Songs like And So by Caroline Shaw
Based on a tempo of (+/- 10%) and a similar genre
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Caroline Shaw
Cant voi l’aube
131 bpm • E min • 04:16 • -16.91db
9% Popularity • 33% Danceability • 7% Energy • 7% Liveness
0% Instrumentalness • 13% Positiveness
9% Popularity • 33% Danceability • 7% Energy • 7% Liveness
0% Instrumentalness • 13% Positiveness
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Veljo Tormis
Kust Tunnen Kodu
131 bpm • A min • 04:23 • -29.42db
8% Popularity • 36% Danceability • 2% Energy • 14% Liveness
0% Instrumentalness • 30% Positiveness
8% Popularity • 36% Danceability • 2% Energy • 14% Liveness
0% Instrumentalness • 30% Positiveness
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Sandy Denny
Who Knows Where The Time Goes?
131 bpm • D# Maj • 05:15 • -32db
8% Popularity • 30% Danceability • 1% Energy • 8% Liveness
2% Instrumentalness • 8% Positiveness
8% Popularity • 30% Danceability • 1% Energy • 8% Liveness
2% Instrumentalness • 8% Positiveness
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Michael Galasso
Scene 2
131 bpm • G# Maj • 02:49 • -16.35db
22% Popularity • 32% Danceability • 8% Energy • 13% Liveness
68% Instrumentalness • 4% Positiveness
22% Popularity • 32% Danceability • 8% Energy • 13% Liveness
68% Instrumentalness • 4% Positiveness
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Attacca Quartet
Real Life
130 bpm • A# min • 02:55 • -7.74db
8% Popularity • 73% Danceability • 80% Energy • 12% Liveness
88% Instrumentalness • 77% Positiveness
8% Popularity • 73% Danceability • 80% Energy • 12% Liveness
88% Instrumentalness • 77% Positiveness
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Peter Gregson
1.2 Allemande
132 bpm • G Maj • 02:01 • -14.58db
33% Popularity • 68% Danceability • 45% Energy • 13% Liveness
84% Instrumentalness • 71% Positiveness
33% Popularity • 68% Danceability • 45% Energy • 13% Liveness
84% Instrumentalness • 71% Positiveness
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Caroline Shaw
And So
131 bpm • E Maj • 05:06 • -18.15db
20% Popularity • 43% Danceability • 6% Energy • 13% Liveness
0% Instrumentalness • 13% Positiveness
20% Popularity • 43% Danceability • 6% Energy • 13% Liveness
0% Instrumentalness • 13% Positiveness
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Lili Boulanger
Les Sirènes
132 bpm • F# Maj • 06:28 • -30db
18% Popularity • 21% Danceability • 3% Energy • 12% Liveness
76% Instrumentalness • 3% Positiveness
18% Popularity • 21% Danceability • 3% Energy • 12% Liveness
76% Instrumentalness • 3% Positiveness
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Thomas Adès
Adès: Les baricades mistérieuses
132 bpm • A# Maj • 02:42 • -40.82db
28% Popularity • 24% Danceability • 0% Energy • 9% Liveness
90% Instrumentalness • 20% Positiveness
28% Popularity • 24% Danceability • 0% Energy • 9% Liveness
90% Instrumentalness • 20% Positiveness
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Elliot Cole
Postlude 8
130 bpm • C min • 02:28 • -23.96db
12% Popularity • 16% Danceability • 1% Energy • 10% Liveness
95% Instrumentalness • 5% Positiveness
12% Popularity • 16% Danceability • 1% Energy • 10% Liveness
95% Instrumentalness • 5% Positiveness
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Giovanni Benedetto Platti
Platti: Cello Sonata No. 7 in D Major, I...
130 bpm • D Maj • 01:28 • -16db
23% Popularity • 46% Danceability • 30% Energy • 15% Liveness
92% Instrumentalness • 90% Positiveness
23% Popularity • 46% Danceability • 30% Energy • 15% Liveness
92% Instrumentalness • 90% Positiveness
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Gregorio Allegri
Miserere
129 bpm • G min • 08:00 • -24.58db
5% Popularity • 16% Danceability • 2% Energy • 18% Liveness
33% Instrumentalness • 3% Positiveness
5% Popularity • 16% Danceability • 2% Energy • 18% Liveness
33% Instrumentalness • 3% Positiveness
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Caroline Shaw
Punctum
130 bpm • D Maj • 09:32 • -20.22db
18% Popularity • 36% Danceability • 3% Energy • 14% Liveness
4% Instrumentalness • 4% Positiveness
18% Popularity • 36% Danceability • 3% Energy • 14% Liveness
4% Instrumentalness • 4% Positiveness
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Angélica Negrón
The Blue Hour: No. 10, Even if by forget...
133 bpm • C Maj • 00:41 • -29.23db
4% Popularity • 58% Danceability • 3% Energy • 10% Liveness
9% Instrumentalness • 13% Positiveness
4% Popularity • 58% Danceability • 3% Energy • 10% Liveness
9% Instrumentalness • 13% Positiveness
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Laura Mvula
Sing to the Moon
129 bpm • A# min • 03:35 • -22.58db
21% Popularity • 23% Danceability • 14% Energy • 11% Liveness
38% Instrumentalness • 7% Positiveness
21% Popularity • 23% Danceability • 14% Energy • 11% Liveness
38% Instrumentalness • 7% Positiveness
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Ringdown
Reckoning
133 bpm • F Maj • 04:23 • -11.02db
16% Popularity • 35% Danceability • 23% Energy • 10% Liveness
45% Instrumentalness • 22% Positiveness
16% Popularity • 35% Danceability • 23% Energy • 10% Liveness
45% Instrumentalness • 22% Positiveness
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Erland Cooper
Under Brinkie's Brae
129 bpm • C# min • 02:57 • -18.37db
21% Popularity • 30% Danceability • 10% Energy • 10% Liveness
0% Instrumentalness • 4% Positiveness
21% Popularity • 30% Danceability • 10% Energy • 10% Liveness
0% Instrumentalness • 4% Positiveness
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Luca Marenzio
Solo e pensoso
133 bpm • G min • 05:01 • -19.93db
4% Popularity • 20% Danceability • 6% Energy • 32% Liveness
67% Instrumentalness • 13% Positiveness
4% Popularity • 20% Danceability • 6% Energy • 32% Liveness
67% Instrumentalness • 13% Positiveness
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Caroline Shaw
Its Motion Keeps
133 bpm • D min • 07:30 • -21.1db
10% Popularity • 31% Danceability • 11% Energy • 9% Liveness
50% Instrumentalness • 4% Positiveness
10% Popularity • 31% Danceability • 11% Energy • 9% Liveness
50% Instrumentalness • 4% Positiveness
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Anna Thorvaldsdottir
Heyr þú oss himnum á
133 bpm • D min • 04:22 • -22.98db
9% Popularity • 17% Danceability • 5% Energy • 10% Liveness
0% Instrumentalness • 3% Positiveness
9% Popularity • 17% Danceability • 5% Energy • 10% Liveness
0% Instrumentalness • 3% Positiveness
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Hildegard von Bingen
O vis eternitatis (Arr. Tormod Tvete Vik...
129 bpm • A Maj • 03:25 • -16db
17% Popularity • 17% Danceability • 14% Energy • 8% Liveness
13% Instrumentalness • 4% Positiveness
17% Popularity • 17% Danceability • 14% Energy • 8% Liveness
13% Instrumentalness • 4% Positiveness
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David Lang
The Writings: No. 1, Again (After Eccles...
134 bpm • D min • 05:58 • -23.44db
11% Popularity • 18% Danceability • 9% Energy • 32% Liveness
77% Instrumentalness • 3% Positiveness
11% Popularity • 18% Danceability • 9% Energy • 32% Liveness
77% Instrumentalness • 3% Positiveness
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Paul Lansky
Threads: IV. Aria -
128 bpm • D Maj • 02:41 • -21.65db
9% Popularity • 50% Danceability • 6% Energy • 16% Liveness
61% Instrumentalness • 7% Positiveness
9% Popularity • 50% Danceability • 6% Energy • 16% Liveness
61% Instrumentalness • 7% Positiveness
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Ringdown
Two-Step
128 bpm • A# Maj • 02:49 • -8.31db
25% Popularity • 69% Danceability • 70% Energy • 13% Liveness
0% Instrumentalness • 65% Positiveness
25% Popularity • 69% Danceability • 70% Energy • 13% Liveness
0% Instrumentalness • 65% Positiveness
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Caroline Shaw
Entr'acte
128 bpm • D min • 11:00 • -25db
27% Popularity • 41% Danceability • 3% Energy • 12% Liveness
2% Instrumentalness • 4% Positiveness
27% Popularity • 41% Danceability • 3% Energy • 12% Liveness
2% Instrumentalness • 4% Positiveness
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Elena Ruehr
Shimmer
127 bpm • F# Maj • 11:33 • -16.25db
9% Popularity • 24% Danceability • 21% Energy • 8% Liveness
89% Instrumentalness • 26% Positiveness
9% Popularity • 24% Danceability • 21% Energy • 8% Liveness
89% Instrumentalness • 26% Positiveness
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Attacca Quartet
Electric Pow Wow Drum
134 bpm • D# min • 03:24 • -9.88db
11% Popularity • 60% Danceability • 50% Energy • 15% Liveness
20% Instrumentalness • 51% Positiveness
11% Popularity • 60% Danceability • 50% Energy • 15% Liveness
20% Instrumentalness • 51% Positiveness
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Olivier Messiaen
Preludes: La colombe (The Dove)
135 bpm • F# min • 02:04 • -35db
38% Popularity • 42% Danceability • 0% Energy • 16% Liveness
97% Instrumentalness • 18% Positiveness
38% Popularity • 42% Danceability • 0% Energy • 16% Liveness
97% Instrumentalness • 18% Positiveness
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Paul Lansky
Threads: I. Prelude -
128 bpm • B min • 03:00 • -22.59db
21% Popularity • 60% Danceability • 8% Energy • 8% Liveness
90% Instrumentalness • 6% Positiveness
21% Popularity • 60% Danceability • 8% Energy • 8% Liveness
90% Instrumentalness • 6% Positiveness
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Balanescu Quartet
Interlude
135 bpm • B Maj • 01:05 • -20db
38% Popularity • 53% Danceability • 21% Energy • 13% Liveness
89% Instrumentalness • 25% Positiveness
38% Popularity • 53% Danceability • 21% Energy • 13% Liveness
89% Instrumentalness • 25% Positiveness
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Caroline Shaw
Plan & Elevation: V. The Beech Tree
129 bpm • G Maj • 02:08 • -11.81db
22% Popularity • 34% Danceability • 24% Energy • 12% Liveness
85% Instrumentalness • 4% Positiveness
22% Popularity • 34% Danceability • 24% Energy • 12% Liveness
85% Instrumentalness • 4% Positiveness
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Michael Harrison
Just Constellations: No. 4, The Acoustic...
127 bpm • B min • 02:58 • -19.37db
21% Popularity • 19% Danceability • 20% Energy • 10% Liveness
79% Instrumentalness • 4% Positiveness
21% Popularity • 19% Danceability • 20% Energy • 10% Liveness
79% Instrumentalness • 4% Positiveness
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Philip Glass Ensemble
Knee 4
135 bpm • E min • 07:05 • -22.2db
12% Popularity • 24% Danceability • 9% Energy • 30% Liveness
0% Instrumentalness • 65% Positiveness
12% Popularity • 24% Danceability • 9% Energy • 30% Liveness
0% Instrumentalness • 65% Positiveness
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Knut Nystedt
Immortal Bach
127 bpm • D# Maj • 05:40 • -34db
20% Popularity • 17% Danceability • 2% Energy • 9% Liveness
97% Instrumentalness • 3% Positiveness
20% Popularity • 17% Danceability • 2% Energy • 9% Liveness
97% Instrumentalness • 3% Positiveness
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Olivier Messiaen
O sacrum convivium!
127 bpm • F# Maj • 04:31 • -30.76db
20% Popularity • 17% Danceability • 2% Energy • 18% Liveness
42% Instrumentalness • 3% Positiveness
20% Popularity • 17% Danceability • 2% Energy • 18% Liveness
42% Instrumentalness • 3% Positiveness
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Ellis Ludwig-Leone
False We Hope
127 bpm • E Maj • 02:57 • -16.19db
6% Popularity • 25% Danceability • 20% Energy • 18% Liveness
2% Instrumentalness • 7% Positiveness
6% Popularity • 25% Danceability • 20% Energy • 18% Liveness
2% Instrumentalness • 7% Positiveness
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![How Sweet The Moonlight [The Merchant of Venice] cover art](https://i.scdn.co/image/ab67616d00001e02c006f8ad522668aa81236a12)
Jocelyn Pook
How Sweet The Moonlight [The Merchant of...
135 bpm • D# Maj • 04:19 • -22.58db
24% Popularity • 19% Danceability • 6% Energy • 10% Liveness
1% Instrumentalness • 7% Positiveness
24% Popularity • 19% Danceability • 6% Energy • 10% Liveness
1% Instrumentalness • 7% Positiveness
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Joseph Haydn
The 7 Last Words of Christ, Hob. XX:2: I...
136 bpm • D min • 03:54 • -28.86db
1% Popularity • 17% Danceability • 0% Energy • 9% Liveness
7% Instrumentalness • 4% Positiveness
1% Popularity • 17% Danceability • 0% Energy • 9% Liveness
7% Instrumentalness • 4% Positiveness
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Philip Glass
String Quartet No. 3 "Mishima": IV. 1962...
135 bpm • A# Maj • 01:41 • -21.55db
4% Popularity • 25% Danceability • 13% Energy • 10% Liveness
86% Instrumentalness • 4% Positiveness
4% Popularity • 25% Danceability • 13% Energy • 10% Liveness
86% Instrumentalness • 4% Positiveness
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Evgueni Galperine
Cold Front
136 bpm • C# Maj • 05:03 • -21.47db
13% Popularity • 32% Danceability • 13% Energy • 10% Liveness
88% Instrumentalness • 4% Positiveness
13% Popularity • 32% Danceability • 13% Energy • 10% Liveness
88% Instrumentalness • 4% Positiveness
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Peter Gregson
II. Up
126 bpm • E min • 02:43 • -26.72db
25% Popularity • 64% Danceability • 34% Energy • 11% Liveness
84% Instrumentalness • 83% Positiveness
25% Popularity • 64% Danceability • 34% Energy • 11% Liveness
84% Instrumentalness • 83% Positiveness
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Caroline Shaw
Rectangles and Circumstance
136 bpm • A# Maj • 02:55 • -9.51db
24% Popularity • 40% Danceability • 68% Energy • 32% Liveness
0% Instrumentalness • 40% Positiveness
24% Popularity • 40% Danceability • 68% Energy • 32% Liveness
0% Instrumentalness • 40% Positiveness
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Judd Greenstein
A e I O U
136 bpm • G min • 06:17 • -10.38db
12% Popularity • 31% Danceability • 28% Energy • 10% Liveness
0% Instrumentalness • 36% Positiveness
12% Popularity • 31% Danceability • 28% Energy • 10% Liveness
0% Instrumentalness • 36% Positiveness
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David Chalmin
Eclipse
136 bpm • C# Maj • 06:03 • -12db
11% Popularity • 35% Danceability • 36% Energy • 10% Liveness
91% Instrumentalness • 7% Positiveness
11% Popularity • 35% Danceability • 36% Energy • 10% Liveness
91% Instrumentalness • 7% Positiveness
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Marin Marais
Pièces de viole, Livre IV, Suite d'un g...
126 bpm • B Maj • 03:56 • -35.39db
27% Popularity • 27% Danceability • 5% Energy • 10% Liveness
91% Instrumentalness • 12% Positiveness
27% Popularity • 27% Danceability • 5% Energy • 10% Liveness
91% Instrumentalness • 12% Positiveness
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Ellis Ludwig-Leone
How to Resurrect a Loved One's Voice
126 bpm • F min • 03:23 • -19db
3% Popularity • 35% Danceability • 9% Energy • 10% Liveness
8% Instrumentalness • 8% Positiveness
3% Popularity • 35% Danceability • 9% Energy • 10% Liveness
8% Instrumentalness • 8% Positiveness
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Peter Gregson
I. Primary Colours
137 bpm • C min • 06:10 • -22.35db
22% Popularity • 19% Danceability • 16% Energy • 9% Liveness
66% Instrumentalness • 4% Positiveness
22% Popularity • 19% Danceability • 16% Energy • 9% Liveness
66% Instrumentalness • 4% Positiveness
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Michael Galasso
Scene 3
126 bpm • G Maj • 01:45 • -18.07db
15% Popularity • 39% Danceability • 11% Energy • 14% Liveness
0% Instrumentalness • 45% Positiveness
15% Popularity • 39% Danceability • 11% Energy • 14% Liveness
0% Instrumentalness • 45% Positiveness
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Philip Glass
String Quartet No. 3 "Mishima": III. 193...
125 bpm • D Maj • 04:12 • -21.25db
3% Popularity • 35% Danceability • 4% Energy • 10% Liveness
92% Instrumentalness • 4% Positiveness
3% Popularity • 35% Danceability • 4% Energy • 10% Liveness
92% Instrumentalness • 4% Positiveness
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Sarah Kirkland Snider
Snider: Mass for the Endangered: Agnus D...
137 bpm • E min • 10:01 • -20.28db
11% Popularity • 17% Danceability • 9% Energy • 22% Liveness
5% Instrumentalness • 3% Positiveness
11% Popularity • 17% Danceability • 9% Energy • 22% Liveness
5% Instrumentalness • 3% Positiveness
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Abel Selaocoe
Selaocoe: Lerato / Love
125 bpm • E Maj • 04:21 • -19.24db
30% Popularity • 37% Danceability • 12% Energy • 10% Liveness
9% Instrumentalness • 41% Positiveness
30% Popularity • 37% Danceability • 12% Energy • 10% Liveness
9% Instrumentalness • 41% Positiveness
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Caroline Shaw
Valencia
137 bpm • F Maj • 05:49 • -19db
22% Popularity • 33% Danceability • 12% Energy • 9% Liveness
30% Instrumentalness • 4% Positiveness
22% Popularity • 33% Danceability • 12% Energy • 9% Liveness
30% Instrumentalness • 4% Positiveness
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Roger Eno
Bells
138 bpm • C Maj • 03:25 • -26.08db
8% Popularity • 28% Danceability • 1% Energy • 8% Liveness
1% Instrumentalness • 9% Positiveness
8% Popularity • 28% Danceability • 1% Energy • 8% Liveness
1% Instrumentalness • 9% Positiveness
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John Dowland
Flow My Tears (Lachrimae)
138 bpm • A min • 03:55 • -23.31db
14% Popularity • 15% Danceability • 3% Energy • 10% Liveness
86% Instrumentalness • 4% Positiveness
14% Popularity • 15% Danceability • 3% Energy • 10% Liveness
86% Instrumentalness • 4% Positiveness
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Giovanni Battista Pergolesi
Qui Est Homo
138 bpm • G min • 04:19 • -23db
13% Popularity • 15% Danceability • 1% Energy • 9% Liveness
49% Instrumentalness • 4% Positiveness
13% Popularity • 15% Danceability • 1% Energy • 9% Liveness
49% Instrumentalness • 4% Positiveness
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Danni Lee
Little Seeds
138 bpm • C Maj • 02:55 • -9.86db
4% Popularity • 63% Danceability • 46% Energy • 15% Liveness
0% Instrumentalness • 52% Positiveness
4% Popularity • 63% Danceability • 46% Energy • 15% Liveness
0% Instrumentalness • 52% Positiveness
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Attacca Quartet
Drifting Circles
138 bpm • G Maj • 05:57 • -12.78db
4% Popularity • 58% Danceability • 32% Energy • 23% Liveness
54% Instrumentalness • 16% Positiveness
4% Popularity • 58% Danceability • 32% Energy • 23% Liveness
54% Instrumentalness • 16% Positiveness
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Caroline Shaw
Partita for 8 Singers: 1. Allemande
138 bpm • F# min • 05:53 • -11.04db
26% Popularity • 22% Danceability • 29% Energy • 14% Liveness
1% Instrumentalness • 5% Positiveness
26% Popularity • 22% Danceability • 29% Energy • 14% Liveness
1% Instrumentalness • 5% Positiveness
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Erland Cooper
Movement 6
138 bpm • C Maj • 03:56 • -10.86db
17% Popularity • 55% Danceability • 41% Energy • 8% Liveness
75% Instrumentalness • 41% Positiveness
17% Popularity • 55% Danceability • 41% Energy • 8% Liveness
75% Instrumentalness • 41% Positiveness
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David Lang
Death Speaks: No. 1, You Will Return
123 bpm • D min • 04:24 • -16.21db
18% Popularity • 51% Danceability • 6% Energy • 12% Liveness
4% Instrumentalness • 23% Positiveness
18% Popularity • 51% Danceability • 6% Energy • 12% Liveness
4% Instrumentalness • 23% Positiveness
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Fredrik Sjölin
Shore
139 bpm • G min • 02:50 • -21.53db
23% Popularity • 15% Danceability • 7% Energy • 12% Liveness
73% Instrumentalness • 4% Positiveness
23% Popularity • 15% Danceability • 7% Energy • 12% Liveness
73% Instrumentalness • 4% Positiveness
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Kevin Puts
Contact: I. The Call
123 bpm • G Maj • 08:09 • -16db
17% Popularity • 27% Danceability • 16% Energy • 8% Liveness
28% Instrumentalness • 4% Positiveness
17% Popularity • 27% Danceability • 16% Energy • 8% Liveness
28% Instrumentalness • 4% Positiveness
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Attacca Quartet
More Love Less Hate
139 bpm • C# Maj • 01:49 • -17.83db
6% Popularity • 15% Danceability • 25% Energy • 10% Liveness
96% Instrumentalness • 6% Positiveness
6% Popularity • 15% Danceability • 25% Energy • 10% Liveness
96% Instrumentalness • 6% Positiveness
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John Cage
Sonatas and Interludes for Prepared Pian...
123 bpm • C# Maj • 02:32 • -29.06db
19% Popularity • 40% Danceability • 21% Energy • 8% Liveness
67% Instrumentalness • 23% Positiveness
19% Popularity • 40% Danceability • 21% Energy • 8% Liveness
67% Instrumentalness • 23% Positiveness
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Anna Thorvaldsdottir
In the Light of Air: III. Existence
139 bpm • C Maj • 03:43 • -36db
23% Popularity • 14% Danceability • 0% Energy • 11% Liveness
77% Instrumentalness • 4% Positiveness
23% Popularity • 14% Danceability • 0% Energy • 11% Liveness
77% Instrumentalness • 4% Positiveness
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Isobel Waller-Bridge
For A Moment
139 bpm • D# Maj • 02:36 • -25.2db
24% Popularity • 15% Danceability • 5% Energy • 7% Liveness
82% Instrumentalness • 5% Positiveness
24% Popularity • 15% Danceability • 5% Energy • 7% Liveness
82% Instrumentalness • 5% Positiveness
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Orlando Gibbons
Fantasia a 6 in D Minor
139 bpm • D min • 03:45 • -17.13db
3% Popularity • 19% Danceability • 11% Energy • 9% Liveness
34% Instrumentalness • 9% Positiveness
3% Popularity • 19% Danceability • 11% Energy • 9% Liveness
34% Instrumentalness • 9% Positiveness
► Preview
Benny Goeran Bror Andersson
Lay All Your Love On Me
140 bpm • A min • 04:32 • -15db
30% Popularity • 39% Danceability • 9% Energy • 11% Liveness
2% Instrumentalness • 10% Positiveness
30% Popularity • 39% Danceability • 9% Energy • 11% Liveness
2% Instrumentalness • 10% Positiveness
► Preview
Jón Leifs
Requiem, Op. 33b
140 bpm • G# Maj • 04:43 • -31.82db
12% Popularity • 18% Danceability • 4% Energy • 14% Liveness
62% Instrumentalness • 4% Positiveness
12% Popularity • 18% Danceability • 4% Energy • 14% Liveness
62% Instrumentalness • 4% Positiveness
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John Adams
Fellow Traveler
140 bpm • A# min • 05:11 • -14.99db
0% Popularity • 58% Danceability • 31% Energy • 9% Liveness
80% Instrumentalness • 45% Positiveness
0% Popularity • 58% Danceability • 31% Energy • 9% Liveness
80% Instrumentalness • 45% Positiveness
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Steve Reich
Duet
140 bpm • F Maj • 04:56 • -20db
32% Popularity • 50% Danceability • 16% Energy • 25% Liveness
7% Instrumentalness • 35% Positiveness
32% Popularity • 50% Danceability • 16% Energy • 25% Liveness
7% Instrumentalness • 35% Positiveness
► Preview
Bryce Dessner
Alarms
140 bpm • G min • 06:20 • -13db
11% Popularity • 54% Danceability • 51% Energy • 41% Liveness
85% Instrumentalness • 33% Positiveness
11% Popularity • 54% Danceability • 51% Energy • 41% Liveness
85% Instrumentalness • 33% Positiveness
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Max Richter
Recomposed By Max Richter: Vivaldi, The ...
123 bpm • F min • 04:06 • -17.99db
32% Popularity • 25% Danceability • 22% Energy • 11% Liveness
94% Instrumentalness • 3% Positiveness
32% Popularity • 25% Danceability • 22% Energy • 11% Liveness
94% Instrumentalness • 3% Positiveness
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Philip Glass
Melodies for Saxophone: Melody 1
140 bpm • F# Maj • 02:52 • -22.66db
25% Popularity • 20% Danceability • 1% Energy • 15% Liveness
10% Instrumentalness • 76% Positiveness
25% Popularity • 20% Danceability • 1% Energy • 15% Liveness
10% Instrumentalness • 76% Positiveness
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Evelyn Glennie
A Little Prayer
140 bpm • C Maj • 04:48 • -32.27db
18% Popularity • 21% Danceability • 3% Energy • 12% Liveness
87% Instrumentalness • 4% Positiveness
18% Popularity • 21% Danceability • 3% Energy • 12% Liveness
87% Instrumentalness • 4% Positiveness
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John Taverner
In Nomine-Instrumentation colorée I (20...
122 bpm • D min • 02:09 • -35db
13% Popularity • 17% Danceability • 1% Energy • 8% Liveness
22% Instrumentalness • 9% Positiveness
13% Popularity • 17% Danceability • 1% Energy • 8% Liveness
22% Instrumentalness • 9% Positiveness
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Attacca Quartet
Pilgrim Side Eye
140 bpm • C# Maj • 02:02 • -11.97db
4% Popularity • 38% Danceability • 63% Energy • 11% Liveness
85% Instrumentalness • 25% Positiveness
4% Popularity • 38% Danceability • 63% Energy • 11% Liveness
85% Instrumentalness • 25% Positiveness
► Preview
Yo-Yo Ma
Lamentations, "Black/Folk Song Suite": I...
141 bpm • C min • 03:17 • -20.87db
14% Popularity • 68% Danceability • 3% Energy • 15% Liveness
79% Instrumentalness • 46% Positiveness
14% Popularity • 68% Danceability • 3% Energy • 15% Liveness
79% Instrumentalness • 46% Positiveness
► Preview
Julián Muro
El amor llega como tiro en el ojo
141 bpm • D Maj • 05:18 • -10db
3% Popularity • 50% Danceability • 36% Energy • 68% Liveness
2% Instrumentalness • 38% Positiveness
3% Popularity • 50% Danceability • 36% Energy • 68% Liveness
2% Instrumentalness • 38% Positiveness
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Caroline Shaw
Thousandth Orange
141 bpm • E min • 10:24 • -23.47db
9% Popularity • 41% Danceability • 3% Energy • 9% Liveness
61% Instrumentalness • 4% Positiveness
9% Popularity • 41% Danceability • 3% Energy • 9% Liveness
61% Instrumentalness • 4% Positiveness
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Anna Meredith
Midi (Arr. for Solo Violin and Electroni...
122 bpm • C min • 03:02 • -9.03db
13% Popularity • 40% Danceability • 52% Energy • 28% Liveness
2% Instrumentalness • 25% Positiveness
13% Popularity • 40% Danceability • 52% Energy • 28% Liveness
2% Instrumentalness • 25% Positiveness
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Peter Gregson
V. Duplicity
141 bpm • E Maj • 06:00 • -19.15db
23% Popularity • 16% Danceability • 13% Energy • 82% Liveness
39% Instrumentalness • 4% Positiveness
23% Popularity • 16% Danceability • 13% Energy • 82% Liveness
39% Instrumentalness • 4% Positiveness
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Abel Selaocoe
Selaocoe: Seipone / Mirror
122 bpm • G Maj • 03:22 • -20.56db
22% Popularity • 47% Danceability • 11% Energy • 10% Liveness
1% Instrumentalness • 8% Positiveness
22% Popularity • 47% Danceability • 11% Energy • 10% Liveness
1% Instrumentalness • 8% Positiveness
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Merrill Garbus
Ansa ya
141 bpm • E Maj • 06:44 • -10.56db
8% Popularity • 32% Danceability • 17% Energy • 10% Liveness
0% Instrumentalness • 12% Positiveness
8% Popularity • 32% Danceability • 17% Energy • 10% Liveness
0% Instrumentalness • 12% Positiveness
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Benoît Pioulard
Raze II
121 bpm • G min • 05:36 • -9.96db
4% Popularity • 17% Danceability • 55% Energy • 11% Liveness
81% Instrumentalness • 4% Positiveness
4% Popularity • 17% Danceability • 55% Energy • 11% Liveness
81% Instrumentalness • 4% Positiveness
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Ringdown
Thirst
142 bpm • D# min • 03:30 • -11.16db
13% Popularity • 52% Danceability • 27% Energy • 14% Liveness
1% Instrumentalness • 49% Positiveness
13% Popularity • 52% Danceability • 27% Energy • 14% Liveness
1% Instrumentalness • 49% Positiveness
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Philip Glass
MISHIMA/Closing
142 bpm • C min • 02:59 • -25.54db
37% Popularity • 20% Danceability • 8% Energy • 11% Liveness
95% Instrumentalness • 21% Positiveness
37% Popularity • 20% Danceability • 8% Energy • 11% Liveness
95% Instrumentalness • 21% Positiveness
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Hatis Noit
Angelus Novus
120 bpm • F min • 06:01 • -17.29db
14% Popularity • 23% Danceability • 4% Energy • 9% Liveness
5% Instrumentalness • 4% Positiveness
14% Popularity • 23% Danceability • 4% Energy • 9% Liveness
5% Instrumentalness • 4% Positiveness
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Theodore Shapiro
Elevator Trio
120 bpm • F Maj • 03:11 • -30.77db
15% Popularity • 65% Danceability • 3% Energy • 12% Liveness
11% Instrumentalness • 11% Positiveness
15% Popularity • 65% Danceability • 3% Energy • 12% Liveness
11% Instrumentalness • 11% Positiveness
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Caroline Shaw
Other Song
120 bpm • A# Maj • 03:42 • -16.62db
13% Popularity • 20% Danceability • 14% Energy • 10% Liveness
22% Instrumentalness • 7% Positiveness
13% Popularity • 20% Danceability • 14% Energy • 10% Liveness
22% Instrumentalness • 7% Positiveness
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Marcos Balter
Bladed Stance
120 bpm • B min • 05:47 • -21db
13% Popularity • 50% Danceability • 16% Energy • 19% Liveness
84% Instrumentalness • 14% Positiveness
13% Popularity • 50% Danceability • 16% Energy • 19% Liveness
84% Instrumentalness • 14% Positiveness
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Danni Lee
Wonder
120 bpm • D Maj • 03:18 • -9.75db
4% Popularity • 58% Danceability • 37% Energy • 9% Liveness
0% Instrumentalness • 18% Positiveness
4% Popularity • 58% Danceability • 37% Energy • 9% Liveness
0% Instrumentalness • 18% Positiveness
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Ligeti Quartet
Blackfriars - String Quartet Version
120 bpm • F# min • 03:03 • -13.47db
13% Popularity • 27% Danceability • 32% Energy • 12% Liveness
85% Instrumentalness • 5% Positiveness
13% Popularity • 27% Danceability • 32% Energy • 12% Liveness
85% Instrumentalness • 5% Positiveness
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Philip Glass
String Quartet No. 3, "Mishima": I. 1957...
120 bpm • C min • 04:19 • -23db
27% Popularity • 23% Danceability • 12% Energy • 10% Liveness
96% Instrumentalness • 18% Positiveness
27% Popularity • 23% Danceability • 12% Energy • 10% Liveness
96% Instrumentalness • 18% Positiveness
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Sarah Kay
HOMETOWN
119 bpm • F Maj • 03:36 • -16.79db
7% Popularity • 48% Danceability • 14% Energy • 11% Liveness
66% Instrumentalness • 24% Positiveness
7% Popularity • 48% Danceability • 14% Energy • 11% Liveness
66% Instrumentalness • 24% Positiveness
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Caroline Shaw
Plan & Elevation: II. The Cutting Garden
144 bpm • A min • 02:56 • -19.59db
20% Popularity • 26% Danceability • 15% Energy • 7% Liveness
86% Instrumentalness • 5% Positiveness
20% Popularity • 26% Danceability • 15% Energy • 7% Liveness
86% Instrumentalness • 5% Positiveness
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John Cage
Sonata and Interludes for Prepared Piano...
119 bpm • E min • 01:28 • -31db
35% Popularity • 37% Danceability • 12% Energy • 9% Liveness
93% Instrumentalness • 54% Positiveness
35% Popularity • 37% Danceability • 12% Energy • 9% Liveness
93% Instrumentalness • 54% Positiveness
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Evelyn Glennie
Light in Darkness
145 bpm • G Maj • 03:41 • -38.47db
8% Popularity • 16% Danceability • 1% Energy • 7% Liveness
90% Instrumentalness • 4% Positiveness
8% Popularity • 16% Danceability • 1% Energy • 7% Liveness
90% Instrumentalness • 4% Positiveness
