| All This, and Heaven Too (1940) | The Duchess | 0:00:15 - Title of film | cast list | common-tone diminished 7th | enharmonic modulation | foreign key modulation | hopeful | opening title sequence | romantic | sequential modulation | title of film |
All This, and Heaven Too (1940) | The Duke (Maestoso) | 0:14:03 - Henriette enters the palace | arriving | butler | calm | chromatic mediant | chromatic sequence | countermelody | establish place | establish setting | foreign key modulation | gentle | leading lady | noble | palace | sequential modulation | walking |
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) | 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) | The Duchess (Tutti) | 1:04:02 - A concert program | ballroom | bold | carriage | duchess | duke | fanfare | leading lady | leading man | montage | riding | romantic | sequential modulation |
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) | 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) | Raynald (Mysterioso 2) | 1:30:33 - The carriage arrives | arriving | bright | carriage | chattering | child | duke | governess | happy | leading lady | leading man | palace | riding | sequential modulation | transition |
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) | The Duchess (Tutti) | 1:42:34 - Newspaper headline | bold | double exposure | headline | montage | newspaper | on-screen text | romantic | sequential modulation | street |
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) | The Duchess (Tense) | 1:48:04 - Henriette talks with the Duke | arguing | conflict | duke | leading lady | leading man | room | sequential modulation | tense |
| Are These Our Children? (1931) | Dreams (Risoluto) | 0:48:55 - Newspaper headlines | double exposure | fragmentation | headline | montage | mysterious | newspaper | sequential modulation | spinning | tense | thematic transformation |
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 |
| 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) | 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) | 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) | Marlowe (Action) | 0:57:01 - Marlowe runs to his car | 64 chord | assassin | augmented sixth chord | chase scene | chasing | common-tone diminished 7th | dramatic | fragmentation | heroic | leading man | murderer | private eye | running | sequential modulation | street | tense |
The Big Sleep (1946) | Walking (Hesitant) | 1:26:55 - Marlowe walks into a building | fragmentation | hallway | investigation scene | leading man | neutral | pain | parallelism | pedal tone | private eye | sequential modulation | walking |
The Big Sleep (1946) | Hurrying (Car) | 1:33:13 - Marlowe drives in a car | added-note chord | car | driving | hurried | leading man | parallelism | private eye | sequential modulation | street | tense | traveling scene |
The Big Sleep (1946) | Hurrying (Car) | 1:33:25 - Marlowe continues driving | added-note chord | car | driving | fragmentation | hurried | leading man | parallelism | picardy third | private eye | sequential modulation | street | tense | traveling scene |
The Big Sleep (1946) | Walking (Extended) | 1:45:45 - Marlowe and Vivian walk up to house | fragmentation | leading lady | leading man | love interest | outside | parallelism | pedal tone | private eye | sequential modulation | tense | transition | walking |
| The Breaking Point (1950) | Transition | 0:00:07 - Birds flying | bird | boat | calm | chromatic scale | conductor score | harbor | opening title sequence | sequential modulation | starring list | tense |
| Caged (1950) | Crying | NIF - not in film | comforting | crying | cut from film | deceptive resolution | dramatic | establish character | leading lady | office | pregnancy | prison | prisoner | sequential modulation | warden |
Caged (1950) | Lullaby | NIF - not in film | 9th chord | added-note chord | conversing | cut from film | establish character | gentle | leading lady | office | pregnancy | prison | prisoner | sequential modulation | warden |
Caged (1950) | Underscoring (Subtle) | 0:36:52 - June gets dressed for her parole board hearing | dressing | establish character | excited | friend | leading lady | prison | prisoner | sequential modulation | tense | underscoring |
Caged (1950) | Lullaby | 0:49:51 - Marie holds her new baby | 9th chord | added-note chord | advance plot | altered dominant | baby | conversing | gentle | leading lady | nurse | nursery | prison | prisoner | sequential modulation |
| Her Kind of Man (1946) | Night Clubs (Street Scene) | 0:44:59 - Neon signs on Broadway | dramatic | sequential modulation | street | transition | upbeat |
| I Was a Communist for the FBI (1951) | Communist (Pittsburgh) | 0:03:38 - Aerial view of Pittsburgh | augmented triad | bridge | busy | chromatic parallelism | city | establish setting | factory | frantic | machinery effect | oscillation | ostinato | panning shot | sequential modulation | tense | tone cluster | train | voice-over | whistle |
| 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) | 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) | Roy (Encouragement) | 0:29:56 - Roy tries to cheer Craig up | 9th chord | advance plot | common-chord modulation | conversing | encouraging | leading lady | leading man | park | sequential modulation | uplifting |
In This Our Life (1942) | Here Comes the Bride (A Little Shimmer) | 0:31:40 - A convertible | 9th chord | 11th chord | 64 chord | car | courthouse | deceptive resolution | happy | leading lady | leading man | leaving | pump-up modulation | sequential modulation | street | wedding | wedding |
In This Our Life (1942) | Stanley (Fleeing) | 1:33:12 - The police chase after Stanley | 64 chord | chase scene | chasing | chromatic mediant | climax | criminal | desperate | diminution | dramatic | driving | fleeing | leading lady | ostinato | police | sequential modulation | street | tense |
| The Letter (1940) | Leslie (Rubato) | 0:00:44 - Cast list | 9th chord | cast list | changing meter | main title | minor-major 7th chord | opening title sequence | oscillation | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie (Revolver) | 0:03:43 - A pistol lies on the steps | changing meter | conversing | foreign key modulation | fragmentation | gun | harmonic sequence | home | leading lady | murderer | murder scene | oscillation | sequential modulation | servant | tense |
The Letter (1940) | Leslie (Lacework) | 0:04:55 - Worker picks up Leslie's lacework | changing meter | crying | foreign key modulation | home | leading lady | murder scene | mysterious | oscillation | sequence | sequential modulation |
The Letter (1940) | Runners | 0:05:14 - Workers run through jungle | action scene | chromatic parallelism | dramatic | heroic | jungle | running | sequential modulation | servant | tense |
The Letter (1940) | Leslie (Tragic) | 0:14:31 - The scene of the crime | advance plot | changing meter | composer reference | dramatic | home | leading lady | oscillation | point of view | recounting | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Creeping | 0:16:38 - Man creeping in the dark | advance plot | creeping | exoticism | Locrian mode | mickey-mousing | open fifth | parallel fifths | parallelism | pedal tone | plantation | sequential modulation | servant | sneaky |
The Letter (1940) | Leslie (Shimmery 2) | 0:18:55 - Leslie stares at the full moon | changing meter | home | leading lady | love scene | moon | mysterious | oscillation | sequence | sequential modulation | staring | suspension |
The Letter (1940) | Leslie (Tragic) | 0:37:21 - Howard talks to Leslie | anxious | changing meter | climax | conversing | fearful | lawyer | leading lady | letter | oscillation | pivotal scene | prison | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie (Shimmery 3) | 0:37:54 - Howard talks to Leslie | anxious | conversing | fearful | lawyer | leading lady | letter | oscillation | pivotal scene | prison | sequence | sequential modulation | stinger | suspension | tense |
The Letter (1940) | Leslie (Triste) | 0:38:57 - Howard helps Leslie recover | advance plot | calm | conversing | hospital | lawyer | leading lady | oscillation | sequence | sequential modulation | suspension |
The Letter (1940) | Leslie (Tragic) | 0:52:55 - Howard and Leslie talk | advance plot | changing meter | conversing | home | lawyer | leading lady | oscillation | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie (Leaving) | 0:53:20 - Howard and Leslie leave the house | added-note chord | fragmentation | lawyer | leading lady | leaving | mysterious | plantation | sequence | sequential modulation | transition |
The Letter (1940) | Leslie (Tragic) | 1:17:59 - Leslie confesses to Robert | changing meter | confessing | conflict | dramatic | home | husband | lawyer | leading lady | letter | murder | oscillation | recounting | sequence | sequential modulation | suspension |
| Lightning Strikes Twice (1951) | Transition | 0:00:07 - Starring list and lightning strikes | acceleration | dramatic | lightning | lightning effect | opening title sequence | prison | self-borrowing | sequential modulation | starring list | transition |
Lightning Strikes Twice (1951) | Shelly (Traveling) + Shelly 2 | 0:10:13 - Shelly drives through the desert | actor | bright | car | cheerful | combination of themes | desert | double exposure | driving | foreign key modulation | leading lady | map | montage | motor effect | ostinato | sequential modulation | traveling | traveling scene | wheel | zoom in |
Lightning Strikes Twice (1951) | Shelly (Traveling) + Shelly 2 (Allegretto) | 0:23:40 - Shelly travels to Tumblewood Ranch | actor | added-note chord | arriving | bright | car | cheerful | combination of themes | countryside | cut from film | desert | driving | horse | leading lady | leading man | ostinato | ranch | sequential modulation | suspect | transition | traveling | walking |
Lightning Strikes Twice (1951) | Shelly + Shelly 2 (Molto Misterioso) | 0:24:05 - Shelly looks around the ranch | actor | arriving | calm | combination of themes | fragmentation | leading lady | mysterious | ostinato | ranch | sequential modulation | transition | walking |
| Mildred Pierce (1945) | Mildred B | 0:00:52 - Cast list and wave effect | 9th chord | appoggiatura | cast list | chromatic mediant | deceptive resolution | enharmonic modulation | foreign key modulation | gentle | mickey-mousing | name on screen | opening title sequence | optimistic | romantic | sequential modulation | water | wave |
Mildred Pierce (1945) | Work | 0:36:12 - Mildred works as a waitress | 64 chord | added-note chord | altered dominant | chromatic mediant | chromatic sequence | common-chord modulation | foreign key modulation | hectic | heroine | leading lady | montage | restaurant | rushing | self-borrowing | sequential modulation | serving | upbeat | voice-over | waitress | working |
| The Unfaithful (1947) | Beverly Hills | 0:01:00 - Cars driving down road in Beverly Hills | Beverly Hills | cheerful | establish location | panning shot | sequential modulation | street | upbeat | voice-over |
The Unfaithful (1947) | Beverly Hills (Leggiero) | 0:01:10 - A car pulls into the driveway | Beverly Hills | car | cheerful | establish location | panning shot | sequential modulation | street | traveling | voice-over |
The Unfaithful (1947) | Chris 2 (Minor) | 0:07:37 - Chris arrives home | 9th chord | antagonist | car | cheerful | dark | driving | house | leading lady | sequential modulation | suspension | transition |
The Unfaithful (1947) | Chris (Dark) | 0:07:46 - Chris continues driving | 9th chord | advance plot | antagonist | calm | danger | dissonant bass | foreign key modulation | house | leading lady | ominous | sequential modulation | shadow | tritone | tritone oscillation | walking |
The Unfaithful (1947) | Chris 2 | 0:43:56 - Chris goes to Larry's office | 9th chord | law office | leading lady | office | peaceful | pedal tone | sequential modulation | transition | walking |
The Unfaithful (1947) | Unfaithful (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) | Unfaithful (Triste) | 1:13:36 - Bob walks slowly away | dirge | heartbroken | hotel | husband | ostinato | pedal tone | polychord | sad | sequential modulation | somber | transition | walking |
The Unfaithful (1947) | Unfaithful (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 (Not in Film) | NIF - not in film | acceleration | arguing | climax | cut from film | husband | Neapolitan | ostinato | room | sequential modulation | tense | wife |
The Unfaithful (1947) | Unfaithful (Scandal) | 1:24:55 - Newspaper headlines about the murder | climax | courtroom | crowd | dramatic | hurrying | montage | newspaper | ostinato | radio | rushing | sequential modulation |
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