Songs like Getting On with it by Hans Zimmer
Based on a tempo of (+/- 10%) and a similar genre
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Hans Zimmer
Getting On with it
131 bpm • D Maj • 01:43 • -22.13db
20% Popularity • 70% Danceability • 13% Energy • 9% Liveness
26% Instrumentalness • 59% Positiveness
20% Popularity • 70% Danceability • 13% Energy • 9% Liveness
26% Instrumentalness • 59% Positiveness
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Mychael Danna
Critter Problem
131 bpm • C# Maj • 01:04 • -19.58db
37% Popularity • 68% Danceability • 18% Energy • 9% Liveness
93% Instrumentalness • 49% Positiveness
37% Popularity • 68% Danceability • 18% Energy • 9% Liveness
93% Instrumentalness • 49% Positiveness
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John Debney
A New Hope
132 bpm • D# Maj • 01:46 • -25.95db
40% Popularity • 16% Danceability • 5% Energy • 8% Liveness
87% Instrumentalness • 9% Positiveness
40% Popularity • 16% Danceability • 5% Energy • 8% Liveness
87% Instrumentalness • 9% Positiveness
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Nicholas Hooper
Dumbledore's Foreboding
132 bpm • G# Maj • 01:18 • -35.14db
43% Popularity • 16% Danceability • 1% Energy • 10% Liveness
96% Instrumentalness • 6% Positiveness
43% Popularity • 16% Danceability • 1% Energy • 10% Liveness
96% Instrumentalness • 6% Positiveness
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Johan Söderqvist
Thor and Liv
132 bpm • B min • 01:21 • -26db
46% Popularity • 38% Danceability • 13% Energy • 14% Liveness
95% Instrumentalness • 4% Positiveness
46% Popularity • 38% Danceability • 13% Energy • 14% Liveness
95% Instrumentalness • 4% Positiveness
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Mark Isham
Digging
130 bpm • C# Maj • 03:26 • -14.82db
7% Popularity • 45% Danceability • 32% Energy • 10% Liveness
77% Instrumentalness • 20% Positiveness
7% Popularity • 45% Danceability • 32% Energy • 10% Liveness
77% Instrumentalness • 20% Positiveness
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Hans Zimmer
Father and Son
130 bpm • C Maj • 03:00 • -14.31db
29% Popularity • 31% Danceability • 14% Energy • 9% Liveness
75% Instrumentalness • 8% Positiveness
29% Popularity • 31% Danceability • 14% Energy • 9% Liveness
75% Instrumentalness • 8% Positiveness
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Dan Romer
That's the Dream
129 bpm • G Maj • 02:05 • -13.08db
37% Popularity • 42% Danceability • 36% Energy • 11% Liveness
96% Instrumentalness • 13% Positiveness
37% Popularity • 42% Danceability • 36% Energy • 11% Liveness
96% Instrumentalness • 13% Positiveness
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Harald Kloser
President's Speech
133 bpm • A min • 04:20 • -21.1db
31% Popularity • 16% Danceability • 15% Energy • 11% Liveness
88% Instrumentalness • 4% Positiveness
31% Popularity • 16% Danceability • 15% Energy • 11% Liveness
88% Instrumentalness • 4% Positiveness
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John Powell
Save Kung Fu
133 bpm • C Maj • 03:41 • -13.9db
34% Popularity • 23% Danceability • 27% Energy • 24% Liveness
81% Instrumentalness • 19% Positiveness
34% Popularity • 23% Danceability • 27% Energy • 24% Liveness
81% Instrumentalness • 19% Positiveness
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Fernando Velázquez
Buffalo
129 bpm • G Maj • 02:08 • -21.93db
21% Popularity • 29% Danceability • 13% Energy • 12% Liveness
89% Instrumentalness • 14% Positiveness
21% Popularity • 29% Danceability • 13% Energy • 12% Liveness
89% Instrumentalness • 14% Positiveness
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Daniel Pemberton
Marquis
134 bpm • A min • 01:23 • -16.65db
28% Popularity • 27% Danceability • 8% Energy • 10% Liveness
51% Instrumentalness • 14% Positiveness
28% Popularity • 27% Danceability • 8% Energy • 10% Liveness
51% Instrumentalness • 14% Positiveness
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Hans Zimmer
Driving
130 bpm • D# Maj • 01:40 • -21.37db
22% Popularity • 33% Danceability • 19% Energy • 13% Liveness
65% Instrumentalness • 6% Positiveness
22% Popularity • 33% Danceability • 19% Energy • 13% Liveness
65% Instrumentalness • 6% Positiveness
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Rachel Portman
Ethan Plays Ball with Bailey
133 bpm • G Maj • 01:59 • -15.67db
22% Popularity • 23% Danceability • 14% Energy • 11% Liveness
95% Instrumentalness • 18% Positiveness
22% Popularity • 23% Danceability • 14% Energy • 11% Liveness
95% Instrumentalness • 18% Positiveness
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Ramin Djawadi
King Of The North
128 bpm • C min • 01:28 • -17.51db
50% Popularity • 17% Danceability • 10% Energy • 9% Liveness
77% Instrumentalness • 4% Positiveness
50% Popularity • 17% Danceability • 10% Energy • 9% Liveness
77% Instrumentalness • 4% Positiveness
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Christian Henson
Into the Book
128 bpm • D# Maj • 03:45 • -21.11db
27% Popularity • 17% Danceability • 12% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
27% Popularity • 17% Danceability • 12% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
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Dan Romer
Take Me, Gravity
128 bpm • A# Maj • 01:44 • -12.35db
36% Popularity • 36% Danceability • 37% Energy • 16% Liveness
90% Instrumentalness • 23% Positiveness
36% Popularity • 36% Danceability • 37% Energy • 16% Liveness
90% Instrumentalness • 23% Positiveness
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Howard Shore
Feast of Starlight
135 bpm • D Maj • 02:48 • -26.99db
54% Popularity • 18% Danceability • 4% Energy • 12% Liveness
98% Instrumentalness • 4% Positiveness
54% Popularity • 18% Danceability • 4% Energy • 12% Liveness
98% Instrumentalness • 4% Positiveness
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Hans Zimmer
The Fox
134 bpm • E min • 00:54 • -26.4db
25% Popularity • 26% Danceability • 9% Energy • 34% Liveness
0% Instrumentalness • 7% Positiveness
25% Popularity • 26% Danceability • 9% Energy • 34% Liveness
0% Instrumentalness • 7% Positiveness
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Jerry Goldsmith
Blossoms
127 bpm • A min • 06:27 • -21.94db
36% Popularity • 21% Danceability • 7% Energy • 4% Liveness
40% Instrumentalness • 4% Positiveness
36% Popularity • 21% Danceability • 7% Energy • 4% Liveness
40% Instrumentalness • 4% Positiveness
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Nicholas Hooper
Living Death
127 bpm • G# Maj • 01:55 • -22.31db
41% Popularity • 55% Danceability • 11% Energy • 12% Liveness
0% Instrumentalness • 26% Positiveness
41% Popularity • 55% Danceability • 11% Energy • 12% Liveness
0% Instrumentalness • 26% Positiveness
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Christian Henson
All's Well That End's Well
135 bpm • B Maj • 04:13 • -20.47db
23% Popularity • 20% Danceability • 9% Energy • 10% Liveness
71% Instrumentalness • 4% Positiveness
23% Popularity • 20% Danceability • 9% Energy • 10% Liveness
71% Instrumentalness • 4% Positiveness
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Stephen Warbeck
Leave Taking
135 bpm • G min • 03:04 • -27db
38% Popularity • 16% Danceability • 2% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
38% Popularity • 16% Danceability • 2% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
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Howard Shore
There And Back Again
135 bpm • D Maj • 04:20 • -20.53db
35% Popularity • 21% Danceability • 11% Energy • 10% Liveness
91% Instrumentalness • 4% Positiveness
35% Popularity • 21% Danceability • 11% Energy • 10% Liveness
91% Instrumentalness • 4% Positiveness
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Craig Armstrong
Buchanan Mansion And Daisy Suite
126 bpm • C Maj • 03:53 • -23db
22% Popularity • 17% Danceability • 10% Energy • 11% Liveness
83% Instrumentalness • 4% Positiveness
22% Popularity • 17% Danceability • 10% Energy • 11% Liveness
83% Instrumentalness • 4% Positiveness
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Hans Zimmer
Jaded
135 bpm • D min • 03:54 • -11.35db
30% Popularity • 32% Danceability • 47% Energy • 10% Liveness
86% Instrumentalness • 7% Positiveness
30% Popularity • 32% Danceability • 47% Energy • 10% Liveness
86% Instrumentalness • 7% Positiveness
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Ilan Eshkeri
Reforestation (Episode 5 - Humans)
126 bpm • A min • 01:40 • -17.72db
44% Popularity • 47% Danceability • 18% Energy • 17% Liveness
82% Instrumentalness • 5% Positiveness
44% Popularity • 47% Danceability • 18% Energy • 17% Liveness
82% Instrumentalness • 5% Positiveness
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The Chamber Orchestra Of London
Fashion
136 bpm • D Maj • 01:20 • -13.65db
42% Popularity • 17% Danceability • 30% Energy • 12% Liveness
86% Instrumentalness • 4% Positiveness
42% Popularity • 17% Danceability • 30% Energy • 12% Liveness
86% Instrumentalness • 4% Positiveness
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Daniel Pemberton
London Arrival
126 bpm • A Maj • 02:30 • -10.78db
21% Popularity • 72% Danceability • 62% Energy • 13% Liveness
86% Instrumentalness • 80% Positiveness
21% Popularity • 72% Danceability • 62% Energy • 13% Liveness
86% Instrumentalness • 80% Positiveness
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William Ross
Main Title / Prologue
126 bpm • E min • 02:38 • -22db
24% Popularity • 49% Danceability • 14% Energy • 7% Liveness
83% Instrumentalness • 35% Positiveness
24% Popularity • 49% Danceability • 14% Energy • 7% Liveness
83% Instrumentalness • 35% Positiveness
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Christian Henson
Opening Titles
137 bpm • G# Maj • 02:30 • -18.55db
34% Popularity • 16% Danceability • 20% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
34% Popularity • 16% Danceability • 20% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
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Hans Zimmer
Recovery
136 bpm • C# Maj • 01:47 • -16.38db
17% Popularity • 40% Danceability • 30% Energy • 10% Liveness
88% Instrumentalness • 9% Positiveness
17% Popularity • 40% Danceability • 30% Energy • 10% Liveness
88% Instrumentalness • 9% Positiveness
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Dan Romer
Did You Hide?
125 bpm • E Maj • 01:04 • -21db
42% Popularity • 94% Danceability • 11% Energy • 10% Liveness
88% Instrumentalness • 72% Positiveness
42% Popularity • 94% Danceability • 11% Energy • 10% Liveness
88% Instrumentalness • 72% Positiveness
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Lorne Balfe
Scholastic Sanctuary
125 bpm • C Maj • 03:06 • -15db
32% Popularity • 44% Danceability • 28% Energy • 11% Liveness
83% Instrumentalness • 15% Positiveness
32% Popularity • 44% Danceability • 28% Energy • 11% Liveness
83% Instrumentalness • 15% Positiveness
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Ilan Eshkeri
Mika And Kai
138 bpm • D min • 02:45 • -27.63db
46% Popularity • 15% Danceability • 3% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
46% Popularity • 15% Danceability • 3% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
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William Ross
Dad's Advice
137 bpm • C# Maj • 01:57 • -27.71db
37% Popularity • 15% Danceability • 5% Energy • 12% Liveness
91% Instrumentalness • 4% Positiveness
37% Popularity • 15% Danceability • 5% Energy • 12% Liveness
91% Instrumentalness • 4% Positiveness
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George Fenton
Cinderella
138 bpm • G Maj • 04:56 • -21.33db
20% Popularity • 19% Danceability • 9% Energy • 9% Liveness
88% Instrumentalness • 4% Positiveness
20% Popularity • 19% Danceability • 9% Energy • 9% Liveness
88% Instrumentalness • 4% Positiveness
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Hans Zimmer
The Spirit Realm
136 bpm • G# Maj • 03:18 • -14.92db
33% Popularity • 23% Danceability • 38% Energy • 15% Liveness
95% Instrumentalness • 4% Positiveness
33% Popularity • 23% Danceability • 38% Energy • 15% Liveness
95% Instrumentalness • 4% Positiveness
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Steve Jablonsky
The Battle Room
138 bpm • G min • 03:03 • -17db
42% Popularity • 38% Danceability • 31% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
42% Popularity • 38% Danceability • 31% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
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John Debney
To the River
138 bpm • F Maj • 03:04 • -19.37db
12% Popularity • 16% Danceability • 29% Energy • 19% Liveness
85% Instrumentalness • 9% Positiveness
12% Popularity • 16% Danceability • 29% Energy • 19% Liveness
85% Instrumentalness • 9% Positiveness
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Jóhann Jóhannsson
Rowing
138 bpm • G min • 01:42 • -18db
54% Popularity • 60% Danceability • 27% Energy • 13% Liveness
96% Instrumentalness • 10% Positiveness
54% Popularity • 60% Danceability • 27% Energy • 13% Liveness
96% Instrumentalness • 10% Positiveness
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Randy Newman
Boo's Going Home
138 bpm • B Maj • 03:33 • -19.76db
39% Popularity • 26% Danceability • 10% Energy • 9% Liveness
40% Instrumentalness • 4% Positiveness
39% Popularity • 26% Danceability • 10% Energy • 9% Liveness
40% Instrumentalness • 4% Positiveness
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Tyler Bates
Groot Cocoon
139 bpm • G# Maj • 02:29 • -13.27db
27% Popularity • 15% Danceability • 34% Energy • 9% Liveness
97% Instrumentalness • 4% Positiveness
27% Popularity • 15% Danceability • 34% Energy • 9% Liveness
97% Instrumentalness • 4% Positiveness
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Toby Chu
Bao
139 bpm • C min • 06:33 • -13db
32% Popularity • 26% Danceability • 26% Energy • 25% Liveness
33% Instrumentalness • 8% Positiveness
32% Popularity • 26% Danceability • 26% Energy • 25% Liveness
33% Instrumentalness • 8% Positiveness
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William Ross
The Drive To Immaculata ("The Mighty Mac...
139 bpm • A Maj • 02:29 • -21db
39% Popularity • 29% Danceability • 11% Energy • 8% Liveness
91% Instrumentalness • 10% Positiveness
39% Popularity • 29% Danceability • 11% Energy • 8% Liveness
91% Instrumentalness • 10% Positiveness
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John Debney
Water Truce
138 bpm • A# Maj • 03:38 • -24db
19% Popularity • 15% Danceability • 8% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
19% Popularity • 15% Danceability • 8% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
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Andrew Lockington
Percy At The Lake
139 bpm • E min • 01:29 • -29db
24% Popularity • 15% Danceability • 5% Energy • 12% Liveness
81% Instrumentalness • 4% Positiveness
24% Popularity • 15% Danceability • 5% Energy • 12% Liveness
81% Instrumentalness • 4% Positiveness
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Javier Navarrete
Jugglers
139 bpm • G Maj • 02:46 • -19.78db
12% Popularity • 24% Danceability • 13% Energy • 15% Liveness
89% Instrumentalness • 9% Positiveness
12% Popularity • 24% Danceability • 13% Energy • 15% Liveness
89% Instrumentalness • 9% Positiveness
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Pinar Toprak
Lost Love
139 bpm • E min • 06:19 • -19.31db
35% Popularity • 18% Danceability • 12% Energy • 9% Liveness
69% Instrumentalness • 5% Positiveness
35% Popularity • 18% Danceability • 12% Energy • 9% Liveness
69% Instrumentalness • 5% Positiveness
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Dario Marianelli
The Leafy Galleon
139 bpm • C Maj • 04:36 • -27.76db
16% Popularity • 27% Danceability • 4% Energy • 7% Liveness
91% Instrumentalness • 7% Positiveness
16% Popularity • 27% Danceability • 4% Energy • 7% Liveness
91% Instrumentalness • 7% Positiveness
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William Ross
Young Macy
139 bpm • D Maj • 01:02 • -25db
42% Popularity • 14% Danceability • 3% Energy • 7% Liveness
88% Instrumentalness • 10% Positiveness
42% Popularity • 14% Danceability • 3% Energy • 7% Liveness
88% Instrumentalness • 10% Positiveness
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Harald Kloser
Tornado Warning
139 bpm • C# Maj • 02:00 • -21.71db
32% Popularity • 14% Danceability • 6% Energy • 29% Liveness
96% Instrumentalness • 4% Positiveness
32% Popularity • 14% Danceability • 6% Energy • 29% Liveness
96% Instrumentalness • 4% Positiveness
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Carlos Rafael Rivera
Beth's Story
139 bpm • C min • 02:07 • -27db
57% Popularity • 28% Danceability • 3% Energy • 9% Liveness
84% Instrumentalness • 8% Positiveness
57% Popularity • 28% Danceability • 3% Energy • 9% Liveness
84% Instrumentalness • 8% Positiveness
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David Hirschfelder
You Know We're Flying
123 bpm • C Maj • 02:37 • -13.78db
11% Popularity • 25% Danceability • 25% Energy • 8% Liveness
92% Instrumentalness • 8% Positiveness
11% Popularity • 25% Danceability • 25% Energy • 8% Liveness
92% Instrumentalness • 8% Positiveness
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George Fenton
Leaping Penguins
123 bpm • D Maj • 01:28 • -16db
34% Popularity • 36% Danceability • 26% Energy • 27% Liveness
68% Instrumentalness • 16% Positiveness
34% Popularity • 36% Danceability • 26% Energy • 27% Liveness
68% Instrumentalness • 16% Positiveness
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Frederik Wiedmann
Silvergrove
140 bpm • C min • 01:53 • -17db
27% Popularity • 26% Danceability • 21% Energy • 10% Liveness
81% Instrumentalness • 6% Positiveness
27% Popularity • 26% Danceability • 21% Energy • 10% Liveness
81% Instrumentalness • 6% Positiveness
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Andrew Lockington
Percy Jackson: Sea of Monsters - Main Ti...
140 bpm • C Maj • 03:15 • -14db
18% Popularity • 28% Danceability • 42% Energy • 13% Liveness
95% Instrumentalness • 12% Positiveness
18% Popularity • 28% Danceability • 42% Energy • 13% Liveness
95% Instrumentalness • 12% Positiveness
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Dan Romer
The Bottom of the Ocean
140 bpm • G min • 01:51 • -21db
32% Popularity • 42% Danceability • 10% Energy • 10% Liveness
80% Instrumentalness • 34% Positiveness
32% Popularity • 42% Danceability • 10% Energy • 10% Liveness
80% Instrumentalness • 34% Positiveness
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Rachel Portman
End Titles
122 bpm • E min • 02:08 • -20db
44% Popularity • 18% Danceability • 17% Energy • 21% Liveness
90% Instrumentalness • 7% Positiveness
44% Popularity • 18% Danceability • 17% Energy • 21% Liveness
90% Instrumentalness • 7% Positiveness
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Nicholas Hooper
School!
140 bpm • G Maj • 01:05 • -31.24db
41% Popularity • 61% Danceability • 4% Energy • 10% Liveness
2% Instrumentalness • 35% Positiveness
41% Popularity • 61% Danceability • 4% Energy • 10% Liveness
2% Instrumentalness • 35% Positiveness
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John Debney
Wolves - Law of the Jungle
141 bpm • C# Maj • 02:15 • -24db
28% Popularity • 14% Danceability • 8% Energy • 12% Liveness
93% Instrumentalness • 5% Positiveness
28% Popularity • 14% Danceability • 8% Energy • 12% Liveness
93% Instrumentalness • 5% Positiveness
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William Ross
We'll Be #1
122 bpm • A# Maj • 01:52 • -22db
36% Popularity • 34% Danceability • 8% Energy • 13% Liveness
91% Instrumentalness • 6% Positiveness
36% Popularity • 34% Danceability • 8% Energy • 13% Liveness
91% Instrumentalness • 6% Positiveness
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Mychael Danna
Homecoming
141 bpm • E Maj • 01:24 • -21db
35% Popularity • 16% Danceability • 8% Energy • 10% Liveness
74% Instrumentalness • 6% Positiveness
35% Popularity • 16% Danceability • 8% Energy • 10% Liveness
74% Instrumentalness • 6% Positiveness
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Christian Henson
Maria's Room
122 bpm • B Maj • 01:30 • -21.13db
49% Popularity • 17% Danceability • 20% Energy • 10% Liveness
90% Instrumentalness • 3% Positiveness
49% Popularity • 17% Danceability • 20% Energy • 10% Liveness
90% Instrumentalness • 3% Positiveness
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Dario Marianelli
Monkey's Story
122 bpm • B min • 02:57 • -23db
25% Popularity • 32% Danceability • 5% Energy • 12% Liveness
86% Instrumentalness • 11% Positiveness
25% Popularity • 32% Danceability • 5% Energy • 12% Liveness
86% Instrumentalness • 11% Positiveness
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Guy Farley
Awakening
121 bpm • G Maj • 01:10 • -34db
51% Popularity • 48% Danceability • 1% Energy • 13% Liveness
95% Instrumentalness • 18% Positiveness
51% Popularity • 48% Danceability • 1% Energy • 13% Liveness
95% Instrumentalness • 18% Positiveness
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Ari Posner
Forbidden To Fraternize
121 bpm • G min • 01:03 • -19.04db
36% Popularity • 18% Danceability • 14% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
36% Popularity • 18% Danceability • 14% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
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Hans Zimmer
Kings of the Past
122 bpm • A min • 02:47 • -15db
40% Popularity • 20% Danceability • 28% Energy • 22% Liveness
54% Instrumentalness • 9% Positiveness
40% Popularity • 20% Danceability • 28% Energy • 22% Liveness
54% Instrumentalness • 9% Positiveness
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Craig Armstrong
Spring Sheep Dip
142 bpm • A Maj • 02:18 • -16.5db
30% Popularity • 15% Danceability • 20% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
30% Popularity • 15% Danceability • 20% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
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Joe Hisaishi
Town by a Cove
142 bpm • C Maj • 02:36 • -15.92db
35% Popularity • 46% Danceability • 22% Energy • 12% Liveness
89% Instrumentalness • 26% Positiveness
35% Popularity • 46% Danceability • 22% Energy • 12% Liveness
89% Instrumentalness • 26% Positiveness
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John Debney
Main Titles - Jungle Run
142 bpm • F# Maj • 02:25 • -16db
39% Popularity • 33% Danceability • 45% Energy • 15% Liveness
94% Instrumentalness • 22% Positiveness
39% Popularity • 33% Danceability • 45% Energy • 15% Liveness
94% Instrumentalness • 22% Positiveness
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Dan Romer
Walking Is Just Like Swimming
142 bpm • A Maj • 02:02 • -16.29db
34% Popularity • 61% Danceability • 13% Energy • 9% Liveness
92% Instrumentalness • 28% Positiveness
34% Popularity • 61% Danceability • 13% Energy • 9% Liveness
92% Instrumentalness • 28% Positiveness
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Jerry Goldsmith
Attack At The Wall
120 bpm • A Maj • 04:59 • -20.33db
35% Popularity • 35% Danceability • 17% Energy • 15% Liveness
82% Instrumentalness • 8% Positiveness
35% Popularity • 35% Danceability • 17% Energy • 15% Liveness
82% Instrumentalness • 8% Positiveness
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Carlos Rafael Rivera
Ceiling Games
120 bpm • F Maj • 02:17 • -13db
50% Popularity • 37% Danceability • 29% Energy • 12% Liveness
92% Instrumentalness • 12% Positiveness
50% Popularity • 37% Danceability • 29% Energy • 12% Liveness
92% Instrumentalness • 12% Positiveness
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Bear McCreary
Tales from the Galaxy's Edge End Credits
120 bpm • D# min • 02:37 • -15.33db
24% Popularity • 32% Danceability • 46% Energy • 10% Liveness
95% Instrumentalness • 4% Positiveness
24% Popularity • 32% Danceability • 46% Energy • 10% Liveness
95% Instrumentalness • 4% Positiveness
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Trevor Rabin
Page 47
120 bpm • D min • 02:39 • -11.81db
45% Popularity • 23% Danceability • 34% Energy • 33% Liveness
36% Instrumentalness • 7% Positiveness
45% Popularity • 23% Danceability • 34% Energy • 33% Liveness
36% Instrumentalness • 7% Positiveness
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Howard Shore
The Movies
120 bpm • D Maj • 01:29 • -27.35db
23% Popularity • 38% Danceability • 1% Energy • 7% Liveness
78% Instrumentalness • 4% Positiveness
23% Popularity • 38% Danceability • 1% Energy • 7% Liveness
78% Instrumentalness • 4% Positiveness
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Guy Farley
Family
120 bpm • A min • 01:47 • -17.68db
48% Popularity • 40% Danceability • 15% Energy • 7% Liveness
94% Instrumentalness • 5% Positiveness
48% Popularity • 40% Danceability • 15% Energy • 7% Liveness
94% Instrumentalness • 5% Positiveness
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Mark Isham
Daniel and Ruth
120 bpm • G Maj • 02:10 • -21.71db
34% Popularity • 19% Danceability • 7% Energy • 9% Liveness
97% Instrumentalness • 4% Positiveness
34% Popularity • 19% Danceability • 7% Energy • 9% Liveness
97% Instrumentalness • 4% Positiveness
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Carlos Rafael Rivera
The Green Pills
120 bpm • C min • 01:30 • -31.61db
45% Popularity • 40% Danceability • 1% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
45% Popularity • 40% Danceability • 1% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
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John Debney
The Rains Return
144 bpm • D min • 01:44 • -31.5db
21% Popularity • 14% Danceability • 7% Energy • 9% Liveness
73% Instrumentalness • 4% Positiveness
21% Popularity • 14% Danceability • 7% Energy • 9% Liveness
73% Instrumentalness • 4% Positiveness
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Hans Zimmer
Escape
144 bpm • C Maj • 03:13 • -15.75db
26% Popularity • 15% Danceability • 33% Energy • 24% Liveness
95% Instrumentalness • 4% Positiveness
26% Popularity • 15% Danceability • 33% Energy • 24% Liveness
95% Instrumentalness • 4% Positiveness
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Miriam Cutler
Ethel Main Title
120 bpm • F Maj • 03:16 • -21.88db
16% Popularity • 43% Danceability • 7% Energy • 10% Liveness
81% Instrumentalness • 7% Positiveness
16% Popularity • 43% Danceability • 7% Energy • 10% Liveness
81% Instrumentalness • 7% Positiveness
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Alexandra Harwood
Older Than Time
119 bpm • A min • 02:09 • -21.11db
11% Popularity • 18% Danceability • 6% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
11% Popularity • 18% Danceability • 6% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
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David Newman
Giving Back The Baby
119 bpm • E min • 06:26 • -14db
31% Popularity • 22% Danceability • 18% Energy • 9% Liveness
86% Instrumentalness • 4% Positiveness
31% Popularity • 22% Danceability • 18% Energy • 9% Liveness
86% Instrumentalness • 4% Positiveness
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Isobel Waller-Bridge
A Chill Draft About The Knees
144 bpm • C Maj • 01:05 • -28.6db
25% Popularity • 76% Danceability • 1% Energy • 28% Liveness
3% Instrumentalness • 60% Positiveness
25% Popularity • 76% Danceability • 1% Energy • 28% Liveness
3% Instrumentalness • 60% Positiveness
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Craig Armstrong
Didn't You Love Anything
119 bpm • C Maj • 01:44 • -22.67db
39% Popularity • 28% Danceability • 3% Energy • 7% Liveness
91% Instrumentalness • 12% Positiveness
39% Popularity • 28% Danceability • 3% Energy • 7% Liveness
91% Instrumentalness • 12% Positiveness
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Marc Streitenfeld
Destiny
144 bpm • A min • 03:36 • -17db
45% Popularity • 19% Danceability • 18% Energy • 4% Liveness
95% Instrumentalness • 10% Positiveness
45% Popularity • 19% Danceability • 18% Energy • 4% Liveness
95% Instrumentalness • 10% Positiveness
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Hans Zimmer
How To Be a Panda
119 bpm • A Maj • 01:53 • -18.59db
25% Popularity • 53% Danceability • 12% Energy • 13% Liveness
43% Instrumentalness • 21% Positiveness
25% Popularity • 53% Danceability • 12% Energy • 13% Liveness
43% Instrumentalness • 21% Positiveness
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Rohan Stevenson
Merlin and Morgana Duel
119 bpm • C# min • 03:09 • -16.06db
13% Popularity • 26% Danceability • 43% Energy • 36% Liveness
82% Instrumentalness • 7% Positiveness
13% Popularity • 26% Danceability • 43% Energy • 36% Liveness
82% Instrumentalness • 7% Positiveness
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Trevor Rabin
Ben
119 bpm • C Maj • 04:03 • -18.05db
41% Popularity • 17% Danceability • 15% Energy • 13% Liveness
94% Instrumentalness • 4% Positiveness
41% Popularity • 17% Danceability • 15% Energy • 13% Liveness
94% Instrumentalness • 4% Positiveness
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Mike Higham
Go to Her
119 bpm • C min • 06:16 • -16db
28% Popularity • 21% Danceability • 15% Energy • 15% Liveness
80% Instrumentalness • 4% Positiveness
28% Popularity • 21% Danceability • 15% Energy • 15% Liveness
80% Instrumentalness • 4% Positiveness
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Daniel Pemberton
Find Your Path
145 bpm • C Maj • 01:33 • -30.16db
19% Popularity • 13% Danceability • 2% Energy • 20% Liveness
62% Instrumentalness • 4% Positiveness
19% Popularity • 13% Danceability • 2% Energy • 20% Liveness
62% Instrumentalness • 4% Positiveness
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Harold Faltermeyer
Darkstar
145 bpm • D Maj • 03:01 • -18.06db
53% Popularity • 45% Danceability • 38% Energy • 8% Liveness
76% Instrumentalness • 14% Positiveness
53% Popularity • 45% Danceability • 38% Energy • 8% Liveness
76% Instrumentalness • 14% Positiveness
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Tom Howe
Masterclass
145 bpm • D min • 02:08 • -19.01db
18% Popularity • 87% Danceability • 28% Energy • 11% Liveness
91% Instrumentalness • 84% Positiveness
18% Popularity • 87% Danceability • 28% Energy • 11% Liveness
91% Instrumentalness • 84% Positiveness
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Rachel Portman
Bumper Crop
145 bpm • C Maj • 03:07 • -25.18db
15% Popularity • 29% Danceability • 3% Energy • 7% Liveness
91% Instrumentalness • 8% Positiveness
15% Popularity • 29% Danceability • 3% Energy • 7% Liveness
91% Instrumentalness • 8% Positiveness
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Trevor Rabin
City of Gold
118 bpm • G Maj • 02:13 • -11db
32% Popularity • 18% Danceability • 30% Energy • 19% Liveness
95% Instrumentalness • 4% Positiveness
32% Popularity • 18% Danceability • 30% Energy • 19% Liveness
95% Instrumentalness • 4% Positiveness
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Andrew Lockington
Vernian's Believe
118 bpm • C Maj • 02:53 • -25.39db
11% Popularity • 22% Danceability • 6% Energy • 12% Liveness
87% Instrumentalness • 4% Positiveness
11% Popularity • 22% Danceability • 6% Energy • 12% Liveness
87% Instrumentalness • 4% Positiveness