| The Amazing Dr. Clitterhouse (1938) | Turning on light | 0:44:51 - The watchman turns on a light | augmented sixth chord | guard | lamp | light | light | mickey-mousing | mysterious | robbery | store | suspenseful | turning on |
The Amazing Dr. Clitterhouse (1938) | The Torch (Off) + The Motor | 0:52:24 - Butch finishes opening safe | anxious | burning | combination of themes | criminal | cutting | dissonant bass | dramatic | fire | flame | gangster | hero | motor | ostinato | pc set | rescuing | robbery | sparks | store | tense | thief | torch | turning off |
| Angels With Dirty Faces (1938) | Underscoring (Mysterious) | 1:09:33 - Jerry leaves | 42 chord | gangster | leading man | leaving | money | montage | mysterious | priest | room | turning point |
Angels With Dirty Faces (1938) | Tossing money | 1:09:33 - Jerry throws Rocky's money on the table | 42 chord | gangster | leading man | mickey-mousing | money | mysterious | priest | room | tossing | turning point |
| Arsenic and Old Lace (1944) | Jonathan | 0:23:14 - Mortimer reacts to the reveal | calling | conversing | dialing | diminished 7th chord | groom | leading man | ominous | pc set | quartal chord | reveal | room | sinister | stinger | telephone effect | thinking | turning point |
Arsenic and Old Lace (1944) | Here Comes the Bride (Elaine Whistles) | 0:23:44 - Elaine whistles out of her window | agitated | bride | cheerful | chromatic scale | dark | diminished 7th chord | familiar tune | groom | leading lady | leading man | on-screen music | room | scored source music | source music | turning point | whistling |
Arsenic and Old Lace (1944) | Here Comes the Bride (Running) | 0:23:58 - Mortimer runs to the door | 9th chord | 13th chord | aunt | bride | child | chromatic scale | crazy person | dark | familiar tune | groom | Halloween | intervallic expansion | leading lady | leading man | murderer | room | running | rushing | source music | source to score | trick-or-treating | turning point |
| Beyond the Forest (1949) | Underscoring (Dramatic) | 1:08:24 - Moose warns Rosa | anger | dramatic | friend | harsh | leading lady | observing | room | stinger | turning point | underscoring | warning | warning |
Beyond the Forest (1949) | Chicago (Harmonics) | 1:08:31 - Rosa reacts to Moose's warning | anger | angry | contemplating | familiar tune | harsh | leading lady | ominous | popular tune | reacting | room | turning point |
Beyond the Forest (1949) | Underscoring (Dramatic) | 1:08:36 - Rosa hits the table | anger | angry | contemplating | dramatic | harsh | hitting | leading lady | pounding | reacting | room | turning point | underscoring |
Beyond the Forest (1949) | Rosa (Violent) | 1:08:54 - Rosa slowly turns | anger | angry | contemplating | harsh | leading lady | ominous | reacting | room | turning point |
Beyond the Forest (1949) | Rosa (Violent) + Chicago | 1:09:01 - Rosa heads outside | anger | angry | combination of themes | contemplating | departing | familiar tune | harsh | leading lady | ominous | popular tune | reacting | room | turning point |
| The Big Sleep (1946) | Turns light on | NIF - not in film | deleted scene | deleted scene | investigating | investigation | leading man | light | light switch | mickey-mousing | mysterious | private eye | room | searching | turning on | whole-tone chord |
The Big Sleep (1946) | Turns light on | NIF - not in film | deleted scene | deleted scene | investigating | investigation | leading man | light | light switch | mickey-mousing | mysterious | private eye | room | searching | turning on | whole-tone chord |
The Big Sleep (1946) | Turning page | 0:24:20 - Marlowe turns the page in the code book | chromatic scale | clue | investigating | investigation scene | leading man | mysterious | private eye | room | searching | secret code | turning | whole-tone chord |
The Big Sleep (1946) | Turns light off | NIF - not in film | deleted scene | femme fatale | investigation | leading man | light | light switch | mysterious | private eye | room | tense | turning off | whole-tone chord |
| Caged (1950) | Marie (Dramatic) | 0:52:43 - Marie pleads with her mother to take the baby | 9th chord | altered dominant | chromatic scale | chromatic wedge | despair | dramatic | leading lady | mother | nurse | pleading | prison | prisoner | tragic | turning point |
Caged (1950) | Prison (Tragic) | 0:52:48 - Marie calls after her mother | added-note chord | augmented sixth chord | chromatic sequence | despair | dramatic | leading lady | mother | nurse | pleading | prison | prisoner | sigh gesture | tragic | turning point |
| Crime School (1938) | Lights on | 1:15:26 - Sue turns the lights on | conflict | hero | heroine | leading lady | leading man | light | mickey-mousing | room | tense | turning on |
| They Made Me a Criminal (1939) | Underscoring (Dramatic) | 0:56:17 - Johnnie sees his picture in the paper | angry | arguing | chromatic parallelism | dissonant bass | dramatic | fighting | half-diminished 7th chord | hero | leading man | mickey-mousing | photograph | ranch | teenager | tense | turning point | underscoring |
They Made Me a Criminal (1939) | On the Make (Tenderly) | 1:07:57 - Tommy talks to Johnnie | 9th chord | ABAB structure | altered dominant | arguing | chromatic mediant | conversing | direct modulation | foreign key modulation | hero | leading man | room | tender | turning point |
They Made Me a Criminal (1939) | On the Make (Lohenblueish) | 1:09:07 - Johnnie decides that he will stay | added-note chord | augmentation | chromatic mediant | direct modulation | foreign key modulation | hero | hopeful | hopeless | leading man | linear chromaticism | passionate | room | thinking | turning point | zoom in |
They Made Me a Criminal (1939) | The Fugitive (Religioso) | 1:09:41 - Johnnie looks at a picture | 9th chord | hero | leading man | Neapolitan | room | tender | thinking | turning point |
They Made Me a Criminal (1939) | Inspiration | 1:09:53 - Johnnie has an inspiration | boxing | foreign key modulation | gentle | hero | idea | inspiration | leading man | pedal tone | pump-up modulation | room | shadow | thinking | turning point |
| Death of a Scoundrel (1956) | Lamp | 0:07:45 - Gerry turns on the light | flashback | lamp | light | mickey-mousing | nighttime | turning on |
Death of a Scoundrel (1956) | Lamp | 0:12:47 - Gerry turns on the light | flashback | lamp | light | mickey-mousing | nighttime | turning on |
| 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 |
| Dust Be My Destiny (1939) | Turning around | 0:26:13 - Joe and Mabel turn around | 64 chord | barn | death | dramatic | leading lady | leading man | mickey-mousing | prisoner | turning |
Dust Be My Destiny (1939) | Dust Be My Destiny (Fateful Decision) | 0:26:17 - Joe and Mabel decide to run away together | barn | confused | deceptive resolution | fragmentation | hopeful | leading lady | leading man | mode mixture | runaway | turning point |
| Each Dawn I Die (1939) | Frank (Parole Denied) | 1:07:58 - Frank's parole is denied | 9th chord | common-tone diminished 7th | dark | despair | foreign key modulation | half-diminished 7th chord | hopeful | leading man | letter | prison | prisoner | reading | sigh gesture | solemn | turning point |
| Hell on Frisco Bay (1955) | Kay | 1:28:35 - Steve leaves with Kay | comforting | detective | gentle | leading man | leaving | love interest | room | turning point | witness |
Hell on Frisco Bay (1955) | Hell on Frisco Bay (Waking Up) | 1:28:48 - Marcia wakes up and answers the door | bussing | doorbell | gentle | leading lady | matched source pitch | room | turning point | waking | wife |
Hell on Frisco Bay (1955) | Kay (Tragic) | 1:29:11 - Steve enters with Kay | arriving | detective | entering | leading lady | leading man | love interest | room | somber | turning point | witness |
Hell on Frisco Bay (1955) | Hell on Frisco Bay (Agitato) | 1:29:23 - Steve leaves | agitated | calling | conversing | detective | leading lady | leading man | leaving | love interest | room | telephone | tense | turning point | wife | witness |
Hell on Frisco Bay (1955) | Underscoring (Tense) | 1:29:55 - Marcia talks to Kay | conversing | leading lady | love interest | room | telephone | tense | turning point | underscoring | wife | witness |
| Her Kind of Man (1946) | Underscoring (Dramatic [Deutsch]) | 0:54:59 - Cop takes a witness | departing | dramatic | leading man | letter | mysterious | police | police station | reporter | signature | tense | turning point | typing | underscoring | waiter | witness |
Her Kind of Man (1946) | Burning paper | 0:55:22 - Burning paper | burning | fire effect | leading man | mickey-mousing | reporter | room | tense | turning point |
Her Kind of Man (1946) | Candy (Dark) | 1:12:58 - Candy leaves | bar | calling | conversing | criminal | dark | double-cross | gambler | henchman | husband | leading man | murderer | ominous | pc set | stinger | telephone | turning point | warehouse |
| I Was a Communist for the FBI (1951) | Turns on lights | 0:58:50 - Agent turns on the lights | communist | create suspense | light | mickey-mousing | room | spy | tense | tritone | turning on |
| Illegal (1955) | Startled | 1:04:38 - Ray is startled by a noise and rushes to the door | head turning | lighter | mickey-mousing | nervous | startled |
| In This Our Life (1942) | Phone Call | 0:47:29 - Asa answers the phone | bad news | conversing | dark | eerie | father | mysterious | pc set | phone call | room | telephone | tense | tone cluster | turning point |
In This Our Life (1942) | Funereal | 0:48:25 - Asa calls for the others | bad news | conversing | father | leading lady | leading man | room | solemn | stinger | turning point | uncle |
In This Our Life (1942) | Underscoring (Somber) | 0:48:46 - Asa relates the bad news | 9th chord | bad news | conversing | deceptive resolution | father | leading lady | leading man | room | sigh gesture | somber | turning point | uncle | underscoring |
In This Our Life (1942) | Underscoring (Dark) | 0:49:21 - Asa tells them Peter committed suicide | conversing | dark | father | leading lady | leading man | room | stinger | suicide | triadic transformation | turning point | uncle | underscoring |
In This Our Life (1942) | Stanley B (Agitato) | 0:49:32 - Uncle Fitzroy asks about Stanley | agitated | altered dominant | arguing | chromatic scale | chromatic sequence | dissonant bass | father | leading lady | leading man | room | suicide | tense | turning point | uncle | whole-tone chord |
In This Our Life (1942) | Roy (Morendo 2) | 0:49:54 - Roy reacts to the bad news | added-note chord | appoggiatura | augmented sixth chord | conversing | father | leading lady | leading man | mode change | room | serious | somber | suicide | turning point | uncle |
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 |
| The Letter (1940) | Leslie (Mysterioissimo) | 0:04:42 - A shadow appears | circle of fifths | common-chord modulation | foreign key modulation | fragmentation | home | leading lady | light | looking | murder scene | mysterious | oscillation | parallel fifths | servant | turning on |
| Lightning Strikes Twice (1951) | Blows out candle | 0:19:35 - Shelly blows out a candle | actor | blowing | candle | establish character | leading lady | light | mickey-mousing | mysterious | room | turning off |
Lightning Strikes Twice (1951) | Shelly and Trev | NIF - not in film | 9th chord | actor | blowing | candle | cut from film | establish character | leading lady | leading man | light | room | suspect | suspension | tense | turning off |
Lightning Strikes Twice (1951) | Father Paul (Ominous) | 1:21:26 - Liza admits to murder | brother | confessing | confession | dark | murderer | ominous | rancher | room | truth | turning point |
Lightning Strikes Twice (1951) | Molto Agitato | 1:21:32 - String gets angry | anger | angry | brother | murderer | rancher | room | threatening | turning point |
Lightning Strikes Twice (1951) | Menace (Poco Meno) | 1:21:41 - String calms down | brother | conversing | danger | murderer | rancher | room | tense | thematic transference | turning point |
Lightning Strikes Twice (1951) | Anger (Extended) | 1:21:51 - String plans to leave | brother | conversing | murderer | plotting | rancher | room | tense | turning point | underscoring |
Lightning Strikes Twice (1951) | Liza (Dolce) | 1:22:09 - Liza in a daze | disorientation | lost love | murderer | rancher | romantic | room | tender | thinking | turning point |
Lightning Strikes Twice (1951) | Trev (Ethereal) | 1:22:19 - Liza in a daze | disorientation | lost love | murderer | rancher | room | thinking | turning point | uneasy |
Lightning Strikes Twice (1951) | Shelly (Molto Agitato) | NIF - not in film | actor | agitated | arriving | car | cut from film | dark | driving | leading lady | ranch | tense | turning point |
Lightning Strikes Twice (1951) | Menace (Tense) | 1:22:36 - Liza wanders through the house | headlights | murderer | rancher | room | tense | thinking | turning point | uneasy | wandering |
Lightning Strikes Twice (1951) | Menace (Expressivo) | 1:22:56 - Liza looks out the window | actor | arriving | car | dark | leading lady | looking | menacing | murderer | obsessive | ranch | rancher | room | turning point | watching | worrying |
| 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) | Pneumonia | 0:54:25 - A doctor works on Kay | child | chromatic scale | dark | death scene | doctor | dying | ex-husband | heroine | illness | leading lady | mickey-mousing | nurse | oscillation | patient | pc set | room | sick person | somber | tense | treating | turning point | waiting | watching |
Mildred Pierce (1945) | Kay and Veda (Dying) | 0:55:05 - Kay's family waits and watches | 11th chord | child | dark | death scene | doctor | dying | ex-husband | heroine | illness | leading lady | nurse | patient | room | sick person | somber | tense | treating | turning point | waiting | watching |
Mildred Pierce (1945) | Pneumonia (Dying) | 0:55:24 - Kay passes away | 9th chord | child | chromatic parallelism | dark | death | death scene | doctor | dying | ex-husband | heroine | illness | leading lady | linear chromaticism | minor-major 7th chord | nurse | oscillation | patient | room | sick person | somber | tense | treating | turning point | waiting | watching |
Mildred Pierce (1945) | Mildred (Mourning) | 0:56:07 - Mildred mourns Kay's death | 9th chord | augmented sixth chord | child | death | death scene | doctor | ex-husband | heroine | leading lady | mourning | nurse | patient | room | sick person | somber | turning point |
Mildred Pierce (1945) | Kay and Veda (Tenderly) | 0:56:34 - Veda and Mildred mourn for Kay | added-note chord | calm | child | death | death scene | ex-husband | heroine | hopeful | leading lady | mode mixture | mourning | plagal cadence | room | somber | turning point |
Mildred Pierce (1945) | It Can't Be Wrong (Molto Misterioso) | 1:42:42 - Mildred learns that Monte has betrayed her | 9th chord | bankruptcy | betrayal | dark | familiar tune | friend | heroine | leading lady | love theme | memory | mysterious | pc set | popular music | realizing | room | somber | turning point | whole-tone chord |
Mildred Pierce (1945) | Mildred (Mad) | 1:43:19 - Mildred makes a phone call | anger | angry | calling | dissonant bass | half-diminished 7th chord | heroine | leading lady | room | tense | turbulent | turning point | walking |
Mildred Pierce (1945) | Hopes Crushed | 1:43:38 - Mildred realizes Monte has left her | chromatic scale | dark | dissonant bass | heroine | leading lady | lost hope | mickey-mousing | realizing | room | tritone | turning point |
| 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 |
| Secrets of the French Police (1932) | Page turn | 0:00:44 - The page turns and the cast list is revealed | cast list | mickey-mousing | newspaper | opening title sequence | page turn | romantic | self-borrowing | turning |
| Without Honor (1949) | Grabs her | 0:25:40 - Bill grabs Jane and kisses her | antagonist | brother | conflict | dramatic | grabbing | kissing | leading lady | leading man | room | slapping | turning |
| The Most Dangerous Game (1932) | Russian Waltz (Whole Tone) + The Iron Door | 0:29:10 - Bob wakes up | barking | bed | castle | combination of themes | door | knocking | leading lady | leading man | mysterious | opening | sleeping | turning point | waking |
The Most Dangerous Game (1932) | Underscoring (Mysterious) | 0:29:31 - Bob gets up | barking | castle | leading lady | leading man | mysterious | rising | turning point | underscoring |
The Most Dangerous Game (1932) | Emotions | 0:29:42 - Eve comes in | agitated | candle | castle | conversing | fear | leading lady | leading man | tense | turning point |
The Most Dangerous Game (1932) | Emotions 2 | 0:29:59 - Eve talks with Bob | agitated | candle | castle | conversing | fear | leading lady | leading man | tense | turning point |
The Most Dangerous Game (1932) | The Iron Door (Mysterioso) | 0:30:12 - Bob talks with Eve | candle | castle | conversing | foreshadowing | leading lady | leading man | mysterious | stinger | turning point |
The Most Dangerous Game (1932) | Russian Waltz (Sneaking) | 0:30:29 - Bob and Eve sneak downstairs | candle | castle | descending | leading lady | leading man | mysterious | sneaking | tense | turning point | walking |
The Most Dangerous Game (1932) | The Approach (Sneaking) | 0:30:39 - Bob and Eve sneak downstairs | candle | castle | descending | leading lady | leading man | mysterious | sneaking | tense | turning point | walking |
The Most Dangerous Game (1932) | Zaroff (Very Mysterious) | 0:30:58 - Bob and Eve enter the trophy room | candle | castle | descending | leading lady | leading man | mickey-mousing | mysterious | sneaking | turning point | walking |
The Most Dangerous Game (1932) | Russian Waltz (Adagio) + The Iron Door | 0:31:06 - Bob and Eve descend the stairs | candle | castle | dark | descending | leading lady | leading man | ominous | searching | sneaking | turning point | walking |
The Most Dangerous Game (1932) | Zaroff (Sneaking) | 0:31:29 - Bob and Eve look around | candle | castle | descending | leading lady | leading man | mysterious | searching | sneaking | turning point | walking |
The Most Dangerous Game (1932) | Decapitated Head | 0:31:35 - Eve sees a decapitated head | candle | castle | dramatic | head | jump scare | leading lady | leading man | screaming | stinger | turning point |
| Mara Maru (1952) | Benedict (Misterioso) | 1:06:32 - Benedict talks with Stella | antagonist | conversing | leading lady | love interest | mysterious | plotting | reveal character | ship | ship | tense | turning point |
Mara Maru (1952) | Benedict (Bored to Death) | 1:07:34 - Benedict threatens to kill Gregory | antagonist | conversing | dark | leading lady | love interest | mysterious | ominous | plotting | reveal character | ship | ship | stinger | tense | threat | turning point |
Mara Maru (1952) | Cross | 1:26:54 - Manuelo holds the cross | arguing | calm | cross | hut | hymn-like | leading lady | leading man | love interest | religious | turning point | worker |
Mara Maru (1952) | Cross (Tense) | 1:27:07 - Gregory grabs Manuelo | arguing | cross | falling | hut | hymn-like | leading lady | leading man | love interest | religious | slapping | tense | turning point | worker |
Mara Maru (1952) | Cross (Maestoso) | 1:27:18 - Gregory slaps Manuelo | arguing | cross | hut | hymn-like | leading lady | leading man | love interest | majestic | reacting | slapping | tense | turning point | worker |
Mara Maru (1952) | Underscoring (Tense) | 1:27:44 - Gregory follows after Manuelo | arguing | following | hut | jungle | leading lady | leading man | love interest | searching | tense | thinking | turning point | underscoring |
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