clay goes to answer the door	advance plot \| conversing \| detective \| leading lady \| leading man \| phonograph \| room \| score to source \| sentimental \| source music
Star of Midnight (1935)	Midnight in Manhattan (Phonograph)	1:21:40 - Clay enters the room	advance plot \| conversing \| detective \| leading lady \| leading man \| murderer \| phonograph \| room \| score to source \| sentimental \| source music
Don’t Turn ‘em Loose (1936)	Gimpy Walk	0:26:00 - Bob walks	advance plot \| appoggiatura \| gangster \| imposter \| leading man \| oscillation \| pacing \| room \| street \| tense \| walking
Don’t Turn ‘em Loose (1936)	Gimpy Walk	0:26:12 - Bob walks	added-note chord \| advance plot \| gangster \| imposter \| leading man \| oscillation \| pacing \| room \| street \| tense \| walking
Don’t Turn ‘em Loose (1936)	Gimpy Walk	0:26:17 - Bob walks	added-note chord \| advance plot \| calm \| gangster \| imposter \| leading man \| mode mixture \| oscillation \| pacing \| reverse picardy \| room \| waiting \| walking
Don’t Turn ‘em Loose (1936)	Gimpy Walk	0:26:34 - Bob walks	added-note chord \| advance plot \| calm \| double exposure \| gangster \| imposter \| leading man \| oscillation \| pacing \| room \| waiting \| walking
Don’t Turn ‘em Loose (1936)	Suicide Transition	0:26:55 - Bob sits	augmented triad \| chromatic parallelism \| dissonant bass \| gangster \| guard \| gun \| gunshot \| imposter \| leading man \| mysterious \| parallelism \| plotting \| preparing \| reading \| robbery \| room \| sequence \| shooting \| store \| transcribed by ear \| whole-tone \| whole-tone chord
Don’t Turn ‘em Loose (1936)	Mystery	0:28:14 - Bob (Bat) steals a necklace	breaking \| chromaticism \| gangster \| imposter \| leading man \| mysterious \| necklace \| pc set \| robbery \| robbery \| room \| stealing \| transcribed by ear
Don’t Turn ‘em Loose (1936)	Suicide Transition 2	0:28:29 - Bob (Bat) bandanges his hand	bandaging \| chromatic scale \| gangster \| imposter \| leading man \| mysterious \| returning \| robbery \| room \| transcribed by ear \| whole-tone chord
Don’t Turn ‘em Loose (1936)	Makes You Forget Your Troubles	0:39:42 - Grace turns on the radio	AABA structure \| arriving \| cheerful \| common-tone diminished 7th \| confronting \| conversing \| gangster \| gun \| leading man \| moll \| murderer \| murder scene \| popular music \| room \| source music \| staring \| threatening
Don’t Turn ‘em Loose (1936)	Makes You Forget Your Troubles (Dream Sequence)	0:39:59 - Bob (Bat) pulls a gun on Grace	augmented sixth chord \| cheerful \| confronting \| fragmentation \| frantic \| gangster \| gun \| gunshot \| half-diminished 7th chord \| leading man \| mirror shot \| moll \| murder \| murderer \| murder scene \| popular music \| reacting \| room \| screaming \| sequence \| shooting \| simulated source music \| source music \| staring \| tense \| threatening \| victim
Don’t Turn ‘em Loose (1936)	Makes You Forget Your Troubles	0:40:17 - Grace is shot	AABA structure \| cheerful \| common-tone diminished 7th \| gangster \| gun \| leading man \| mirror shot \| moll \| murder \| murderer \| murder scene \| planning \| popular music \| room \| source music \| staring \| victim
We're Only Human (1935)	Isn't This a Night For Love (Moonlight)	0:23:59 - Pete and Sally having dinner	AABA structure \| conversing \| date \| detective \| dinner \| leading lady \| leading man \| love interest \| love scene \| reporter \| romantic \| room \| source music
We're Only Human (1935)	Mildred Waltz	0:46:46 - Pete looks at police sketches	ABA structure \| advance plot \| altered dominant \| augmented sixth chord \| calm \| conversing \| detective \| diminished 7th chord \| leading lady \| leading man \| reporter \| room
We're Only Human (1935)	Waiting	0:47:49 - Sally leaves	advance plot \| calm \| conversing \| departing \| detective \| leading lady \| leading man \| reporter \| room
We're Only Human (1935)	The Escape	1:04:31 - Pete enters the house	chromatic scale \| climax \| conflict \| detective \| dodging \| dramatic \| gangster \| gunshot \| hiding \| leading man \| murderer \| room \| shooting \| underscoring \| whole-tone \| whole-tone chord
We're Only Human (1935)	Game 4	1:04:54 - Pete crawls on the floor	climax \| conflict \| crawling \| detective \| gangster \| leading man \| murderer \| room \| tense \| underscoring \| whole-tone chord
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)	Blood Money (Counting Money)	1:05:25 - Pete looks at the fallen man	climax \| conflict \| detective \| gangster \| leading man \| murderer \| mysterious \| room \| sneaking \| tense \| tone cluster
We're Only Human (1935)	Game 6	1:05:34 - Pete dodges gunfire	climax \| conflict \| dark \| detective \| gangster \| leading man \| murderer \| room \| sneaking \| taunting \| tense \| underscoring
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
We're Only Human (1935)	Lost Patrol 2	1:06:45 - Berger falls to the ground	climax \| conflict \| death \| detective \| dramatic \| dying \| falling \| gangster \| gunshot \| hostage \| leading man \| murderer \| room \| tone cluster \| underscoring
We're Only Human (1935)	Lost Patrol 3	1:06:52 - Pete looks at Berger	64 chord \| climax \| conflict \| death \| detective \| gangster \| hostage \| leading man \| murderer \| reacting \| room \| solemn
Another Face (1935)	Ursula (Hypnotic)	0:03:21 - An operation	diminished 7th chord \| doctor \| gangster \| mysterious \| nurse \| operating \| operating room \| operation scene \| patient \| surgery
Another Face (1935)	The Swami (Sleeping)	0:03:42 - The nurse gets supplies	doctor \| gangster \| mysterious \| nurse \| operating \| operating room \| operation scene \| patient \| surgery \| whole-tone \| whole-tone chord
Another Face (1935)	Russian Waltz (Whole Tone)	0:03:55 - The operation continues	doctor \| gangster \| mysterious \| nurse \| operating \| operating room \| operation scene \| patient \| surgery \| whole-tone chord
Another Face (1935)	Courage (Tone Cluster)	0:04:26 - Gangster all bandaged up	conversing \| departing \| doctor \| gangster \| half-diminished 7th chord \| mysterious \| nurse \| operating room \| operation scene \| patient \| whole-tone chord
Another Face (1935)	Russian Waltz (Poco Agitato)	0:04:46 - Nurse argues with doctor	advance plot \| arguing \| blackmail \| doctor \| nurse \| operating room \| tense
Another Face (1935)	Zaroff (Poco Agitato)	0:05:01 - Nurse argues with doctor	advance plot \| arguing \| blackmail \| chromatic parallelism \| doctor \| half-diminished 7th chord \| nurse \| operating room \| tense
Another Face (1935)	Courage (Hiding)	0:05:09 - Doctor threatens nurse	advance plot \| arguing \| blackmail \| doctor \| nurse \| operating room \| tense \| whole-tone chord
Another Face (1935)	You're an Angel	0:25:47 - A man knocks on a door	AABA structure \| actress \| advance plot \| arguing \| conversing \| embracing \| kissing \| maid \| manager \| proposal \| room \| sentimental \| source music
Another Face (1935)	Old Fashioned Love	0:38:13 - People at a pool party	ABAB structure \| actress \| advance plot \| conversing \| crowd \| diving \| maid \| mother \| pool \| room \| source music \| swimmer \| swimming \| upbeat
Another Face (1935)	I Never Saw a Better Night	0:39:50 - Sheila talks with her aunt	AABA structure \| actress \| advance plot \| aunt \| conversing \| criminal \| fiancé \| gangster \| maid \| mellow \| mother \| room \| source music
Another Face (1935)	Boys Will Be Boys	0:41:15 - The maid bakes a cake	AABA structure \| actress \| advance plot \| aunt \| conversing \| criminal \| diving \| fiancée \| gangster \| maid \| manager \| mellow \| mother \| room \| source music \| swimming
Another Face (1935)	Transient Love (End Title)	1:08:26 - Joe hugs Sheila	actress \| embracing \| end title sequence \| fiancée \| manager \| room \| sentimental
Girl of the Rio (1932)	Baile	0:23:15 - A close-up on Dolores	advance plot \| conversing \| dancing \| departing \| leading lady \| manager \| on-screen music \| performing \| room \| singer \| source music \| upbeat
Without Honor (1949)	Expressivo	0:03:57 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| love interest \| room \| uneasy
Without Honor (1949)	Ecstatic	0:04:07 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| excited \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Ecstatic (Molto Expressivo)	0:04:21 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| excited \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Appassionato 2	0:04:37 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| love interest \| room \| uneasy
Without Honor (1949)	Molto Misterioso	0:05:03 - Jane walks to the door	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| love interest \| mysterious \| room \| tense
Without Honor (1949)	Dog	0:05:12 - Jane finds the dog	adulterer \| affair \| conversing \| dog \| establish character \| leading lady \| leading man \| light \| love interest \| mysterious \| playful \| room
Without Honor (1949)	Tempo di Gavotte	0:05:30 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| light \| love interest \| playful \| room
Without Honor (1949)	Twilight (Triste)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Appassionato 2 (Molto Agitato)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Twilight (Poco Agitato)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Molto Expressivo	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Twilight (Misterioso)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Here Comes the Bride (Misterioso)	0:12:40 - Jane's wedding picture	advance plot \| audible thoughts \| leading lady \| mysterious \| photograph \| room \| thinking
Without Honor (1949)	Underscoring (Tense)	0:12:58 - Jane walks forward	advance plot \| leading lady \| room \| telephone \| tense \| thinking \| underscoring
Without Honor (1949)	Agitation	0:13:26 - Jane puts down the phone	advance plot \| agitated \| leading lady \| preparing \| room \| telephone \| thinking \| underscoring
Without Honor (1949)	Appassionato 2 (Molto Agitato)	0:13:39 - Jane changes her clothes	advance plot \| agitated \| changing \| clothes \| leading lady \| room
Without Honor (1949)	Twilight (Molto Agitato)	0:14:01 - Jane looks in the mirror	advance plot \| agitated \| changing \| clothes \| leading lady \| room
Without Honor (1949)	Appassionato 2 (Listesso)	0:14:15 - Jane puts on lipstick	advance plot \| agitated \| changing \| leading lady \| mirror \| room
Without Honor (1949)	Appassionato (Broad)	0:14:20 - Jane puts on a necklace	advance plot \| agitated \| changing \| leading lady \| mirror \| room
Without Honor (1949)	Desperation (Wedding Ring)	0:14:29 - Jane tries to take off her wedding ring	advance plot \| changing \| dramatic \| leading lady \| mirror \| ring \| room \| underscoring
Without Honor (1949)	Underscoring (Tense)	0:14:37 - Jane stares at herself in the mirror	advance plot \| audible thoughts \| blaming \| crying \| leading lady \| mirror \| room \| tense \| thinking \| underscoring
Without Honor (1949)	Underscoring (Tense)	0:15:21 -	advance plot \| calling \| conversing \| doorbell \| fidgeting \| leading lady \| room \| telephone \| tense \| underscoring \| walking
Without Honor (1949)	Girl Scouts	0:15:50 - Girl scouts at the door	advance plot \| child \| conversing \| leading lady \| light \| room \| scout
Without Honor (1949)	Twilight (Very Slow)	0:16:06 - Jane stops suddenly	advance plot \| child \| dark \| door \| leading lady \| ominous \| room \| scout \| walking
Without Honor (1949)	Girl Scouts (Mysterious)	0:16:31 - The girl scouts offer to help	advance plot \| child \| conversing \| leading lady \| mysterious \| room \| scout
Without Honor (1949)	Chromatic Clarinet	0:16:42 - Jane talks to the girl scouts	advance plot \| child \| leading lady \| reacting \| room \| scout \| tense \| underscoring \| walking
Without Honor (1949)	Underscoring (Dramatic)	0:16:50 - Jane brings her purse	advance plot \| child \| dramatic \| leading lady \| reacting \| room \| scout \| walking
Without Honor (1949)	Underscoring (Tense)	0:17:03 - Jane talks to the girl scouts	advance plot \| child \| conversing \| fidgeting \| leading lady \| room \| scout \| tense \| underscoring
Without Honor (1949)	Girl Scouts (Extended)	0:17:22 - The girl scouts leave	advance plot \| child \| leading lady \| light \| reacting \| room \| scout \| thinking \| underscoring \| walking
Without Honor (1949)	Twilight (Adagio)	0:17:41 - Jane walks	advance plot \| dark \| leading lady \| ominous \| reacting \| room \| thinking \| walking
Without Honor (1949)	Unidentified dance tune	0:19:04 - Bill turns on the radio	advance plot \| antagonist \| brother \| conversing \| leading lady \| leading man \| popular music \| reacting \| room \| source music \| upbeat
Without Honor (1949)	Valse Triste (Ominous)	0:24:46 - Bill looks at Jane	antagonist \| brother \| conflict \| leading lady \| leading man \| ominous \| reacting \| room \| solemn \| taunting
Without Honor (1949)	Grabs her	0:25:40 - Bill grabs Jane and kisses her	antagonist \| brother \| conflict \| dramatic \| grabbing \| kissing \| leading lady \| leading man \| room \| slapping \| turning
Without Honor (1949)	Tunes Radio	0:26:26 - Bill turns on the radio	antagonist \| brother \| conflict \| conversing \| leading lady \| leading man \| radio \| room \| source music \| upbeat
Without Honor (1949)	Unidentified dance tune 2	0:27:06 - Bill turns on the radio	antagonist \| brother \| conflict \| leading lady \| leading man \| popular music \| radio \| reacting \| room \| source music \| taunting \| upbeat
Without Honor (1949)	First Call	0:27:58 - Jane looks at Bill	antagonist \| brother \| bugle call \| conflict \| leading lady \| leading man \| radio \| room \| source music \| taunting \| upbeat
Without Honor (1949)	Unidentified dance tune 3	0:28:30 - Bill tunes the radio	antagonist \| brother \| conflict \| leading lady \| leading man \| popular music \| radio \| room \| source music \| taunting \| upbeat
Without Honor (1949)	Liszt Waltz	0:29:28 - Bill talks to Jane	antagonist \| arriving \| brother \| calm \| classical music \| conflict \| conversing \| leading lady \| leading man \| radio \| room \| source music \| taunting \| wife \| zoom in
Without Honor (1949)	Prelude in D-Flat Major, Op. 28, No. 15 "Raindrop"	0:33:17 - Mrs. Williams talks to Jane	antagonist \| brother \| calm \| classical music \| conflict \| conversing \| leading lady \| leading man \| radio \| room \| source music \| wife
Without Honor (1949)	Unidentified dance tune 4	0:34:19 - Bill tunes the radio	antagonist \| brother \| calling \| conflict \| conversing \| dialing \| leading lady \| leading man \| popular music \| radio \| room \| source music \| telephone \| upbeat \| wandering \| wife
Without Honor (1949)	Misterioso (Molto Rubato)	0:43:10 - Bill talks with Fred	antagonist \| brother \| conflict \| conversing \| husband \| leading lady \| leading man \| reveal \| room \| secret \| tense \| warning
Without Honor (1949)	Expressivo (Slowly)	0:43:25 - Jane walks slowly past	conflict \| conversing \| leading lady \| reveal \| room \| secret \| solemn \| wife
Without Honor (1949)	Chromatic Clarinet	0:43:47 - Jane walks slowly over	conflict \| conversing \| leading lady \| reveal \| room \| secret \| solemn \| wife
Without Honor (1949)	Triste (Appassionato)	0:47:41 - Mrs. Williams talks to Jane	conflict \| conversing \| leading lady \| reveal \| revealing \| room \| secret \| solemn \| wife \| yelling
Without Honor (1949)	Desperation (Triste)	0:48:15 - Jane sinks down slowly	conflict \| conversing \| descending \| leading lady \| realizing \| reveal \| room \| secret \| sinking \| sitting \| solemn \| wife
Without Honor (1949)	Appassionato (Molto Expressivo)	0:48:38 - Mrs. Williams talks to Jane	conflict \| denying \| expressive \| leading lady \| reveal \| room \| secret \| wife
Without Honor (1949)	Twilight (Ethereal)	0:48:53 - Jane talks about love	conflict \| denying \| ethereal \| leading lady \| reveal \| room \| secret \| wife
Without Honor (1949)	Valse Triste (Andante Doloroso)	0:49:07 - Fred enters	antagonist \| brother \| conflict \| entering \| husband \| leading lady \| leading man \| reacting \| reveal \| room \| secret \| somber \| thinking \| wife
Without Honor (1949)	Underscoring (Tense)	0:49:48 - Bill talks to Fred	antagonist \| brother \| conflict \| conversing \| husband \| leading lady \| leading man \| reveal \| room \| secret \| tense \| thinking \| wife
Without Honor (1949)	Tension (Molto Misterioso)	0:50:03 - Bill stares at Jane	anger \| antagonist \| brother \| conflict \| conversing \| demanding \| dramatic \| husband \| leading lady \| leading man \| reveal \| room \| secret \| slapping \| tense \| wife
Without Honor (1949)	Agitation (Appassionato)	0:52:28 - Jane cries	agitated \| antagonist \| brother \| climax \| confessing \| confession \| crying \| demanding \| husband \| leading lady \| leading man \| room \| tense \| wife
Without Honor (1949)	Confession	0:52:54 - Jane confesses	agitated \| antagonist \| brother \| climax \| confessing \| confession \| crying \| husband \| leading lady \| leading man \| room \| wife
Without Honor (1949)	Appassionato 2	0:53:24 - Jane laughs	antagonist \| brother \| climax \| confession \| crying \| husband \| laughing \| leading lady \| leading man \| passionate \| room \| wife
Without Honor (1949)	Underscoring (Dramatic)	0:53:45 - Jane screams	antagonist \| blood \| brother \| climax \| confession \| dramatic \| handprint \| husband \| leading lady \| leading man \| room \| screaming \| tense \| underscoring \| wife
Without Honor (1949)	Desperation (The Scream)	0:53:50 - They look at the bloody handprint	antagonist \| blood \| brother \| climax \| confession \| departing \| dramatic \| handprint \| husband \| investigating \| leading lady \| leading man \| room \| screaming \| searching \| tense \| wife \| yard
Without Honor (1949)	Appassionato (Broad)	0:54:27 - Bill talks on the phone	antagonist \| brother \| calling \| climax \| leading lady \| leading man \| room \| searching \| telephone \| tense \| wandering \| yard
Without Honor (1949)	Doloroso	0:57:10 - Mrs. Williams talks to Jane	antagonist \| apologizing \| brother \| climax \| conversing \| husband \| leading lady \| leading man \| room \| solemn \| wife
Without Honor (1949)	Twilight (Somber)	0:57:48 - Mrs. Williams forgives Jane	antagonist \| bathroom \| brother \| climax \| forgiveness \| husband \| leading lady \| leading man \| razor blade \| room \| somber \| thinking \| wife
Without Honor (1949)	Tension (Extended)	0:58:12 - Mrs. Williams talks to Fred and Bill	antagonist \| bathroom \| brother \| climax \| conversing \| forgiveness \| husband \| leading lady \| leading man \| razor blade \| room \| tense \| wife
Without Honor (1949)	Valse Triste (Suicide)	0:58:33 - Jane stares in the mirror	antagonist \| attempted suicide \| bathroom \| brother \| climax \| conversing \| husband \| knocking \| leading lady \| leading man \| razor blade \| room \| somber \| suicide \| wife
Without Honor (1949)	Valse Triste (Molto Appassionato)	0:58:58 - Jane stares down	antagonist \| attempted suicide \| bathroom \| brother \| climax \| conversing \| dramatic \| husband \| knocking \| leading lady \| leading man \| razor blade \| room \| suicide \| wife
Without Honor (1949)	Appassionato 2 (Molto Expressivo)	0:59:06 - Jane cuts her wrist	antagonist \| attempted suicide \| bathroom \| breaking \| brother \| climax \| committing suicide \| conversing \| cutting \| dramatic \| entering \| grabbing \| husband \| knocking \| leading lady \| leading man \| razor blade \| room \| running \| suicide \| wife \| yelling
Without Honor (1949)	Twilight (Rubato)	0:59:24 - Mrs. Williams helps Jane	antagonist \| attempted suicide \| brother \| climax \| doctor \| helping \| husband \| leading lady \| leading man \| razor blade \| room \| serious \| somber \| struggling \| suicide \| wife
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
Mara Maru (1952)	Misterioso	0:12:16 - Gregory talks to Stella	arguing \| conversing \| establish character \| leading lady \| leading man \| mysterious \| room \| stinger \| tense
Mara Maru (1952)	Underscoring (Tense)	0:12:54 - Gregory talks to Stella	arguing \| conversing \| establish character \| leading lady \| leading man \| room \| tense \| underscoring
Mara Maru (1952)	Lovers	0:13:15 - Stella talks to Gregory	conversing \| establish character \| leading lady \| leading man \| room \| sentimental
Mara Maru (1952)	Appassionato	0:13:27 - Stella argues with Gregory	arguing \| conversing \| establish character \| leading lady \| leading man \| passionate \| room
Mara Maru (1952)	Stella (Molto Expressivo)	0:13:53 - Gregory grabs Stella's arm	conversing \| embracing \| establish character \| leading lady \| leading man \| romantic \| room \| waltz
Mara Maru (1952)	Manuelo (Stinger)	0:14:44 - Gregory arrives home	arriving \| discovering \| dramatic \| gentle \| leading man \| room \| stinger \| transition \| unconcious \| worker
Mara Maru (1952)	Underscoring (Dramatic)	0:15:56 - Gregory picks up the phone	advance plot \| arriving \| conversing \| discovering \| dramatic \| knocking \| leading man \| police \| room \| stinger \| telephone \| underscoring \| worker
Mara Maru (1952)	Murder	0:19:08 - Callahan's body is discovered	agitated \| arriving \| corpse \| discovering \| dramatic \| leading man \| murder \| murder scene \| police \| room \| stinger \| tense
Mara Maru (1952)	Gregory (Quasi Misterioso)	0:38:51 - Stella talks to Benedict	\| advance plot \| antagonist \| conversing \| leading lady \| mysterious \| room
Mara Maru (1952)	Lovers	0:39:18 - Stella talks to Benedict	\| advance plot \| antagonist \| conversing \| leading lady \| room \| sentimental
Mara Maru (1952)	Appassionato	0:39:32 - Benedict talks to Stella	\| advance plot \| antagonist \| conversing \| leading lady \| passionate \| room
Mara Maru (1952)	Ortega	0:40:26 - Gregory talks with Ortega	arguing \| brother \| conversing \| distrust \| establish character \| leading man \| mysterious \| room \| tense
Mara Maru (1952)	Grabbing	0:41:15 - Gregory grabs Ortega	arguing \| brother \| distrust \| dramatic \| establish character \| grabbing \| gun \| leading man \| mickey-mousing \| room \| tense
Mara Maru (1952)	Underscoring (Tense)	0:41:23 - Ortega points a gun at Gregory	arguing \| brother \| distrust \| establish character \| gun \| leading man \| room \| stinger \| tense \| underscoring
Mara Maru (1952)	Cross (Fragment)	0:41:40 - A cross on Ortega's keychain	arguing \| brother \| cross \| distrust \| dramatic \| establish character \| gun \| keys \| leading man \| room \| stinger
Mara Maru (1952)	Ortega	0:41:50 - Gregory tosses Ortega's keys	arguing \| brother \| distrust \| establish character \| gun \| leading man \| mysterious \| room \| tense
Mara Maru (1952)	Stella (Sentimentale)	0:46:13 - Gregory reacts to Stella's departure	advance plot \| departing \| distrust \| leading man \| room \| somber \| worker

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