| All This, and Heaven Too (1940) | Henry | 0:07:41 - Henriette looks at Henry Field | establish character | gentle | hymn-like | leading lady | minister | noble | principal | reassuring | school | secondary dominant | teacher |
All This, and Heaven Too (1940) | Henriette (Moderato) | 0:08:03 - Henriette talks to Henry Field | agitated | conversing | distressed | establish character | leading lady | minister | principal | school | secondary dominant | teacher |
All This, and Heaven Too (1940) | Arriving 2 | 0:13:24 - Henriette walks to the front door | 9th chord | arriving | caretaker | deceptive resolution | gentle | leading lady | pleasant | secondary dominant | street | transition |
| Angels With Dirty Faces (1938) | Newspaper Editor | 1:10:09 - A newspaper editor accepts Jerry's story | accepting | conversing | heroic | leading man | montage | montage | newspaper editor | newspaper office | priest | secondary dominant |
| Arsenic and Old Lace (1944) | Chasing | 0:14:48 - Mortimer chases Elaine around a tree | bride | cemetery | chasing | comical | flirting | groom | leading lady | leading man | love | love scene | mickey-mousing | secondary dominant |
Arsenic and Old Lace (1944) | Chasing | 0:16:31 - Elaine runs off | bride | groom | hurrying | leading lady | leading man | light | love | love scene | running | secondary dominant | street |
| His Greatest Gamble (1934) | Morning Glory Waltz (The End) | 1:10:18 - Philip leaves | detective | end title sequence | fugitive | leading man | leaving | mode mixture | secondary dominant | transcribed by ear | triumphant | waltz |
| Crime School (1938) | Sue (Grazioso) | 1:13:10 - Sue and Mark talk in the kitchen | cheerful | conflict | conversing | cooking | happy | hero | heroine | kitchen | leading lady | leading man | mode mixture | secondary dominant |
| 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 |
| Dust Be My Destiny (1939) | Dust Be My Destiny (In Love) | 0:22:04 - Mabel and Joe talk | 9th chord | added-note chord | barn | common-tone diminished 7th | leading lady | leading man | love scene | mode mixture | romantic | secondary dominant |
Dust Be My Destiny (1939) | Dust Be My Destiny (Expressivo) | 0:23:38 - Joe and Mabel talk | 9th chord | added-note chord | augmented sixth chord | barn | common-tone diminished 7th | leading lady | leading man | love scene | mode mixture | romantic | secondary dominant | sequence |
Dust Be My Destiny (1939) | Dust Be My Destiny (In Love) | 0:27:22 - Joe and Mabel talk | 9th chord | added-note chord | advance plot | common-tone diminished 7th | freedom | gentle | leading lady | leading man | mode mixture | runaway | secondary dominant | street | walking |
Dust Be My Destiny (1939) | Dust Be My Destiny (Delicatessen) | 0:43:38 - Mabel and Nick talk | common-tone diminished 7th | develop character | diner | friend | gentle | leading lady | leading man | secondary dominant | shopkeeper |
Dust Be My Destiny (1939) | Dust Be My Destiny (Delicatessen) | 0:44:01 - Mabel and Nick talk | common-tone diminished 7th | develop character | diner | friend | gentle | leading lady | leading man | secondary dominant | shopkeeper |
| Flamingo Road (1949) | If I Could Be With You (Tenderly) | 0:29:32 - Lane and Field prepare to leave | 11th chord | 13th chord | altered dominant | common-tone diminished 7th | kissing | lake | leading lady | leading man | love interest | love scene | romance | romantic | secondary dominant | source to score |
Flamingo Road (1949) | If I Could Be With You (Ecstatic) | 1:33:37 - Lane walks away | added-note chord | altered dominant | artwork in score | chromatic parallelism | friend | husband | joyous | leading lady | leading man | leaving | prison | resolution | reuniting | romance | secondary dominant | The End | thematic transference | triumphant | wife |
| The Letter (1940) | Foxtrot No. 2 | 1:22:12 - Leslie joins the party | 9th chord | AABA structure | altered dominant | conversing | dance music | dancing | foxtrot | friend | happy | husband | leading lady | party | party | pump-up modulation | secondary dominant | source music |
| Mildred Pierce (1945) | Work (Success) | 1:01:42 - People work in Mildred's restaurant | 9th chord | added-note chord | advance plot | busy | cook | foreign key modulation | restaurant | secondary dominant | self-borrowing | server | upbeat | working |
Mildred Pierce (1945) | French One-Step | 1:08:14 - Veda at a polo match | added-note chord | antagonist | cheering | common-tone diminished 7th | daughter | field | heroine | leading lady | love interest | montage | playing | polo | secondary dominant | sports | upbeat | voice-over | watching |
| The Life of Vergie Winters (1934) | Funeral March | 0:01:12 - A funeral march | altered dominant | brass band | classical music | crowd | establish place | funeral | funeral march | marching | mode change | on-screen music | parallel 63s | pedal tone | performer | secondary dominant | somber | source music | street | watching |
The Life of Vergie Winters (1934) | 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 |
| 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 |
| 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) | 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 (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 |
| Before Dawn (1933) | Wedding March | 0:59:55 - Two lovers kissing and The End | detective | familiar tune | fanfare | kissing | leading lady | leading man | plagal cadence | resolution | romantic | secondary dominant | transcribed by ear | triumphant |
| Blind Adventure (1933) | My Imaginary Sweetheart | 0:00:32 - Credits over a foggy background | AABA structure | cast list | cheerful | chromatic parallelism | mode mixture | opening title sequence | popular music | secondary dominant | transcribed by ear | video cast list |
| 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) | 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) | 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) | Your Mother (Curtain Call) | 1:07:57 - The audience applauds | AABA structure | applauding | boss | bowing | cheering | conducting | conductor | critic | crowd | gangster | leading lady | moll | musical | musician | music scene | on-screen music | performer | playing | secondary dominant | singer | source music | theater | transcribed by ear | upbeat |
Sing and Like It (1934) | Your Mother (End Title) | 1:11:36 - The End | added-note chord | end title sequence | secondary dominant | sentimental | The End | transcribed by ear |
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