| 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) | Rocky and Laury | 0:41:37 - Laury pushes her way through the crowd | altered dominant | arriving | close-up | conflict | heartbroken | leading lady | love interest | rushing | sentimental | shop |
| Beyond the Forest (1949) | Chicago (Mink Coat) | 0:29:01 - Rosa sees Carol's mink coat | advance plot | conversing | familiar tune | jealousy | leading lady | popular tune | sentimental | train station |
Beyond the Forest (1949) | Chicago (Jealous) | 0:29:33 - Rosa glares at Carol | advance plot | conversing | dark | familiar tune | jealousy | leading lady | popular tune | sentimental | train station |
Beyond the Forest (1949) | I’m in a Jam with Baby | 0:54:39 - Rosa walks down the street | advance plot | arriving | bouncer | club | crying | departing | jazz | leading lady | sentimental | sitting | source music | stranger |
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 |
| His Greatest Gamble (1934) | Blue Ridge Moon | 0:53:16 - Philip talks with Alice | advance plot | conversing | daughter | gentle | leading lady | love interest | mansion | popular music | radio | sentimental | source music | waltz |
His Greatest Gamble (1934) | Morning Glory Waltz (Radio) | 0:57:06 - Philip talks with Alice | 9th chord | advance plot | conversing | daughter | fugitive | gentle | leading lady | leading man | mansion | mode mixture | radio | score to source | sentimental | source music | transcribed by ear | walking |
| City for Conquest (1940) | Tone Poem D (Main Title) | 0:01:00 - Credits over a city skyline | 9th chord | 64 chord | added-note chord | blue note | bluesy | cast list | city | countermelody | mode mixture | opening title sequence | sentimental | skyline |
City for Conquest (1940) | Sidewalks of New York (Soliloquy) | 0:02:50 - Old-timer talks with cop | 9th chord | 13th chord | arguing | bluesy | bridge | chromatic parallelism | city | establish setting | old man | police | sentimental | soliloquy |
City for Conquest (1940) | Sidewalks of New York (Soliloquy 2) | 0:05:44 - Old-timer talks to a stone carver | 9th chord | 13th chord | bluesy | child | chromatic parallelism | conversing | establish character | fragmentation | love | old man | romantic | sentimental | soliloquy | street | worker |
City for Conquest (1940) | Sidewalks of New York (Waltz Grazioso) | 0:06:09 - Two children playing | 9th chord | child | conversing | establish character | foreign key modulation | love | Neapolitan | old man | romantic | sentimental | soliloquy | street | waltz |
City for Conquest (1940) | Tone Poem A (Farewell) | 0:55:31 - Peggy bids farewell to Danny | 9th chord | appoggiatura | augmented sixth chord | conversing | crying | embracing | enharmonic respelling | farewell scene | leading lady | leading man | leaving | mode mixture | plagal cadence | romantic | sentimental | street |
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 | 1:32:32 - Violins playing | 9th chord | 11th chord | 13th chord | audience | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dramatic | Gershwinesque | leading lady | listening | musician | on-screen music | orchestra | playing | romantic | sentimental | sequence | source music | watching | zoom in |
City for Conquest (1940) | Tone Poem A (Grandioso) | 1:36:11 - Audience enjoying the performance | 9th chord | 13th chord | altered dominant | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | double exposure | dramatic | Gershwinesque | leading lady | leading man | listening | musician | on-screen music | orchestra | playing | romantic | sentimental | smiling | source music | watching |
City for Conquest (1940) | Tone Poem A (Tutti 2) | 1:36:41 - Danny's figure appears in the concert hall | 9th chord | 13th chord | AABA structure | added-note chord | audience | bold | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | crying | deceptive resolution | double exposure | dramatic | Gershwinesque | leading man | listening | mode mixture | musician | on-screen music | orchestra | playing | romantic | sentimental | smiling | source music | watching | zoom out |
City for Conquest (1940) | Sidewalks of New York (Soliloquy) | 1:42:56 - Old timer talks to himself | altered dominant | chromatic parallelism | conversing | countermelody | old man | resolution | sentimental | soliloquy |
| 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) | Homestead (Sordini) | 0:16:14 - Ellie talks with Libby | advance plot | calm | conversing | delicate | leading lady | memory | mother | past | room | sentimental |
| The FBI Story (1959) | Lucy A (Exhausted) | 1:19:38 - Lucy gets a phone call saying Chip is okay | emotional | flashback | relieved | sentimental |
The FBI Story (1959) | Lucy A (Con Moto) | 1:27:53 - Lucy and the kids drive to meet with Chip | flashback | heroine | sentimental |
The FBI Story (1959) | Lucy A (Peaceful) | 1:29:21 - Lucy reads a love letter from Chip | flashback | heroine | letter | sentimental |
| 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) | Can't We Be Friends | 0:13:38 - Lane and Field at the cafe | AABA structure | advance plot | conversing | leading lady | leading man | police | popular music | restaurant | sentimental | source music |
Flamingo Road (1949) | If I Could Be With You (Dolce) | 0:17:22 - Lane and Field talk | conversing | falling in love scene | leading lady | leading man | love interest | pedal tone | police | porch | sentimental | source to score |
Flamingo Road (1949) | If I Could Be With You (Ethereal) | 0:18:06 - Lane watches Field drive away | common-tone diminished 7th chord | falling in love scene | leading lady | leading man | leaving | love interest | pedal tone | police | porch | sentimental | source to score |
Flamingo Road (1949) | It Had to Be You | 0:23:44 - Politicians gamble and talk | ABAC structure | advance plot | club | gambling | leading man | police | politician | sentimental | sheriff | source music | waitress |
Flamingo Road (1949) | Somebody Loves Me | 0:25:19 - Politicians plot | AABA structure | advance plot | club | leading man | plotting | police | politician | sentimental | sheriff | source music |
Flamingo Road (1949) | If I Could Be With You | 0:26:58 - People gamble and dance | club | dancer | dance scene | dancing | fighting | gambling | leading lady | leading man | musician | on-screen music | playing | police | sentimental | sheriff | singer | singing | source music |
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) | Through a Thousand Dreams | 0:56:41 - The Olympic City hotel | club | conversing | dance scene | dancing | dining | leading lady | leading man | love interest | on-screen music | politician | sentimental | sheriff | source music | wife |
Flamingo Road (1949) | Don't Take Your Love From Me | 0:58:50 - Dan and Lane sit at a table | ABAC structure | club | conversing | dance scene | leading lady | leading man | love interest | on-screen music | politician | sentimental | sheriff | source music | wife |
Flamingo Road (1949) | If I Could Be With You | 0:59:52 - A woman sings with the dance band | club | conversing | dance scene | dancing | dining | leading lady | leading man | love interest | on-screen music | politician | sentimental | sheriff | singer | singing | source music | wife |
Flamingo Road (1949) | I Guess I'll Have to Change My Plan | 1:01:40 - Lane and Dan talk at their table | club | conversing | dance scene | leading lady | leading man | love interest | politician | sentimental | sheriff | source music | wife |
Flamingo Road (1949) | Lute Mae (Delicato) | 1:33:28 - Lane smiles as Dan | 13th chord | added-note chord | crying | delicate | husband | kissing | leading lady | leading man | prison | resolution | reuniting | romance | self-borrowing | sentimental | wife |
| Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:23:26 - Marcia talks to Steve | club | conductor score | conversing | establish character | investigator | leading lady | leading man | on-screen music | pianist | playing | popular music | sentimental | source music | source score |
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 | 0:25:00 - Marcia enters | advance plot | conductor score | entering | leading lady | leading man | room | sentimental |
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) | Anna | 0:48:38 - Anna comforts Mario | advance plot | comforting | conductor score | gangster | gentle | room | sentimental | wife |
| Her Kind of Man (1946) | Something to Remember You By | 0:08:02 - Georgia sings | club | dancer | dancing | leading lady | leading man | music scene | on-screen music | popular music | sentimental | singer | singing | source music | stage |
Her Kind of Man (1946) | It Had to Be You | 0:11:33 - 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 | conversing | establish character | gambler | kissing | leading lady | leading man | love interest | love scene | popular music | room | sentimental | singer | source music |
| I Was a Communist for the FBI (1951) | Family | 0:38:00 - Matt enters his home | sentimental | thinking |
| In This Our Life (1942) | Caring | 0:23:19 - Asa talks to Roy | conflict | conversing | father | leading lady | room | sentimental | underscoring |
In This Our Life (1942) | Minerva and Parry | 1:13:29 - Minerva talks with Roy | advance plot | calm | conversing | leading lady | maid | mellow | mother | questioning | room | sentimental | solemn | spiritual |
In This Our Life (1942) | Stanley (Slowly) | 1:16:07 - Craig reads a note | conflict | lawyer | leading man | note | office | sentimental | thinking |
In This Our Life (1942) | Autumn Nocturne | 1:17:45 - Stanley puts on a record | accusing | arguing | conflict | criminal | defending | leading lady | lying | popular music | record player | room | sentimental | source music |
| The Informer (1935) | Katie (Poster) | 0:47:58 - Gypo looks at the America poster | advance plot | antagonist | leading man | pondering | poster | sentimental | street | transcribed by ear |
The Informer (1935) | Katie (Thinking) | 0:49:37 - Gypo looks at the money and the poster | 9th chord | advance plot | antagonist | leading man | money | pondering | sentimental | street |
The Informer (1935) | Katie (Mistaken Identity) | 0:52:34 - Gypo thinks he sees Katie, but it's someone else | advance plot | antagonist | augmented sixth chord | hallucinating | hallucination | leading lady | leading man | party | sentimental | transcribed by ear |
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) | Believe Me If All Those Endearing Young Charms | 0:58:23 - Singing continues (from the previous scene) | advance plot | antagonist | crowd | crying | familiar tune | folk song | leading man | on-screen music | party | sentimental | singing |
| Key Largo (1948) | I Gotta Right to Sing the Blues | 0:04:21 - Frank speaks with people in the bar | conversing | establish character | gangster | hotel | jazz | leading man | moll | radio | sentimental | source music |
Key Largo (1948) | Moanin’ Low (Appassionato) | 1:25:01 - Gaye pleads for Rocco to take her along | advance plot | boss | deceiving | deception | desperate | desperation | familiar tune | gangster | hotel | moll | pleading | sentimental |
| Mildred Pierce (1945) | Kay and Veda (Sentimental) | 0:25:37 - Veda and Kay see their father leaving | child | establish character | interrupting | leaving | mode mixture | packing | sentimental | somber | stopping | street |
| 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) | 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 |
| Kid Galahad (1937) | Heart's Affair (Yearning) | 0:44:11 - Ward and Nick leave the farm | advance plot | altered dominant | car | deceptive resolution | driving | farm | leading man | leaving | manager | mother | not by Steiner | parting | sentimental | sister | transcribed by ear | yearning gesture |
Kid Galahad (1937) | The Moon Is in Tears Tonight | 1:08:40 - Louise sings in a night club | leading lady | music scene | night club | on-screen music | playing music | sentimental | 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 |
| We Are Not Alone (1939) | Frohe Botschaft (Somber) | 0:38:52 - Leni reacts | 9th chord | antagonist | common-chord modulation | conflict | conversing | evaded cadence | familiar tune | folk song | garden | German | heroine | mode mixture | quotation | sentimental | sigh gesture | somber |
| Hold ‘Em Jail (1932) | I'm Just a Vagabond Lover | 0:17:00 - Curley talks to Barbara | ABAC structure | advance plot | comic | conversing | goofing around | love interest | office | prisoner | radio | sentimental | source music |
| Ladies of the Jury (1932) | Lady | 0:00:15 - Title of film, starring list, cast list | ABA structure | cast list | common-tone diminished 7th | mode mixture | opening title sequence | sentimental | starring list | title of film | transcribed by ear |
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 |
| The Roadhouse Murder (1932) | Lady | 1:12:12 - End titles | common-tone diminished 7th | end title sequence | mode mixture | self-borrowing | sentimental | The End |
| Sing and Like It (1934) | Your Mother | 0:10:15 - Annie sings on stage | AABA structure | ballad | boss | crying | gangster | leading lady | listening | musician | music scene | on-screen music | piano | robbery | score to source | sentimental | singer | singing | source music | stage | stealing |
Sing and Like It (1934) | Your Mother | 0:13:55 - Annie sings on stage | AABA structure | ballad | boss | crying | gangster | leading lady | listening | musician | music scene | on-screen music | piano | sentimental | singer | singing | source music | stage |
Sing and Like It (1934) | Your Mother | 0:23:01 - Call board for a dress rehearsal | AABA structure | arguing | ballad | boss | conversing | gangster | leading lady | listening | musician | music scene | on-screen music | piano | sentimental | singer | singing | source music | stage |
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) | 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) | Your Mother | 0:44:50 - Annie sings with a tenor | AABA structure | actor | advance plot | ballad | boss | gangster | leading lady | on-screen music | piano | sentimental | singer | singing | source music | stage |
Sing and Like It (1934) | Your Mother | 1:04:54 - A man conducts the pit orchestra | AABA structure | ballad | boss | conducting | conductor | critic | crowd | crying | dancing | gangster | gun | leading lady | moll | musical | musician | music scene | on-screen music | performer | performing | playing | sentimental | singer | singing | source music | theater | threatening | watching |
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 |
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 |
| Star of Midnight (1935) | Midnight in Manhattan | 0:00:34 - Cast list | added-note chord | altered dominant | cast list | chromatic scale | mode mixture | mysterious | opening title sequence | sentimental | transcribed by ear |
Star of Midnight (1935) | Midnight in Manhattan (Warm) | 0:09:35 - Clay in the theater lobby | advance plot | altered dominant | conversing | leading man | mode mixture | Neapolitan | score to source | sentimental | source music | theater |
Star of Midnight (1935) | What a Night | 0:37:08 - Clay in a restaurant | ABAC structure | advance plot | conversing | detective | leading lady | leading man | producer | restaurant | sentimental | source music |
Star of Midnight (1935) | If This Isn't Love | 0:46:25 - Clay talks with Donna | ABAC structure | advance plot | conversing | detective | leading lady | leading man | restaurant | sentimental | source music |
Star of Midnight (1935) | Midnight in Manhattan (Restaurant) | 0:55:00 - Detective talks on the phone | advance plot | conversing | detective | leading lady | leading man | parallel double period | restaurant | score to source | sentimental | source music |
Star of Midnight (1935) | Midnight in Manhattan B | 0:55:55 - Clay and Donna talk in a restaurant | advance plot | conversing | detective | leading lady | leading man | restaurant | sentimental | source music | suspension |
Star of Midnight (1935) | Midnight in Manhattan | 0:56:22 - Clay and Donna talk with Mr. Classon | advance plot | conversing | parallel double period | restaurant | sentimental | source music |
Star of Midnight (1935) | I'm in Love All Over Again | 0:58:13 - Clay and Donna talk with Mr. Classon | AABA structure | advance plot | conversing | detective | leading lady | leading man | restaurant | sentimental | 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 |
| We're Only Human (1935) | Isn't This a Night For Love (Dance Band) | 0:33:11 - Pete walks into a diner | AABA structure | advance plot | arguing | conversing | detective | diner | leading lady | leading man | reporter | sentimental | source music |
We're Only Human (1935) | Midnight in Manhattan (Warm) | 0:36:50 - Mary and Pete in a restaurant | advance plot | altered dominant | arguing | conversing | detective | leading lady | leading man | mode mixture | Neapolitan | reporter | restaurant | sentimental | source music |
| 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) | Transient Love (End Title) | 1:08:26 - Joe hugs Sheila | actress | embracing | end title sequence | fiancée | manager | room | sentimental |
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