| All This, and Heaven Too (1940) | School Girls | 0:01:12 - Young girls walking to school | added-note chord | chatting | child | establish setting | pedal tone | pleasant | school | street | upbeat | walking |
All This, and Heaven Too (1940) | La Parisienne | 0:12:55 - A shot of Paris | 64 chord | augmented sixth chord | enharmonic modulation | establish place | establish time | fanfare | foreign key modulation | noble | on-screen text | patriotic tune | street | transition |
All This, and Heaven Too (1940) | Henriette (Carriage) | 0:13:05 - A carriage arrives | 64 chord | carriage | driver | leading lady | pleasant | street | transition | traveling | upbeat |
All This, and Heaven Too (1940) | Arriving | 0:13:14 - Henriette gets out of the carriage | arriving | augmented sixth chord | carriage | driver | enharmonic modulation | foreign key modulation | gentle | leading lady | pleasant | street | transition |
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 |
All This, and Heaven Too (1940) | Ascending | 0:13:37 - Henriette meets the caretaker | altered dominant | caretaker | conversing | half-diminished 7th chord | leading lady | mysterious | street | transition | underscoring |
All This, and Heaven Too (1940) | Pierre | 0:13:47 - Pierre introduces himself | added-note chord | caretaker | conversing | deceptive resolution | introducing | leading lady | mode mixture | pedal tone | pleasant | street | tense | transition |
All This, and Heaven Too (1940) | Rubato (Carriage) | NIF - not in film | 9th chord | advance plot | carriage | child | cut from film | deceptive resolution | duchess | governess | leading lady | leaving | parallelism | passionate | street |
All This, and Heaven Too (1940) | Desperation (Carriage Starts) | NIF - not in film | added-note chord | advance plot | carriage | child | cut from film | duchess | gentle | governess | leading lady | leaving | pedal tone | street |
All This, and Heaven Too (1940) | Raynald (Carriage) | 0:46:53 - Horses pulling a carriage | 64 chord | carriage | child | chromatic mediant | common-chord modulation | conversing | countermelody | foreign key modulation | governess | horse | leading lady | mickey-mousing | mode mixture | pleasant | riding | street | traveling scene | trotting | upbeat |
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) | Henriette | 1:45:41 - A carriage arrives | arriving | carriage | child | duke | grand | leading man | pleasant | street | transition | traveling |
All This, and Heaven Too (1940) | Henriette (Dark) | 1:52:57 - A police wagon approaches | arresting | carriage | chromatic sequence | conflict | crowd | dark | landlady | leading lady | soldier | street | suspect |
All This, and Heaven Too (1940) | Henriette (Grandioso) + Desperation (Grandioso) | 1:53:13 - The police wagon leaves | arresting | bold | carriage | conflict | conversing | crowd | crying | dark | dissonant bass | fragmentation | landlady | leading lady | ominous | soldier | street | suspect | tense | testifying |
All This, and Heaven Too (1940) | Agitato 2 | 1:59:31 - Henriette is arrested | agitated | crowd | crying | diminished 7th chord | dissonant bass | double exposure | dramatic | fanfare | headline | leading lady | leaving | mob | montage | newspaper | soldier | street | suspect | yelling |
All This, and Heaven Too (1940) | Henriette (Ostinato) | 2:10:09 - A carriage leaves | carriage | crowd | dramatic | fragmentation | leading lady | mob | ominous | ostinato | prisoner | soldier | street | suspect | tense | transition | traveling |
All This, and Heaven Too (1940) | Underscoring (Tense) | 2:10:17 - A carriage arrives at the palace | 9th chord | arriving | carriage | chromatic scale | leading lady | prisoner | soldier | street | suspect | tense | transition | traveling | underscoring |
| The Amazing Dr. Clitterhouse (1938) | The Fur Store | 0:44:20 - Truck arrives at the United Fur Co. | chromatic parallelism | darkness | half-diminished 7th chord | mysterious | pedal tone | store | street | suspenseful | transition | truck |
The Amazing Dr. Clitterhouse (1938) | The Amazing Doctor (Rocks) + Rocks (The Amazing Doctor) | 0:50:33 - Rocks goes out to the truck | antagonist | anxious | combination of themes | criminal | dissonant bass | double-cross | dramatic | gangster | lying | murderer | pc set | robbery | street | tense | thief | tritone |
The Amazing Dr. Clitterhouse (1938) | People running | 0:52:10 - Men run to the warehouse | added-note chord | crowd | exciting | mickey-mousing | robbery | running | street |
| Angels With Dirty Faces (1938) | Sidewalks of New York | 0:00:58 - Organ grinder on the streets of New York | cheerful | conversing | establish place | establish setting | source music | street | teenager | walking |
Angels With Dirty Faces (1938) | The Chase | 0:04:21 - Cops chase boys through the train yard | chase scene | chasing | chromatic parallelism | chromatic scale | diminished 7th chord | dramatic | escaping | half-diminished 7th chord | mickey-mousing | police | polychord | running | street | teenager | whole-tone chord |
Angels With Dirty Faces (1938) | Running and shooting | 0:06:52 - Police chase gangsters and Rocky shoots | agent | augmented triad | chasing | dissonant bass | dominant 7th chord | dramatic | establish character | gangster | gun | gunshot | leading man | mickey-mousing | montage | newspaper | quartal chord | running | shooting | street | zoom out |
Angels With Dirty Faces (1938) | Explosion | 0:07:16 - Building explodes after car drives by | bomb | chromatic scale | dissonant bass | dramatic | driving | establish character | explosion | gangster | mickey-mousing | montage | polychord | street | throwing |
Angels With Dirty Faces (1938) | The Gangster (Headlines) | 0:07:21 - Newspaper headline | dark | establish character | headline | main title | montage | mysterious | newspaper | octatonic scale | pedal tone | street |
Angels With Dirty Faces (1938) | I've Got a Heartfelt of Music | 0:08:31 - People in the street | ABAC structure | cheerful | crowd | driving | headline | newspaper | radio | source music | street | transition | walking |
Angels With Dirty Faces (1938) | Whistling | 0:21:14 - Character whistles | advance plot | cheerful | gang | on-screen music | source music | street | teenager | walking | whistling |
Angels With Dirty Faces (1938) | Rocky and Laury (Not In Film 1) | NIF - not in film | added-note chord | altered dominant | augmented sixth chord | common-chord modulation | conversing | cut from film | establish character | following | gangster | leading lady | leading man | mode mixture | street | walking |
Angels With Dirty Faces (1938) | Rocky and Laury (Not In Film 2) | NIF - not in film | added-note chord | altered dominant | augmented sixth chord | chromatic scale | conversing | cut from film | establish character | following | gangster | leading lady | leading man | street | walking |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | NIF - not in film | chromatic parallelism | chromatic scale | chromatic sequence | conflict | cut from film | diminished 7th chord | dissonant bass | evading | following | gangster | leading man | linear chromaticism | setup | shop | street | underscoring | walking |
Angels With Dirty Faces (1938) | Crowd rushing | 0:41:09 - Crowd rushes to the crime scene | chromatic sequence | conflict | crowd | dissonant bass | hurrying | mickey-mousing | running | street | tense |
Angels With Dirty Faces (1938) | Underscoring (Tense) | 0:41:20 - Police car arrives | arriving | chromatic parallelism | chromatic scale | conflict | crowd | dissonant bass | half-diminished 7th chord | rushing | shop | street | tense | underscoring |
Angels With Dirty Faces (1938) | Crowd | 0:41:46 - Hustling crowd | chromatic parallelism | conflict | crowd | dissonant bass | rushing | street | tense |
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) | Going down a ladder | 1:17:32 - Rocky goes down an escape ladder | agitated | chromatic scale | climbing | conflict | descending | down | dramatic | escaping | gangster | hurrying | ladder | leading man | mickey-mousing | street |
Angels With Dirty Faces (1938) | Going up a ladder | 1:17:41 - Rocky climbs up an escape ladder | agitated | ascending | chromatic parallelism | climbing | conflict | dramatic | gangster | ladder | leading man | mickey-mousing | pedal tone | sequence | street | up |
Angels With Dirty Faces (1938) | Tear Gas | 1:19:48 - Tear gas spreads throughout the room | agitated | breaking | breaking | breathing | building | chromatic parallelism | chromatic scale | conflict | dissonant bass | dramatic | gangster | gun | gunshot | hurrying | leading man | mickey-mousing | pedal tone | police | quartal chord | running | shooting | smoke | street | tear gas | throwing | window |
Angels With Dirty Faces (1938) | Machine Gun | 1:20:24 - Policeman shoots at Rocky with machine gun | agitated | building | chromatic parallelism | conflict | death | dramatic | falling | gangster | gun | gunshot | hiding | leading man | police | polychord | shooting | street | underscoring |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:20:39 - Policemen shoot tear gas in through the window | agitated | appoggiatura | building | conflict | dramatic | gangster | gun | gunshot | leading man | mickey-mousing | police | shooting | street | tone cluster | underscoring |
Angels With Dirty Faces (1938) | Launching tear gas | 1:20:51 - Policemen shoot tear gas in through the window | agitated | building | conflict | dramatic | gangster | gun | gunshot | launching | leading man | mickey-mousing | police | shooting | street | tear gas | tone cluster |
Angels With Dirty Faces (1938) | Pleading (Extended) | 1:21:00 - Jerry arrives on the scene | 9th chord | appoggiatura | arriving | chromatic sequence | circle of fifths | concerned | conflict | crowd | gun | gunshot | hurried | hurrying | leading lady | leading man | love interest | polychord | priest | pushing | street | yearning |
Angels With Dirty Faces (1938) | Jerry + Tear Gas | 1:21:14 - Rocky staggers through tear gas and Jerry arrives | agitated | arriving | building | chromatic parallelism | combination of themes | conflict | dissonant bass | dramatic | gangster | heroic | hurrying | leading man | mickey-mousing | priest | quartal chord | smoke | staggering | street | tear gas |
Angels With Dirty Faces (1938) | Jerry (Pleading) | 1:21:26 - Jerry talks to the cops | building | conflict | deceptive resolution | heroic | hopeful | leading man | pleading | priest | street |
Angels With Dirty Faces (1938) | Tear Gas (Desperate) | 1:21:40 - Rocky tries to hold off the cops | agitated | building | chromatic parallelism | chromatic scale | conflict | dissonant bass | dramatic | gangster | gun | gunshot | leading man | mickey-mousing | pedal tone | police | priest | quartal chord | shooting | smoke | staggering | street | tear gas |
Angels With Dirty Faces (1938) | Jerry (Maestoso) | 1:22:13 - Jerry enters the building | building | conflict | entering | foreign key modulation | heroic | hopeful | leading man | pedal tone | priest | street | walking |
Angels With Dirty Faces (1938) | The Gangster (Triste) | 1:23:57 - Rocky uses Jerry as a hostage | 9th chord | building | chromatic parallelism | conflict | coughing | dark | double-cross | foreign key modulation | fragmentation | gangster | hostage | leading man | linear chromaticism | major 7th chord | menacing | polychord | priest | smoke | somber | street | tear gas | walking |
Angels With Dirty Faces (1938) | Jerry (Hostage) | 1:25:07 - Rocky pushes Jerry | augmented sixth chord | conflict | double-cross | gangster | hostage | leading man | mysterious | priest | pushing | street | tense |
Angels With Dirty Faces (1938) | Rocky runs | 1:25:13 - Rocky makes a run for it | agitated | chromatic scale | conflict | falling | gangster | gun | gunshot | hostage | leading man | octatonic | priest | running | sequence | shooting | street | whole-tone chord |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:25:20 - Rocky throws his gun | capturing | chromatic scale | conflict | dissonant bass | dramatic | gangster | gun | leading man | police | sequence | street | throwing | underscoring |
Angels With Dirty Faces (1938) | The Gangster (Captured) | 1:25:31 - Rocky is captured | capturing | conflict | gangster | leading man | police | somber | street | taunting |
| Are These Our Children? (1931) | Dreams B | 0:01:33 - Two young people in love | common-chord modulation | common-tone diminished 7th | conductor score | conversing | establish character | gentle | leading lady | leading man | lovers | love scene | snuggling | street |
Are These Our Children? (1931) | Dreams | 0:02:11 - Eddie and Mary talk | 11th chord | AABA structure | comment on score | conductor score | establish character | gentle | leading lady | leading man | leaving | lovers | love scene | mode mixture | street | waiting |
Are These Our Children? (1931) | Dreams (Whistling) | 0:03:29 - Eddie walks home | cheerful | establish character | gentle | leading man | love scene | on-screen music | score to source | source and scoring overlap | source music | street | transcribed by ear | walking | whistling |
Are These Our Children? (1931) | Dreams (Whistling 2) | 0:03:59 - Eddie walks home | advance plot | cheerful | leading man | on-screen music | source music | street | transcribed by ear | walking | whistling |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Whistling) | 0:18:46 - Eddie whistles on his way home | cheerful | leading man | on-screen music | source music | street | transcribed by ear | transition | walking | whistling |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Eddie Sings) | 0:19:13 - Eddie sings to himself | cheerful | leading man | on-screen music | singing | source music | street | transcribed by ear | transition | walking |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Whistling) | 0:23:11 - Eddie walks away | advance plot | cheerful | leading man | on-screen music | source music | street | transcribed by ear | walking | whistling |
Are These Our Children? (1931) | Moonbeams (Dream Sequence) | 0:27:23 - Eddie takes Flo home | added-note chord | advance plot | double exposure | dream sequence | entering | friend | hectic | kissing | leading man | mode mixture | romantic | source to score | street | transcribed by ear | waltz |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Moderato) | 0:27:59 - Eddie walks outside | cheerful | leading man | leaving | source to score | street | transition |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Whistling) | 0:28:36 - Eddie arrives home | cheerful | leading man | on-screen music | source music | street | transition | walking | whistling |
Are These Our Children? (1931) | Makes You Forget Your Troubles (Eddie Sings) | 0:40:40 - The boys leave the scene of the crime | friend | leading man | murderer | murder scene | nervous | singing | source music | street | walking |
Are These Our Children? (1931) | Stars and Stripes Forever | 0:52:14 - Young people cavorting in the street | advance plot | cheerful | dancing | drunk | friend | leading man | love interest | murderer | on-screen music | singing | source music | street |
| Arsenic and Old Lace (1944) | Sidewalks of New York (Quasi Barcarolle) | 0:05:13 - The Brewster home | 64 chord | calm | card | cemetery | chromatic mediant | common-tone diminished 7th | enharmonic modulation | establish setting | familiar tune | gravestone | ominous | stinger | street | wind | wind effect |
Arsenic and Old Lace (1944) | Sidewalks of New York (Walking) | 0:05:30 - Cops patrol the neighborhood | 64 chord | calm | establish setting | familiar tune | fragmentation | police | street | walking |
Arsenic and Old Lace (1944) | The Aunts | 0:12:26 - Reverend leaves | advance plot | aunt | cheerful | conversing | crazy person | delicate | foreign key modulation | gentle | harmonic sequence | leading lady | street |
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 (Modulating) | 0:14:10 - Mortimer calls to Elaine | added-note chord | aunt | bride | cemetery | conversing | deceptive resolution | driver | familiar tune | flirting | fragmentation | groom | hurrying | leading lady | leading man | love | love scene | pump-up modulation | rushed | rushing | sequence | source to score | street |
Arsenic and Old Lace (1944) | Chasing | 0:16:31 - Elaine runs off | bride | groom | hurrying | leading lady | leading man | light | love | love scene | running | secondary dominant | street |
Arsenic and Old Lace (1944) | Here Comes the Bride | 0:16:37 - Elaine whistles | bride | cheerful | familiar tune | groom | leading lady | leading man | love | love scene | on-screen music | source music | street | whistling |
Arsenic and Old Lace (1944) | Happy Land | 1:19:56 - Mortimer with the taxi driver | aunt | brother | calm | conversing | crazy person | doctor | driver | funeral | groom | hymn | leading lady | leading man | murderer | on-screen music | score to source | singing | source music | street |
Arsenic and Old Lace (1944) | Happy Land | 1:22:17 - Mortimer talks with Elaine through her window | aunt | bride | calm | conversing | crazy person | doctor | funeral | groom | hymn | leading lady | leading man | murderer | singing | street |
Arsenic and Old Lace (1944) | Happy Land (The End) | 1:57:05 - Mortimer carries Elaine away | altered dominant | bride | countermelody | driver | end title sequence | familiar tune | groom | kissing | leading lady | leading man | resolution | street | The End | upbeat |
| Beyond the Forest (1949) | Loyalton | 0:01:49 - The town of Loyalton, Wisconsin | city | establish setting | mysterious | street | voice-over |
Beyond the Forest (1949) | Loyalton 2 | 0:02:27 - Deserted streets of Loyalton | calm | establish setting | street | voice-over |
Beyond the Forest (1949) | Lewis (Office) | 0:02:44 - The doctor's office | calm | establish setting | noble | street | voice-over |
Beyond the Forest (1949) | Bicycle | 0:04:03 - A boy on a bicycle | bicycle | bicycle effect | child | establish setting | excited | riding | running | street | voice-over |
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) | Flowers | 0:46:12 - Flowers | advance plot | cheerful | flower | leading lady | optimistic | street | walking |
Beyond the Forest (1949) | Rosa (Solemn) | 0:48:04 - Rosa leaves the office | dark | departing | leading lady | office | receptionist | somber | street | transition | walking |
Beyond the Forest (1949) | Chicago (Agitato Molto Marcato) | 0:55:48 - Rosa runs through the streets | agitated | crazy person | crying | familiar tune | laughing | leading lady | mad scene | manic | popular tune | running | rushing | scaring | stranger | street | tense |
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) | Rosa (On the Run) | 1:17:21 - Rosa approaches a bus | advance plot | bus | disguise | doctor | leading lady | leading man | murderer | mysterious | office | patient | runaway | running away | sneaking | street | watching |
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) | Sawmill | 1:29:51 - Rosa opens the door | agitated | climax | leading lady | machinery effect | madness | mad scene | maid | murderer | street | stumbling | tense | walking |
Beyond the Forest (1949) | Sawmill + Steam Whistle | 1:30:02 - The maid makes a phone call | agitated | climax | collapsing | combination of themes | cut from film | falling | leading lady | machinery effect | madness | mad scene | maid | murderer | street | stumbling | tense | walking | whistle effect |
Beyond the Forest (1949) | Sawmill + Rosa (Stumbling) | 1:30:10 - Rosa struggles to her feet | climax | combination of themes | dark | leading lady | machinery effect | madness | mad scene | murderer | ominous | standing | street | stumbling | walking |
Beyond the Forest (1949) | Rosa (Fever 2) | 1:30:23 - Rosa stumbles forward | climax | dark | leading lady | madness | mad scene | murderer | ominous | street | stumbling | walking |
| The Big Sleep (1946) | Walking | 0:13:39 - Marlowe walks down the street | advance plot | calm | investigating | leading man | parallelism | pedal tone | private eye | street | walking |
The Big Sleep (1946) | Marlowe (Grazioso) | 0:13:46 - Marlowe puts on a disguise | added-note chord | advance plot | disguise | disguising | half-diminished 7th chord | leading man | mysterious | private eye | street |
The Big Sleep (1946) | Walking (Extended) | 0:15:03 - Marlowe walks across the street | advance plot | calm | chromatic sequence | foreign key modulation | fragmentation | investigating | leading man | parallelism | pedal tone | private eye | street | walking |
The Big Sleep (1946) | Underscoring (Tense) | 0:18:57 - Geiger enters car | 9th chord | antagonist | car | departing | oscillation | rain | street | tense | transition | underscoring |
The Big Sleep (1946) | Marlowe (Agitato) | 0:19:05 - Marlowe gets in his car | added-note chord | car | following | leading man | mysterious | private eye | rain | street | tense | transition |
The Big Sleep (1946) | Car | 0:19:13 - Car arrives at Geiger's house | car | driving | leading man | mysterious | private eye | rain | street | tense | transition |
The Big Sleep (1946) | Hurrying | 0:19:26 - Geiger enters his house | antagonist | car | chromatic sequence | fragmentation | mysterious | parallelism | rain | street | tense | transition | walking |
The Big Sleep (1946) | Marlowe (Misterioso) | 0:19:40 - Marlowe pulls up in his car | arriving | car | half-diminished 7th chord | investigating | leading man | mysterious | private eye | rain | street | tense | transition |
The Big Sleep (1946) | Marlowe 2 | 0:19:47 - Marlowe spies on the house | car | chromatic scale | investigating | investigation scene | leading man | mysterious | private eye | rain | street | tense | waiting |
The Big Sleep (1946) | Running | 0:20:06 - Carmen runs to Geiger's house | chromatic parallelism | dissonant bass | femme fatale | investigation scene | mysterious | rain | running | street | tense |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 0:20:17 - Marlowe gets out to see the second car | car | investigating | investigation scene | leading man | mysterious | pedal tone | private eye | rain | street | tense | walking |
The Big Sleep (1946) | Carmen | 0:20:39 - Marlowe sees Carmen's name on the car registration | car | half-diminished 7th chord | investigating | investigation scene | leading man | mysterious | name on screen | oscillation | private eye | rain | street | tense | whole-tone chord |
The Big Sleep (1946) | Action | 0:21:04 - Marlowe runs to the house | action scene | antagonist | chromatic parallelism | chromatic scale | chromatic sequence | chromatic wedge | diminished 7th chord | dramatic | hurrying | leading man | pc set | private eye | running | street | tense | underscoring |
The Big Sleep (1946) | Running down | 0:21:13 - Feet running down the stairs | action scene | antagonist | chromatic parallelism | chromatic scale | descending | dramatic | half-diminished 7th chord | hurrying | mickey-mousing | running | street | tense |
The Big Sleep (1946) | Marlowe (Heroic) | 0:21:28 - Marlowe enters the house | 9th chord | action scene | breaking in | heroic | inversion | leading man | private eye | running | street |
The Big Sleep (1946) | Hurrying | 0:27:25 - Marlowe goes back to Geiger's house | chromatic sequence | half-diminished 7th chord | investigating | investigation scene | leading man | mysterious | parallelism | private eye | street | walking |
The Big Sleep (1946) | Walking 2 | 0:39:25 - Marlowe walks to the house | half-diminished 7th chord | investigating | investigation scene | leading man | mysterious | pc set | private eye | street | tense | walking |
The Big Sleep (1946) | Hurrying | 0:39:41 - Marlowe walks back to the cab | fragmentation | hurrying | investigation scene | leading man | mysterious | parallelism | private eye | sequence | street | tense | walking |
The Big Sleep (1946) | Girl Driver | 0:39:53 - Marlowe pays the lady cab driver | bluesy | chromatic parallelism | chromatic sequence | flirting | investigation scene | leading man | love interest | private eye | seductive | street |
The Big Sleep (1946) | Car | 0:47:32 - Another car arrives | arriving | driving | investigation scene | leading man | mysterious | ostinato | private eye | street | tense | waiting |
The Big Sleep (1946) | Running | 0:47:40 - Vivian enters the apartment building | chromatic parallelism | dissonant bass | hurrying | investigating | investigation scene | leading lady | leading man | mysterious | private eye | street | tense | walking |
The Big Sleep (1946) | Marlowe (Determined) | 0:47:56 - Marlowe enters the apartment building | arriving | ascending | bold | common-chord modulation | determined | fragmentation | heroic | investigating | investigation scene | leading lady | leading man | parallel 63s | parallelism | private eye | sequence | stairs | street | walking |
The Big Sleep (1946) | Underscoring (Dramatic) | 0:56:54 - Killer shoots at Marlowe | assassin | chase scene | chasing | chromatic scale | dramatic | leading man | murderer | pc set | private eye | running | shooting | street | tense | underscoring | whole-tone | whole-tone chord | whole-tone scale |
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) | The Pursuit | 0:57:09 - Marlowe pursues killer in his car | assassin | car | chase scene | chasing | chromatic scale | dissonant bass | driving | gun | hiding | leading man | murderer | ostinato | private eye | pursuing | street | syncopation | tense |
The Big Sleep (1946) | Marlowe (Sinister) | 0:58:24 - Marlowe takes Carol to Geiger's house | arriving | assassin | conflict | dark | gun | leading man | murderer | private eye | punching | sinister | stinger | street | whole-tone chord |
The Big Sleep (1946) | Liza (All the Clouds'll Roll Away) | 1:12:27 - Marlowe leaves the gambling joint | AABA structure | conflict | criminal | investigating | leading lady | leading man | love interest | private eye | source music | street | upbeat |
The Big Sleep (1946) | What Are You Doin' the Rest of Your Life | 1:14:35 - Marlowe and Vivian leave | conflict | conversing | leading lady | leading man | love interest | parallel double period | private eye | source music | street | upbeat |
The Big Sleep (1946) | Walking (Interrupted) | 1:22:27 - Marlowe walks down the street | investigating | investigation scene | leading man | parallelism | pedal tone | private eye | street | tense | walking |
The Big Sleep (1946) | Marlowe (Investigating) | 1:22:38 - Marlowe looks at car registration | added-note chord | investigating | investigation scene | leading man | mysterious | private eye | punching | sequence | street | tense |
The Big Sleep (1946) | Jones | 1:23:24 - Jones enters | advance plot | chromatic parallelism | leading man | mysterious | parallelism | pedal tone | private eye | street | tense | walking |
The Big Sleep (1946) | Marlowe (Beaten) | 1:23:35 - Jones helps Marlowe up | advance plot | chromatic parallelism | dazed | half-diminished 7th chord | leading man | lifting | mickey-mousing | pain | private eye | rising | street | whole-tone chord | whole-tone scale |
The Big Sleep (1946) | Marlowe (Dazed) | 1:23:48 - Marlowe recovers | advance plot | conversing | dazed | leading man | pain | private eye | street | whole-tone chord |
The Big Sleep (1946) | Recovering | 1:24:06 - Jones helps Marlowe up | advance plot | augmented triad | conversing | impressionism | leading man | mysterious | pain | private eye | street | whole-tone chord | whole-tone scale |
The Big Sleep (1946) | Door slam | 1:33:12 - Marlowe closes the car door | closing | half-diminished 7th chord | hurried | informer | leading man | mickey-mousing | private eye | slamming | street | tense | traveling scene |
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) | Underscoring (Tense) | 1:33:20 - Marlowe backs the car up | car | driving | leading man | private eye | street | tense | traveling scene | underscoring |
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) | Marlowe (Dramatic) | 1:33:37 - Marlowe looks at sign | 9th chord | altered dominant | car | dramatic | investigating | leading man | private eye | street | tense | traveling scene |
The Big Sleep (1946) | Hurrying (Car) | 1:33:50 - Marlowe drives off the road | car | chromatic scale | driving | fragmentation | hurried | leading man | private eye | sequence | street | tense | traveling scene |
The Big Sleep (1946) | He skids | 1:33:53 - Marlowe's car skids to a stop | car | chromatic scale | leading man | mickey-mousing | private eye | skidding | street | tense | traveling scene |
| The Breaking Point (1950) | La Adelita | 0:09:56 - A Mexican village at night | arriving | bar | bartender | conversing | establish setting | folk music | leading man | musician | on-screen music | performing | sailor | salesperson | selling | source music | street | upbeat | working |
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) | Make Love With a Guitar | 0:46:27 - A boy plays the accordion | advance plot | calm | child | conversing | drunk | leading lady | leading man | neighbor | on-screen music | sailor | source music | street | walking | wife |
| City for Conquest (1940) | Sidewalks of New York | 0:03:10 - A New York street corner | AABA structure | child | conversing | crowd | dancing | old man | on-screen music | organ grinder | playing | pleasant | score to source | source music | street | street organ | thief | transition | upbeat | walking |
City for Conquest (1940) | The Bowery | 0:05:00 - People on a New York street | child | conversing | crowd | establish character | on-screen music | playing | pleasant | source music | street | street organ | upbeat |
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) | Palace Gardens Fanfare | 0:34:31 - Marquee for Palace Gardens | bold | fanfare | marquee | montage | street |
City for Conquest (1940) | Peggy runs | 0:47:31 - Peggy runs down the stairs | boxer | chromatic parallelism | chromatic sequence | dancer | descending | leading lady | leading man | love scene | mickey-mousing | running | source and scoring overlap | street | tense |
City for Conquest (1940) | Tone Poem A (Romantic) | 0:47:41 - Peggy talks with Danny | boxer | conversing | dancer | leading lady | leading man | love scene | street | tense |
City for Conquest (1940) | Tone Poem A (Simplice) | 0:48:06 - Danny talks to Peggy | 9th chord | 13th chord | boxer | dancer | embracing | kissing | leading lady | leading man | love scene | romantic | street |
City for Conquest (1940) | Tone Poem A (Walking) | 0:48:32 - Danny and Peggy walk down the street | 11th chord | boxer | chromatic sequence | conversing | dancer | leading lady | leading man | love scene | romantic | street | walking |
City for Conquest (1940) | Tone Poem A (Molto Expressivo) | 0:48:44 - Danny talks with Peggy | 9th chord | 64 chord | appoggiatura | boxer | countermelody | dancer | embracing | kissing | leading lady | leading man | love scene | plagal cadence | romantic | sequence | street |
City for Conquest (1940) | Underscoring (Gentle) | 0:55:19 - A taxi approaches | 11th chord | appoggiatura | arriving | farewell scene | gentle | leading lady | leading man | source and scoring overlap | street | taxi | underscoring |
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) | Tone Poem A (Very Broad) | 1:34:24 - Peggy reacts to the music | 9th chord | 13th chord | audience | bold | Carnegie Hall | chromatic parallelism | chromatic scale | chromatic sequence | concert | concert hall | concert scene | conducting | conductor | deceptive resolution | dissonant bass | dramatic | Gershwinesque | leading lady | leading man | listening | musician | newspaper | newspaper stand | on-screen music | orchestra | playing | radio | romantic | source music | street | watching | zoom out |
City for Conquest (1940) | Tone Poem B | 1:35:43 - Danny listens to the radio | 9th chord | added-note chord | audience | Carnegie Hall | concert | concert hall | concert scene | conducting | conductor | excited | Gershwinesque | leading man | listening | Mixolydian mode | musician | newspaper | newspaper stand | on-screen music | orchestra | playing | pump-up modulation | radio | source music | street | watching |
City for Conquest (1940) | Tone Poem Train Whistle | 1:35:50 - Danny listens to the radio | added-note chord | bold | concert | concert scene | dissonant bass | excited | fragmentation | Gershwinesque | leading man | listening | on-screen music | pc set | pump-up modulation | radio | source music | street |
City for Conquest (1940) | Tone Poem A (Beoootiful) | 1:40:11 - Danny working at his newsstand | 9th chord | 11th chord | blur | conversing | dissonant bass | ethereal | gentle | into focus | leading lady | leading man | love scene | reunion | reuniting | shimmery | squinting | street | tone cluster | victim | whole-tone chord |
City for Conquest (1940) | Tone Poem A (Chorus) | 1:41:14 - Danny talks with Peggy | 9th chord | 11th chord | 13th chord | chromatic sequence | conversing | crying | ethereal | foreign key modulation | gentle | leading lady | leading man | love interest | love scene | optimistic | reunion | reuniting | romantic | shimmery | street | suspension | victim |
| Crime School (1938) | Gangster Blues | 0:01:16 - New York City streets | 13th chord | added-note chord | altered dominant | blues | cut from film | establish setting | fun | Gershwinesque | main title | setting | street | upbeat |
Crime School (1938) | Elephant Walk | 0:04:57 - Kids whistle as cop walks away | comical | establish character | gang | on-screen music | source music | street | teenager | whistling |
Crime School (1938) | Running away | 0:09:32 - Kids run away from cops | 42 chord | chasing | chromatic scale | conflict | dramatic | fleeing | gang | mickey-mousing | police | running | street | teenager | tense |
Crime School (1938) | Underscoring (Tense) | 0:09:40 - Spike is captured by the cops | 9th chord | arresting | capturing | conflict | dramatic | police | street | teenager | tense |
Crime School (1938) | Underscoring (Mysterious) | 1:12:35 - The boys walk through the city | escape | gang | mysterious | pedal tone | plotting | sneaking | street | teenager | tense |
Crime School (1938) | Climbing ladder | 1:13:05 - Frankie climbs the ladder | climbing | escape | ladder | mickey-mousing | street | teenager | tense |
Crime School (1938) | Underscoring (Dramatic) | 1:15:31 - Frankie fights Spike | agitated | arguing | chromatic scale | conflict | dissonant bass | fighting | gang | hero | leading man | sequence | street | teenager | underscoring |
| They Made Me a Criminal (1939) | The Street | 0:14:31 - Newspaper boy on street | 64 chord | chromatic sequence | dark | newspaper | newspaper boy | selling | street | tense | transition |
They Made Me a Criminal (1939) | The Bicycle | 0:14:42 - Newspaper boy on bicycle | 9th chord | 13th chord | bicycle | cheerful | mickey-mousing | newspaper | newspaper boy | riding | street | throwing | transition |
They Made Me a Criminal (1939) | Traveling | 0:22:25 - Johnnie becomes a fugitive | 9th chord | added-note chord | altered dominant | countryside | double exposure | dramatic | leading man | map | mickey-mousing | money | montage | montage | purchasing | street | traveling | walking |
They Made Me a Criminal (1939) | The Arena | 1:01:22 - A fight poster | advance plot | augmented sixth chord | dark | detective | fanfare | leading man | light | polytonality | poster | street | thinking |
| Deep Valley (1947) | Homestead (Moderato 2) | 0:18:58 - A truck arrives | arriving | bright | calm | car | crew | driving | leading man | lovers meet | street |
Deep Valley (1947) | Homestead (Walking) | 0:19:15 - Jeff arrives at the farm | bright | crew | leading man | lovers meet | street | walking |
Deep Valley (1947) | Joe (Running) | 0:19:24 - Libby arrives at the farm | conversing | leading lady | lovers meet | running | rushed | street | upbeat |
Deep Valley (1947) | Libby 2 (Slowly) | 0:19:39 - Jeff talks with Libby | arguing | crew | dog | father | leading lady | leading man | lovers meet | street | tense |
Deep Valley (1947) | Running | 0:20:26 - Libby runs to Joe | convict | dog | leading lady | leading man | lovers meet | running | street | tense |
Deep Valley (1947) | Love Theme | 0:20:35 - Libby meets Barry | convict | leading lady | leading man | lovers meet | meeting | romantic | street |
Deep Valley (1947) | Underscoring (Tense) | 0:22:23 - Barry pumps water | boss | conflict | convict | father | guard | leading lady | leading man | mocking | pumping | street | tense | underscoring |
Deep Valley (1947) | Turns, Hits, and Falls | 0:22:28 - Barry hits the guard | boss | conflict | convict | dramatic | falling | father | guard | leading lady | leading man | mickey-mousing | punching | stinger | street | turning | violence |
Deep Valley (1947) | Barry | 0:22:35 - Barry threatens the guard | angry | arguing | boss | conflict | convict | dramatic | father | guard | leading lady | leading man | street | threatening | yelling |
Deep Valley (1947) | Law (Subtle) | 0:22:45 - Barry looks at the guard | arguing | boss | conflict | convict | father | guard | leading lady | leading man | street | tense | underscoring |
Deep Valley (1947) | Love Theme (Molto Expressivo) | 0:23:07 - Libby watches them take Barry | boss | conflict | convict | crying | father | guard | leading lady | leading man | somber | street | watching |
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 (Molto Expressivo) | 0:57:13 - Libby looks at the homestead | leading lady | mother | mysterious | reconciliation scene | returning | room | somber | street |
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) | 1:25:16 - Barry shaving | advance plot | arriving | convict | fugitive | leading lady | leading man | love interest | mysterious | street |
Deep Valley (1947) | Deep Valley (Delicato) | 1:31:30 - Barry embraces Libby | advance plot | barn | comforting | convict | fugitive | hopeful | leading lady | leading man | love interest | street | tense |
Deep Valley (1947) | Barry (Drunk) | 1:36:39 - Barry steals a car | arguing | car | climax | convict | dark | fighting | fugitive | leading lady | leading man | love interest | running | rushing | street | tense | yelling |
Deep Valley (1947) | Barry | 1:36:57 - Jeff hits Barry | arguing | attacking | car | climax | convict | dark | fighting | fugitive | leading lady | leading man | love interest | punching | street | tense | yelling |
Deep Valley (1947) | Barry (Running) | 1:37:23 - Libby chases Barry | arguing | car | chasing | climax | convict | crying | dramatic | driving | fleeing | fugitive | leading lady | leading man | love interest | running | street |
Deep Valley (1947) | Molto Expressivo | 1:37:28 - Barry pushes Libby away | arguing | car | chasing | climax | convict | crying | dramatic | driving | falling | fleeing | fugitive | leading lady | leading man | love interest | running | street |
Deep Valley (1947) | Deep Valley (Climactic) | 1:37:35 - Libby on the ground | car | chasing | climax | convict | crying | dramatic | driving | fleeing | fugitive | leading lady | leading man | love interest | street |
Deep Valley (1947) | Car Crash | 1:37:49 - Barry's car runs off the road | car | climax | convict | crashing | dramatic | driving | falling | fleeing | fugitive | leading man | love interest | mickey-mousing | street | swerving |
Deep Valley (1947) | Underscoring (Dramatic) | 1:37:57 - Jeff gets up and looks around | car | climax | climbing | convict | dramatic | fleeing | fugitive | leading man | love interest | mickey-mousing | police | searching | street | transcribed by ear | underscoring |
| Dust Be My Destiny (1939) | Arriving | 0:26:52 - Joe and Mabel settle into their new situation | 9th chord | arriving | calm | dramatic | freedom | leading lady | leading man | runaway | settling down | street | traveling | traveling scene | truck |
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 (Milkman) | 0:27:38 - Joe and Mabel talk to the milkman | advance plot | comical | glass | leading lady | leading man | milk | milkman | pizzicato | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (A Hotel) | 0:28:47 - Joe mentions going to a hotel | advance plot | altered dominant | concerned | leading lady | leading man | street |
Dust Be My Destiny (1939) | Here Comes the Bride (Modulating) | 0:29:02 - Joe and Mabel run to the courthouse | added-note chord | deceptive resolution | excited | familiar tune | foreign key modulation | fragmentation | leading lady | leading man | love scene | marriage | pump-up modulation | romance | romantic | running | sequence | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Waiting) | 0:29:38 - Joe and Mabel talk about getting married | added-note chord | augmented sixth chord | chromatic mediant | common-tone diminished 7th | foreign key modulation | leading lady | leading man | love scene | romantic | street | waiting |
Dust Be My Destiny (1939) | Dust Be My Destiny (Running Up and Down) | 0:30:12 - Man runs up the courthouse steps | 64 chord | chromatic parallelism | chromatic scale | courthouse | down | frantic | leading lady | leading man | love scene | mickey-mousing | mode mixture | producer | running | stairs | street | up |
Dust Be My Destiny (1939) | Here Comes the Bride (Triple) | 0:30:31 - Man talks to Joe and Mabel | 9th chord | 64 chord | chromatic parallelism | courthouse | familiar tune | leading lady | leading man | love scene | marriage | producer | pump-up modulation | romantic | sequence | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Got Each Other) | 0:30:49 - Mabel proclaims her love for Joe | courthouse | leading lady | leading man | love scene | producer | romantic | street |
Dust Be My Destiny (1939) | Fairy Music | 0:30:58 - Man takes their luggage | 64 chord | courthouse | happy | leading lady | leading man | love scene | producer | pump-up modulation | romantic | street |
Dust Be My Destiny (1939) | Here Comes the Bride (Advertisement) | 0:31:07 - A marquee advertising "Marriage on Stage Tonite" | common-chord modulation | crowd | familiar tune | foreign key modulation | happy | love scene | marriage | street | theater |
Dust Be My Destiny (1939) | Fleeing | 0:34:56 - Joe and Mabel flee | alley | chromatic scale | danger | down | escape | fearful | fleeing | leading lady | leading man | linear chromaticism | mickey-mousing | police | runaway | running | street | suspenseful |
Dust Be My Destiny (1939) | Agitato Risoluto | 0:35:11 - Joe and Mabel hide under the stairs | agitated | alley | chromatic parallelism | concerned | danger | escape | hiding | leading lady | leading man | pedal tone | runaway | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Injustice) | 0:35:25 - Joe and Mabel talk in the alley | 9th chord | alley | chromatic parallelism | escape | fearful | leading lady | leading man | runaway | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Fear and Devotion) | 0:35:50 - Joe and Mabel decide to stick together | alley | common-tone diminished 7th | devotion | dramatic | escape | fear | fragmentation | leading lady | leading man | love | mode mixture | obsessive | runaway | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Wandering) | 0:37:16 - Joe and Mabel walk down the road | car | car horn | diminished 7th chord | leading lady | leading man | montage | oscillation | runaway | street | tired | traveling scene | walking |
Dust Be My Destiny (1939) | Dust Be My Destiny (Weary) | 0:37:38 - They rest by the side of the road | chromatic parallelism | conflict | leading lady | leading man | resting | runaway | street | tired |
Dust Be My Destiny (1939) | Underscoring (Dramatic) | 0:38:00 - Joe and Mabel argue | 9th chord | arguing | conflict | dissonant bass | dramatic | leading lady | leading man | runaway | street | underscoring |
Dust Be My Destiny (1939) | Dust Be My Destiny | 0:38:38 - Joe and Mabel part | common-tone diminished 7th | conflict | leading lady | leading man | leaving | runaway | somber | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Parting Ways) | 0:38:56 - Joe and Mabel part | altered dominant | common-tone diminished 7th | conflict | dark | leading lady | leading man | leaving | mode mixture | pedal tone | runaway | somber | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Running) | 0:39:33 - Mabel runs across the street | conflict | leading lady | leading man | mickey-mousing | runaway | running | somber | street | truck |
Dust Be My Destiny (1939) | Dust Be My Destiny (Regret) | 0:39:53 - Joe walks away sadly | conflict | dark | leading lady | leading man | parallelism | pedal tone | runaway | somber | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Reunited) | 0:40:03 - Joe runs to Mabel | 64 chord | altered dominant | foreign key modulation | joyful | leading lady | leading man | mickey-mousing | pump-up modulation | resolution | runaway | running | street |
Dust Be My Destiny (1939) | The Poster | 0:40:39 - Joe and Mabel see a sign for the train | chromatic sequence | comedy | comical | laughing | leading lady | leading man | runaway | sign | street |
Dust Be My Destiny (1939) | Whistling | 0:45:44 - Joe whistles as he walks | 64 chord | cheerful | chromatic mediant | deceptive resolution | foreign key modulation | leading man | on-screen music | scored source music | source music | street | traveling scene | whistling |
Dust Be My Destiny (1939) | 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) | Joe runs and falls | 0:46:50 - Joe runs and falls | chromatic scale | create suspense | diminished 7th chord | dissonant bass | dramatic | falling | leading lady | leading man | mickey-mousing | police | runaway | running | stinger | street |
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 (Grandioso) | 0:50:50 - Joe and Mabel outside | 42 chord | 64 chord | deceptive resolution | escaping | friend | heroic | jail break | leading lady | leading man | pedal tone | shopkeeper | street | triumphant |
Dust Be My Destiny (1939) | Stinger | 0:51:01 - They see approaching headlights | 42 chord | danger | friend | jail break | leading lady | leading man | ominous | shopkeeper | siren | stinger | street |
Dust Be My Destiny (1939) | Speeding car | 0:51:08 - The car speeds off | car | chromatic scale | diminished 7th chord | dramatic | escape | friend | leading lady | leading man | mickey-mousing | shopkeeper | street | traveling |
Dust Be My Destiny (1939) | Patrol | 0:55:50 - Cop checks on a shop | clock | crime scene | criminal | leading man | police | shopkeeper | street | tense |
Dust Be My Destiny (1939) | Dust Be My Destiny (Sehr Ominous) | 0:56:14 - Joe walks towards the shop | 9th chord | chromatic parallelism | crime scene | criminal | leading man | mysterious | sequence | shop | shopkeeper | street | walking |
Dust Be My Destiny (1939) | Underscoring (Dramatic) | 0:59:15 - A bank alarm sounds | 42 chord | 64 chord | action scene | bank | chromatic parallelism | chromatic scale | chromatic wedge | crowd | dramatic | leading man | photographer | robbery | shopkeeper | street | tone cluster | underscoring |
Dust Be My Destiny (1939) | Alarm | 0:59:15 - Alarm sounds | action scene | alarm | bank | crowd | dramatic | leading man | mickey-mousing | photographer | robbery | shopkeeper | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Heroic) | 0:59:42 - Joe takes pictures of the robbery | 42 chord | action scene | bank | chromatic scale | criminal | crowd | dramatic | fragmentation | gangster | leading man | photographer | retrograde | shopkeeper | street |
Dust Be My Destiny (1939) | Underscoring (Dramatic) | 0:59:53 - Police arrive at the scene | 64 chord | action scene | bank | chromatic scale | crowd | dramatic | leading man | police | street | underscoring |
Dust Be My Destiny (1939) | The Daily Journal | 1:00:10 - Sign for The Daily Journal | establish setting | fanfare | heroic | mode mixture | Neapolitan | newspaper | sign | street | triumphant |
Dust Be My Destiny (1939) | Headlines | 1:03:23 - Headline about the robbery | advance plot | augmented triad | chromatic sequence | diner | dramatic | newspaper | newspaper boy | selling | street |
Dust Be My Destiny (1939) | Underscoring (Tense) | 1:09:28 - Mike is confronted by gangsters | bribe | chromatic parallelism | conflict | gangster | linear chromaticism | newspaper editor | street | tense | underscoring |
Dust Be My Destiny (1939) | Gangsters walk | 1:10:26 - The gangsters walk to their car | chromatic parallelism | chromatic scale | chromatic sequence | conflict | gangster | mickey-mousing | newspaper editor | street | tense | walking |
Dust Be My Destiny (1939) | Underscoring (Dramatic) | 1:10:32 - Joe runs after the car | augmented triad | chromatic parallelism | chromatic scale | conflict | dramatic | gangster | half-diminished 7th chord | hero | leading man | mickey-mousing | newspaper editor | running | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Brave) | 1:10:38 - Joe jumps onto the car | action scene | augmented triad | car | chromatic parallelism | dramatic | fighting | gangster | hero | leading man | newspaper editor | street | whole-tone chord |
Dust Be My Destiny (1939) | Dust Be My Destiny (Heroic) | 1:10:32 - Joe heroically wrestles away the steering wheel | action scene | chromatic scale | dramatic | fighting | fragmentation | gangster | hero | leading man | newspaper editor | retrograde | street |
Dust Be My Destiny (1939) | Car crash | 1:10:55 - Gangsters crash the car | action scene | car | chromatic scale | crashing | dramatic | gangster | hero | leading man | mickey-mousing | newspaper editor | street |
Dust Be My Destiny (1939) | Dust Be My Destiny (Newspaper Montage) | 1:13:48 - Newspaper montage about Joe | courthouse | exciting | headlines | montage | montage | newspaper | printing press | street |
| Each Dawn I Die (1939) | Underscoring (Mysterious) | 0:04:28 - Frank leaves the newspaper office | close-up | conflict | diminished 7th chord | gangster | hero | leading man | mysterious | reading | reporter | street | underscoring | watching |
Each Dawn I Die (1939) | Lights match | 0:04:40 - Man lights a match on a lamp post | conflict | gangster | lighting | match | mickey-mousing | mysterious | street |
Each Dawn I Die (1939) | Creeping | 0:04:47 - Two men sneak up behind Frank | chromatic scale | chromatic sequence | conflict | creeping | gangster | mickey-mousing | mysterious | pizzicato | sneaking | street | walking |
Each Dawn I Die (1939) | Underscoring (Dramatic) | 0:04:55 - Frank is pushed into a car | car | chromatic scale | conflict | diminished 7th chord | dissonant bass | dramatic | fragmentation | gangster | gun | hero | kidnapping | leading man | pushing | reporter | street | underscoring | violence |
Each Dawn I Die (1939) | Underscoring (Tense) | 0:05:11 - Newspaper on the sidewalk | conflict | dissonant bass | gangster | newspaper | reading | street | tense | underscoring | whole-tone | whole-tone chord |
Each Dawn I Die (1939) | Underscoring (Dramatic) | 0:05:24 - Frank is framed for drunk driving | 9th chord | attacking | car | conflict | diminished 7th chord | dramatic | gangster | hero | leading man | minor second | murder | pushing | reporter | setup | street | underscoring | violence |
Each Dawn I Die (1939) | Hits with bottle | 0:05:26 - A bottle of alcohol is broken | 9th chord | bottle | breaking | conflict | dramatic | gangster | hero | leading man | mickey-mousing | reporter | street | violence |
Each Dawn I Die (1939) | Car Crash | 0:05:40 - Two cars crash | car | car crash | chromatic scale | conflict | crashing | explosion | frantic | hero | leading man | metric dissonance | minor second | reporter | street | tone cluster |
Each Dawn I Die (1939) | Confusion | 0:05:43 - Frank sits confused in car after crash | accusing | car | car crash | chromatic parallelism | chromatic scale | conflict | confused | crowd | dissonant bass | fire | glass | half-diminished 7th chord | hero | injury | leading man | reporter | running | street | yelling |
Each Dawn I Die (1939) | Underscoring (Dramatic) | 0:06:06 - Crowd accuses Frank of murder | 9th chord | accusing | car crash | conflict | crowd | dissonant bass | dramatic | hero | injury | leading man | linear chromaticism | police | reporter | sequence | shaking | street | underscoring | yelling |
| The FBI Story (1959) | Lucy A (Walking) | 0:37:12 - Lucy walks down the street with her children | child | flashback | heroine | mother | street |
| Flamingo Road (1949) | Flamingo Road (Chapter One) | 0:00:54 - Chapter one from Flamingo Road | chromatic mediant | common-chord modulation | establish setting | gentle | mode mixture | self-borrowing | street | voice-over |
Flamingo Road (1949) | Boldon City | 0:01:13 - Boldon City sign | busy | common-tone diminished 7th | dominant pedal | establish setting | light | pentatonic | street | townsfolk | voice-over | working |
Flamingo Road (1949) | Titus | 0:01:22 - The Palmer House | altered dominant | dark | establish setting | ominous | politician | self-borrowing | sheriff | street | voice-over |
Flamingo Road (1949) | Titus (Inverted) | 0:30:13 - Townsfolk talk about Titus | advance plot | dark | inversion | newspaper | reading | self-borrowing | street | townsfolk |
Flamingo Road (1949) | Titus 2 (Extended) | 0:30:27 - Field overhears people talking about Titus | advance plot | chromatic sequence | dark | leading man | mysterious | newspaper | parallelism | reading | self-borrowing | street | townsfolk |
Flamingo Road (1949) | Titus 2 (Agitato) | 0:37:11 - Lane goes to confront Titus | agitated | angry | chromatic sequence | hurrying | leading lady | self-borrowing | street | transition | walking |
Flamingo Road (1949) | Agitato | 0:39:09 - Lane storms off angrily | agitated | angry | chromatic parallelism | chromatic scale | chromatic wedge | conflict | hurrying | leading lady | self-borrowing | sheriff | street | walking |
Flamingo Road (1949) | Titus 2 (Walking) | 0:39:17 - Lane storms off angrily | agitated | angry | chromatic parallelism | conflict | diminished 7th chord | hurrying | leading lady | mickey-mousing | self-borrowing | sheriff | street | walking |
Flamingo Road (1949) | Titus (Setup) | 0:39:31 - A car follows Lane | conflict | dark | leading lady | police | self-borrowing | setup | street | walking |
Flamingo Road (1949) | Titus + Agitato (Extended) | 0:39:55 - Police take Lane away | arresting | combination of themes | conflict | driving | leading lady | police | self-borrowing | street | tense | turbulent |
Flamingo Road (1949) | Flamingo Road (Expressivo) | 1:02:07 - The gate to 32 Flamingo Road | 11th chord | added-note chord | arriving | gentle | husband | leading man | self-borrowing | sign | street | transition |
Flamingo Road (1949) | Titus (Tutti) | 1:08:05 - Titus and Field arrive at the construction site | arriving | dark | dominant 7th chord | half-diminished 7th chord | leading man | ominous | politician | self-borrowing | sheriff | street | transition |
Flamingo Road (1949) | Agitato (Angry) | 1:09:25 - Titus leaves | advance plot | agitated | angry | chromatic parallelism | chromatic scale | chromatic wedge | leading man | leaving | politician | polychord | sheriff | street | tense |
Flamingo Road (1949) | Titus + Titus 2 | 1:09:43 - Titus bullies Field | advance plot | bullying | chromatic parallelism | combination of themes | commanding | dark | leading man | ominous | ostinato | politician | self-borrowing | sheriff | street |
Flamingo Road (1949) | Titus (Menacing) | 1:09:59 - Titus and Field leave | advance plot | bullying | commanding | dark | leading man | menacing | ominous | politician | self-borrowing | sheriff | street |
Flamingo Road (1949) | If I Could Be With You (Dramatic) | 1:11:05 - Boldon Lumber Company | conflict | dark | dramatic | driving | foreshadowing | half-diminished 7th chord | sheriff | street |
| Hell on Frisco Bay (1955) | Hell on Frisco Bay | 0:02:01 - Marcia embraces Steve | conductor score | embracing | establish character | friend | gentle | leading lady | leading man | street |
Hell on Frisco Bay (1955) | Underscoring (Dark) | 0:02:12 - Steve mentions a divorce and leaves | conductor score | conversing | dark | establish character | friend | investigator | leading man | street | underscoring |
Hell on Frisco Bay (1955) | Kay | 0:20:48 - Lye goes to see Kay | antagonist | conductor score | conversing | establish character | gangster | kissing | love interest | lyrical | romantic | street |
Hell on Frisco Bay (1955) | Steve | 0:32:34 - Steve investigates | advance plot | arriving | conductor score | investigator | leading man | neutral | street | walking |
Hell on Frisco Bay (1955) | Disappointment | 0:36:18 - Steve leaves | advance plot | conductor score | dark | disappointed | investigator | leading man | leaving | somber | street |
Hell on Frisco Bay (1955) | Boy running | 0:36:50 - Georgie runs down the stairs | advance plot | child | conductor score | down | hurried | mickey-mousing | running | street |
Hell on Frisco Bay (1955) | Steve | 0:38:01 - Steve shakes Georgie's hand | advance plot | cheerful | child | conductor score | gentle | investigator | leading man | street | thanking |
Hell on Frisco Bay (1955) | Underscoring (Tense) | 0:52:13 - Dan waits for Steve | advance plot | conductor score | friend | gangster | investigator | leading man | pacing | street | tense | underscoring | waiting |
Hell on Frisco Bay (1955) | Steve | 0:52:23 - Steve arrives | advance plot | conductor score | conversing | friend | gangster | investigator | leading man | neutral | street |
Hell on Frisco Bay (1955) | Steve runs | 0:52:55 - Steve runs | advance plot | conductor score | gangster | investigator | leading man | mickey-mousing | running | street | tense |
Hell on Frisco Bay (1955) | Menace | 0:53:06 - Steve talks with Dan | advance plot | conductor score | conversing | dark | gangster | investigator | leading man | sinister | street |
Hell on Frisco Bay (1955) | Steve | 0:53:15 - Steve leaves | action scene | aiming | conductor score | dark | gangster | investigator | leading man | murderer | neutral | shooting | street | tense | walking |
Hell on Frisco Bay (1955) | Climbing and jumping | 0:53:27 - Steve runs from Hammy | action scene | climbing | conductor score | hiding | hurried | investigator | jumping | leading man | mickey-mousing | street | tense |
Hell on Frisco Bay (1955) | Menace | 0:53:30 - Hammy tries to escape | action scene | conductor score | dramatic | escaping | fleeing | gangster | hurried | investigator | leading man | murderer | running | shooting | street | tense |
Hell on Frisco Bay (1955) | Hammy Is Shot | 0:53:37 - Hammy falls to the ground | action scene | conductor score | dramatic | dying | falling | gangster | investigator | leading man | mickey-mousing | street | tragic |
Hell on Frisco Bay (1955) | Underscoring (Dark) | 0:53:50 - Steve questions Hammy | action scene | conductor score | dark | death | dying | gangster | investigator | leading man | questioning | stinger | street | underscoring |
Hell on Frisco Bay (1955) | Steve Arrives | 0:54:56 - Steve arrives at an apartment | arriving | conductor score | investigator | leading man | mickey-mousing | mysterious | street | tense | transition | walking |
Hell on Frisco Bay (1955) | Sneaking and following | 0:58:30 - Bessie sneaks away | chase scene | conductor score | descending | floozy | following | hiding | investigator | leading man | mysterious | sneaking | street | tense |
Hell on Frisco Bay (1955) | Menace | 0:58:48 - Bessie walks through the market | | agitated | chase scene | conductor score | dramatic | floozy | gangster | hurrying | investigator | leading man | mysterious | street | tense | walking |
Hell on Frisco Bay (1955) | Menace | 1:08:27 - Amato threatens Brody | advance plot | antagonist | conductor score | dark | gangster | leading man | street | threatening |
Hell on Frisco Bay (1955) | Amato | 1:08:39 - Amato arrives | advance plot | antagonist | arriving | brash | conductor score | dark | gangster | leading man | stinger | street |
Hell on Frisco Bay (1955) | Lye | 1:09:00 - Amato calls Lye | advance plot | antagonist | calling | conductor score | conversing | gangster | leading man | stinger | street | uneasy |
Hell on Frisco Bay (1955) | Lye's Death | 1:32:58 - Lye is killed | action scene | brash | gangster | harsh | leading man | murder | murdering | shooting | street | violence |
Hell on Frisco Bay (1955) | Menace | 1:33:12 - Amato hides | action scene | fleeing | gangster | hiding | leading man | ominous | street |
| Her Kind of Man (1946) | Night Clubs | 0:01:12 - Montage of night clubs | bar | bluesy | club | crowd | dancer | dancing | double exposure | eating | journalist | montage | montage | performer | performing | simulated source music | street | voice-over |
Her Kind of Man (1946) | Underscoring (Gentle) | 0:33:47 - Don leaves | crew | departing | gentle | leading man | manager | reporter | street | theater | transition | underscoring |
Her Kind of Man (1946) | Underscoring (Dramatic [Waxman]) | 0:42:19 - Approaching headlights | action scene | criminal | dark | departing | dramatic | driving | henchman | leading man | leaving | reporter | street | stumbling | underscoring |
Her Kind of Man (1946) | Night Clubs (Street Scene) | 0:44:59 - Neon signs on Broadway | dramatic | sequential modulation | street | transition | upbeat |
Her Kind of Man (1946) | Body and Soul (Intro) | 0:56:28 - Night club sign | arriving | crowd | dramatic | music scene | sign | street |
Her Kind of Man (1946) | The Escape | 1:03:50 - Steve tries to escape | action scene | car | chasing | club | crowd | dramatic | driving | escaping | gambler | husband | jumping | leading man | mickey-mousing | murderer | police | running | sister | street | victim |
Her Kind of Man (1946) | Underscoring (Dramatic [Deutsch]) | 1:04:46 - Montage of policemen | action scene | double exposure | dramatic | montage | police | searching | street | underscoring |
Her Kind of Man (1946) | It Had to Be You (Mysterious) | 1:07:50 - Don leaves | advance plot | arriving | car | car | criminal | driving | familiar tune | gambler | henchman | leading lady | leading man | murderer | mysterious | popular music | signaling | singer | street | warehouse | wife |
Her Kind of Man (1946) | Underscoring (Tense [Steiner]) | 1:15:00 - Candy in the alley | arriving | climax | criminal | double-cross | driving | gambler | henchman | hiding | husband | leading man | murderer | revenge | signaling | sneaking | street | syncopation | tense | underscoring | warehouse | widow |
Her Kind of Man (1946) | Candy (Tragic) | 1:15:28 - Candy in the shadows | chromatic scale | climax | conversing | criminal | double-cross | gambler | henchman | hiding | husband | leading man | murderer | revenge | sequence | street | tense | tragic | walking | widow |
Her Kind of Man (1946) | Underscoring (Dramatic [Steiner]) | 1:15:53 - Joe shoots at Steve | climax | criminal | double-cross | dramatic | dying | falling | gambler | gun | gunshot | henchman | husband | leading man | murder | murderer | parallelism | revenge | shooting | street | widow |
Her Kind of Man (1946) | Candy (Mr. Candy) | 1:16:09 - Candy bends over Steve's body | chromatic scale | climax | conversing | criminal | dark | double-cross | dying | gambler | heavy | henchman | leading man | murder | murderer | revenge | street |
Her Kind of Man (1946) | Speeding | 1:16:29 - Candy tries to run away | arriving | capturing | car | chromatic parallelism | chromatic scale | chromatic sequence | climax | criminal | double-cross | dramatic | gambler | henchman | leading man | murder | murderer | omnibus progression | police | reporter | revenge | running | street | tense |
Her Kind of Man (1946) | Candy (Agitato) | 1:16:53 - Don confronts Candy | agitated | arguing | climax | confronting | criminal | double-cross | gambler | henchman | leading man | murder | murderer | pc set | police | reporter | revenge | sequence | street | tense |
Her Kind of Man (1946) | It Had to Be You (Tragic) | 1:17:10 - Georgia holds Steve | 9th chord | augmented triad | climax | comforting | conversing | corpse | cradling | criminal | crying | death | dying | familiar tune | gambler | henchman | leading lady | leading man | murderer | police | popular music | reporter | singer | street | tense | tragic | wife |
Her Kind of Man (1946) | Water | 1:17:41 - Steve's corpse | 9th chord | corpse | criminal | death | flowing | gambler | henchman | leading lady | leading man | murderer | panning shot | police | reporter | resolution | singer | street | swirling | tense | tragic | voice-over | water | water effect | wife |
Her Kind of Man (1946) | It Had to Be You (The End) | 1:18:02 - The End | added-note chord | criminal | dark | death | dramatic | end title sequence | gambler | henchman | leading lady | leading man | mode mixture | murderer | police | reporter | singer | street | The End | tragic | wife |
| I Was a Communist for the FBI (1951) | Underscoring (Tense) | 0:01:02 - Brooklyn Bridge | 9th chord | airport | bridge | mysterious | pc set | street | tense | transition | underscoring |
I Was a Communist for the FBI (1951) | Undercover Agent (Ominous) + Family | 0:38:46 - Matt leaves his apartment | advance plot | combination of themes | communist | dark | discovery | leading lady | letter | ominous | polychord | reacting | reading | self-borrowing | spy | street | teacher | tense | tritone oscillation |
I Was a Communist for the FBI (1951) | Ice Cold Katy | 0:53:21 - Matt follows Eve | advance plot | arguing | communist | jazz | leading lady | leading man | source music | spy | street | teacher | undercover agent | upbeat |
I Was a Communist for the FBI (1951) | Underscoring (Tense) | 0:57:39 - Communists watch apartment | communist | create suspense | sneaking | spy | street | tense | underscoring | walking | watching |
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 (Misterioso) | 0:59:50 - Agent watches | car | communist | driving | escaping | leading lady | leading man | mysterious | polychord | spy | street | teacher | transition | tritone oscillation | undercover agent |
| In This Our Life (1942) | Asa | 0:02:02 - The Timberlake crest | 64 chord | added-note chord | common-chord modulation | establish character | noble | plagal cadence | street | worker | working |
In This Our Life (1942) | Asa (Expressivo) | 0:02:33 - Asa walks | conversing | deceptive resolution | establish character | gentle | mode mixture | noble | pedal tone | street | walking | worker |
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 B (Valse Triste) | 0:16:33 - Craig arrives | 9th chord | advance plot | arriving | dark | dissonant bass | leading lady | leading man | somber | street | waltz | watching | window |
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) | Fast Driving + Stanley | 1:08:53 - Stanley driving | car | car | child | combination of themes | crime scene | criminal | driving | drunk | leading lady | mysterious | oscillation | street | tense | uneasy | victim | walking | whole-tone scale |
In This Our Life (1942) | Underscoring (Dramatic) | 1:09:01 - Stanley has an accident | car | child | chromatic scale | crashing | crime scene | criminal | dramatic | driving | drunk | leading lady | pc set | street | victim | whole-tone chord | whole-tone scale |
In This Our Life (1942) | Car crash | 1:09:01 - Stanley hits two pedestrians | accident | car | car crash | crashing | crime scene | criminal | dramatic | driving | drunk | dying | falling | hit and run | leading lady | mickey-mousing | street | victim | whole-tone chord | whole-tone scale |
In This Our Life (1942) | Turning around | 1:09:06 - Stanley turns around | accident | car | car crash | chromatic scale | crime scene | criminal | dramatic | drunk | glaring | hit and run | leading lady | mickey-mousing | pc set | stinger | street | turning |
In This Our Life (1942) | Fast Driving (Tense) | 1:20:10 - Craig's car pulls up to the jail | arriving | car | car | conflict | conversing | criminal | lawyer | leading lady | leading man | oscillation | pc set | street | tense | underscoring | uneasy |
In This Our Life (1942) | Stanley Introduction (Extended 4) | 1:23:09 - Stanley and Craig leave the jail | 9th chord | car | conflict | criminal | lawyer | leading lady | leading man | leaving | street | tense |
In This Our Life (1942) | Fast Driving | 1:29:17 - Stanley driving her car | criminal | driving | escaping | leading lady | oscillation | street | tense | transition | whole-tone scale |
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) | 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) | Underscoring (Dramatic) | 1:32:30 - Stanley dashes through the gate | conflict | criminal | dramatic | hiding | leading lady | police | running | rushing | street | underscoring |
In This Our Life (1942) | Police (Chase) | 1:32:36 - Stanley runs for her car | chromatic scale | conflict | criminal | dissonant bass | driving | fleeing | hiding | leading lady | ostinato | police | running | rushing | street | tense |
In This Our Life (1942) | Stanley (Chase) | 1:32:59 - The police chase after Stanley | 9th chord | acceleration | chase scene | chasing | chromatic scale | climax | criminal | desperate | dramatic | driving | fleeing | fragmentation | leading lady | police | street | tense |
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 |
In This Our Life (1942) | Underscoring (Dramatic) | 1:33:29 - Two other policeman see Stanley | chase scene | chasing | chromatic scale | climax | criminal | dark | dramatic | driving | fleeing | half-diminished 7th chord | leading lady | pc set | police | street | tense | underscoring | watching |
In This Our Life (1942) | Stanley (Crying) | 1:33:37 - Stanley crying in her car | 9th chord | appoggiatura | chase scene | chasing | climax | criminal | crying | dark | dramatic | driving | fleeing | harmonic sequence | leading lady | police | somber | street | tense |
In This Our Life (1942) | Stanley + Stanley B (Rising Tension) | 1:33:49 - The police in hot pursuit | chase scene | chasing | chromatic scale | chromatic sequence | climax | combination of themes | criminal | desperate | dissonant bass | dramatic | driving | fleeing | half-diminished 7th chord | leading lady | police | street | tense |
In This Our Life (1942) | Stanley (Desperate) | 1:34:02 - The police in hot pursuit | 9th chord | chase scene | chasing | chromatic parallelism | climax | criminal | crying | desperate | dramatic | driving | fleeing | fragmentation | leading lady | police | street | tense |
In This Our Life (1942) | Underscoring (Dramatic) | 1:34:09 - Stanley's eyes in the rear-view mirror | 9th chord | acceleration | chase scene | chasing | climax | criminal | crying | desperate | dissonant bass | dramatic | driving | fleeing | leading lady | pc set | police | street | tense | tone cluster | underscoring |
In This Our Life (1942) | Car crash 2 | 1:34:17 - Stanley's car crashes | 9th chord | brash | car | car crash | chase scene | climax | crashing | criminal | dramatic | driving | dying | falling | fire | leading lady | mickey-mousing | police | street | tense |
In This Our Life (1942) | Stanley (Tragic) | 1:34:28 - Police run to Stanley's car | 9th chord | added-note chord | appoggiatura | brash | car | car crash | chase scene | climax | criminal | dramatic | dying | fire | half-diminished 7th chord | helping | leading lady | mournful | police | reporting | rescuing | rushing | sigh gesture | somber | street | tragic |
| The Informer (1935) | The Informer | 0:00:14 - Shadows move across the screen behind the cast list | cast list | Dorian mode | folk-like | informer | marching | minor pentatonic | mysterious | opening title sequence | Scotch snap | searching | serious | shadow | soldier | street | title of film |
The Informer (1935) | The Informer (Bridge) | 0:00:46 - Shadows move across the screen behind the cast list | 9th chord | cast list | informer | march | marching | mysterious | Neapolitan | opening title sequence | Scotch snap | searching | serious | shadow | soldier | street |
The Informer (1935) | The Informer (Dublin) | 0:01:03 - Title card establishes the setting in Dublin, Ireland | 9th chord | 11th chord | establish setting | informer | marching | minor pentatonic | mysterious | nun | opening title sequence | religious symbolism | Scotch snap | searching | serious | shadow | street | title card | tritone substitution |
The Informer (1935) | The Informer (Walking) | 0:01:44 - Gypo walks down the street | countermelody | establish character | leading man | mickey-mousing | mysterious | poster | Scotch snap | street | walking |
The Informer (1935) | Poster | 0:02:01 - Gypo looks at the reward poster for Frankie McPhillip | establish character | leading man | mickey-mousing | mysterious | poster | stepping | stinger | street |
The Informer (1935) | Drinking Song | 0:02:15 - Gypo and Frankie sing at a pub | cheerful | drinking | establish character | flashback | leading man | on-screen music | pub | remembering | singing | somber | source music | street |
The Informer (1935) | Underscoring (Tense) | 0:02:23 - Gypo stares at the poster, thinking | 64 chord | establish character | leading man | muttering | mysterious | street | thinking | underscoring |
The Informer (1935) | Rule, Britannia! | 0:02:32 - Close-up on the 20 pound reward on the poster | British | dark | establish character | familiar tune | leading man | linear chromaticism | looking | mode change | patriotic tune | poster | source music | street | tense |
The Informer (1935) | Tearing down poster | 0:02:47 - Gypo tears the reward poster off of the wall | dissonant bass | down | establish character | leading man | linear chromaticism | mickey-mousing | poster | removing | street | tearing | upset |
The Informer (1935) | The Rose of Tralee | 0:02:54 - Man sings an Irish folk song by a lamp post | calm | establish character | familiar tune | folk song | Irish | leading man | on-screen music | poster | singing | source music | street | walking |
The Informer (1935) | Poster blowing 1 | 0:03:05 - Torn poster blows down the street onto Gypo's leg | augmented sixth chord | blowing | establish character | leading man | mickey-mousing | mysterious | parallelism | poster | street | wind |
The Informer (1935) | Poster blowing 2 | 0:03:26 - Torn poster blows down the street onto Gypo's leg again | blowing | clinging | diminished 7th chord | establish character | leading man | mickey-mousing | mysterious | parallelism | poster | street | wind |
The Informer (1935) | Underscoring (Subtle) | 0:04:22 - Close-up on Katie | establish character | leading lady | linear chromaticism | mysterious | staring | street | underscoring |
The Informer (1935) | Katie | 0:04:31 - Katie walks down the street | establish character | foreign key modulation | leading lady | parallelism | seductive | staring | street | sultry | walking |
The Informer (1935) | Match strike | 0:05:03 - Man strikes a match on the lamp post | establish character | leading lady | lighting | match | mickey-mousing | playful | street |
The Informer (1935) | Underscoring (Tense) | 0:05:04 - Gypo sees the man and walks towards him | establish character | leading lady | leading man | mysterious | street | tense | underscoring | walking | whole-tone |
The Informer (1935) | Blowing smoke | 0:05:16 - Man blows smoke into Katie's face | blowing | establish character | leading lady | mickey-mousing | mysterious | smoke | street | whole-tone |
The Informer (1935) | Throwing man down | 0:05:31 - Gypo picks the man up and throws him in the street | angry | down | establish character | falling | leading man | mickey-mousing | street | throwing | whole-tone | whole-tone chord |
The Informer (1935) | Katie Calls Gypo | 0:05:38 - Katie says Gypo's name | conversing | diminished 7th chord | dissonant bass | establish character | leading lady | leading man | mickey-mousing | somber | staring | street |
The Informer (1935) | Katie (Tired and Sad) | 0:05:49 - Katie talks to Gypo | conversing | crying | diminished 7th chord | establish character | leading lady | leading man | parallelism | Scotch snap | sobbing gesture | somber | street |
The Informer (1935) | Yankee Doodle (Octatonic) | 0:06:21 - Katie looks at the poster about a trip to America | American | comical | conversing | dark | diminished 7th chord | establish character | leading lady | leading man | octatonic | parallelism | patriotic tune | source music | street |
The Informer (1935) | Katie (Hurt) | 0:06:58 - Katie is upset with Gypo and walks away upset | agitated | chromatic scale | crying | establish character | leading lady | leading man | leaving | street | tritone | upset |
The Informer (1935) | Footsteps | 0:07:16 - Close-up on walking feet | establish character | footsteps | leading man | mickey-mousing | mysterious | street | tritone | walking |
The Informer (1935) | The Wearin' o' the Green | 0:07:32 - Frankie looks at reward poster with his picture on it | 64 chord | dark | establish character | folk song | hero | Irish | marching | mickey-mousing | mysterious | source music | street | thinking |
The Informer (1935) | Running and hiding | 0:07:54 - Frankie runs and hides in the shadows | chromatic scale | establish character | familiar tune | folk song | hero | hiding | mickey-mousing | running | soldier | street | tense |
The Informer (1935) | Running (Not in Film) | NIF - not in film | chromatic scale | establish character | hero | mickey-mousing | running | street |
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) | Katie (Fateful Decision) | 0:13:48 - Gypo heads towards the British headquarters | American | church bell | contemplating | deciding | diminished 7th chord | familiar tune | leading man | mickey-mousing | mysterious | parallelism | patriotic tune | pedal tone | pivotal scene | police station | street | tense |
The Informer (1935) | Blood Money (Counting Money) | 0:19:21 - Gypo closes the door | advance plot | antagonist | counting | leading man | money | mysterious | street | tense | tritone |
The Informer (1935) | Blind Man | 0:19:29 - Gypo meets the blind man | 64 chord | advance plot | antagonist | blind man | leading man | mysterious | street | walking |
The Informer (1935) | Blood Money + Blind Man | 0:20:27 - Gypo looks at Frankie's poster again | advance plot | antagonist | combination of themes | leading man | looking | mysterious | poster | street | tense | whole-tone |
The Informer (1935) | Blind Man + Blood Money | 0:24:45 - Blind man wanders in and Gypo gives him money | advance plot | antagonist | augmented triad | blind man | combination of themes | giving | leading lady | leading man | money | mysterious | ominous | street | walking |
The Informer (1935) | The Informer (Bold) | 0:25:26 - Gypo storms off down the street | 64 chord | advance plot | antagonist | bold | determined | hurrying | leading lady | leading man | Scotch snap | street | walking |
The Informer (1935) | The Minstrel Boy | 0:25:32 - Man sings a folk tune at the street corner | 9th chord | AABA structure | advance plot | angelic | antagonist | calm | familiar tune | folk song | gentle | leading man | listening | mode mixture | mourner | mourning | on-screen music | playing | praying | singer | singing | street | violinist | watching |
The Informer (1935) | The Informer (Walking Fast) | 0:30:13 - Gypo storms off down the street | 64 chord | advance plot | antagonist | chromatic parallelism | diminished 7th chord | hurrying | leading man | Scotch snap | street | tense | walking |
The Informer (1935) | Drinking Song 2 | 0:40:12 - Gypo sings a drunken song | advance plot | antagonist | drunk | leading man | on-screen music | singing | source music | street |
The Informer (1935) | Katie (Gypo is Drunk) | 0:46:36 - Gypo tells the rebel about "somebody waiting for me" | advance plot | antagonist | augmented sixth chord | breaking | drunk | leading man | street | transcribed by ear | walking |
The Informer (1935) | He Is Me Darling-O | 0:47:03 - Gypo and another man sing drunkenly | advance plot | Aeolian mode | antagonist | drunk | familiar tune | folk song | Irish | leading man | street | transcribed by ear | walking |
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) | Blood money (Thinking) | 0:48:58 - Gypo pulls out and counts his money | advance plot | antagonist | conversing | leading man | money | mysterious | ostinato | pondering | street |
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) | Here Comes the Bride | 0:49:55 - Dream sequence of a voyage to America | 64 chord | advance plot | antagonist | boat | double exposure | dreaming | familiar tune | leading lady | leading man | pedal tone | romantic | ship | street | vision | wedding |
The Informer (1935) | My Man | 0:50:19 - Gypo talks with his friend | AB structure | advance plot | antagonist | cheerful | conversing | leading man | party | source music | street |
The Informer (1935) | The Informer (Drunk) | 1:03:23 - Gypo walks down the street drunk | advance plot | antagonist | drunk | leading lady | leading man | marching | rebel | street |
The Informer (1935) | The Informer (Molto Agitato) | 1:03:45 - Katie worries for Gypo | advance plot | antagonist | chromatic parallelism | conversing | drunk | half-diminished 7th chord | leading lady | leading man | rebel | street |
The Informer (1935) | The Wearin' o' the Green (Fighting) | 1:03:51 - Gypo struggles with the rebels | 64 chord | advance plot | antagonist | chromatic parallelism | conversing | dominant 7th chord | drunk | familiar tune | fighting | folk song | fragmentation | leading lady | leading man | reassuring | rebel | sequence | street | struggling | syncopation |
The Informer (1935) | Blood Money (Ostinato) | 1:04:10 - The rebels overhear Gypo talking about the money | advance plot | antagonist | conversing | drunk | leading lady | leading man | money | mysterious | ostinato | rebel | street | whole-tone chord |
The Informer (1935) | Katie (Tragic) | 1:04:39 - Katie is left alone on the street | advance plot | appoggiatura | leading lady | minor-major 7th chord | money | somber | street | worrying |
The Informer (1935) | Dan and Mary (Descending) | 1:05:08 - Mary enters, looking for Dan | chromatic sequence | courtroom scene | dissonant bass | down | headquarters | hero | love interest | love theme | mickey-mousing | romantic | stairs | street | suspect | walking |
The Informer (1935) | The Informer (Gypo Hides) | 1:20:38 - Gypo sees British soldiers marching | antagonist | hiding | leading man | marching | running | street | tense | traitor | transition |
The Informer (1935) | The Informer (Adagio) | 1:21:15 - Gypo imagines Frankie's poster | antagonist | hallucinating | hallucination | leading man | mysterious | street | suspension | traitor | transition |
The Informer (1935) | Gypo runs away | 1:21:26 - Gypo runs and hides | agitated | antagonist | chromatic parallelism | diminished 7th chord | hiding | leading man | mickey-mousing | running | sequence | street | tense | traitor | transition |
The Informer (1935) | Blood Money (Tuttissimo) | 1:28:53 - Gypo stumbles into a church | antagonist | church | climax | dirge | dissonant bass | dominant pedal | dying | half-diminished 7th chord | leading man | mysterious | street | stumbling | tense | traitor | walking | whole-tone | whole-tone chord |
| Key Largo (1948) | The Keys | 0:01:07 - On-screen text establishing the Florida keys | bus | car | establish place | establish setting | on-screen text | peaceful | street | traveling |
Key Largo (1948) | The Bus | 0:01:26 - The bus is pulled over | agitated | bus | car | establish setting | police | street | tense | traveling |
Key Largo (1948) | Bus Stops | 0:01:42 - The bus stops | bus | car | establish setting | police | stopping | street | tense |
Key Largo (1948) | Traveling | 0:02:21 - The bus drives on | bus | establish setting | exciting | starting | street | traveling |
| Lightning Strikes Twice (1951) | Searching | 0:40:06 - Shelly looks for Trev | actor | advance plot | agitated | leading lady | rancher | searching | street | walking |
Lightning Strikes Twice (1951) | Trev (Misterioso) | 0:40:30 - Shelly and Liza talk | actor | advance plot | conversing | glass | leading lady | mysterious | rancher | street | underscoring | uneasy | walking |
| Mildred Pierce (1945) | Mildred (Sehr Dramatic) | 0:12:06 - Mildred arrives home | advance plot | arriving | chromatic scale | chromatic sequence | dark | daughter | diminished 7th chord | dramatic | half-diminished 7th chord | heroine | imitation | leading lady | street | tense | tritone | worrying |
Mildred Pierce (1945) | Underscoring (Tense) | 0:13:03 - Mildred leaves with the detectives | advance plot | conversing | detective | foreign key modulation | heroine | leading lady | murder | street | tense | underscoring |
Mildred Pierce (1945) | Flashback starts | 0:20:16 - Flashback to the past | double exposure | establish character | flashback | gentle | heroine | leading lady | mickey-mousing | street |
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) | Kay and Veda | 0:25:03 - Kay plays football in the street | 11th chord | added-note chord | child | establish character | football | mickey-mousing | playing | street | upbeat |
Mildred Pierce (1945) | Kay falls | 0:25:12 - Kay falls to the ground | child | establish character | falling | football | mickey-mousing | playing | street | upbeat |
Mildred Pierce (1945) | Kay and Veda (Going Home) | 0:25:13 - Veda leads Kay home | child | establish character | graceful | oscillation | street | walking |
Mildred Pierce (1945) | Kay and Veda (Skipping) | 0:25:25 - Kay skips on her way home | added-note chord | child | establish character | graceful | playing | skipping | street |
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 |
Mildred Pierce (1945) | Mildred (Desperate) | 0:34:05 - Mildred looks for a job | applying | depressed | enharmonic reinterpretation | foreign key modulation | heroine | leading lady | montage | searching | street | voice-over | walking |
Mildred Pierce (1945) | Kay and Veda (Misterioso) | 0:54:01 - Bert tells Mildred that Kay is sick | bad news | conversing | dark | death scene | distress | ex-husband | heroine | leading lady | mysterious | ominous | stinger | street | turning point | whole-tone scale |
Mildred Pierce (1945) | Bert (Dark) | 0:54:14 - Bert and Mildred rush off to see Kay | bad news | conversing | dark | death scene | distress | ex-husband | heroine | leading lady | leaving | street | turning point |
Mildred Pierce (1945) | Mildred (Revenge) | 1:43:57 - Mildred drives to the beach house | car | chromatic scale | common-tone diminished 7th | dark | dissonant bass | dramatic | driving | flashback ends | gun | heroine | leading lady | pc set | street | transition |
Mildred Pierce (1945) | Mildred (Breakdown) | 1:47:11 - Mildred tries to start her car | 9th chord | climax | crying | dramatic | emotional | foreign key modulation | heroine | leading lady | leaving | street |
| 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) | Everybody's Doing It Now | 0:03:48 - Horses and buggies in a small town street | altered dominant | buggy | common-tone diminished 7th | deceptive resolution | driving | establish setting | establish time | horse | playful | popular song | riding | street |
The Life of Vergie Winters (1934) | Semper Fidelis | 0:30:32 - A march is played outside | advance plot | celebrating | cheering | child | common-chord modulation | conversing | crowd | gossiper | leading lady | leading man | march | patriotic tune | politician | source music | spouse | street | upbeat |
The Life of Vergie Winters (1934) | Funeral March | 1:17:18 - John's funeral procession | altered dominant | brass band | classical music | crowd | establish place | funeral | funeral march | marching | on-screen music | parallel 63s | somber | source music | street | watching |
| Rockabye (1932) | Till the Real Thing Comes My Way | 0:40:21 - Judy sings on top of a truck | advance plot | leading lady | love interest | on-screen music | pianist | singing | source music | street | upbeat |
| Out of the Fog (1941) | Underscoring (Dramatic) | 0:49:39 - Goff stops Jonah | conflict | conversing | criminal | dark | dramatic | extortion | father | fisherman | leading man | mickey-mousing | panning shot | stinger | street | threatening | underscoring | violence | walking | weapon |
Out of the Fog (1941) | Beating | 0:50:17 - Goff beats Jonah | beating | conflict | criminal | dark | dissonant bass | dramatic | extortion | father | fisherman | leading man | mickey-mousing | street | violence | weapon |
Out of the Fog (1941) | Underscoring (Dramatic) | 0:50:24 - Goff shoves Jonah | conflict | criminal | dark | dramatic | extortion | father | fisherman | leading man | street | threatening | underscoring | violence |
Out of the Fog (1941) | Russian Barcarolle (Death Threat) | 0:50:48 - Goff mocks Jonah | conflict | criminal | dark | extortion | father | fisherman | leading man | mocking | street | tense | threatening | violence |
Out of the Fog (1941) | Underscoring (Dramatic) | 0:51:05 - Goff gives Jonah a gun | conflict | criminal | dramatic | extortion | father | fisherman | gun | leading man | mocking | stinger | street | threatening | underscoring | violence |
Out of the Fog (1941) | Speeding Car (Arriving) | 1:11:50 - A speeding car | action scene | car | dramatic | driving | fisherman | friend | rushed | rushing | street | tense |
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 |
Out of the Fog (1941) | Speeding Car | 1:12:30 - A car racing down the street | action scene | car | double exposure | dramatic | driving | leading lady | point-of-view shot | police | rushed | rushing | street | tense |
Out of the Fog (1941) | Speeding Car (Extended) | 1:13:32 - A car racing down the street | action scene | car | crowd | double exposure | dramatic | driving | leading lady | minor-major 7th chord | point-of-view shot | police | questioning | reporter | rushed | rushing | street | tense |
Out of the Fog (1941) | Russian Barcarolle (Tango) | 1:24:07 - Stella and Jonah walk away | chromatic mediant | conversing | dock | exotic | father | fisherman | foreign key modulation | leading lady | peaceful | pedal tone | resolution | street | tango | walking |
Out of the Fog (1941) | Russian Barcarolle (The End) | 1:24:24 - The dock at night | conversing | dock | end title sequence | father | fisherman | grand | leading lady | peaceful | perfect authentic cadence | resolution | street | The End | walking |
| Kid Galahad (1937) | Boxing poster | 0:00:41 - Boxing poster | 64 chord | augmentation | chromatic sequence | diminution | establish character | jaunty | poster | street | zoom in |
Kid Galahad (1937) | City Fanfare | 0:32:24 - Bright lights of the city | advance plot | augmented triad | bold | city | light | not by Steiner | sign | street | transcribed by ear |
Kid Galahad (1937) | New York Scene | 0:32:31 - Ward and Louise ride in a taxi | advance plot | driving | hurried | not by Steiner | street | transcribed by ear |
Kid Galahad (1937) | The Escape | 0:33:23 - Nick punches man on street | advance plot | boxer | car | hurried | hurrying | leading lady | leading man | not by Steiner | street | transcribed by ear |
| 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 | 0:07:27 - Chris drives home | 9th chord | calm | car | driving | leading lady | street | transition |
The Unfaithful (1947) | Tanner | 0:23:46 - Mrs. Tanner boards a trolley | advance plot | altered dominant | antagonist | fragmentation | irregular meter | newspaper | pc set | quartal chord | reading | street | tense | traveling | trolley | widow |
The Unfaithful (1947) | Tanner (Panic) | 0:24:21 - Mrs. Tanner sees her husband's name in the paper | advance plot | antagonist | newspaper | ostinato | panicked | panicking | street | trolley | widow |
The Unfaithful (1947) | Unfaithful (Tragic) | 0:24:34 - Mrs. Tanner walks down the street | advance plot | antagonist | husband | leading lady | newspaper | ostinato | panicked | panicking | pedal tone | police station | street | transition | trolley | victim | widow |
The Unfaithful (1947) | Attorney | 1:09:14 - Larry drives to the art shop | 64 chord | deceptive resolution | driving | heroic | lawyer | street | transition |
The Unfaithful (1947) | Unfaithful (Driving) | 1:10:31 - Bob rides in a car | car | driving | husband | minor-major 7th chord | ominous | street | transition | whole-tone |
The Unfaithful (1947) | Tanner | 1:10:47 - Men get out of the car | altered dominant | antagonist | arriving | foreshadowing | fragmentation | husband | irregular meter | pc set | quartal chord | street | tense | transition | walking |
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 |
| We Are Not Alone (1939) | Surprise Symphony (Glissando) | 0:02:20 - David rides his bike home | bicycle | classical music | establish character | familiar tune | fragmentation | glissando | Haydn | hero | playful | quotation | score to source | sequence | source music | street |
We Are Not Alone (1939) | Surprise Symphony (Theme and Variations) | 0:02:37 - David enters his home | augmented triad | classical music | deceptive resolution | establish character | familiar tune | Haydn | hero | home | playful | quotation | scored source music | source music | street | whistling |
We Are Not Alone (1939) | I Do Like to Be Beside the Seaside | 0:17:49 - Exterior of a British dance hall | ABAC structure | conflict | doctor | familiar tune | helping | hero | heroine | score to source | source music | street | tense |
We Are Not Alone (1939) | As You Walk Down the Strand | 0:19:59 - David helps Leni | AABC structure | advance plot | calm | doctor | familiar tune | hero | heroine | source music | street |
We Are Not Alone (1939) | Poor Old Adam Was My Father | 0:20:32 - David talks to Leni by the seaside | ABAC structure | advance plot | calm | doctor | familiar tune | hero | heroine | source music | street |
We Are Not Alone (1939) | Surprise Symphony (Galloping) | 0:32:07 - David arrives in a carriage | carriage | classical music | familiar tune | galloping | happy | Haydn | hero | horse | quotation | street | transition | traveling |
We Are Not Alone (1939) | Celebre Romance (Agitato) | 1:01:40 - News of the war | chaotic | classical music | conflict | crowd | dramatic | familiar tune | riot | Rubinstein | running | street | whole-tone | whole-tone chord |
We Are Not Alone (1939) | Agitato | 1:02:31 - Crowd presses forward | 11th chord | chaotic | classical music | conflict | conversing | crowd | dissonant bass | dissonant bass | dramatic | familiar tune | riot | Rubinstein | street |
We Are Not Alone (1939) | Underscoring (Dramatic) | 1:03:40 - Jessica takes Gerald outside | 11th chord | antagonist | boy | child | conflict | dramatic | street | tense | underscoring | walking |
We Are Not Alone (1939) | Underscoring (Tense) | 1:03:56 - The crowd outside | agitated | chromatic scale | conflict | confused | crowd | hero | linear chromaticism | metric dissonance | pedal tone | polychord | riot | rioting | street | tense | underscoring |
We Are Not Alone (1939) | Furioso | 1:04:49 - Man throws rock through shop window | chromatic scale | conflict | crowd | dissonant bass | dramatic | riot | rioting | street | underscoring |
We Are Not Alone (1939) | God Save the King (Violent) | 1:05:00 - British mobs in the street | British | chromatic scale | conflict | crowd | familiar tune | patriotic | riot | rioting | street |
We Are Not Alone (1939) | Rule, Britannia | 1:05:03 - Men attack a German shop | British | conflict | crowd | familiar tune | patriotic | riot | rioting | street |
We Are Not Alone (1939) | God Save the King (Angry) | 1:05:06 - British mobs in the street | 9th chord | angry | British | conflict | crowd | diminished 7th chord | familiar tune | mode mixture | patriotic | riot | rioting | street |
We Are Not Alone (1939) | Rule, Britannia (Throwing Stones) | 1:05:14 - Susan throws a rock at the shop | 64 chord | angry | antagonist | conflict | mickey-mousing | rock | street | throwing |
We Are Not Alone (1939) | Underscoring (Tense) | 1:05:17 - David scolds Susan | 64 chord | antagonist | chromatic scale | conflict | conversing | foreign key modulation | hero | street | tense | underscoring |
We Are Not Alone (1939) | Surprise Symphony (Window) | 1:05:40 - Susan sees Leni and David in the window | antagonist | classical music | conflict | familiar tune | Haydn | quotation | spying | street | tense | window |
We Are Not Alone (1939) | God Save the King | 1:09:06 - Mob sings "God Save the King" outside | advance plot | antagonist | British | choral singing | familiar tune | home | mob | patriotic | singing | source music | source to score | street |
We Are Not Alone (1939) | La Marseillaise | 1:15:41 - News bulletins in a window | advance plot | announcing | deceptive resolution | familiar tune | French | patriotic | shop | sign | street | war | window |
We Are Not Alone (1939) | Frohe Botschaft (War Bulletin) | 1:22:12 - News bulletins about the trial | advance plot | announcing | familiar tune | fanfare | folk song | German | news | quotation | shop | sign | street | tense | window |
We Are Not Alone (1939) | Surprise Symphony (Tense) | 1:31:42 - News bulletins about the trial | 9th chord | advance plot | announcing | classical music | dark | familiar tune | Haydn | main theme | quotation | shop | sign | street | tense | window |
| White Heat (1949) | Underscoring (Mysterious) | 0:05:27 - Gangsters listen to the radio | announcer | car | establish character | gangster | listening | mysterious | radio | street | underscoring |
White Heat (1949) | Cody | 0:05:35 - Gangsters listen to the radio | announcer | car | conversing | establish character | gangster | radio | street | tense |
White Heat (1949) | Agitato | 0:05:43 - Big Ed plots against Cody | agitated | conversing | establish character | gangster | plotting | street | tense | walking |
White Heat (1949) | Driving | 0:14:09 - The gangsters drive away | dark | departing | driving | gangster | leading lady | leading man | menacing | moll | mother | murderer | rushing | self-borrowing | street | transition |
White Heat (1949) | Speed | 0:16:46 - Sign for Milbanke Motels | arriving | car | dark | driving | gangster | leading man | murderer | self-borrowing | street | tense | transition |
White Heat (1949) | Backing up | 0:17:00 - Cody backs up | arriving | backing up | car | dark | driving | gangster | leading man | mickey-mousing | murderer | street | tense | transition |
White Heat (1949) | Con Moto | 0:17:09 - Cody gets out of his car | conflict | dramatic | gangster | leading man | murderer | opening | rushing | searching | street | tense |
White Heat (1949) | Agents | 0:18:49 - Agent leaves a phone booth | agent | car | mysterious | sneaking | street | telephone | transition | walking |
White Heat (1949) | Underscoring (Tense) | 0:18:58 - Agents pull up in a car | advance plot | agent | arriving | car | driving | street | tense |
White Heat (1949) | T-Men (Marcia) | 0:19:03 - Agents see the marker on the car | advance plot | agent | car | following | heroic | noble | observing | planning | street | telephone |
White Heat (1949) | Agents (Planning) | 0:19:32 - Agents talk on the car phone | advance plot | agent | car | conversing | dark | following | mysterious | observing | planning | street | telephone |
White Heat (1949) | Ma | 0:19:45 - Ma walks out of the market | agent | car | chase scene | mother | observing | street | uneasy | walking |
White Heat (1949) | Moll | 0:19:50 - Ma gets in her car | agent | car | chase scene | mother | observing | street | uneasy | walking |
White Heat (1949) | Pursuit | 0:19:58 - Agents pursue Ma in their cars | agent | car | chase scene | driving | following | mother | motor effect | pursuing | street | telephone | tense | uneasy |
White Heat (1949) | Getaway | 0:21:01 - Ma speeds away | agent | car | chase scene | driving | following | mother | pursuing | street | tense | uneasy |
White Heat (1949) | Pursuit (Tense) | 0:21:09 - Agents pursue Ma | agent | car | chase scene | driving | following | mother | motor effect | pursuing | street | telephone | tense | uneasy |
White Heat (1949) | Underscoring (Dramatic) | 0:21:34 - Ma speeds ahead in her car | agent | car | chase scene | dramatic | driving | escaping | mother | pursuing | street | tense | turning | underscoring |
White Heat (1949) | Ma (Dramatic) | 0:21:49 - Ma continues driving | agent | car | chase scene | chasing | dramatic | escaping | frantic | mother | pursuing | street |
White Heat (1949) | Pursuit (Frantic) | 0:21:56 - Agents lose Ma | agent | car | chase scene | chasing | escaping | mother | pursuing | street | tense | underscoring |
White Heat (1949) | Getaway (Bold) | 0:22:01 - Agents turn quickly | agent | car | chase scene | chasing | dramatic | escaping | harsh | pursuing | street |
White Heat (1949) | Pursuit (Ominous) | 0:22:08 - Agents arrive at the motel | advance plot | agent | arriving | car | driving | motor effect | ominous | pursuing | street | telephone | tense |
White Heat (1949) | Agents (Chase) | 0:22:33 - The agents notice Ma's car | advance plot | agent | car | looking | observing | panning shot | stinger | street | tense |
White Heat (1949) | Pursuit | 0:22:38 - The agents drive away | advance plot | agent | car | driving | motor effect | pursuing | street | tense |
White Heat (1949) | Danger (Molto Agitato) | 0:23:25 - Evans points a gun at Cody | action scene | agent | agitated | arresting | dying | falling | gangster | gun | gunshot | leading man | murderer | shooting | street | tense | wound |
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) | Agitato (Escaping) | 0:23:37 - Evans struggles on the ground | action scene | agent | agitated | car | dramatic | driving | escaping | gangster | gun | gunshot | leading lady | leading man | moll | mother | murderer | shooting | street | struggling | tense | wound |
White Heat (1949) | Driving (Extended) | 0:23:46 - The gangsters speed away | action scene | agent | car | chasing | dark | dramatic | gangster | leading lady | leading man | menacing | moll | mother | murderer | speeding | street | wound |
White Heat (1949) | Underscoring (Dramatic) | 0:23:54 - Evans falls to the ground | action scene | agent | chasing | dramatic | helping | rushing | street | underscoring | wound |
White Heat (1949) | Speed (Frantic) | 0:24:11 - The gangsters speed away | car | chase scene | chasing | dramatic | frantic | leading lady | leading man | moll | mother | murderer | rushing | self-borrowing | speeding | street | tense |
White Heat (1949) | Agents + Pursuit | 0:24:23 - Ernie chases the gangsters | agent | car | chase scene | chasing | combination of themes | dramatic | frantic | motor effect | speeding | street | tense |
White Heat (1949) | Speed (Frantic) | 0:24:26 - The gangsters speed away | car | chase scene | chasing | dramatic | frantic | leading lady | leading man | moll | mother | murderer | self-borrowing | speeding | street | tense |
White Heat (1949) | Agents + Pursuit | 0:24:37 - Ernie chases the gangsters | agent | car | chase scene | chasing | combination of themes | dramatic | frantic | motor effect | speeding | street | tense |
White Heat (1949) | Speed (Desperate) | 0:24:44 - The gangsters speed away | car | chase scene | chasing | dramatic | frantic | leading lady | leading man | moll | mother | murderer | self-borrowing | speeding | street | tense |
White Heat (1949) | Pursuit (Fleeing) | 0:24:50 - Ernie chases the gangsters | agent | car | chase scene | chasing | dramatic | frantic | leading lady | leading man | moll | mother | motor effect | murderer | speeding | street | tense |
White Heat (1949) | Agents + Pursuit (Rising) | 0:24:58 - Ernie chases the gangsters | agent | car | chase scene | chasing | combination of themes | dramatic | frantic | leading lady | leading man | moll | mother | murderer | speeding | street | tense |
White Heat (1949) | Pursuit | 1:08:44 - The agents turn around | agent | car | driving | leading man | police | prison break | rushing | street | tense | uneasy |
White Heat (1949) | Pursuit (Antenna) | 1:37:17 - Policemen follow radio signal in their car | agent | antenna | car | car | chase scene | electronic effect | pursuing | radio | radio effect | searching | speeding | street | tense |
White Heat (1949) | Truck (Speeding) | 1:37:36 - Tanker drives down the street | chase scene | driving | fugitive | gangster | leading man | murderer | ominous | speeding | street | truck | undercover agent |
White Heat (1949) | Pursuit (Tracking) | 1:37:43 - Policemen pursue the truck | agent | antenna | car | car | chase scene | map | police station | pursuing | radio | speeding | street | tense |
White Heat (1949) | Cody 2 (Montage) | 1:38:26 - Tanker drives down the street | car | car | chase scene | dark | double exposure | electronic effect | fugitive | gangster | leading man | montage | murderer | pursuing | radio effect | speeding | street | truck | undercover agent |
White Heat (1949) | Agents + Pursuit (Montage) | 1:38:33 - Police car in pursuit | agent | antenna | car | car | chase scene | combination of themes | double exposure | electronic effect | montage | mysterious | police station | pursuing | radio | radio effect | speeding | street | tense |
White Heat (1949) | Cody 2 | 1:39:10 - Tanker drives down the street | car | chase scene | dark | double exposure | driving | fugitive | gangster | leading man | montage | murderer | radio | speeding | street | truck | undercover agent |
White Heat (1949) | Pursuit (Frantic) | 1:39:12 - Police car in pursuit | agent | antenna | car | car | chase scene | double exposure | montage | police station | pursuing | radio | speeding | street | tense |
White Heat (1949) | Underscoring (Dramatic) | 1:39:16 - Agent at the control board | agent | antenna | car | car | chase scene | double exposure | dramatic | mapping | montage | police station | pursuing | radio | speeding | street | underscoring |
White Heat (1949) | Truck (Tutti) | 1:39:43 - Tanker pulls up to factory | chase scene | dramatic | driving | fugitive | gangster | leading man | murderer | ominous | street | truck | undercover agent |
| The Woman in White (1948) | Fosco (Con Moto) | 1:23:29 - Fosco arrives in his carriage | antagonist | arriving | carriage | criminal | dark | leading man | murderer | serious | street | transition | traveling |
The Woman in White (1948) | Hypnosis + Fosco | 1:30:32 - Count Fosco leaves | antagonist | carriage | combination of themes | criminal | dark | husband | hypnotist | leading man | leaving | murderer | ominous | plotting | spy | spying | street | tense | transition |
The Woman in White (1948) | The Carman's Whistle (Accompaniment) | 1:32:33 - Walter walks | calm | comedy | criminal | leading man | sneaking | spy | spying | street | walking |
The Woman in White (1948) | The Carman's Whistle (Bassoon) | 1:32:48 - A man spies on Walter | calm | comedy | criminal | following | husband | leading man | murderer | sneaking | spy | spying | street | walking |
The Woman in White (1948) | Balmy Porter | 1:33:09 - A man locks the gate of the asylum | asylum | comedy | comical | key | shuffling | street | walking | worker | working |
The Woman in White (1948) | Appearing | 1:35:44 - Laura appears outside | asylum | escape | escaping | leading lady | mickey-mousing | mysterious | patient | sneaking | street | victim | wife |
The Woman in White (1948) | Ann | 1:35:51 - Laura exits the asylum gate | asylum | escape | escaping | leading lady | mysterious | patient | sneaking | street | victim | wife |
The Woman in White (1948) | Ann 2 | 1:36:07 - Laura asks a man for help | asking | escape | gentle | leading lady | patient | street | tender | victim | wife |
The Woman in White (1948) | Underscoring (Dramatic) | 1:36:15 - Laura screams when she sees Sir Percival | conflict | criminal | dramatic | hitting | husband | leading lady | leading man | murderer | patient | screaming | street | struggling | underscoring | victim | wife |
The Woman in White (1948) | Fight | 1:36:33 - Walter fights the spy | conflict | criminal | dramatic | fighting | husband | leading lady | leading man | murderer | patient | punching | spy | street | victim | wife |
The Woman in White (1948) | Fosco (Dark) | 1:36:50 - Sir Percival on the ground | conflict | criminal | dark | husband | leading lady | leading man | murderer | ominous | patient | spy | street | victim | walking | wife |
| The Public Defender (1931) | Crowd thronging | 0:01:17 - A crowd pressing towards a guarded door | arguing | chromatic scale | crowd | hurried | noise | street | tense | transcribed by ear | transition |
The Public Defender (1931) | Mystery (Bank Closed) | 0:01:25 - Notice posted on the door | arguing | chromaticism | crowd | mysterious | mystery | noise | pc set | street | transcribed by ear | transition |
| Three Who Loved (1931) | St. Patrick's Day | 0:18:32 - Organ grinder on street | cheerful | musician | on-screen music | organ grinder | playing | source music | street | transition |
| Is My Face Red? (1932) | Transition | 0:01:22 - Speeding truck and a door | diminished 7th chord | establish setting | mysterious | poster | street | transcribed by ear | transition |
| Emergency Call (1933) | Ambulance | 0:00:11 - Main titles over a speeding ambulance | ambulance | augmented triad | dissonant bass | Dorian mode | dramatic | driving | half-diminished 7th chord | main title | opening title sequence | parallelism | paramedic | pedal tone | siren | street | through-composed | whole-tone |
| Headline Shooter (1933) | Transition | 0:01:23 - Video cast list | diminished 7th chord | establish setting | mysterious | poster | reused recording | street | transcribed by ear |
| 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 |
| Star of Midnight (1935) | Westminster Quarters | 0:53:50 - Clay waits | advance plot | calm | detective | detective | leading man | source music | street | waiting |
Star of Midnight (1935) | Rushing | 0:54:02 - Clay rushes to catch the bus | bus | detective | hurried | leading man | montage | parallelism | rushing | street | transcribed by ear |
Star of Midnight (1935) | Midnight in Manhattan (Montage) | 0:54:11 - Feet walking | bus | chromatic parallelism | fragmentation | hurried | montage | pedal tone | street | transcribed by ear | traveling | walking |
Star of Midnight (1935) | Sidewalks of New York | 0:54:28 - Feet walking | bus | calm | chromatic parallelism | foreign key modulation | lighthearted | montage | street | transcribed by ear | traveling | walking |
Star of Midnight (1935) | Midnight in Manhattan (Accelerando) | 0:54:42 - Feet walking | added-note chord | bus | chromatic parallelism | hurried | mickey-mousing | mode mixture | montage | street | transcribed by ear | traveling | walking |
Star of Midnight (1935) | Walking | 0:54:55 - Detective walking | detective | mickey-mousing | montage | street | tired | transcribed by ear | walking |
| Don’t Turn ‘em Loose (1936) | Mildred Waltz | 0:24:13 - Bob and Letty go for a walk | ABA structure | advance plot | altered dominant | augmented sixth chord | calm | conversing | diminished 7th chord | gangster | imposter | leading man | love interest | street | transcribed by ear | walking | waltz |
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 |
| We're Only Human (1935) | Old Lavender (Celeste Solo) | 0:23:14 - Pete and Sally buying food | advance plot | buying | detective | direct modulation | food | leading lady | leading man | love interest | ordering | peaceful | reporter | store | street | worker | working |
We're Only Human (1935) | Underscoring (Lyrical) | 0:23:23 - Pete exits the store | attempted murder | conflict | departing | detective | drive by shooting | food | gunshot | leading man | mode mixture | peaceful | pedal tone | shooting | street | underscoring | walking |
We're Only Human (1935) | Lullaby (Adagio) | 0:23:36 - Pete watches the car drive away | conflict | conversing | detective | diminished 7th chord | direct modulation | dissonant bass | food | leading lady | leading man | love interest | reacting | reporter | street | tense |
We're Only Human (1935) | The Escape (Hiding) | 0:27:05 - Pete and Danny dodge from gunfire | action scene | chromatic scale | detective | dodging | dramatic | gangster | gunshot | hiding | leading man | shooting | stinger | street | whole-tone chord |
We're Only Human (1935) | Gypo Runs Away | 0:27:09 - Pete and Danny hide | action scene | agitated | chromatic parallelism | detective | diminished 7th chord | gangster | hiding | leading man | street | tense |
We're Only Human (1935) | Kong 3 | 1:01:06 - Pete leaves | car | chromatic parallelism | climax | conflict | departing | detective | diminished 7th chord | dramatic | hurried | leading lady | leading man | pedal tone | reporter | rushing | sequence | street | victim |
| Another Face (1935) | Success at any Price Transition | 0:00:58 - Times Square in New York City | car | conversing | deceptive resolution | driving | establish setting | foreign key modulation | gangster | laughing | mysterious | street | sultry |
Another Face (1935) | Lover's Quarrel | 0:01:38 - Gangsters get out of a car | arriving | establish setting | gangster | mysterious | office | sequence | street | walking |
| Girl of the Rio (1932) | Piano noise | 0:00:52 - A busy street in Mexicana | crowd | neutral | on-screen text | source music | street | transition | walking |
| Without Honor (1949) | Dog | 0:01:55 - A dog running | car | dog | driving | establish setting | leading man | light | orchard | playful | running | street |
Without Honor (1949) | Tempo di Gavotte | 0:02:09 - A car coming to a stop | car | driving | establish setting | leading man | light | playful | stopping | street |
Without Honor (1949) | Twilight (Triste) | 0:02:19 - Dennis exits his car | car | establish setting | house | leading man | somber | street | walking |
Without Honor (1949) | Lullaby + Underscoring (Tense) | 0:37:46 - Jane runs to the road | | action scene | combination of themes | escaping | hiding | ice cream truck | leading lady | running | scored source music | source music | street | tense | underscoring |
Without Honor (1949) | Underscoring (Tense) | 0:38:12 - Jane gets sprayed by a hose | action scene | bus | conversing | leading lady | neighbor | street | tense | underscoring |
Without Honor (1949) | Chasing bus | 0:38:22 - Jane runs after the bus | action scene | bus | chasing | dramatic | falling | leading lady | mickey-mousing | running | street |
Without Honor (1949) | Appassionato 2 (Dramatic) | 0:38:33 - Jane tries to catch the bus | action scene | bus | chasing | dramatic | leading lady | street | waving |
Without Honor (1949) | Twilight (Rubato) | 0:39:03 - Jane stands in the road | action scene | car | husband | leading lady | leading man | solemn | street | walking |
Without Honor (1949) | Twilight (Resolution) | 0:55:26 - Jane walks out of the orchard | antagonist | brother | calm | child | conversing | husband | leading lady | leading man | orchard | resolution | scout | street |
Without Honor (1949) | Twilight (Morendo) | NIF - not in film | ambulance | cut from film | driving | resolution | street |
Without Honor (1949) | Appassionato 2 (Broad) | 1:05:32 - Fred gets in his car | anger | antagonist | brother | car | complaining | departing | dramatic | driving | husband | leading man | resolution | street | tense | yard |
Without Honor (1949) | Valse Triste (Agitato) | 1:05:49 - Bill tries to stop Fred | anger | antagonist | brother | car | chasing | complaining | departing | dramatic | driving | harsh | husband | leading man | resolution | running | street | tense | yelling |
Without Honor (1949) | The End | 1:06:25 - Bill in the middle of the road | anger | antagonist | brother | dramatic | leading man | looking | resolution | standing | street | The End |
| Caged (1950) | Molto Expressivo (Quasi Blues) | 1:35:01 - Marie leaves the prison | added-note chord | bluesy | bluesy | car | climax | ex-convict | freedom | leading lady | leaving | prison | smoking | street | warden | watching |
| Mara Maru (1952) | Underscoring (Mysterious) | 0:14:26 - Gregory walks down the street | leading man | mysterious | private eye | spying | street | transition | walking |
Mara Maru (1952) | Sneaking away | 0:14:35 - Two men sneak away | leading man | mickey-mousing | mysterious | private eye | sneaking | spying | street | transition |
Mara Maru (1952) | Gregory (Police) | 0:19:31 - The police station | arriving | dark | leading man | police | street | transition | walking |
Mara Maru (1952) | Morena | 0:50:56 - Gregory and Ranier walk down the street | advance plot | antagonist | bodyguard | cafe | conversing | hurrying | leading man | private eye | somber | source music | stree | tango | walking |
Mara Maru (1952) | Cross (Religioso) | 1:28:41 - Manuelo sees the church | action scene | car | church | collapsing | cross | headlights | hiding | hymn-like | passionate | religious | scrambling | shadow | street | suspect | worker |
Mara Maru (1952) | Underscoring (Tense) | 1:29:14 - Manuelo collapses | action scene | car | church | collapsing | cross | dark | headlights | scrambling | shadow | street | suspect | tense | underscoring | worker |
Mara Maru (1952) | Benedict | 1:31:19 - Benedict arrives at the church | antagonist | arriving | bodyguard | car | departing | driver | leading lady | love interest | murderer | mysterious | spying | street | tense | transition | watching |
| Half Shot at Sunrise (1930) | Whistling the Blues Away [verse] | 0:21:03 - Tommy and Annette sing to each other | car | leading lady | leading man | love interest | on-screen music | playful | singing | soldier | song and dance scene | source music | street | whistling |
Half Shot at Sunrise (1930) | Whistling the Blues Away | 0:21:44 - Tommy and Annette sing to each other | AABA structure | car | dancing | leading lady | leading man | love interest | on-screen music | playful | singing | soldier | song and dance scene | source music | street | whistling |
Half Shot at Sunrise (1930) | Kiss Me Cherie (The End) | 1:17:59 - The leads all embrace | embracing | end title sequence | father | greeting | kissing | leading lady | leading man | love interest | mother | street | The End | upbeat |
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