| All This, and Heaven Too (1940) | All Hallows Eve | 1:23:22 - A forest scene at night | augmented triad | child | chromatic parallelism | chromatic scale | conversing | create suspense | dissonant bass | forest | governess | Halloween | hiding | leading lady | ombra topic | on-screen text | pc set | pedal tone | scaring | scary | spooky | walking | whole-tone chord |
All This, and Heaven Too (1940) | Henriette (All Hallows Eve) | 1:25:46 - The Duke talks with Henriette | 64 chord | advance plot | conversing | deceptive resolution | duke | forest | gentle | governess | leading lady | leading man | mode mixture | spooky | sweet | tender | whole-tone chord |
All This, and Heaven Too (1940) | Screwissimo | 1:48:47 - The Duke goes mad | chromatic scale | conflict | conversing | creepy | disturbing | duke | leading lady | leading man | madness | ominous | room | whole-tone chord |
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 |
| The Amazing Dr. Clitterhouse (1938) | Flashlight | 0:48:20 - Doctor shines flashlight on Rocks | anger | annoyance | criminal | doctor | flashlight | gangster | leading man | mickey-mousing | ominous | robbery | shining | store | tense | thief | whole-tone chord |
The Amazing Dr. Clitterhouse (1938) | Rocks (Annoyed) | 0:48:25 - Rocks is annoyed by flashlight | anger | angry | annoyance | criminal | doctor | flashlight | gangster | leading man | ominous | robbery | shining | store | tense | thief | tritone | whole-tone chord |
The Amazing Dr. Clitterhouse (1938) | Doctor Leaves | 0:57:38 - Dr. Clitterhouse leaves | advance plot | doctor | door | exiting | gangster | hero | leading lady | leading man | leaving | linear chromaticism | opening | room | tense | wedge | whole-tone chord |
| 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) | 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 |
| Are These Our Children? (1931) | Dreams + Makes You Forget Your Troubles (Allegro) | NIF - not in film | cut from film | mysterious | octatonic | somber | whole-tone chord | whole-tone scale |
Are These Our Children? (1931) | Dreams (Andante) | NIF - not in film | added-note chord | cut from film | mode mixture | parallelism | quartal chord | tense | whole-tone chord |
Are These Our Children? (1931) | Dreams (Transition 9) | NIF - not in film | 9th chord | altered dominant | cut from film | dark | mysterious | pc set | tragic | whole-tone | whole-tone chord |
Are These Our Children? (1931) | Dreams (Allegro) | 1:15:33 - Newspaper headlines | augmented triad | chromatic parallelism | double exposure | dramatic | fanfare | frantic | headline | montage | mother | newspaper | ostinato | spinning | tense | whole-tone chord | whole-tone scale |
| Arsenic and Old Lace (1944) | Underscoring (Comical) | 0:02:20 - Mortimer hides from the reporters | chromatic parallelism | chromatic wedge | comical | disguise | establish character | hiding | leading lady | leading man | looking | marriage | office | reporter | underscoring | whole-tone chord |
Arsenic and Old Lace (1944) | Happy Land (Lento) | 0:12:31 - The aunts talk | advance plot | aunt | brother | conversing | crazy person | familiar tune | foreign key modulation | gentle | leading lady | mysterious | plotting | room | sequence | tender | whole-tone chord | whole-tone scale |
Arsenic and Old Lace (1944) | Happy Land (Grazioso) | 0:13:34 - The aunts talk | advance plot | aunt | conversing | leading lady | magical | plotting | room | whole-tone chord |
Arsenic and Old Lace (1944) | Underscoring (Mysterious) | 0:14:51 - Mortimer flirts with Elaine | bride | cemetery | conversing | flirting | groom | leading lady | leading man | love | love scene | mysterious | underscoring | whole-tone chord |
Arsenic and Old Lace (1944) | Stinger | 0:52:41 - Jonathan suddenly appears at the window | advance plot | aunt | brother | crazy person | dramatic | harsh | leading lady | leading man | murderer | opening | room | stinger | surprise | whole-tone chord | window |
Arsenic and Old Lace (1944) | Happy Land (Dirge) | 0:54:54 - Teddy looks for the body in the dark | advance plot | brother | corpse | crazy person | creaking | darkness | dirge | familiar tune | mysterious | opening | pc set | room | sneaking | tense | walking | whole-tone chord |
Arsenic and Old Lace (1944) | How Dry I Am (Mysterious) | 1:32:25 - Einstein and Jonathan start to drink the wine | alcohol | brother | captive | conflict | crazy person | doctor | drinking | familiar tune | fear | leading man | murderer | mysterious | polychord | room | victim | whole-tone chord |
| The Big Sleep (1946) | Signature | 0:00:00 - WB shield | added-note chord | bold | chromatic mediant | fanfare | opening title sequence | starring list | voice-exchange | WB shield | whole-tone chord |
The Big Sleep (1946) | Carmen falls | 0:02:20 - Carmen falls into Marlowe's arms | daughter | diminished 7th chord | establish character | falling | femme fatale | flirting | leading man | mickey-mousing | playful | private eye | room | whole-tone chord |
The Big Sleep (1946) | Carmen | 0:02:21 - Carmen in Marlowe's arms | daughter | establish character | femme fatale | flirting | half-diminished 7th chord | leading man | mysterious | oscillation | private eye | room | whole-tone chord |
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) | Underscoring (Mysterious) | 0:24:05 - Marlowe advances | chromatic scale | investigating | investigation scene | leading man | mickey-mousing | mysterious | private eye | room | searching | whole-tone chord |
The Big Sleep (1946) | Underscoring (Mysterious) | NIF - not in film | added-note chord | alternation | deleted scene | deleted scene | half-diminished 7th chord | investigating | investigation | leading man | mickey-mousing | mysterious | private eye | room | searching | underscoring | 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) | 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) | Carmen (Clues) | NIF - not in film | clue | deleted scene | deleted scene | half-diminished 7th chord | investigating | investigation | key | leading man | mysterious | oscillation | private eye | room | searching | tense | whole-tone chord |
The Big Sleep (1946) | Underscoring (Mysterious) | 0:24:09 - Marlowe searches for clues | investigating | investigation scene | leading man | mysterious | pc set | private eye | room | searching | secret code | 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) | Carmen (Drugged) | NIF - not in film | deleted scene | femme fatale | helping | investigation | leading man | mysterious | oscillation | ostinato | private eye | room | tense | tritone oscillation | 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 |
The Big Sleep (1946) | Marlowe (Ear Music) | 0:38:26 - Marlowe talks with Agnes | arguing | book shop | chromatic scale | fragmentation | investigation scene | leading man | private eye | secretary | tense | whole-tone chord |
The Big Sleep (1946) | Marlowe (Ear Music) | 0:46:52 - Marlowe thinks | advance plot | chromatic scale | fragmentation | leading man | mysterious | private eye | room | tense | thinking | whole-tone chord |
The Big Sleep (1946) | Underscoring (Tense) | 0:51:31 - Joe reacts to the doorbell ringing | blackmailer | chromatic parallelism | conflict | conversing | criminal | doorbell | gun | leading lady | leading man | mysterious | pc set | private eye | room | suspect | tense | tone cluster | underscoring | whole-tone chord |
The Big Sleep (1946) | Sternwood (Threatening) | 0:51:52 - Carmen enters holding a gun on Brody | blackmailer | blue note | conflict | criminal | dark | dissonant bass | femme fatale | gun | leading lady | leading man | private eye | room | sinister | stinger | suspect | threatening | whole-tone chord |
The Big Sleep (1946) | Carmen (Misterioso) | 0:52:18 - Joe gives the picture to Marlowe | blackmail | blackmailer | conflict | conversing | criminal | evidence | femme fatale | half-diminished 7th chord | leading lady | leading man | mysterious | private eye | room | suspect | whole-tone chord |
The Big Sleep (1946) | Sternwood (Extended) | 0:52:29 - Carmen asks for her picture back | 9th chord | altered dominant | blackmail | chromatic parallelism | conflict | diminished 7th chord | evidence | femme fatale | flirting | leading lady | leading man | mysterious | pc set | private eye | room | seductive | whole-tone chord |
The Big Sleep (1946) | Carmen (Violent) | 0:52:58 - Vivian and Carmen leave | blackmailer | conflict | criminal | dissonant bass | femme fatale | leading lady | leading man | leaving | mysterious | private eye | room | suspect | whole-tone | whole-tone chord |
The Big Sleep (1946) | Slapping | 0:53:02 - Carmen slaps Joe with her purse | blackmailer | conflict | criminal | dissonant bass | femme fatale | leading lady | leading man | mickey-mousing | private eye | room | slamming | slapping | suspect | tense | violence | whole-tone chord |
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 (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) | Marlowe (Phone Call) | NIF - not in film | advance plot | bold | calling | cut from film | deleted scene | deleted scene | dialing | leading man | phone | private eye | room | sequence | tense | whole-tone chord |
The Big Sleep (1946) | Carmen | NIF - not in film | advance plot | burning | calling | cut from film | deleted scene | deleted scene | half-diminished 7th chord | leading man | mysterious | phone | private eye | room | tense | whole-tone chord |
The Big Sleep (1946) | Carmen (Clues) | NIF - not in film | advance plot | calling | cut from film | deleted scene | deleted scene | leading man | mysterious | phone | private eye | room | tense | whole-tone chord |
The Big Sleep (1946) | Sternwood (Tense) | 1:16:26 - Marlowe asks about Eddie Mars | accusing | car | fragmentation | half-diminished 7th chord | leading lady | leading man | love interest | love scene | private eye | tense | whole-tone chord |
The Big Sleep (1946) | Sternwood (Extended) | NIF - not in film | added-note chord | advance plot | altered dominant | chromatic scale | conversing | cut from film | femme fatale | leading man | private eye | room | whole-tone chord |
The Big Sleep (1946) | Underscoring (Tense) | NIF - not in film | advance plot | chromatic parallelism | conversing | cut from film | diminished 7th chord | femme fatale | leading man | oscillation | private eye | room | tritone | underscoring | whole-tone chord |
The Big Sleep (1946) | Carmen (Not in Film) | NIF - not in film | advance plot | conversing | cut from film | femme fatale | leading man | oscillation | private eye | room | whole-tone chord |
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) | Underscoring (Tense) | 1:30:24 - Marlowe makes a phone call | conversing | death scene | leading man | pc set | phone call | private eye | room | tense | underscoring | victim | whole-tone chord |
The Big Sleep (1946) | Marlowe (Ear Music) | 1:36:04 - Marlowe talks to two thugs | conflict | criminal | danger | fragmentation | investigating | leading man | lying | murderer | mysterious | private eye | shop | tense | whole-tone chord |
The Big Sleep (1946) | Marlowe (Gets Hit) | 1:36:20 - The thug punches Marlowe | chromatic scale | conflict | criminal | danger | dramatic | leading man | mickey-mousing | murderer | private eye | punching | shop | whole-tone chord |
The Big Sleep (1946) | Marlowe (Whole Tone) | 1:39:25 - Marlowe talks to Vivian | captive | conversing | leading lady | leading man | love interest | love scene | mysterious | private eye | room | tense | whole-tone | whole-tone chord | whole-tone scale |
The Big Sleep (1946) | Marlowe (Phone Call) | 1:39:39 - Marlowe talks to Vivian | captive | conversing | leading lady | leading man | love interest | love scene | mysterious | private eye | room | sequence | tense | whole-tone chord |
The Big Sleep (1946) | Carmen | 1:39:52 - Marlowe talks to Vivian | captive | conversing | half-diminished 7th chord | leading lady | leading man | love interest | love scene | musical clue | music reveals thoughts | mysterious | private eye | room | whole-tone chord |
The Big Sleep (1946) | Underscoring (Dramatic) | 1:41:36 - Marlowe runs to his car | 9th chord | action scene | criminal | diminution | dramatic | fragmentation | leading lady | leading man | linear chromaticism | love interest | outside | private eye | running | underscoring | whole-tone chord |
The Big Sleep (1946) | Underscoring (Tense) | 1:43:35 - Marlowe gets the keys to the handcuffs | action scene | chromatic parallelism | criminal | death | escaping | gun | hostage | leading lady | leading man | love interest | outside | pc set | private eye | tense | underscoring | whole-tone | whole-tone chord |
The Big Sleep (1946) | Driving 2 + Vivian | 1:44:44 - Vivian and Marlowe talk in the car | car | conversing | driving | leading lady | leading man | love | love interest | love scene | ostinato | private eye | romantic | tense | whole-tone chord |
The Big Sleep (1946) | Driving 2 | 1:44:51 - Vivian and Marlowe talk in the car | car | conversing | driving | leading lady | leading man | love interest | love scene | ostinato | pc set | private eye | tense | whole-tone chord |
The Big Sleep (1946) | Driving 2 + Carmen | 1:45:06 - Marlowe talks about Carmen | car | conversing | driving | leading lady | leading man | love interest | love scene | ostinato | private eye | tense | whole-tone chord |
The Big Sleep (1946) | Carmen (Tense) | 1:52:28 - Marlowe talks on the phone | conversing | leading lady | leading man | love interest | lying | mysterious | oscillation | pedal tone | phone call | private eye | resolution | room | tense | uneasy | whole-tone chord |
| Caged (1950) | Police Van | NIF - not in film | car | cut from film | dark | diminished 7th chord | dissonant bass | driving | guard | opening title sequence | oscillation | point-of-view shot | police car | polychord | prisoner | riding | siren effect | tense | whole-tone chord |
Caged (1950) | Prisoners get out | NIF - not in film | car | cut from film | exiting | guard | opening title sequence | pc set | police car | prisoner | quartal chord | tense | whole-tone chord |
Caged (1950) | Wailing (Ominous) | NIF - not in film | bed | bleeding | blood | crazy person | crying | cut from film | dark | leading lady | mad scene | ominous | ostinato | prison | prisoner | tritone | wailing | whole-tone chord |
Caged (1950) | Agitato | NIF - not in film | agitated | chromatic parallelism | chromatic scale | cut from film | fragmentation | mad scene | ostinato | pc set | prison | whole-tone chord |
Caged (1950) | Prison Alarm | 0:32:00 - Ringing prison alarm | agitated | alarm | alarm effect | bell | double exposure | dramatic | guard | leading lady | mickey-mousing | montage | montage | prison | prisoner | ringing | waking | whole-tone chord | whole-tone scale | yelling |
Caged (1950) | Prison Alarm | 0:32:22 - Ringing prison alarm | agitated | alarm | alarm effect | bell | double exposure | dramatic | eating | guard | leading lady | mickey-mousing | montage | montage | prison | prisoner | ringing | waking | whole-tone chord |
Caged (1950) | June and Marie (Very Slow) | 0:39:59 - Marie helps June | 9th chord | consoling | dark | despair | establish character | friend | guard | helping | leading lady | prison | prisoner | somber | whole-tone chord |
Caged (1950) | Harper | 0:40:20 - Harper walks | dark | establish character | friend | guard | leading lady | mickey-mousing | prison | prisoner | tritone oscillation | walking | whole-tone chord |
Caged (1950) | Caged (Main Title) | 0:49:00 - Mrs. Benton at her desk | advance plot | chromatic scale | dark | dissonant bass | nursery | oscillation | prison | sigh gesture | thinking | uneasy | warden | whole-tone chord |
| City for Conquest (1940) | Tone Poem A (Very Rough) | 1:15:00 - The car pulls to a stop | arriving | car | criminal | dark | dock | driving | gangster | manager | murderer | murder scene | threatening | tritone | whole-tone chord |
City for Conquest (1940) | Googi (Dead Man) | 1:15:09 - They pull out the dead man | car | chromatic scale | conversing | corpse | criminal | disposing | dock | gangster | manager | murderer | murder scene | ominous | ostinato | tense | whole-tone chord | working |
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 |
| Crime School (1938) | Underscoring (Mysterious) | 0:09:53 - Frankie sneaks in the house | concern | conversing | dissonant bass | establish character | heroine | leading lady | mysterious | pedal tone | room | sister | sneaking | sneaky | teenager | underscoring | whole-tone chord | whole-tone scale |
Crime School (1938) | The Warden | 0:23:15 - Warden stands up to face the boys | antagonist | arguing | augmented triad | authority | chromatic parallelism | establish character | falling | gang | lightning | ominous | police | reformatory | slapping | stinger | teenager | warden | whole-tone chord |
Crime School (1938) | The Warden (Punishment) | 0:36:22 - Warden defends his punishment | advance plot | chromatic wedge | conversing | dark | evil | hospital | leading man | reformatory | teenager | warden | whole-tone chord |
Crime School (1938) | Paint slap | 0:48:32 - Boys hit each other with paint brushes | comedy | gang | mickey-mousing | paint | paintbrush | painting | playful | reformatory | slapping | teasing | teenager | whole-tone chord |
Crime School (1938) | Underscoring (Gentle) | 0:49:47 - Mark talks about making this room their home | comedy | deceptive resolution | gang | gentle | hero | leading man | leaving | pedal tone | reformatory | teasing | teenager | underscoring | whole-tone chord |
Crime School (1938) | The Escape | 1:12:03 - Boys escape | down | escape | escaping | gang | half-diminished 7th chord | jumping | mickey-mousing | mysterious | reformatory | sneaking | teenager | whole-tone chord |
Crime School (1938) | Peeking | 1:12:11 - Cooper peeks out from the window | antagonist | authority | escape | mickey-mousing | mysterious | peeking | police | reformatory | whole-tone chord |
Crime School (1938) | Sue (Grazioso Mysterioso) | 1:13:38 - Frankie confronts Sue and Mark | cheerful | common-tone diminished 7th | conflict | conversing | deceptive resolution | dining | gun | happy | hero | heroine | leading lady | leading man | room | stick up | stinger | teenager | tone cluster | whole-tone chord |
| They Made Me a Criminal (1939) | The Awakening | 0:14:48 - Johnnie wakes up | advance plot | chromatic scale | confusion | deceptive resolution | leading man | metric modulation | mysterious | octatonic chord | octatonic scale | pc set | room | waking | whole-tone chord |
They Made Me a Criminal (1939) | Reading | 0:15:29 - Johnnie reads a newspaper | advance plot | chromatic scale | dissonant bass | leading man | newspaper | reading | room | tense | whole-tone chord |
They Made Me a Criminal (1939) | The Fugitive (Traveling) | 0:22:51 - Johnnie's plodding feet | chromatic scale | chromatic wedge | countryside | desert | dissonant bass | dramatic | leading man | linear chromaticism | map | mickey-mousing | money | montage | montage | traveling | walking | whole-tone | whole-tone chord |
They Made Me a Criminal (1939) | Underscoring (Mysterious) | 0:23:21 - Men at the diner stand up | added-note chord | advance plot | diner | dissonant bass | fighting | half-diminished 7th chord | leading man | linear chromaticism | money | mysterious | sitting | sneaking | underscoring | whole-tone chord |
| 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 |
| 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) | Montage | 0:22:54 - Montage showing the passing of time | chromatic parallelism | clock | dramatic | linear chromaticism | mickey-mousing | montage | montage | prison | prisoner | tense | waiting | whole-tone chord |
| Flamingo Road (1949) | Lane (Not in Film 2) | NIF - not in film | 9th chord | advance plot | chromatic parallelism | conversing | cut from film | cut from film | leading lady | newspaper editor | office | whole-tone chord |
Flamingo Road (1949) | Mob | 1:28:20 - A mob forms outside of Lane's home | advance plot | angry | anxious | augmented triad | chromatic parallelism | chromatic scale | friend | leading lady | minor-major 7th chord | mob | mobbing | ostinato | polyrhythm | room | tense | whole-tone chord |
| I Was a Communist for the FBI (1951) | Agitato Molto Misterioso | 0:38:32 - Matt notices that he has lost his letter | advance plot | chromatic parallelism | leading man | letter | mysterious | ostinato | pc set | polychord | reacting | room | searching | tense | undercover agent | whole-tone chord |
I Was a Communist for the FBI (1951) | Running | 1:03:57 - Communist runs | communist | dramatic | leading lady | leading man | mickey-mousing | running | shootout | shootout | spy | teacher | tense | train tracks | undercover agent | whole-tone chord |
I Was a Communist for the FBI (1951) | Underscoring (Tense) | 1:11:00 - Communists interrogate Matt | anger | communist | interrogating | interrogation | leading man | questioning | shallow focus | suspicion | suspicion | tense | threatening | undercover agent | underscoring | whole-tone chord |
I Was a Communist for the FBI (1951) | Riot | 1:11:05 - Communists beat up Matt | anger | attacking | chromatic parallelism | chromatic scale | chromatic sequence | communist | dramatic | fighting | interrogation | leading man | punching | undercover agent | whole-tone chord |
| In This Our Life (1942) | Roy (In Love) | 0:13:39 - Roy is relieved | 64 chord | advance plot | calm | chromatic sequence | conversing | dissonant bass | leading lady | leading man | room | sequential modulation | whole-tone chord |
In This Our Life (1942) | Stanley B (Agitato) | 0:15:19 - Peter replies to Roy | advance plot | agitated | arguing | chromatic scale | dissonant bass | half-diminished 7th chord | leading lady | leading man | room | tense | whole-tone chord |
In This Our Life (1942) | Asa (Ostinato) | 0:23:26 - Asa talks to Roy | chromatic parallelism | conflict | conversing | dark | father | leading lady | ostinato | room | sequential modulation | serious | whole-tone chord |
In This Our Life (1942) | 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) | Underscoring (Gentle) | 0:50:58 - Roy talks with Betty | added-note chord | advance plot | chromatic parallelism | conversing | friend | gentle | leading lady | parallelism | room | tender | underscoring | whole-tone chord |
In This Our Life (1942) | Door opens | 0:51:37 - Betty opens the door | advance plot | door | friend | gentle | leading lady | mickey-mousing | opening | room | whole-tone chord |
In This Our Life (1942) | Discussion | 0:53:04 - Stanley talks to Roy | 9th chord | advance plot | agitated | altered dominant | conversing | leading lady | room | sister | whole-tone chord | widow |
In This Our Life (1942) | Uncle Fitzroy | 1:04:26 - Uncle Fitzroy talks to Stanley | augmented sixth chord | conflict | conversing | crying | dancing | flirting | leading lady | room | solemn | uncle | whole-tone chord | widow |
In This Our Life (1942) | Stanley Introduction (Extended 2) | 1:05:31 - Stanley in Craig's office | 9th chord | advance plot | chromatic scale | conversing | lawyer | leading lady | leading man | office | reading | uneasy | whole-tone chord |
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) | Stanley (Slowly) | 1:16:07 - Craig reads a note | 9th chord | altered dominant | conflict | lawyer | leading man | note | office | sentimental | thinking | whole-tone chord |
In This Our Life (1942) | Stanley (Valse Triste) | 1:26:23 - Stanley confesses | 9th chord | altered dominant | appoggiatura | arguing | circle of fifths | climax | confessing | confession | criminal | crying | dramatic | father | lawyer | leading lady | leading man | mother | room | suspect | whole-tone chord |
| 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) | The Informer (Drinking) | 0:21:23 - Gypo takes a drink | advance plot | antagonist | bartender | drinking | leading man | mysterious | octatonic | pub | Scotch snap | tense | tritone | whole-tone | whole-tone chord |
The Informer (1935) | The Informer (Tense) | 0:29:21 - Gypo defends himself | antagonist | coin | leading man | money | mourner | mysterious | pivotal scene | room | Scotch snap | staring | tense | whole-tone | whole-tone chord |
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) | The Escape | 1:19:46 - Gypo escapes and a chase ensues | advance plot | antagonist | chromatic scale | dramatic | escaping | headquarters | hurrying | leading man | mickey-mousing | prison | rebel | room | running | traitor | whole-tone | whole-tone chord |
The Informer (1935) | The Informer (Risoluto) | 1:20:12 - Rebels plan to catch Gypo | advance plot | arriving | headquarters | octatonic | planning | rebel | room | tense | whole-tone chord |
The Informer (1935) | Katie (Furioso) | 1:26:55 - Katie becomes desperate | advance plot | anxiety | begging | chromatic parallelism | despair | dissonant bass | fragmentation | leading lady | love interest | rebel | room | sentence form | sequence | tense | whole-tone chord |
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 |
| The Letter (1940) | Underscoring (Tense) | 0:12:42 - Leslie gets up | advance plot | home | leading lady | recounting | tense | underscoring | whole-tone | whole-tone chord |
The Letter (1940) | Leslie (The Story) | 0:13:14 - Leslie gives her story | advance plot | changing meter | home | leading lady | lying | oscillation | recounting | tense | whole-tone chord |
The Letter (1940) | Leslie (The Story) | 0:22:26 - Leslie speaks with Howard | advance plot | changing meter | home | lawyer | leading lady | lying | oscillation | recounting | tense | whole-tone | whole-tone chord |
The Letter (1940) | Waiting | 0:31:24 - Howard waits for Leslie | advance plot | lawyer | pacing | prison | tense | waiting | whole-tone chord |
The Letter (1940) | Underscoring (Tense) | 0:36:22 - Leslie explains why she wrote the letter | deception | lawyer | leading lady | letter | lying | pivotal scene | prison | tense | whole-tone chord |
The Letter (1940) | Leslie (The Story) | 0:36:42 - Leslie lies to Howard | changing meter | deception | lawyer | leading lady | letter | lying | oscillation | pivotal scene | prison | tense | whole-tone chord |
The Letter (1940) | Underscoring (Tense) | 0:36:53 - Howard takes out the letter | deception | denying | lawyer | leading lady | letter | ominous | pivotal scene | prison | tense | tritone | tritone | whole-tone | whole-tone chord |
The Letter (1940) | Sociable | 0:48:42 - People having dinner | ABA structure | cheerful | conversing | deceptive resolution | dinner | Dorian mode | foreign key modulation | happy | home | husband | lacework | lawyer | leading lady | party | whole-tone chord |
The Letter (1940) | Leslie (Uneasy) | 0:49:41 - They discuss the trial | dinner | home | husband | lawyer | leading lady | oscillation | pc set | planning | tense | tone cluster | trial | whole-tone chord |
The Letter (1940) | Lento Mysterioso | 0:50:37 - Leslie and Howard alone | advance plot | altered dominant | home | lawyer | leading lady | mysterious | planning | sad | upper pedal tone | whole-tone chord |
The Letter (1940) | Glass Curtains | 0:59:08 - Mrs. Hammond enters through the glass curtain | antagonist | Chinatown | Chinese | chromatic scale | conflict | curtain | entering | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | polyrhythm | shop | staring | tense | tinkling | tone cluster | waiting | whole-tone | whole-tone chord |
The Letter (1940) | Mrs. Hammond + Glass Curtains | 1:00:13 - Leslie faces Mrs. Hammond | antagonist | Chinatown | Chinese | Chinese | chromatic scale | combination of themes | conflict | conversing | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | paying | pc set | pentatonic | polyrhythm | shop | staring | tense | tinkling | tone cluster | waiting | whole-tone | whole-tone chord |
The Letter (1940) | Leslie + Glass Curtains | 1:01:27 - Leslie removes her shawl | antagonist | Chinatown | Chinese | Chinese | chromatic scale | combination of themes | conflict | conversing | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | oscillation | ostinato | parallelism | pc set | polyrhythm | sequence | shop | staring | tense | tinkling | tone cluster | waiting | whole-tone | whole-tone chord |
The Letter (1940) | Leslie B + Glass Curtains | 1:01:57 - Leslie approaches Mrs. Hammond | antagonist | Chinatown | Chinese | chromatic scale | combination of themes | conflict | confronting | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | polyrhythm | sequence | shop | staring | tense | tinkling | tone cluster | walking | whole-tone | whole-tone chord |
The Letter (1940) | Glass Curtains | 1:02:21 - Leslie faces Mr. Hammond | antagonist | Chinatown | Chinese | chromatic scale | conflict | confronting | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | polyrhythm | shop | staring | tense | tinkling | tone cluster | whole-tone | whole-tone chord |
The Letter (1940) | Mrs. Hammond (Contempt) + Glass Curtains | 1:02:40 - Leslie stoops down to pick up the letter | antagonist | Chinatown | Chinese | Chinese | chromatic scale | combination of themes | conflict | confronting | contempt | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | pentatonic | polyrhythm | shop | staring | stooping | tense | tinkling | tone cluster | whole-tone | whole-tone chord |
The Letter (1940) | Leslie B (Dark) + Glass Curtains | 1:02:50 - Leslie looks at the letter | antagonist | Chinatown | Chinese | chromatic scale | combination of themes | conflict | confronting | curtain | dark | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | polyrhythm | sequence | shop | staring | tense | tinkling | tone cluster | whole-tone | whole-tone chord |
The Letter (1940) | Mrs. Hammond (Solemn) + Glass Curtains | 1:03:08 - Leslie and Howard leave | antagonist | Chinatown | Chinese | Chinese | chromatic scale | combination of themes | conflict | curtain | glass | lawyer | layering | leading lady | mirroring | mysterious | ostinato | parallelism | pc set | pentatonic | polyrhythm | shop | solemn | staring | tinkling | tone cluster | whole-tone | whole-tone chord |
| Lightning Strikes Twice (1951) | Liza | 0:02:55 - Trev is released from death row | calm | conversing | deceptive resolution | establish character | guard | hopeful | leading man | priest | prison | prisoner | relief | reprieve | Scotch snap | walking | warden | whole-tone chord |
Lightning Strikes Twice (1951) | Trev (Screwy) | 0:18:19 - Trev hands a candle to Shelly | actor | candle | chromatic scale | conversing | establish character | leading lady | leading man | mysterious | room | suspect | tense | uneasy | whole-tone chord |
Lightning Strikes Twice (1951) | Fear | 0:19:42 - Shelly lies down in the dark | actor | chromatic parallelism | darkness | establish character | fear | leading lady | leading man | listening | room | suspect | tense | thinking | whole-tone chord |
Lightning Strikes Twice (1951) | Anger | 0:33:15 - String gets angry | actor | anger | arguing | brother | conflict | crying | dramatic | leading lady | oscillation | priest | rancher | room | tense | tone cluster | whole-tone chord | yelling |
| Mildred Pierce (1945) | Underscoring (Dramatic) | 0:08:53 - Wally looks for Mildred | 9th chord | action scene | ascending | augmented triad | chromatic parallelism | chromatic scale | down | dramatic | falling | friend | half-diminished 7th chord | hurrying | knocking | mickey-mousing | room | searching | setup | suspenseful | underscoring | walking | whole-tone chord | whole-tone scale |
Mildred Pierce (1945) | Wally goes upstairs | 0:09:28 - Wally ascends the spiral staircase | 9th chord | action scene | ascending | chromatic scale | dramatic | friend | mickey-mousing | room | spiral staircase | stairs | whole-tone chord |
Mildred Pierce (1945) | Lamp falls | 0:10:03 - Wally knocks over a lamp | action scene | body | dramatic | falling | friend | lamp | mickey-mousing | reveal | room | whole-tone chord |
Mildred Pierce (1945) | Underscoring (Dramatic) | 0:10:21 - Wally reacts to the situation | action scene | breaking | chromatic parallelism | chromatic scale | chromatic wedge | death | dramatic | escaping | friend | half-diminished 7th chord | hurrying | mickey-mousing | murder | room | running | smashing | sneaking | telephone | underscoring | victim | walking | whole-tone chord | worrying |
Mildred Pierce (1945) | Glass falls | 0:10:49 - The glass door breaks | action scene | breaking | door | dramatic | falling | friend | glass | mickey-mousing | room | smashing | victim | whole-tone chord |
Mildred Pierce (1945) | Kay and Veda (Troubled) | NIF - not in film | altered dominant | chromatic mediant | chromatic scale | common-chord modulation | cut from film | dissonant | dramatic | foreign key modulation | fragmentation | hopeful | mode mixture | sequence | tender | tense | tragic | turbulent | whole-tone chord | whole-tone scale |
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) | Kay and Veda (Sly) | 1:13:55 - Mildred tells Monte to not see Veda | arguing | breakup | chromatic wedge | chromatic wedge | conflict | disagreement | heroine | leading lady | love interest | ominous | room | sinister | tense | whole-tone chord |
Mildred Pierce (1945) | Kay and Veda (Troubled) | 1:14:06 - Mildred and Monte argue | arguing | breakup | chromatic scale | chromatic sequence | conflict | disagreement | fragmentation | heroine | leading lady | love interest | ominous | room | sinister | tense | whole-tone chord | whole-tone scale |
Mildred Pierce (1945) | Kay and Veda (Troubled 2) | 1:21:34 - Veda looks at the divorce settlement check | antagonist | blackmail | chromatic scale | chromatic sequence | conflict | daughter | fragmentation | heroine | laughing | leading lady | mickey-mousing | mocking | room | troubled | ugly | whole-tone chord |
Mildred Pierce (1945) | Mildred (Vicious) | 1:23:21 - Veda insults her mother | angry | antagonist | arguing | chromatic parallelism | chromatic wedge | conflict | daughter | heroine | insulting | leading lady | reverse stinger | room | tense | whole-tone chord |
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) | Kay and Veda (Troubled) | 1:48:22 - Veda pleads for help to escape | antagonist | begging | chromatic scale | confessing | daughter | distressed | fragmentation | frantic | heroine | leading lady | murderer | murder scene | room | sequence | whole-tone chord |
| We Are Not Alone (1939) | Frohe Botschaft (Drifting) | 0:38:09 - Jessica tells Leni to leave | altered dominant | antagonist | chromatic parallelism | conflict | conversing | familiar tune | folk song | gentle | German | heroine | home | quotation | sinister | tense | whole-tone chord |
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) | Frohe Botschaft (Drifting) | 1:14:30 - David gives Leni money for her travels | altered dominant | arrest | arresting | chromatic parallelism | conflict | conversing | dark | death | familiar tune | folk song | gentle | German | happy | hero | heroine | mode mixture | murder | police | quotation | sad | sweet | tense | train station | whole-tone chord |
We Are Not Alone (1939) | Underscoring (Subtle) | 1:41:29 - David walks down the prison corridor | advance plot | augmented triad | conversing | delicate | diminished 7th chord | helping | hero | pedal tone | prison | underscoring | whole-tone chord |
| The Public Defender (1931) | Mystery | 0:00:45 - Cast list and balancing scales | augmented triad | balancing | cast list | chromaticism | main title | mysterious | mystery | opening title sequence | pc set | transcribed by ear | whole-tone chord |
| Penguin Pool Murder (1932) | Penguin Pool Murder | 0:00:23 - Main title, starring list, and cast list | cast list | chromatic parallelism | diminution | diving | double exposure | dramatic | hemiola | linear chromaticism | mysterious | opening title sequence | penguin | pool | starring list | swimming | tense | thematic transformation | through-composed | title of film | transcribed by ear | whirlpool | whole-tone | whole-tone chord |
Penguin Pool Murder (1932) | Fish | 0:01:32 - Fish | augmented triad | chromatic parallelism | dramatic | establish setting | fish | fluttering | stinger | transcribed by ear | underwater | whole-tone chord |
| Thirteen Women (1932) | The Swami (Sleeping) | 0:10:46 - Ursula leaves the swami | antagonist | establish character | fortune teller | leading lady | mysterious | room | sleeping | swami | transcribed by ear | whole-tone | whole-tone chord |
| Hat, Coat, and Glove (1934) | Newspaper Montage | 0:32:22 - Newspaper headlines | dark | headline | montage | newspaper | ominous | tragic | transcribed by ear | whole-tone chord | whole-tone scale |
| Don’t Turn ‘em Loose (1936) | Suicide Transition | 0:26:55 - Bob sits | augmented triad | chromatic parallelism | dissonant bass | gangster | guard | gun | gunshot | imposter | leading man | mysterious | parallelism | plotting | preparing | reading | robbery | room | sequence | shooting | store | transcribed by ear | whole-tone | whole-tone chord |
Don’t Turn ‘em Loose (1936) | Underscoring (Dramatic) | 0:28:05 - Bob shoots guard | breaking | death | dramatic | gangster | guard | gun | gunshot | imposter | leading man | murder | robbery | robbery | shooting | stealing | store | transcribed by ear | whole-tone chord |
Don’t Turn ‘em Loose (1936) | Suicide Transition 2 | 0:28:29 - Bob (Bat) bandanges his hand | bandaging | chromatic scale | gangster | imposter | leading man | mysterious | returning | robbery | room | transcribed by ear | whole-tone chord |
| 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) | Kong 2 | 0:28:34 - Pete handcuffs a criminal | action scene | bank | detective | dramatic | fighting | gangster | leading man | mysterious | tense | whole-tone | whole-tone chord |
We're Only Human (1935) | The Informer (Drinking) | 0:28:39 - Pete stands up | action scene | bank | detective | gangster | leading man | octatonic | standing | tense | whole-tone chord |
We're Only Human (1935) | Saroff | 1:03:07 - They argue | arguing | chromatic scale | climax | conflict | detective | leading lady | leading man | mysterious | reporter | tense | victim | whole-tone | whole-tone chord | yard |
We're Only Human (1935) | Lost Patrol 1 | 1:03:12 - A man runs | climax | conflict | detective | dramatic | fleeing | frantic | gunshot | leading lady | leading man | reporter | running | shooting | victim | whole-tone | whole-tone chord | yard |
We're Only Human (1935) | The Informer (Tense) | 1:04:11 - Pete prepares to enter the house | climax | conflict | detective | leading man | mysterious | Scotch snap | sneaking | tense | whole-tone | whole-tone chord | yard |
We're Only Human (1935) | The Escape | 1:04:31 - Pete enters the house | chromatic scale | climax | conflict | detective | dodging | dramatic | gangster | gunshot | hiding | leading man | murderer | room | shooting | underscoring | whole-tone | whole-tone chord |
We're Only Human (1935) | Game 4 | 1:04:54 - Pete crawls on the floor | climax | conflict | crawling | detective | gangster | leading man | murderer | room | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Game 5 | 1:05:03 - Pete prepares to shoot | chromatic parallelism | climax | conflict | detective | gangster | gunshot | leading man | murderer | pc set | pedal tone | room | shooting | sneaking | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Game 7 | 1:05:48 - Pete runs up the stairs | 9th chord | climax | conflict | detective | dramatic | gangster | leading man | murderer | parallelism | pc set | pedal tone | room | running | rushing | tense | underscoring | whole-tone chord |
| Another Face (1935) | The Swami (Sleeping) | 0:03:42 - The nurse gets supplies | doctor | gangster | mysterious | nurse | operating | operating room | operation scene | patient | surgery | whole-tone | whole-tone chord |
Another Face (1935) | Russian Waltz (Whole Tone) | 0:03:55 - The operation continues | doctor | gangster | mysterious | nurse | operating | operating room | operation scene | patient | surgery | whole-tone chord |
Another Face (1935) | Courage (Tone Cluster) | 0:04:26 - Gangster all bandaged up | conversing | departing | doctor | gangster | half-diminished 7th chord | mysterious | nurse | operating room | operation scene | patient | whole-tone chord |
Another Face (1935) | Courage (Hiding) | 0:05:09 - Doctor threatens nurse | advance plot | arguing | blackmail | doctor | nurse | operating room | tense | whole-tone chord |
| Caged (1950) | Prison Alarm (The Scream) | 1:00:42 - Marie covers her ears | alarm | alarm effect | anxiety | chromatic parallelism | chromatic scale | dramatic | fidgeting | guard | hysteria | leading lady | mad scene | prison | prisoner | screaming | tense | tone cluster | whole-tone chord |
Caged (1950) | Molto Expressivo (Not in Film) | NIF - not in film | advance plot | chromatic parallelism | cut from film | prison | solemn | whole-tone chord |
Caged (1950) | Underscoring (Tense) | 1:32:21 - Marie unpacks her belongings | advance plot | chromatic parallelism | leading lady | leaving | prison | prisoner | tense | underscoring | unpacking | whole-tone chord |
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