| All This, and Heaven Too (1940) | Desperation | 0:00:08 - Starring list | dark | dissonant bass | opening title sequence | parallelism | serious | starring list | transition |
All This, and Heaven Too (1940) | Henriette (Dolce) | 0:12:43 - Henriette talks to Henry | 64 chord | boat | chromatic mediant | conversing | deceptive resolution | gentle | leading lady | leaving | minister | peaceful | transition |
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) | Underscoring (Mysterious) | 0:46:43 - The Duchess stares at Henriette | chromatic wedge | conversing | duchess | governess | leading lady | linear chromaticism | mysterious | pc set | room | transition | underscoring |
All This, and Heaven Too (1940) | The Duke (Dignified) | 1:23:09 - A carriage arrives at the chateau | arriving | child | dignified | driver | governess | leading lady | noble | on-screen text | palace | transition |
All This, and Heaven Too (1940) | The Carousel | 1:26:22 - A spinning carousel | 64 chord | amusement park | augmented sixth chord | bright | carousel | child | enharmonic modulation | foreign key modulation | fun | mode mixture | on-screen text | pedal tone | riding | spinning | transition | upbeat |
All This, and Heaven Too (1940) | Spring Time | 1:30:22 - A carriage approaches the palace | 64 chord | arriving | bright | carriage | chattering | cheerful | child | duke | foreign key modulation | governess | happy | leading lady | leading man | Neapolitan | palace | pedal tone | riding | transition |
All This, and Heaven Too (1940) | Raynald (Mysterioso 2) | 1:30:33 - The carriage arrives | arriving | bright | carriage | chattering | child | duke | governess | happy | leading lady | leading man | palace | riding | sequential modulation | transition |
All This, and Heaven Too (1940) | Spring Time | 1:30:41 - The children get out of the carriage | 64 chord | bright | cheerful | child | chromatic sequence | conversing | duke | governess | happy | leading lady | leading man | Neapolitan | palace | pentatonic | transition |
All This, and Heaven Too (1940) | Raynald (Mysterioso 3) | 1:30:51 - The children talk to Henriette | 9th chord | bright | child | chromatic parallelism | conversing | duke | governess | leading lady | leading man | palace | surprise | tense | transition |
All This, and Heaven Too (1940) | Spring Time (Ominous) | 1:31:04 - The children enter the palace | 9th chord | 64 chord | augmented sixth chord | bright | cheerful | child | common-chord modulation | conversing | deceptive resolution | diminished third chord | duke | governess | leading lady | leading man | mode mixture | ominous | palace | surprise | transition |
All This, and Heaven Too (1940) | Henriette (Sweepingly) | 1:45:32 - Henriette reads a letter | cheerful | leading lady | letter | pleasant | room | transition |
All This, and Heaven Too (1940) | Henriette | 1:45:41 - A carriage arrives | arriving | carriage | child | duke | grand | leading man | pleasant | street | transition | traveling |
All This, and Heaven Too (1940) | Henriette (Appassionato 2) | 1:46:00 - Henriette descends the staircase | 9th chord | 11th chord | added-note chord | anxious | chromatic sequence | common-tone diminished 7th | descending | excited | foreign key modulation | hurrying | leading lady | not mickey-moused | room | stairs | transition | walking |
All This, and Heaven Too (1940) | Henriette (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 |
All This, and Heaven Too (1940) | The Duke (Maestoso) | 2:10:50 - Henriette enters the Duke's palace | arriving | countermelody | dark | hearing voices | leading lady | mode change | palace | prisoner | soldier | spooky | suspect | transition | uneasy |
All This, and Heaven Too (1940) | Henriette (Ghostly) | 2:11:23 - Henriette hears voices | arriving | chromatic parallelism | dark | dissonant bass | hearing voices | leading lady | palace | prisoner | soldier | spooky | suspect | transition | uneasy |
All This, and Heaven Too (1940) | Henriette (Serious) | 2:11:50 - Henriette arrives upstairs | arriving | detective | hearing voices | leading lady | palace | prisoner | serious | soldier | solemn | somber | suspect | transition | whole-tone chord |
All This, and Heaven Too (1940) | Crying | 2:12:15 - Pierre looks at Henriette | 64 chord | caretaker | chromatic scale | crying | detective | devastated | leading lady | looking | palace | prisoner | soldier | somber | suspect | transition |
| The Amazing Dr. Clitterhouse (1938) | Clitterhouse Onestep | 0:33:20 - Gangsters walk through music studio | added-note chord | common-tone diminished 7th | dancer | dancing | gangster | jaunty | on-screen music | parallel double period | pianist | playing | singing | studio | transition | walking | warming up |
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 |
| Angels With Dirty Faces (1938) | Transition | 0:00:07 - Starring cast list | bold | chromatic wedge | dark | half-diminished 7th chord | linear chromaticism | opening title sequence | starring list | transition |
Angels With Dirty Faces (1938) | The Gangster (Maestoso) | 0:08:07 - Discharge papers from the penitentiary | common-chord modulation | common-tone diminished 7th | ledger | main title | marching | mickey-mousing | montage | prison | prisoner | serious | solemn | transition | writing |
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 |
| 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 (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 |
| Arsenic and Old Lace (1944) | Sidewalks of New York (Expressivo) | 0:01:53 - A ship sailing under a bridge | 64 chord | boat | bridge | calm | card | city | establish place | familiar tune | pedal tone | sailing | transition |
| Beyond the Forest (1949) | Hurrying (Molto Agitato) | 0:44:13 - Rosa picks up the money | frantic | grabbing | hurried | leading lady | money | room | transition |
Beyond the Forest (1949) | Train (Whistle) + Chicago | 0:44:23 - A speeding train | combination of themes | familiar tune | hurried | popular tune | train | train | train effect | transition | traveling |
Beyond the Forest (1949) | Chicago (City) | 0:44:28 - Downtown Chicago | arriving | bright | calling | calm | city | familiar tune | hotel | leading lady | phone book | popular tune | telephone | transition | traveling |
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) | Rosa (Heavy) | 1:12:58 - Rosa and Lewis drive away | arriving | departing | dramatic | funeral | husband | leading lady | leading man | murderer | room | somber | transition | victim |
Beyond the Forest (1949) | Lewis (Crescendo) | 1:13:15 - Rosa and Lewis at home | arriving | calm | conversing | dark | dramatic | husband | leading lady | leading man | murderer | room | transition | victim | yelling |
| The Big Sleep (1946) | Transition | 0:00:08 - Shadows of the main characters | bold | half-diminished 7th chord | leading lady | leading man | opening title sequence | silhouette | smoke | smoking | starring list | transition | voice-exchange |
The Big Sleep (1946) | Walking | 0:13:02 - Marlowe leaves the mansion | butler | leading man | mysterious | parallelism | pedal tone | private eye | room | transition | walking |
The Big Sleep (1946) | The Library | 0:13:06 - Sign for the library | calm | deceptive resolution | foreign key modulation | library | on-screen text | transition |
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) | Walking (The Car) | NIF - not in film | car | deleted scene | driving | femme fatale | foreign key modulation | leading man | parallelism | pedal tone | private eye | room | sequential modulation | tense | transition |
The Big Sleep (1946) | Carmen | NIF - not in film | arriving | butler | chromatic mediant | deleted scene | femme fatale | leading man | private eye | room | tense | transition |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 0:25:05 - Marlowe arrives at Carmen's house | arriving | butler | departing | dissonant bass | femme fatale | inserted scene | leading man | not in score | private eye | reused recording | room | tense | transition |
The Big Sleep (1946) | Marlowe (Major) | 0:28:47 - Marlowe's name on his apartment door | arriving | leading man | mode mixture | mysterious | name on screen | noble | private eye | room | sequential modulation | transition |
The Big Sleep (1946) | Entering | NIF - not in film | arriving | augmented sixth chord | deleted scene | entering | gentle | leading man | not in score | parallel 63s | parallelism | private eye | room | transition | walking |
The Big Sleep (1946) | Marlowe (Melancholy) | NIF - not in film | added-note chord | arriving | deleted scene | leading man | melancholy | not in score | private eye | room | transition |
The Big Sleep (1946) | Underscoring (Tense) | 0:28:58 - Marlowe tries to crack the code | leading man | pc set | private eye | researching | room | tense | threat | transition | tritone | writing |
The Big Sleep (1946) | Marlowe (Bold) | 1:45:44 - Marlowe and Vivian get out of the car | bold | chromatic scale | heroic | leading lady | leading man | love interest | outside | private eye | transition | walking |
The Big Sleep (1946) | Walking (Extended) | 1:45:45 - Marlowe and Vivian walk up to house | fragmentation | leading lady | leading man | love interest | outside | parallelism | pedal tone | private eye | sequential modulation | tense | transition | walking |
| The Breaking Point (1950) | Humming | 0:54:33 - Wesley and Harry work on the boat | arriving | calm | criminal | friend | harbor | humming | leading man | on-screen music | sailor | source music | transition | walking | working |
The Breaking Point (1950) | First Call | 1:15:04 - Sign for a horse race | crowd | horse | race track | source music | transition | upbeat |
| City for Conquest (1940) | Train | 0:01:09 - An elevated train approaches | added-note chord | bridge | busy | city | hurried | mickey-mousing | old man | ostinato | police | pump-up modulation | train | transition | traveling |
City for Conquest (1940) | Tone Poem B + Train | 0:01:19 - Sign for the Williamsburg Bridge | 9th chord | added-note chord | bridge | busy | chromatic parallelism | city | combination of themes | countermelody | hurried | Mixolydian mode | old man | police | train | transition | traveling |
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 |
| 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 |
| Death of a Scoundrel (1956) | Detective Rises | 0:05:34 - Detective rises to question Bridget | rising | transition |
Death of a Scoundrel (1956) | Underscoring (Mysterious) | 0:11:08 - Clementi walks away with the policeman | flashback | transition |
| Deep Valley (1947) | Explosion | 0:15:06 - An explosion | construction site | dark | exploding | explosion | transition | worker |
Deep Valley (1947) | Homestead (Moderato) | 0:15:18 - Homestead in the distance | barnyard | dark | father | gentle | leading lady | mother | reading | room | transition |
Deep Valley (1947) | Law (Molto Misterioso) | 0:57:01 - Men hunting for Barry | forest | manhunt | mysterious | police | searching | tense | transition |
| Dust Be My Destiny (1939) | Transition | 0:00:09 - Starring list | dissonant bass | dramatic | dust | main title | mickey-mousing | opening title sequence | transition |
| Each Dawn I Die (1939) | Transition | 0:00:08 - Lead actors | bold | main title | opening title sequence | prison | starring list | transition |
| Flamingo Road (1949) | Titus 2 | 0:18:16 - A newspaper headline | chromatic parallelism | dark | headline | newspaper | politician | porch | self-borrowing | sheriff | throwing | transition | tritone |
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) | Slide whistle | 0:53:00 - Dan surprises Lute Mae | comical | employer | leading lady | leading man | love interest | mickey-mousing | politician | room | surprising | transition |
Flamingo Road (1949) | Lute Mae (Driving) | 0:53:02 - Lane drives Dan to the construction site | 13th chord | added-note chord | arriving | car | car | comical | common-chord modulation | driving | leading lady | leading man | love interest | politician | rushed | self-borrowing | transition | traveling |
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) | Flamingo Road (Expressivo) | NIF - not in film | altered dominant | cut from film | cut from film | self-borrowing | transition |
Flamingo Road (1949) | Underscoring (Mysterious) | NIF - not in film | added-note chord | cut from film | cut from film | transition | underscoring |
Flamingo Road (1949) | Titus 2 (Buzzer) | 1:13:16 - Titus arrives | arriving | chromatic parallelism | dark | entering | leading lady | maid | ominous | politician | room | self-borrowing | sheriff | transition |
| 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 |
| Her Kind of Man (1946) | It Had to Be You (Transition) | 0:00:08 - Starring list | bold | cards | dramatic | gambling | opening title sequence | poker | starring list | transcribed by ear | transition |
Her Kind of Man (1946) | Scrapbook | 0:00:59 - A busy newsroom | bluesy | journalist | pedal tone | room | transition | voice-over | working |
Her Kind of Man (1946) | Bulletin Board | 0:32:45 - Don leaves | bluesy | conversing | crew | departing | gambler | leading man | reporter | room | source and scoring overlap | stage | transition | upbeat |
Her Kind of Man (1946) | Underscoring (Gentle) | 0:33:47 - Don leaves | crew | departing | gentle | leading man | manager | reporter | street | theater | transition | underscoring |
Her Kind of Man (1946) | First Call | 0:33:53 - Horses before a race | bugle call | crowd | excited | racetrack | transition | waiting |
Her Kind of Man (1946) | Night Clubs (Street Scene) | 0:44:59 - Neon signs on Broadway | dramatic | sequential modulation | street | transition | upbeat |
| I Was a Communist for the FBI (1951) | 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) | Underscoring (Dramatic) | 0:24:58 - Matt reacts | chromatic parallelism | chromatic scale | chromatic wedge | departing | diminished 7th chord | dissonant bass | dramatic | insult | leading man | neighbor | reacting | room | stinger | transition | undercover agent |
I Was a Communist for the FBI (1951) | Strike | 0:43:53 - Newspaper headline | dramatic | headline | newspaper | polychord | stinger | strike | transition |
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 |
I Was a Communist for the FBI (1951) | Undercover Agent (Newspaper) | 1:04:11 - FBI agents talk | agent | conversing | dark | leading man | newspaper | ominous | planning | polychord | room | transition | tritone oscillation | undercover agent |
| Illegal (1955) | Scott (Transition) | 0:28:50 - Scott working in his office | hero | transition |
Illegal (1955) | Underscoring (Tense) | 0:42:31 - Vic rides up the elevator to Garland's office | transition |
| In This Our Life (1942) | Transition | 0:00:08 - Starring list | deceptive resolution | grand | opening title sequence | starring list | transition |
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) | Stanley (Triste) | 1:29:42 - Stanley enters the house | 9th chord | agitated | appoggiatura | circle of fifths | criminal | leading lady | room | running | sigh gesture | somber | tense | transition | uncle |
| 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) | The Informer (Up the Stairs) | 1:21:35 - Gypo goes up the stairs | 64 chord | agitated | antagonist | chromatic sequence | fragmentation | hallway | hiding | leading man | mickey-mousing | running | sequence | stairs | tense | traitor | transition | up |
| Key Largo (1948) | Transition | 0:00:08 - Starring list | bold | opening title sequence | starring list | transition |
| The Letter (1940) | Leslie (Maestoso) | 0:06:11 - Robert arrives at the plantation | bold | brassy | changing meter | dark | driving | home | husband | oscillation | transition | tritone |
The Letter (1940) | Underscoring (Tense) | 0:06:21 - Robert goes in the house | arriving | chromatic scale | diminished 7th chord | home | husband | tense | transition | underscoring |
The Letter (1940) | Law Office | 0:24:33 - Sign for a law firm | city | justice | lawyer | noble | office | setting | sign | transition |
The Letter (1940) | Leslie (Leaving) | 0:53:20 - Howard and Leslie leave the house | added-note chord | fragmentation | lawyer | leading lady | leaving | mysterious | plantation | sequence | sequential modulation | transition |
The Letter (1940) | Leslie (Screwyoso) | 0:53:35 - Howard and Leslie walk away | lawyer | leading lady | leaving | oscillation | plantation | sequence | tense | transition |
The Letter (1940) | Mrs. Hammond (Grandioso) | 0:53:54 - Leslie approaches the car | antagonist | Chinese | Chinese | driving | lawyer | leading lady | mysterious | open fifth | parallel fifths | pedal tone | pentatonic | plantation | transition |
The Letter (1940) | Chinese Quarter | 0:54:15 - The car enters the Chinese Quarter | antagonist | Chinatown | Chinese | Chinese | driving | exotic | exoticism | lawyer | leading lady | open fifth | parallel fifths | parallelism | pentatonic | setting | transition |
The Letter (1940) | Chinese Shop | 0:55:30 - Howard and Leslie look around | antagonist | Chinatown | Chinese | Chinese | exotic | exoticism | lawyer | layering | leading lady | Lydian mode | mirroring | mysterious | open fifth | parallel fifths | parallelism | polytonality | quintal chord | tense | transition | waiting | walking |
The Letter (1940) | Mrs. Hammond (Mysterioso) | 0:56:29 - Howard and Leslie wait in the shop | antagonist | Chinatown | Chinese | Chinese | exotic | lawyer | leading lady | mysterious | open fifth | parallel fifths | parallelism | pedal tone | pentatonic | shop | tense | transition | waiting |
The Letter (1940) | Mrs. Hammond (Dagger) | 0:57:04 - Leslie looks at a Chinese dagger | antagonist | Chinatown | Chinese | Chinese | dagger | exotic | lawyer | leading lady | mysterious | open fifth | parallel fifths | parallelism | pedal tone | pentatonic | polytonality | shop | tense | transition | waiting |
The Letter (1940) | Leslie (Guilty) | 1:19:41 - The full moon on a dark night | dramatic | moon | oscillation | panning shot | pedal tone | plantation | suspension | transition |
| Lightning Strikes Twice (1951) | Transition | 0:00:07 - Starring list and lightning strikes | acceleration | dramatic | lightning | lightning effect | opening title sequence | prison | self-borrowing | sequential modulation | starring list | transition |
Lightning Strikes Twice (1951) | Lightning | 0:00:24 - Title card, cast list and prison | cast list | dramatic | harmonic sequence | lightning effect | opening title sequence | prison | self-borrowing | title of film | transition |
Lightning Strikes Twice (1951) | News Office | 0:03:08 - Newspaper headlines about the trial | augmented sixth chord | conversing | diminished third chord | frantic | headline | newspaper | newspaper editor | office | telephone | transition |
Lightning Strikes Twice (1951) | Menace (Expressivo) | 0:03:24 - Newspaper editor on the phone | 9th chord | bus | conversing | dissonant bass | headline | newspaper | newspaper editor | office | telephone | transition | uneasy | worker |
Lightning Strikes Twice (1951) | Shelly and Trev (Molto Expressivo) | 0:23:31 - Shelly makes a promise | actor | conversing | countryside | departing | horse | leading lady | leading man | promise | somber | suspect | transition |
Lightning Strikes Twice (1951) | Shelly (Traveling) + Shelly 2 (Allegretto) | 0:23:40 - Shelly travels to Tumblewood Ranch | actor | added-note chord | arriving | bright | car | cheerful | combination of themes | countryside | cut from film | desert | driving | horse | leading lady | leading man | ostinato | ranch | sequential modulation | suspect | transition | traveling | walking |
Lightning Strikes Twice (1951) | Shelly + Shelly 2 (Molto Misterioso) | 0:24:05 - Shelly looks around the ranch | actor | arriving | calm | combination of themes | fragmentation | leading lady | mysterious | ostinato | ranch | sequential modulation | transition | walking |
Lightning Strikes Twice (1951) | Shelly 2 (Dolce) | 0:24:34 - Shelly walks around the ranch | 9th chord | actor | arriving | brother | calm | conversing | countermelody | leading lady | ranch | rancher | transition | walking |
Lightning Strikes Twice (1951) | Shelly 3 (Dolce) | 0:24:43 - Shelly sees Liza | actor | arriving | brother | calm | common-chord modulation | conversing | enharmonic respelling | feeding | goat | leading lady | Neapolitan | ranch | rancher | transition | watching |
Lightning Strikes Twice (1951) | Shelly (Gallop) | 0:40:52 - Shelly riding on a horse | actor | arriving | countryside | galloping | galloping effect | horse | leading lady | riding | transition | upbeat |
Lightning Strikes Twice (1951) | Shelly (Dolce) + Shelly 2 | 0:41:00 - Shelly gets off of her horse | actor | arriving | calm | combination of themes | horse | leading lady | ranch | transition | walking | worker |
Lightning Strikes Twice (1951) | Shelly (Gallop 2) + Shelly 2 | 0:42:19 - Shelly riding on a horse | actor | arriving | calm | combination of themes | countryside | galloping | galloping effect | horse | leading lady | riding | transition | traveling | upbeat |
Lightning Strikes Twice (1951) | Shelly (Legato) + Shelly 2 (Legato) | 0:42:32 - Shelly gets off of her horse | actor | arriving | calm | combination of themes | countryside | hiking | horse | leading lady | leading man | love interest | suspect | transition | walking |
Lightning Strikes Twice (1951) | Shelly (Molto Expressivo) | 0:48:29 - Shelly packs her bags | actor | gentle | leading lady | luggage | packing | ranch | transition |
Lightning Strikes Twice (1951) | Menace (Molto Misterioso) | 0:50:38 - Liza leaves the room | actor | car | leading lady | leaving | luggage | mysterious | packing | ranch | rancher | somber | tense | transition |
Lightning Strikes Twice (1951) | Shelly (Traveling) + Shelly 2 (Allegretto) | 0:51:09 - Shelly drives away from the Tumble Moon ranch | actor | car | combination of themes | driving | leading lady | luggage | ranch | rancher | transition | traveling | upbeat |
Lightning Strikes Twice (1951) | Shelly 2 (Dolce) | 0:51:36 - Shelly arrives at the Nolan ranch | actor | arriving | calm | leading lady | ranch | transition | walking |
Lightning Strikes Twice (1951) | Shelly 3 (Dolce) | 0:51:45 - Shelly walks to the ranch house | actor | arriving | butler | calm | conversing | leading lady | ranch | stinger | transition | waiting | walking |
Lightning Strikes Twice (1951) | Shelly and Trev (Expressivo) | 0:52:14 - Shelly sees Trev's portrait | actor | butler | leading lady | looking | portrait | ranch | solemn | transition | waiting |
| Mildred Pierce (1945) | Work (Excited) | 0:42:35 - Mildred and Wally leave | 9th chord | added-note chord | excited | excitement | friend | heroine | leading lady | leaving | room | self-borrowing | shadow | transition | work |
Mildred Pierce (1945) | Beach House | 0:42:49 - Mildred and Wally drive up to the beach house | 9th chord | arriving | beach house | driving | friend | heroine | leading lady | ocean | peaceful | transition | water | wave |
Mildred Pierce (1945) | Walking | 0:42:58 - Mildred and Wally walk to the house | added-note chord | arriving | beach house | excited | friend | heroine | leading lady | mickey-mousing | ocean | parallelism | transition | walking |
Mildred Pierce (1945) | Bert (Sentimentale) | 0:48:03 - Mildred watches her children leave | heroine | husband | leading lady | leaving | oscillation | room | serious | somber | thinking | transition | whole-tone chord |
Mildred Pierce (1945) | Work (Molto Grazioso) | 0:48:16 - Mildred works at her restaurant | cheerful | common-tone diminished 7th | friend | heroine | ladder | leading lady | legs | pedal tone | restaurant | self-borrowing | transition | working |
Mildred Pierce (1945) | Rushing train | 1:24:15 - A rushing train | double exposure | excited | heroine | leading lady | mickey-mousing | train | train | transition | traveling |
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 |
| The Life of Vergie Winters (1934) | Lullaby (Dark) | 1:17:11 - Newspaper headline about John's murder | dark | leading lady | secret lover | serious | transition |
| Out of the Fog (1941) | Transition | 0:00:08 - Starring list | 9th chord | deceptive resolution | harbor | opening title sequence | starring list | tense | transition |
| The Unfaithful (1947) | Chris | 0:07:27 - Chris drives home | 9th chord | calm | car | driving | leading lady | street | transition |
The Unfaithful (1947) | Chris 2 (Minor) | 0:07:37 - Chris arrives home | 9th chord | antagonist | car | cheerful | dark | driving | house | leading lady | sequential modulation | suspension | transition |
The Unfaithful (1947) | 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) | Oh But I Do | 0:32:27 - Ladies talk at a restaurant | AABA structure | advance plot | calm | conversing | husband | lawyer | leading lady | on-screen music | restaurant | sister | source music | transition | victim |
The Unfaithful (1947) | Deep Night | 0:35:15 - Larry, Chris, and Bob at a restaurant | AABA structure | advance plot | calm | conversing | husband | lawyer | leading lady | on-screen music | restaurant | source music | transition | victim |
The Unfaithful (1947) | Attorney | 0:42:51 - Close up of sign on the lawyer's door | 64 chord | altered dominant | deceptive resolution | door | glorious | heroic | law office | office | parallel 63s | sign | transition |
The Unfaithful (1947) | Unfaithful (Rising) | 0:43:06 - Larry walks into his office | chromatic parallelism | dramatic | law office | lawyer | office | ostinato | sequence | transition | walking |
The Unfaithful (1947) | Chris | 0:43:45 - Chris pulls up in a cab | 9th chord | added-note chord | driving | foreign key modulation | law office | leading lady | office | peaceful | spinning | transition |
The Unfaithful (1947) | Chris 2 | 0:43:56 - Chris goes to Larry's office | 9th chord | law office | leading lady | office | peaceful | pedal tone | sequential modulation | transition | walking |
The Unfaithful (1947) | Attorney | 1:09:14 - Larry drives to the art shop | 64 chord | deceptive resolution | driving | heroic | lawyer | street | transition |
The Unfaithful (1947) | Unfaithful (Rising) | 1:09:33 - The art shop is locked | lawyer | ostinato | parallelism | sequence | shop | tense | transition | worrying |
The Unfaithful (1947) | Walking | 1:09:50 - Bob goes for a walk | husband | park | pedal tone | tense | transition | walking |
The Unfaithful (1947) | Unfaithful (Ominous) | 1:10:22 - Bob meets the art dealer | antagonist | blackmail | husband | monophonic | ominous | park | transition | waiting |
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) | Unfaithful (Triste) | 1:13:36 - Bob walks slowly away | dirge | heartbroken | hotel | husband | ostinato | pedal tone | polychord | sad | sequential modulation | somber | transition | walking |
The Unfaithful (1947) | Unfaithful (Risoluto) | 1:14:27 - Bob arrives home | angry | arriving | car | driving | fragmentation | house | husband | monophonic | transition |
The Unfaithful (1947) | Unfaithful (Angry) | 1:15:00 - Bob looks around | angry | common-chord modulation | deceptive resolution | husband | intense | meandering | Neapolitan | ostinato | room | sequential modulation | transition | walking |
The Unfaithful (1947) | Unfaithful (Rising Anger) | 1:15:35 - Bob walks | angry | chromatic scale | fragmentation | half-diminished 7th chord | husband | intense | meandering | oscillation | ostinato | room | transition | walking |
| We Are Not Alone (1939) | Surprise Symphony (Newspaper) | 0:31:52 - David sits and whistles | 9th chord | classical music | deceptive resolution | familiar tune | foreshadowing | happy | Haydn | hero | home | ominous | quotation | reveal | transition | whistling |
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 |
| White Heat (1949) | Plotting | 0:11:21 - Cody packs up money in a suitcase | conversing | dark | gangster | leading lady | leading man | love scene | moll | money | murderer | packing | room | tense | transition |
White Heat (1949) | 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) | Morgue | 0:14:17 - Tahoe County Morgue sign | conversing | corpse | dark | detective | investigation scene | menacing | morgue | mortician | police | self-borrowing | transition |
White Heat (1949) | T-Men | 0:15:01 - Aerial view of the city | city | heroic | noble | panning shot | transition |
White Heat (1949) | Misterioso | 0:16:34 - Aerial view of the city | city | dark | mysterious | panning shot | 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) | Agents | 0:18:49 - Agent leaves a phone booth | agent | car | mysterious | sneaking | street | telephone | transition | walking |
White Heat (1949) | Plotting (Mysterious) | 0:29:13 - Verna and Ma leave the police station | agent | leading lady | leading man | moll | mother | mysterious | police station | transition | walking |
White Heat (1949) | Cody 2 | 0:29:18 - Newspaper headline | agent | bold | dark | dramatic | headline | leading man | newspaper | police station | transition | typing |
White Heat (1949) | Prison | 0:35:40 - The prison walls | conversing | dark | leading man | ominous | prison | prisoner | transition | undercover agent |
White Heat (1949) | Prison | 1:04:01 - The prison walls | dramatic | ominous | prison | transition |
White Heat (1949) | Panning | 1:19:32 - Camera pans to the group | beans | dramatic | fugitive | gangster | leading lady | leading man | love interest | mickey-mousing | moll | murderer | panning shot | room | throwing | transition | undercover agent | waiting |
White Heat (1949) | Agents (Message) | 1:37:03 - Gas station attendant goes to washroom | conversing | gas station | message | mirror | police | radio | tense | transition | worker |
| The Woman in White (1948) | Introduction | 0:00:00 - WB Shield | bold | book | grand | opening title sequence | transition | WB shield |
The Woman in White (1948) | Fosco (Ominous) | 0:35:03 - Fosco's carriage approaches | arriving | carriage | dark | garden | leading lady | leading man | ominous | transition |
The Woman in White (1948) | Pavan B | 0:50:44 - A carriage arrives | arriving | carriage | conversing | cousin | grand | headline | leading lady | mansion | montage | montage | newspaper | Renaissance music | servant | transition |
The Woman in White (1948) | Pavan (Misterioso) | 1:23:21 - Marian and Walter leave | cousin | dark | forest | leading lady | leading man | leaving | serious | spy | spying | transition |
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 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 |
Is My Face Red? (1932) | Keyhole | 0:01:29 - Newspaper reads "The Keyhole to the City" | establish setting | jazz | keyhole | raucous | transcribed by ear | transition |
Is My Face Red? (1932) | Steam whistle | 0:15:08 - A steam whistle blows | boat | chromatic scale | mickey-mousing | polychord | steam whistle | tense | transcribed by ear | transition |
Is My Face Red? (1932) | Sailing | 0:19:56 - Boat moves through the water | boat | common-tone diminished 7th | crowd | excited | mode mixture | pedal tone | sailing | transcribed by ear | transition |
Is My Face Red? (1932) | Sidewalks of New York (Harbor) | 0:20:07 - New York City skyline | calm | countermelody | New York | parallelism | popular music | setting | transcribed by ear | transition | traveling |
Is My Face Red? (1932) | Sidewalks of New York (Lights) | 0:21:04 - New York City skyline | calm | diminished 7th chord | drinking | leading lady | leading man | New York | octatonic | popular music | setting | transcribed by ear | transition |
Is My Face Red? (1932) | Sailing 2 | 0:21:30 - Boat cuts through the waves | boat | parallelism | sailing | sailor | tense | transcribed by ear | transition | waves | whole-tone |
Is My Face Red? (1932) | Scenes Metropolitaine | 0:43:51 - Montage of activities in the city | ABCA structure | augmented triad | boat | boxing | Chinatown | diminished 7th chord | excited | gambling | leading lady | leading man | metric dissonance | montage | New York | night club | parallelism | transcribed by ear | transition | whole-tone |
| Thirteen Women (1932) | The Train | 0:01:33 - A rushing train | chromatic mediant | mickey-mousing | pedal tone | rushing | sorting | train | train | train whistle | transcribed by ear | transition | traveling | upbeat |
| Murder on the Blackboard (1934) | Clock Tower | 0:02:12 - A clock tower | calm | city | clock tower | source music | tolling | transition |
Murder on the Blackboard (1934) | Clock Tower | 0:12:17 - A clock tower | calm | city | clock tower | source music | tolling | transition |
| 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 |
| The Most Dangerous Game (1932) | The Open Sea | 0:01:20 - A buoy on the open sea | boat | boat | calm | clock | gentle | ocean | sailing | transition |
The Most Dangerous Game (1932) | Piano Improvisation | 0:56:39 - The Count plays the piano | calm | castle | count | listening | on-screen music | piano | playing | servant | source music | transition | villain |
| 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) | Manuelo (Stinger) | 0:14:44 - Gregory arrives home | arriving | discovering | dramatic | gentle | leading man | room | stinger | transition | unconcious | worker |
Mara Maru (1952) | Gregory (Police) | 0:19:31 - The police station | arriving | dark | leading man | police | street | transition | walking |
Mara Maru (1952) | Mara Maru | 0:53:22 - A boat in the harbor | antagonist | arriving | bodyguard | captain | conversing | dock | dramatic | harbor | leading man | panning shot | private eye | sailing | sailor | ship | tense | transition |
Mara Maru (1952) | Sailing | 0:53:34 - Men on the deck of the ship | bodyguard | captain | conversing | dock | leading man | preparing | private eye | sailing effect | sailor | ship | transition | uneasy |
Mara Maru (1952) | Sailor's Hornpipe (Con Spirito) | 0:55:41 - Gregory enters the boat | bodyguard | conversing | familiar tune | leading man | light | preparing | private eye | sailor | ship | ship | transition |
Mara Maru (1952) | Mara Maru (Maestoso) | 0:55:48 - The Mara Maru sailing | dramatic | ocean | sailing | ship | tense | transition |
Mara Maru (1952) | Mara Maru | 0:59:23 - The Mara Maru sailing | dramatic | ocean | sailing | ship | tense | transition |
Mara Maru (1952) | Sailing (Extended) | 0:59:29 - The churning sea | antagonist | conversing | leading lady | love interest | ocean | panning shot | sailing | ship | ship | transition | uneasy |
Mara Maru (1952) | Mara Maru (Maestoso) | 1:07:44 - The Mara Maru sails at night | dramatic | ocean | sailing | ship | tense | transition |
Mara Maru (1952) | Mara Maru (Stormy) | 1:22:41 - Gregory on the deck of the ship | captain | dramatic | gun | leading man | rain | ship | storm | stumbling | tense | transition | walking | wave | wind |
Mara Maru (1952) | Sailing (Stormy) | 1:22:59 - Gregory enters the boat | antagonist | arriving | captain | dark | dramatic | gun | leading man | rain | ship | storm | transition | walking | wave | wind |
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 | 0:24:56 - A scene in the park | AABA structure | car | driving | leading lady | leading man | love interest | park | playful | soldier | source to score | transition |
Tag Search Results