Songs like Earth to Asgard by Patrick Doyle
Based on a tempo of (+/- 10%) and a similar genre
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Patrick Doyle
Prologue
95 bpm • D min • 03:09 • -19db
25% Popularity • 42% Danceability • 34% Energy • 8% Liveness
97% Instrumentalness • 20% Positiveness
25% Popularity • 42% Danceability • 34% Energy • 8% Liveness
97% Instrumentalness • 20% Positiveness
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Blake Neely
Oliver Queen Suite
95 bpm • C# Maj • 09:47 • -20.88db
26% Popularity • 43% Danceability • 20% Energy • 10% Liveness
89% Instrumentalness • 4% Positiveness
26% Popularity • 43% Danceability • 20% Energy • 10% Liveness
89% Instrumentalness • 4% Positiveness
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Tyler Bates
Black Tears
95 bpm • A min • 02:43 • -10.51db
43% Popularity • 26% Danceability • 56% Energy • 3% Liveness
71% Instrumentalness • 20% Positiveness
43% Popularity • 26% Danceability • 56% Energy • 3% Liveness
71% Instrumentalness • 20% Positiveness
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Steven Price
Sea Lions and Killer Whales
95 bpm • E min • 06:11 • -20.43db
8% Popularity • 15% Danceability • 12% Energy • 14% Liveness
93% Instrumentalness • 3% Positiveness
8% Popularity • 15% Danceability • 12% Energy • 14% Liveness
93% Instrumentalness • 3% Positiveness
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Mark Mothersbaugh
Where To?
95 bpm • F Maj • 02:22 • -17db
28% Popularity • 12% Danceability • 13% Energy • 24% Liveness
89% Instrumentalness • 4% Positiveness
28% Popularity • 12% Danceability • 13% Energy • 24% Liveness
89% Instrumentalness • 4% Positiveness
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Jerry Goldsmith
A New Ending
96 bpm • F Maj • 06:08 • -17.43db
20% Popularity • 17% Danceability • 15% Energy • 44% Liveness
70% Instrumentalness • 5% Positiveness
20% Popularity • 17% Danceability • 15% Energy • 44% Liveness
70% Instrumentalness • 5% Positiveness
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Patrick Doyle
Earth to Asgard
95 bpm • D min • 02:33 • -16.5db
36% Popularity • 44% Danceability • 59% Energy • 9% Liveness
97% Instrumentalness • 25% Positiveness
36% Popularity • 44% Danceability • 59% Energy • 9% Liveness
97% Instrumentalness • 25% Positiveness
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Howard Shore
Axe or Sword?
94 bpm • A min • 05:59 • -20.68db
42% Popularity • 11% Danceability • 12% Energy • 10% Liveness
95% Instrumentalness • 4% Positiveness
42% Popularity • 11% Danceability • 12% Energy • 10% Liveness
95% Instrumentalness • 4% Positiveness
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Rohan Stevenson
Hiding Excalibur
96 bpm • E min • 02:05 • -15db
30% Popularity • 15% Danceability • 19% Energy • 12% Liveness
90% Instrumentalness • 3% Positiveness
30% Popularity • 15% Danceability • 19% Energy • 12% Liveness
90% Instrumentalness • 3% Positiveness
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Nicholas Hooper
Dumbledore's Speech
94 bpm • C min • 01:31 • -32db
44% Popularity • 11% Danceability • 1% Energy • 5% Liveness
96% Instrumentalness • 3% Positiveness
44% Popularity • 11% Danceability • 1% Energy • 5% Liveness
96% Instrumentalness • 3% Positiveness
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Bear McCreary
Númenor
94 bpm • G# Maj • 04:31 • -12.79db
39% Popularity • 12% Danceability • 33% Energy • 4% Liveness
98% Instrumentalness • 4% Positiveness
39% Popularity • 12% Danceability • 33% Energy • 4% Liveness
98% Instrumentalness • 4% Positiveness
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Jerry Goldsmith
Suite From Mulan
94 bpm • C Maj • 07:06 • -20db
46% Popularity • 15% Danceability • 10% Energy • 27% Liveness
90% Instrumentalness • 8% Positiveness
46% Popularity • 15% Danceability • 10% Energy • 27% Liveness
90% Instrumentalness • 8% Positiveness
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Rob Lane
Merlin's Arrival at Camelot
94 bpm • G# Maj • 03:08 • -16db
35% Popularity • 15% Danceability • 32% Energy • 24% Liveness
92% Instrumentalness • 6% Positiveness
35% Popularity • 15% Danceability • 32% Energy • 24% Liveness
92% Instrumentalness • 6% Positiveness
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Geoff Zanelli
She Needs the Sea
96 bpm • G Maj • 02:32 • -11.76db
35% Popularity • 18% Danceability • 46% Energy • 11% Liveness
85% Instrumentalness • 6% Positiveness
35% Popularity • 18% Danceability • 46% Energy • 11% Liveness
85% Instrumentalness • 6% Positiveness
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Benjamin Wallfisch
Variation 15
96 bpm • D# Maj • 05:51 • -17db
46% Popularity • 12% Danceability • 19% Energy • 10% Liveness
94% Instrumentalness • 3% Positiveness
46% Popularity • 12% Danceability • 19% Energy • 10% Liveness
94% Instrumentalness • 3% Positiveness
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Mark Mothersbaugh
Asgard Is a People
96 bpm • G# Maj • 04:20 • -14.58db
15% Popularity • 23% Danceability • 34% Energy • 6% Liveness
61% Instrumentalness • 4% Positiveness
15% Popularity • 23% Danceability • 34% Energy • 6% Liveness
61% Instrumentalness • 4% Positiveness
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Bear McCreary
Agents of S.H.I.E.L.D. Overture
96 bpm • C# Maj • 02:51 • -13.02db
39% Popularity • 46% Danceability • 49% Energy • 12% Liveness
79% Instrumentalness • 19% Positiveness
39% Popularity • 46% Danceability • 49% Energy • 12% Liveness
79% Instrumentalness • 19% Positiveness
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Patrick Doyle
Cookies
96 bpm • D Maj • 01:15 • -17.55db
15% Popularity • 64% Danceability • 28% Energy • 8% Liveness
94% Instrumentalness • 3% Positiveness
15% Popularity • 64% Danceability • 28% Energy • 8% Liveness
94% Instrumentalness • 3% Positiveness
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Pinar Toprak
Waking Up
97 bpm • A# Maj • 01:28 • -23.58db
33% Popularity • 24% Danceability • 13% Energy • 11% Liveness
45% Instrumentalness • 4% Positiveness
33% Popularity • 24% Danceability • 13% Energy • 11% Liveness
45% Instrumentalness • 4% Positiveness
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Roque Baños
Lower Away
93 bpm • C min • 03:54 • -14.21db
12% Popularity • 20% Danceability • 38% Energy • 6% Liveness
89% Instrumentalness • 4% Positiveness
12% Popularity • 20% Danceability • 38% Energy • 6% Liveness
89% Instrumentalness • 4% Positiveness
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Steven Price
This Is Our Planet
97 bpm • A# Maj • 03:43 • -16db
39% Popularity • 26% Danceability • 33% Energy • 36% Liveness
94% Instrumentalness • 8% Positiveness
39% Popularity • 26% Danceability • 33% Energy • 36% Liveness
94% Instrumentalness • 8% Positiveness
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Natalie Holt
Young Leia
97 bpm • G Maj • 01:04 • -17db
39% Popularity • 35% Danceability • 34% Energy • 18% Liveness
82% Instrumentalness • 8% Positiveness
39% Popularity • 35% Danceability • 34% Energy • 18% Liveness
82% Instrumentalness • 8% Positiveness
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John Ottman
Logo Mania
98 bpm • D min • 01:00 • -12.56db
32% Popularity • 45% Danceability • 59% Energy • 10% Liveness
80% Instrumentalness • 35% Positiveness
32% Popularity • 45% Danceability • 59% Energy • 10% Liveness
80% Instrumentalness • 35% Positiveness
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Patrick Doyle
To Jotunheim
93 bpm • D min • 02:19 • -18.89db
20% Popularity • 40% Danceability • 18% Energy • 8% Liveness
91% Instrumentalness • 13% Positiveness
20% Popularity • 40% Danceability • 18% Energy • 8% Liveness
91% Instrumentalness • 13% Positiveness
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Mychael Danna
Dad
98 bpm • C# min • 02:52 • -14db
28% Popularity • 19% Danceability • 20% Energy • 12% Liveness
88% Instrumentalness • 4% Positiveness
28% Popularity • 19% Danceability • 20% Energy • 12% Liveness
88% Instrumentalness • 4% Positiveness
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Pinar Toprak
New Clothes
93 bpm • G# Maj • 01:04 • -21.79db
39% Popularity • 18% Danceability • 7% Energy • 8% Liveness
97% Instrumentalness • 3% Positiveness
39% Popularity • 18% Danceability • 7% Energy • 8% Liveness
97% Instrumentalness • 3% Positiveness
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Rupert Gregson-Williams
No Man's Land
98 bpm • E min • 08:52 • -14.33db
38% Popularity • 18% Danceability • 48% Energy • 21% Liveness
89% Instrumentalness • 4% Positiveness
38% Popularity • 18% Danceability • 48% Energy • 21% Liveness
89% Instrumentalness • 4% Positiveness
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John Debney
Ivan's Metamorphosis
98 bpm • C min • 05:47 • -17.5db
18% Popularity • 13% Danceability • 19% Energy • 10% Liveness
83% Instrumentalness • 4% Positiveness
18% Popularity • 13% Danceability • 19% Energy • 10% Liveness
83% Instrumentalness • 4% Positiveness
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Roque Baños
The Knockdown
98 bpm • A Maj • 06:15 • -16.63db
12% Popularity • 21% Danceability • 35% Energy • 13% Liveness
84% Instrumentalness • 4% Positiveness
12% Popularity • 21% Danceability • 35% Energy • 13% Liveness
84% Instrumentalness • 4% Positiveness
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Patrick Doyle
Golden Gate Bridge
92 bpm • B Maj • 05:21 • -16.83db
10% Popularity • 21% Danceability • 50% Energy • 16% Liveness
82% Instrumentalness • 16% Positiveness
10% Popularity • 21% Danceability • 50% Energy • 16% Liveness
82% Instrumentalness • 16% Positiveness
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John Powell
Man Versus Man
92 bpm • B Maj • 05:45 • -15.56db
22% Popularity • 42% Danceability • 69% Energy • 9% Liveness
85% Instrumentalness • 10% Positiveness
22% Popularity • 42% Danceability • 69% Energy • 9% Liveness
85% Instrumentalness • 10% Positiveness
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Marc Streitenfeld
Charge
99 bpm • E min • 01:18 • -18db
62% Popularity • 18% Danceability • 52% Energy • 63% Liveness
78% Instrumentalness • 10% Positiveness
62% Popularity • 18% Danceability • 52% Energy • 63% Liveness
78% Instrumentalness • 10% Positiveness
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Javier Navarrete
Wrath Of The Titans
92 bpm • A# Maj • 02:15 • -14db
17% Popularity • 36% Danceability • 50% Energy • 6% Liveness
89% Instrumentalness • 14% Positiveness
17% Popularity • 36% Danceability • 50% Energy • 6% Liveness
89% Instrumentalness • 14% Positiveness
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Stephen Warbeck
The World in the Room
99 bpm • A# Maj • 01:37 • -22.65db
39% Popularity • 15% Danceability • 6% Energy • 8% Liveness
97% Instrumentalness • 6% Positiveness
39% Popularity • 15% Danceability • 6% Energy • 8% Liveness
97% Instrumentalness • 6% Positiveness
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Rob Lane
To Morgana
99 bpm • A# Maj • 02:30 • -26.65db
27% Popularity • 21% Danceability • 4% Energy • 14% Liveness
75% Instrumentalness • 4% Positiveness
27% Popularity • 21% Danceability • 4% Energy • 14% Liveness
75% Instrumentalness • 4% Positiveness
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Roque Baños
Abandon Ship
92 bpm • F min • 06:09 • -15.38db
31% Popularity • 14% Danceability • 31% Energy • 11% Liveness
83% Instrumentalness • 4% Positiveness
31% Popularity • 14% Danceability • 31% Energy • 11% Liveness
83% Instrumentalness • 4% Positiveness
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Nicholas Hooper
The Kiss
91 bpm • D# Maj • 01:56 • -30db
46% Popularity • 11% Danceability • 1% Energy • 8% Liveness
97% Instrumentalness • 3% Positiveness
46% Popularity • 11% Danceability • 1% Energy • 8% Liveness
97% Instrumentalness • 3% Positiveness
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Patrick Doyle
Letting Go
99 bpm • F Maj • 03:17 • -26.18db
25% Popularity • 13% Danceability • 2% Energy • 10% Liveness
2% Instrumentalness • 10% Positiveness
25% Popularity • 13% Danceability • 2% Energy • 10% Liveness
2% Instrumentalness • 10% Positiveness
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Thomas Newman
Define Dancing
99 bpm • C# Maj • 02:23 • -13.85db
55% Popularity • 31% Danceability • 38% Energy • 12% Liveness
85% Instrumentalness • 10% Positiveness
55% Popularity • 31% Danceability • 38% Energy • 12% Liveness
85% Instrumentalness • 10% Positiveness
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Marc Streitenfeld
Sherwood Forest
91 bpm • A min • 02:19 • -21db
58% Popularity • 27% Danceability • 13% Energy • 12% Liveness
95% Instrumentalness • 7% Positiveness
58% Popularity • 27% Danceability • 13% Energy • 12% Liveness
95% Instrumentalness • 7% Positiveness
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Geoff Zanelli
Kill the Sparrow
99 bpm • D min • 06:15 • -10.94db
30% Popularity • 24% Danceability • 60% Energy • 8% Liveness
89% Instrumentalness • 15% Positiveness
30% Popularity • 24% Danceability • 60% Energy • 8% Liveness
89% Instrumentalness • 15% Positiveness
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Rohan Stevenson
Finale - The Sword in the Stone
91 bpm • A# min • 07:13 • -17.74db
24% Popularity • 13% Danceability • 14% Energy • 9% Liveness
75% Instrumentalness • 3% Positiveness
24% Popularity • 13% Danceability • 14% Energy • 9% Liveness
75% Instrumentalness • 3% Positiveness
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Nicholas Hooper
Fireworks
100 bpm • D Maj • 01:45 • -14db
51% Popularity • 49% Danceability • 50% Energy • 12% Liveness
89% Instrumentalness • 7% Positiveness
51% Popularity • 49% Danceability • 50% Energy • 12% Liveness
89% Instrumentalness • 7% Positiveness
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Patrick Doyle
Mrs. Hubbard
100 bpm • G min • 01:33 • -21.66db
19% Popularity • 48% Danceability • 22% Energy • 13% Liveness
98% Instrumentalness • 5% Positiveness
19% Popularity • 48% Danceability • 22% Energy • 13% Liveness
98% Instrumentalness • 5% Positiveness
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Kevin Kiner
Obi-wan and Satine
90 bpm • C Maj • 02:43 • -13db
32% Popularity • 15% Danceability • 22% Energy • 12% Liveness
92% Instrumentalness • 4% Positiveness
32% Popularity • 15% Danceability • 22% Energy • 12% Liveness
92% Instrumentalness • 4% Positiveness
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Marc Streitenfeld
Fate Has Smiled Upon Us
91 bpm • E min • 02:02 • -13.98db
60% Popularity • 28% Danceability • 39% Energy • 22% Liveness
89% Instrumentalness • 4% Positiveness
60% Popularity • 28% Danceability • 39% Energy • 22% Liveness
89% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
Hell Hath No Fury
90 bpm • B min • 03:58 • -9.8db
28% Popularity • 18% Danceability • 47% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
28% Popularity • 18% Danceability • 47% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
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Bear McCreary
10 Cloverfield Lane
90 bpm • A Maj • 06:23 • -17db
15% Popularity • 33% Danceability • 30% Energy • 12% Liveness
86% Instrumentalness • 4% Positiveness
15% Popularity • 33% Danceability • 30% Energy • 12% Liveness
86% Instrumentalness • 4% Positiveness
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Christopher Lennertz
Will and the Robot
90 bpm • A# min • 07:28 • -17.55db
10% Popularity • 10% Danceability • 16% Energy • 14% Liveness
91% Instrumentalness • 3% Positiveness
10% Popularity • 10% Danceability • 16% Energy • 14% Liveness
91% Instrumentalness • 3% Positiveness
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Dario Marianelli
Setting Off From Kathmandu
100 bpm • A# Maj • 01:16 • -20.02db
43% Popularity • 37% Danceability • 29% Energy • 9% Liveness
94% Instrumentalness • 11% Positiveness
43% Popularity • 37% Danceability • 29% Energy • 9% Liveness
94% Instrumentalness • 11% Positiveness
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Thomas Newman
Welcome to Scotland
90 bpm • G# Maj • 03:21 • -15.22db
23% Popularity • 37% Danceability • 61% Energy • 4% Liveness
93% Instrumentalness • 8% Positiveness
23% Popularity • 37% Danceability • 61% Energy • 4% Liveness
93% Instrumentalness • 8% Positiveness
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Geoff Zanelli
Through the Tree
100 bpm • A min • 01:25 • -24db
38% Popularity • 52% Danceability • 10% Energy • 64% Liveness
43% Instrumentalness • 16% Positiveness
38% Popularity • 52% Danceability • 10% Energy • 64% Liveness
43% Instrumentalness • 16% Positiveness
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Nicholas Hooper
Loved Ones and Leaving
90 bpm • D Maj • 03:15 • -22.28db
47% Popularity • 22% Danceability • 7% Energy • 9% Liveness
94% Instrumentalness • 3% Positiveness
47% Popularity • 22% Danceability • 7% Energy • 9% Liveness
94% Instrumentalness • 3% Positiveness
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Bear McCreary
Rocket Launch
100 bpm • A Maj • 03:03 • -18.28db
19% Popularity • 35% Danceability • 12% Energy • 12% Liveness
91% Instrumentalness • 4% Positiveness
19% Popularity • 35% Danceability • 12% Energy • 12% Liveness
91% Instrumentalness • 4% Positiveness
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Joe Kraemer
Meet the IMF
90 bpm • A min • 01:47 • -14db
34% Popularity • 18% Danceability • 13% Energy • 11% Liveness
95% Instrumentalness • 4% Positiveness
34% Popularity • 18% Danceability • 13% Energy • 11% Liveness
95% Instrumentalness • 4% Positiveness
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Patrick Doyle
The Compound
90 bpm • C# Maj • 07:40 • -18.3db
17% Popularity • 24% Danceability • 28% Energy • 9% Liveness
90% Instrumentalness • 4% Positiveness
17% Popularity • 24% Danceability • 28% Energy • 9% Liveness
90% Instrumentalness • 4% Positiveness
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Steven Price
They Have Come To A Desert
101 bpm • C min • 01:41 • -17.67db
19% Popularity • 14% Danceability • 31% Energy • 18% Liveness
84% Instrumentalness • 3% Positiveness
19% Popularity • 14% Danceability • 31% Energy • 18% Liveness
84% Instrumentalness • 3% Positiveness
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Kevin Kiner
Ahsoka and the 501st
90 bpm • E min • 02:16 • -14.71db
31% Popularity • 12% Danceability • 26% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
31% Popularity • 12% Danceability • 26% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
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Joel P West
The Light and the Dark
89 bpm • D min • 01:46 • -11.54db
31% Popularity • 21% Danceability • 59% Energy • 13% Liveness
90% Instrumentalness • 17% Positiveness
31% Popularity • 21% Danceability • 59% Energy • 13% Liveness
90% Instrumentalness • 17% Positiveness
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Junkie XL
Welcome To London
89 bpm • G Maj • 02:39 • -9.42db
10% Popularity • 10% Danceability • 61% Energy • 9% Liveness
61% Instrumentalness • 16% Positiveness
10% Popularity • 10% Danceability • 61% Energy • 9% Liveness
61% Instrumentalness • 16% Positiveness
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Harald Kloser
The End
102 bpm • F Maj • 03:18 • -15db
33% Popularity • 14% Danceability • 22% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
33% Popularity • 14% Danceability • 22% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
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Geoff Zanelli
My Name Is Barbossa
89 bpm • F Maj • 05:33 • -10.54db
49% Popularity • 10% Danceability • 33% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
49% Popularity • 10% Danceability • 33% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
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Steven Price
Fury Drives Into Camp
90 bpm • G min • 01:50 • -18db
34% Popularity • 23% Danceability • 37% Energy • 10% Liveness
95% Instrumentalness • 10% Positiveness
34% Popularity • 23% Danceability • 37% Energy • 10% Liveness
95% Instrumentalness • 10% Positiveness
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Patrick Doyle
Arrival
102 bpm • C Maj • 02:02 • -15.38db
19% Popularity • 50% Danceability • 24% Energy • 10% Liveness
90% Instrumentalness • 16% Positiveness
19% Popularity • 50% Danceability • 24% Energy • 10% Liveness
90% Instrumentalness • 16% Positiveness
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Thomas Newman
Wow
88 bpm • F Maj • 02:31 • -25db
47% Popularity • 20% Danceability • 5% Energy • 12% Liveness
95% Instrumentalness • 5% Positiveness
47% Popularity • 20% Danceability • 5% Energy • 12% Liveness
95% Instrumentalness • 5% Positiveness
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Daniel Pemberton
The Legend of Excalibur
89 bpm • G Maj • 02:43 • -15.03db
36% Popularity • 18% Danceability • 28% Energy • 14% Liveness
61% Instrumentalness • 3% Positiveness
36% Popularity • 18% Danceability • 28% Energy • 14% Liveness
61% Instrumentalness • 3% Positiveness
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Junkie XL
The Dark Tower
88 bpm • G min • 01:42 • -15.84db
15% Popularity • 19% Danceability • 19% Energy • 5% Liveness
90% Instrumentalness • 2% Positiveness
15% Popularity • 19% Danceability • 19% Energy • 5% Liveness
90% Instrumentalness • 2% Positiveness
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Geoff Zanelli
Salazar
88 bpm • D# Maj • 04:27 • -15db
38% Popularity • 13% Danceability • 23% Energy • 15% Liveness
92% Instrumentalness • 4% Positiveness
38% Popularity • 13% Danceability • 23% Energy • 15% Liveness
92% Instrumentalness • 4% Positiveness
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John Debney
Elephant Waterfall
88 bpm • A min • 03:26 • -16.67db
29% Popularity • 16% Danceability • 24% Energy • 9% Liveness
97% Instrumentalness • 4% Positiveness
29% Popularity • 16% Danceability • 24% Energy • 9% Liveness
97% Instrumentalness • 4% Positiveness
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Ilan Eshkeri
Shogun's Sentence
103 bpm • C min • 02:04 • -21.92db
50% Popularity • 15% Danceability • 9% Energy • 9% Liveness
50% Instrumentalness • 3% Positiveness
50% Popularity • 15% Danceability • 9% Energy • 9% Liveness
50% Instrumentalness • 3% Positiveness
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Nicholas Hooper
Journey To The Cave
88 bpm • D Maj • 03:08 • -22.55db
48% Popularity • 28% Danceability • 14% Energy • 10% Liveness
89% Instrumentalness • 4% Positiveness
48% Popularity • 28% Danceability • 14% Energy • 10% Liveness
89% Instrumentalness • 4% Positiveness
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Steven Price
The Ocean Returns The Favour
103 bpm • E min • 02:20 • -15db
39% Popularity • 40% Danceability • 36% Energy • 9% Liveness
66% Instrumentalness • 8% Positiveness
39% Popularity • 40% Danceability • 36% Energy • 9% Liveness
66% Instrumentalness • 8% Positiveness
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John Ottman
Little Secrets / Power of the Sun
87 bpm • A min • 02:47 • -15.13db
23% Popularity • 12% Danceability • 11% Energy • 8% Liveness
80% Instrumentalness • 4% Positiveness
23% Popularity • 12% Danceability • 11% Energy • 8% Liveness
80% Instrumentalness • 4% Positiveness
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Geoff Zanelli
El Matador Del Mar
88 bpm • C min • 08:04 • -11.76db
36% Popularity • 13% Danceability • 41% Energy • 11% Liveness
86% Instrumentalness • 5% Positiveness
36% Popularity • 13% Danceability • 41% Energy • 11% Liveness
86% Instrumentalness • 5% Positiveness
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Craig Armstrong
Bruce and Betty
87 bpm • D# min • 05:05 • -20.6db
18% Popularity • 9% Danceability • 11% Energy • 17% Liveness
84% Instrumentalness • 3% Positiveness
18% Popularity • 9% Danceability • 11% Energy • 17% Liveness
84% Instrumentalness • 3% Positiveness
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Dario Marianelli
The War Rooms
103 bpm • G# Maj • 02:45 • -20.91db
30% Popularity • 46% Danceability • 17% Energy • 12% Liveness
89% Instrumentalness • 6% Positiveness
30% Popularity • 46% Danceability • 17% Energy • 12% Liveness
89% Instrumentalness • 6% Positiveness
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Joel P West
Your Father
104 bpm • C min • 03:13 • -12db
30% Popularity • 15% Danceability • 33% Energy • 11% Liveness
96% Instrumentalness • 4% Positiveness
30% Popularity • 15% Danceability • 33% Energy • 11% Liveness
96% Instrumentalness • 4% Positiveness
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Nick Glennie-Smith
That's A Nice Day
87 bpm • F min • 02:42 • -19.89db
27% Popularity • 14% Danceability • 24% Energy • 13% Liveness
66% Instrumentalness • 4% Positiveness
27% Popularity • 14% Danceability • 24% Energy • 13% Liveness
66% Instrumentalness • 4% Positiveness
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Bear McCreary
Showdown at Union Station
87 bpm • F min • 06:58 • -18.71db
14% Popularity • 16% Danceability • 17% Energy • 24% Liveness
87% Instrumentalness • 3% Positiveness
14% Popularity • 16% Danceability • 17% Energy • 24% Liveness
87% Instrumentalness • 3% Positiveness
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Carter Burwell
Follow Your Feet
87 bpm • D Maj • 03:09 • -27db
23% Popularity • 12% Danceability • 3% Energy • 14% Liveness
95% Instrumentalness • 8% Positiveness
23% Popularity • 12% Danceability • 3% Energy • 14% Liveness
95% Instrumentalness • 8% Positiveness
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John Debney
The Man Village
87 bpm • F# Maj • 02:57 • -32db
37% Popularity • 9% Danceability • 2% Energy • 8% Liveness
97% Instrumentalness • 4% Positiveness
37% Popularity • 9% Danceability • 2% Energy • 8% Liveness
97% Instrumentalness • 4% Positiveness
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Patrick Doyle
Twelve Stab Wounds
87 bpm • G# Maj • 02:58 • -28.86db
20% Popularity • 16% Danceability • 3% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
20% Popularity • 16% Danceability • 3% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
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Joel P West
Xu Shang-Chi
87 bpm • A min • 02:55 • -8.47db
40% Popularity • 37% Danceability • 75% Energy • 7% Liveness
95% Instrumentalness • 57% Positiveness
40% Popularity • 37% Danceability • 75% Energy • 7% Liveness
95% Instrumentalness • 57% Positiveness
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Joe Kraemer
Solomon Lane
86 bpm • A min • 04:07 • -18.9db
26% Popularity • 12% Danceability • 8% Energy • 18% Liveness
90% Instrumentalness • 3% Positiveness
26% Popularity • 12% Danceability • 8% Energy • 18% Liveness
90% Instrumentalness • 3% Positiveness
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Rob Lane
Titles - The Strange Girl
86 bpm • A Maj • 04:41 • -19db
19% Popularity • 13% Danceability • 17% Energy • 35% Liveness
92% Instrumentalness • 4% Positiveness
19% Popularity • 13% Danceability • 17% Energy • 35% Liveness
92% Instrumentalness • 4% Positiveness
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John Ottman
How Could You Leave Us
87 bpm • D min • 05:47 • -19db
25% Popularity • 12% Danceability • 8% Energy • 11% Liveness
67% Instrumentalness • 3% Positiveness
25% Popularity • 12% Danceability • 8% Energy • 11% Liveness
67% Instrumentalness • 3% Positiveness
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Jerry Goldsmith
Welcome Aboard, Sir
86 bpm • C Maj • 02:11 • -16.73db
24% Popularity • 12% Danceability • 31% Energy • 7% Liveness
70% Instrumentalness • 5% Positiveness
24% Popularity • 12% Danceability • 31% Energy • 7% Liveness
70% Instrumentalness • 5% Positiveness
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Kevin Kiner
Anakin and Ahsoka
86 bpm • G# Maj • 01:17 • -7.68db
27% Popularity • 9% Danceability • 37% Energy • 12% Liveness
92% Instrumentalness • 6% Positiveness
27% Popularity • 9% Danceability • 37% Energy • 12% Liveness
92% Instrumentalness • 6% Positiveness
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Howard Shore
My Dear Frodo
86 bpm • A min • 08:03 • -14db
44% Popularity • 9% Danceability • 36% Energy • 14% Liveness
93% Instrumentalness • 4% Positiveness
44% Popularity • 9% Danceability • 36% Energy • 14% Liveness
93% Instrumentalness • 4% Positiveness
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Michael Kamen
The Mission Begins - Instrumental
86 bpm • D Maj • 05:49 • -15db
27% Popularity • 9% Danceability • 20% Energy • 12% Liveness
93% Instrumentalness • 6% Positiveness
27% Popularity • 9% Danceability • 20% Energy • 12% Liveness
93% Instrumentalness • 6% Positiveness
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Pinar Toprak
Captain Marvel
105 bpm • C Maj • 02:15 • -14.81db
45% Popularity • 37% Danceability • 48% Energy • 12% Liveness
94% Instrumentalness • 11% Positiveness
45% Popularity • 37% Danceability • 48% Energy • 12% Liveness
94% Instrumentalness • 11% Positiveness
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Jeff Russo
Walking With Number One
86 bpm • G min • 01:16 • -19.26db
18% Popularity • 20% Danceability • 9% Energy • 17% Liveness
97% Instrumentalness • 6% Positiveness
18% Popularity • 20% Danceability • 9% Energy • 17% Liveness
97% Instrumentalness • 6% Positiveness
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Natalie Holt
Who You Become
86 bpm • F min • 03:36 • -19.92db
22% Popularity • 9% Danceability • 23% Energy • 13% Liveness
90% Instrumentalness • 6% Positiveness
22% Popularity • 9% Danceability • 23% Energy • 13% Liveness
90% Instrumentalness • 6% Positiveness
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David Newman
Prep For Flight
86 bpm • D min • 01:33 • -26.64db
26% Popularity • 18% Danceability • 10% Energy • 12% Liveness
68% Instrumentalness • 4% Positiveness
26% Popularity • 18% Danceability • 10% Energy • 12% Liveness
68% Instrumentalness • 4% Positiveness
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John Debney
New Element / Particle Accelerator
86 bpm • C Maj • 06:14 • -20.5db
17% Popularity • 19% Danceability • 24% Energy • 10% Liveness
90% Instrumentalness • 3% Positiveness
17% Popularity • 19% Danceability • 24% Energy • 10% Liveness
90% Instrumentalness • 3% Positiveness
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Patrick Doyle
This is True
86 bpm • C min • 02:51 • -22.2db
20% Popularity • 23% Danceability • 14% Energy • 7% Liveness
98% Instrumentalness • 4% Positiveness
20% Popularity • 23% Danceability • 14% Energy • 7% Liveness
98% Instrumentalness • 4% Positiveness
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Bear McCreary
Willing to Sacrifice
86 bpm • G Maj • 04:32 • -15.6db
10% Popularity • 12% Danceability • 31% Energy • 10% Liveness
88% Instrumentalness • 4% Positiveness
10% Popularity • 12% Danceability • 31% Energy • 10% Liveness
88% Instrumentalness • 4% Positiveness
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Thomas Newman
Field Trip
85 bpm • D Maj • 00:57 • -19db
51% Popularity • 28% Danceability • 12% Energy • 10% Liveness
96% Instrumentalness • 16% Positiveness
51% Popularity • 28% Danceability • 12% Energy • 10% Liveness
96% Instrumentalness • 16% Positiveness
