Songs like Gradual Requiem: Part 2 by Ingram Marshall
Based on a tempo of (+/- 10%) and a similar genre
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Alarm Will Sound
Blue Calx (arr. C. Burhans)
135 bpm • B min • 07:13 • -20db
14% Popularity • 59% Danceability • 17% Energy • 10% Liveness
88% Instrumentalness • 5% Positiveness
14% Popularity • 59% Danceability • 17% Energy • 10% Liveness
88% Instrumentalness • 5% Positiveness
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Olivier Messiaen
Preludes: La colombe (The Dove)
135 bpm • F# min • 02:04 • -35db
37% Popularity • 42% Danceability • 0% Energy • 16% Liveness
97% Instrumentalness • 18% Positiveness
37% Popularity • 42% Danceability • 0% Energy • 16% Liveness
97% Instrumentalness • 18% Positiveness
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Ingram Marshall
Gradual Requiem: Part 2
135 bpm • A min • 07:22 • -28.08db
4% Popularity • 21% Danceability • 9% Energy • 6% Liveness
94% Instrumentalness • 4% Positiveness
4% Popularity • 21% Danceability • 9% Energy • 6% Liveness
94% Instrumentalness • 4% Positiveness
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John Cage
Root of an Unfocus
134 bpm • B Maj • 04:57 • -20.93db
10% Popularity • 60% Danceability • 3% Energy • 10% Liveness
90% Instrumentalness • 12% Positiveness
10% Popularity • 60% Danceability • 3% Energy • 10% Liveness
90% Instrumentalness • 12% Positiveness
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Morton Feldman
Samoa (1968) for flute, horn, trumpet, h...
136 bpm • D Maj • 01:33 • -40db
28% Popularity • 45% Danceability • 1% Energy • 9% Liveness
86% Instrumentalness • 17% Positiveness
28% Popularity • 45% Danceability • 1% Energy • 9% Liveness
86% Instrumentalness • 17% Positiveness
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Roedelius
Rohstoff
135 bpm • C# Maj • 02:29 • -16db
36% Popularity • 24% Danceability • 22% Energy • 10% Liveness
90% Instrumentalness • 16% Positiveness
36% Popularity • 24% Danceability • 22% Energy • 10% Liveness
90% Instrumentalness • 16% Positiveness
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Trevor Kowalski
The Lonely Mesa
136 bpm • F min • 03:21 • -18.7db
18% Popularity • 15% Danceability • 7% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
18% Popularity • 15% Danceability • 7% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
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Colin Stetson
All the days I've missed you (ILAIJ I)
134 bpm • A# Maj • 01:15 • -26.79db
36% Popularity • 17% Danceability • 3% Energy • 11% Liveness
94% Instrumentalness • 3% Positiveness
36% Popularity • 17% Danceability • 3% Energy • 11% Liveness
94% Instrumentalness • 3% Positiveness
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Ingram Marshall
Solitary
135 bpm • F Maj • 04:27 • -30.08db
2% Popularity • 16% Danceability • 4% Energy • 7% Liveness
98% Instrumentalness • 3% Positiveness
2% Popularity • 16% Danceability • 4% Energy • 7% Liveness
98% Instrumentalness • 3% Positiveness
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Ernst Reijseger
Carbon Date Piano
134 bpm • F Maj • 02:32 • -34.76db
17% Popularity • 26% Danceability • 0% Energy • 9% Liveness
86% Instrumentalness • 11% Positiveness
17% Popularity • 26% Danceability • 0% Energy • 9% Liveness
86% Instrumentalness • 11% Positiveness
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Sarah Davachi
Ghosts and All
137 bpm • A# Maj • 08:32 • -11.38db
24% Popularity • 15% Danceability • 27% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
24% Popularity • 15% Danceability • 27% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
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Brian Eno
2/1 (Arr. J. Wolfe)
137 bpm • F min • 11:30 • -17.54db
12% Popularity • 26% Danceability • 1% Energy • 10% Liveness
88% Instrumentalness • 4% Positiveness
12% Popularity • 26% Danceability • 1% Energy • 10% Liveness
88% Instrumentalness • 4% Positiveness
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Morton Feldman
Piano Piece 1952 - Version 2
137 bpm • G# Maj • 06:24 • -25.55db
13% Popularity • 22% Danceability • 32% Energy • 12% Liveness
93% Instrumentalness • 3% Positiveness
13% Popularity • 22% Danceability • 32% Energy • 12% Liveness
93% Instrumentalness • 3% Positiveness
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Jóhann Jóhannsson
Industrial And Provident, We Unite To As...
137 bpm • F min • 08:10 • -14.97db
8% Popularity • 15% Danceability • 23% Energy • 11% Liveness
84% Instrumentalness • 4% Positiveness
8% Popularity • 15% Danceability • 23% Energy • 11% Liveness
84% Instrumentalness • 4% Positiveness
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Ingram Marshall
Weather Report
136 bpm • G# Maj • 12:16 • -28.23db
0% Popularity • 48% Danceability • 4% Energy • 55% Liveness
56% Instrumentalness • 34% Positiveness
0% Popularity • 48% Danceability • 4% Energy • 55% Liveness
56% Instrumentalness • 34% Positiveness
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Ernst Reijseger
Child's Footprint Duo
136 bpm • B min • 04:30 • -17.28db
17% Popularity • 15% Danceability • 14% Energy • 10% Liveness
81% Instrumentalness • 3% Positiveness
17% Popularity • 15% Danceability • 14% Energy • 10% Liveness
81% Instrumentalness • 3% Positiveness
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Eduard Artemyev
Поезд (Из к/ф "Сталкер")
137 bpm • G Maj • 04:43 • -23.58db
18% Popularity • 26% Danceability • 39% Energy • 8% Liveness
41% Instrumentalness • 4% Positiveness
18% Popularity • 26% Danceability • 39% Energy • 8% Liveness
41% Instrumentalness • 4% Positiveness
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Sarah Davachi
Evensong
133 bpm • D# Maj • 05:27 • -24.9db
17% Popularity • 25% Danceability • 12% Energy • 9% Liveness
95% Instrumentalness • 3% Positiveness
17% Popularity • 25% Danceability • 12% Energy • 9% Liveness
95% Instrumentalness • 3% Positiveness
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Cluster
Für Luise
137 bpm • B Maj • 03:26 • -21.12db
29% Popularity • 23% Danceability • 12% Energy • 11% Liveness
92% Instrumentalness • 4% Positiveness
29% Popularity • 23% Danceability • 12% Energy • 11% Liveness
92% Instrumentalness • 4% Positiveness
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Oliver Coates
Peace
137 bpm • C Maj • 03:38 • -19.15db
14% Popularity • 17% Danceability • 6% Energy • 10% Liveness
92% Instrumentalness • 3% Positiveness
14% Popularity • 17% Danceability • 6% Energy • 10% Liveness
92% Instrumentalness • 3% Positiveness
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Ingram Marshall
Three Penitential Visions: Eberbach II
134 bpm • D# Maj • 05:44 • -25.86db
0% Popularity • 18% Danceability • 12% Energy • 11% Liveness
96% Instrumentalness • 3% Positiveness
0% Popularity • 18% Danceability • 12% Energy • 11% Liveness
96% Instrumentalness • 3% Positiveness
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Alice Shields
Study for Voice and Tape
132 bpm • G Maj • 05:17 • -15.01db
14% Popularity • 40% Danceability • 30% Energy • 12% Liveness
0% Instrumentalness • 7% Positiveness
14% Popularity • 40% Danceability • 30% Energy • 12% Liveness
0% Instrumentalness • 7% Positiveness
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Akira Rabelais
Notturno
138 bpm • F Maj • 01:41 • -36db
26% Popularity • 16% Danceability • 0% Energy • 10% Liveness
98% Instrumentalness • 3% Positiveness
26% Popularity • 16% Danceability • 0% Energy • 10% Liveness
98% Instrumentalness • 3% Positiveness
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Sarah Davachi
Chorus Scene
133 bpm • C min • 02:47 • -21.91db
17% Popularity • 51% Danceability • 2% Energy • 15% Liveness
87% Instrumentalness • 29% Positiveness
17% Popularity • 51% Danceability • 2% Energy • 15% Liveness
87% Instrumentalness • 29% Positiveness
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Colin Stetson
And Still They Move
133 bpm • A# Maj • 02:56 • -18.38db
30% Popularity • 16% Danceability • 7% Energy • 11% Liveness
97% Instrumentalness • 4% Positiveness
30% Popularity • 16% Danceability • 7% Energy • 11% Liveness
97% Instrumentalness • 4% Positiveness
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Richard Skelton
Green Withins Brook
138 bpm • C Maj • 04:27 • -15.95db
10% Popularity • 15% Danceability • 16% Energy • 54% Liveness
82% Instrumentalness • 3% Positiveness
10% Popularity • 15% Danceability • 16% Energy • 54% Liveness
82% Instrumentalness • 3% Positiveness
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Ingram Marshall
Gradual Requiem: Part 5
132 bpm • A Maj • 03:26 • -42.63db
3% Popularity • 16% Danceability • 1% Energy • 7% Liveness
96% Instrumentalness • 2% Positiveness
3% Popularity • 16% Danceability • 1% Energy • 7% Liveness
96% Instrumentalness • 2% Positiveness
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Georgia Hathaway
In / Out
132 bpm • D Maj • 04:43 • -31.08db
9% Popularity • 16% Danceability • 1% Energy • 7% Liveness
96% Instrumentalness • 4% Positiveness
9% Popularity • 16% Danceability • 1% Energy • 7% Liveness
96% Instrumentalness • 4% Positiveness
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Laurie Spiegel
Three Sonic Spaces I
132 bpm • D Maj • 01:36 • -27.82db
28% Popularity • 20% Danceability • 8% Energy • 11% Liveness
93% Instrumentalness • 2% Positiveness
28% Popularity • 20% Danceability • 8% Energy • 11% Liveness
93% Instrumentalness • 2% Positiveness
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Akira Rabelais
Notturno (Loverly)
138 bpm • F Maj • 09:11 • -35.94db
9% Popularity • 14% Danceability • 0% Energy • 10% Liveness
98% Instrumentalness • 2% Positiveness
9% Popularity • 14% Danceability • 0% Energy • 10% Liveness
98% Instrumentalness • 2% Positiveness
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Andrey Dergachev
Exilium
138 bpm • D# min • 03:30 • -30.97db
11% Popularity • 15% Danceability • 2% Energy • 9% Liveness
95% Instrumentalness • 3% Positiveness
11% Popularity • 15% Danceability • 2% Energy • 9% Liveness
95% Instrumentalness • 3% Positiveness
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Jon Hassell
Empire I
131 bpm • E min • 02:00 • -27.85db
32% Popularity • 28% Danceability • 7% Energy • 26% Liveness
93% Instrumentalness • 71% Positiveness
32% Popularity • 28% Danceability • 7% Energy • 26% Liveness
93% Instrumentalness • 71% Positiveness
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Ingram Marshall
Three Penitential Visions: Fugitive Visi...
132 bpm • F Maj • 08:45 • -21.36db
1% Popularity • 24% Danceability • 25% Energy • 28% Liveness
92% Instrumentalness • 23% Positiveness
1% Popularity • 24% Danceability • 25% Energy • 28% Liveness
92% Instrumentalness • 23% Positiveness
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Jürg Frey
Extended Circular Music No. 5
131 bpm • A# min • 04:19 • -28db
11% Popularity • 19% Danceability • 0% Energy • 9% Liveness
96% Instrumentalness • 10% Positiveness
11% Popularity • 19% Danceability • 0% Energy • 9% Liveness
96% Instrumentalness • 10% Positiveness
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Giacinto Scelsi
Aion: I. —
139 bpm • G# Maj • 07:57 • -22db
9% Popularity • 14% Danceability • 15% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
9% Popularity • 14% Danceability • 15% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
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Kaskador
Out There
139 bpm • G# min • 02:32 • -28.47db
8% Popularity • 57% Danceability • 12% Energy • 12% Liveness
96% Instrumentalness • 77% Positiveness
8% Popularity • 57% Danceability • 12% Energy • 12% Liveness
96% Instrumentalness • 77% Positiveness
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Jóhann Jóhannsson
Low
139 bpm • D# Maj • 05:26 • -19.38db
13% Popularity • 14% Danceability • 10% Energy • 11% Liveness
86% Instrumentalness • 4% Positiveness
13% Popularity • 14% Danceability • 10% Energy • 11% Liveness
86% Instrumentalness • 4% Positiveness
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Jonny Greenwood
Greenwood: 48 Responses to Polymorphia: ...
139 bpm • D# min • 01:37 • -23.73db
12% Popularity • 14% Danceability • 12% Energy • 11% Liveness
97% Instrumentalness • 8% Positiveness
12% Popularity • 14% Danceability • 12% Energy • 11% Liveness
97% Instrumentalness • 8% Positiveness
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Ingram Marshall
Gradual Siciliano (for Gus)
139 bpm • B min • 03:58 • -31.2db
1% Popularity • 26% Danceability • 4% Energy • 6% Liveness
94% Instrumentalness • 4% Positiveness
1% Popularity • 26% Danceability • 4% Energy • 6% Liveness
94% Instrumentalness • 4% Positiveness
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Johanna Beyer
Music of the Spheres
139 bpm • F Maj • 06:01 • -23db
9% Popularity • 15% Danceability • 4% Energy • 12% Liveness
70% Instrumentalness • 3% Positiveness
9% Popularity • 15% Danceability • 4% Energy • 12% Liveness
70% Instrumentalness • 3% 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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Brian Eno
1/2 (Arr. D. Lang)
139 bpm • C# Maj • 08:34 • -18.91db
13% Popularity • 17% Danceability • 13% Energy • 9% Liveness
89% Instrumentalness • 3% Positiveness
13% Popularity • 17% Danceability • 13% Energy • 9% Liveness
89% Instrumentalness • 3% Positiveness
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Michael Galasso
Scene 2
131 bpm • G# Maj • 02:49 • -16.35db
21% Popularity • 32% Danceability • 8% Energy • 13% Liveness
68% Instrumentalness • 4% Positiveness
21% Popularity • 32% Danceability • 8% Energy • 13% Liveness
68% Instrumentalness • 4% Positiveness
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Henryk Górecki
3 Utwory w dawnym stylu (3 Pieces in Old...
130 bpm • A min • 04:27 • -22db
22% Popularity • 16% Danceability • 4% Energy • 10% Liveness
96% Instrumentalness • 5% Positiveness
22% Popularity • 16% Danceability • 4% Energy • 10% Liveness
96% Instrumentalness • 5% Positiveness
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Ingram Marshall
Gradual Requiem: Part 3
131 bpm • C min • 09:05 • -24.66db
3% Popularity • 29% Danceability • 10% Energy • 9% Liveness
90% Instrumentalness • 3% Positiveness
3% Popularity • 29% Danceability • 10% Energy • 9% Liveness
90% Instrumentalness • 3% Positiveness
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SQÜRL
Bright Air
140 bpm • A min • 02:18 • -27.03db
20% Popularity • 29% Danceability • 5% Energy • 8% Liveness
96% Instrumentalness • 10% Positiveness
20% Popularity • 29% Danceability • 5% Energy • 8% Liveness
96% Instrumentalness • 10% Positiveness
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Marcus Fjellström
The Eroding (Fairytale Music)
130 bpm • C min • 08:14 • -16.3db
12% Popularity • 16% Danceability • 59% Energy • 9% Liveness
55% Instrumentalness • 5% Positiveness
12% Popularity • 16% Danceability • 59% Energy • 9% Liveness
55% Instrumentalness • 5% Positiveness
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Peter Michael Hamel
Organum: IV. Part 4
140 bpm • D Maj • 05:41 • -44.12db
9% Popularity • 14% Danceability • 0% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
9% Popularity • 14% Danceability • 0% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
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Iannis Xenakis
Persepolis #1
130 bpm • F# min • 04:58 • -16db
11% Popularity • 16% Danceability • 39% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
11% Popularity • 16% Danceability • 39% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
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Christine Ott
Comma
141 bpm • D# Maj • 06:11 • -21.73db
10% Popularity • 22% Danceability • 7% Energy • 10% Liveness
96% Instrumentalness • 3% Positiveness
10% Popularity • 22% Danceability • 7% Energy • 10% Liveness
96% Instrumentalness • 3% Positiveness
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Ingram Marshall
Ingram Marshall: Fog Tropes
130 bpm • D Maj • 10:05 • -29db
14% Popularity • 16% Danceability • 7% Energy • 20% Liveness
94% Instrumentalness • 3% Positiveness
14% Popularity • 16% Danceability • 7% Energy • 20% Liveness
94% Instrumentalness • 3% Positiveness
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John Adams
Adams: Nixon in China: Act III - (Beginn...
129 bpm • D min • 01:10 • -31db
26% Popularity • 54% Danceability • 14% Energy • 13% Liveness
85% Instrumentalness • 59% Positiveness
26% Popularity • 54% Danceability • 14% Energy • 13% Liveness
85% Instrumentalness • 59% Positiveness
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Terry Riley
In C: Part 01
129 bpm • C Maj • 05:03 • -19.8db
13% Popularity • 64% Danceability • 20% Energy • 11% Liveness
84% Instrumentalness • 5% Positiveness
13% Popularity • 64% Danceability • 20% Energy • 11% Liveness
84% Instrumentalness • 5% Positiveness
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Morton Feldman
Rothko Chapel 2
141 bpm • B min • 04:35 • -39db
21% Popularity • 14% Danceability • 0% Energy • 11% Liveness
88% Instrumentalness • 3% Positiveness
21% Popularity • 14% Danceability • 0% Energy • 11% Liveness
88% Instrumentalness • 3% Positiveness
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Lou Harrison
Avalokiteshvara (Music for Harp) - 1964
142 bpm • F min • 02:43 • -22db
11% Popularity • 36% Danceability • 10% Energy • 11% Liveness
91% Instrumentalness • 44% Positiveness
11% Popularity • 36% Danceability • 10% Energy • 11% Liveness
91% Instrumentalness • 44% Positiveness
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The Manhattan Percussion Ensemble
Imaginary Landscape No. 1
142 bpm • C Maj • 09:04 • -24.26db
15% Popularity • 24% Danceability • 29% Energy • 55% Liveness
6% Instrumentalness • 4% Positiveness
15% Popularity • 24% Danceability • 29% Energy • 55% Liveness
6% Instrumentalness • 4% Positiveness
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Ingram Marshall
D'S Canon And Dance
130 bpm • A Maj • 05:33 • -15.61db
0% Popularity • 24% Danceability • 16% Energy • 7% Liveness
77% Instrumentalness • 10% Positiveness
0% Popularity • 24% Danceability • 16% Energy • 7% Liveness
77% Instrumentalness • 10% Positiveness
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Brian Eno
Slow Water - Remastered 2005
128 bpm • D min • 03:16 • -24.26db
25% Popularity • 22% Danceability • 14% Energy • 20% Liveness
96% Instrumentalness • 6% Positiveness
25% Popularity • 22% Danceability • 14% Energy • 20% Liveness
96% Instrumentalness • 6% Positiveness
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Terry Riley
In C: Part 02
129 bpm • C Maj • 04:46 • -20.21db
7% Popularity • 47% Danceability • 23% Energy • 24% Liveness
86% Instrumentalness • 8% Positiveness
7% Popularity • 47% Danceability • 23% Energy • 24% Liveness
86% Instrumentalness • 8% 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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Michael Nyman
Fish Beach
142 bpm • D# Maj • 02:51 • -19.29db
30% Popularity • 18% Danceability • 11% Energy • 12% Liveness
93% Instrumentalness • 4% Positiveness
30% Popularity • 18% Danceability • 11% Energy • 12% Liveness
93% Instrumentalness • 4% Positiveness
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Jonny Greenwood
Hageshii Genchou
128 bpm • C# min • 04:36 • -19.72db
9% Popularity • 17% Danceability • 13% Energy • 5% Liveness
91% Instrumentalness • 3% Positiveness
9% Popularity • 17% Danceability • 13% Energy • 5% Liveness
91% Instrumentalness • 3% Positiveness
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Ingram Marshall
A Frozen Moment
128 bpm • D# Maj • 03:20 • -19.34db
1% Popularity • 36% Danceability • 16% Energy • 58% Liveness
86% Instrumentalness • 38% Positiveness
1% Popularity • 36% Danceability • 16% Energy • 58% Liveness
86% Instrumentalness • 38% Positiveness
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Nico Muhly
A Hudson Cycle
142 bpm • A# min • 03:20 • -24db
19% Popularity • 28% Danceability • 10% Energy • 10% Liveness
89% Instrumentalness • 8% Positiveness
19% Popularity • 28% Danceability • 10% Energy • 10% Liveness
89% Instrumentalness • 8% Positiveness
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Terry Riley
In C: Part 09
129 bpm • C Maj • 04:58 • -20db
9% Popularity • 35% Danceability • 25% Energy • 36% Liveness
84% Instrumentalness • 6% Positiveness
9% Popularity • 35% Danceability • 25% Energy • 36% Liveness
84% Instrumentalness • 6% Positiveness
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Paul Lansky
Threads: I. Prelude -
128 bpm • B min • 03:00 • -22.59db
20% Popularity • 60% Danceability • 8% Energy • 8% Liveness
90% Instrumentalness • 6% Positiveness
20% Popularity • 60% Danceability • 8% Energy • 8% Liveness
90% Instrumentalness • 6% Positiveness
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Colin Stetson
From no part of me could I summon a voic...
142 bpm • F min • 02:16 • -10.76db
22% Popularity • 27% Danceability • 45% Energy • 28% Liveness
100% Instrumentalness • 44% Positiveness
22% Popularity • 27% Danceability • 45% Energy • 28% Liveness
100% Instrumentalness • 44% Positiveness
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Else Marie Pade
Etude (1962)
143 bpm • D# Maj • 05:33 • -13.49db
12% Popularity • 31% Danceability • 65% Energy • 36% Liveness
14% Instrumentalness • 7% Positiveness
12% Popularity • 31% Danceability • 65% Energy • 36% Liveness
14% Instrumentalness • 7% Positiveness
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Max Richter
Shadow Journal
143 bpm • G min • 08:22 • -25db
36% Popularity • 26% Danceability • 10% Energy • 66% Liveness
74% Instrumentalness • 4% Positiveness
36% Popularity • 26% Danceability • 10% Energy • 66% Liveness
74% Instrumentalness • 4% Positiveness
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David Lang
Child: II. Sweet Air
144 bpm • G min • 08:47 • -21.54db
8% Popularity • 86% Danceability • 24% Energy • 10% Liveness
93% Instrumentalness • 92% Positiveness
8% Popularity • 86% Danceability • 24% Energy • 10% Liveness
93% Instrumentalness • 92% Positiveness
► Preview
Georg Friedrich Haas
In Nomine (2001) for bass flute, english...
127 bpm • G min • 03:55 • -29db
9% Popularity • 17% Danceability • 1% Energy • 9% Liveness
88% Instrumentalness • 3% Positiveness
9% Popularity • 17% Danceability • 1% Energy • 9% Liveness
88% Instrumentalness • 3% Positiveness
► Preview
Steve Reich
Music for 18 Musicians (1976): Section I
145 bpm • D Maj • 03:32 • -20.07db
10% Popularity • 29% Danceability • 40% Energy • 12% Liveness
96% Instrumentalness • 45% Positiveness
10% Popularity • 29% Danceability • 40% Energy • 12% Liveness
96% Instrumentalness • 45% Positiveness
► Preview
Halim El-Dabh
Wire Recorder Piece
126 bpm • A# min • 01:57 • -17.18db
15% Popularity • 22% Danceability • 44% Energy • 15% Liveness
4% Instrumentalness • 4% Positiveness
15% Popularity • 22% Danceability • 44% Energy • 15% Liveness
4% Instrumentalness • 4% Positiveness
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John Adams
China Gates
145 bpm • B Maj • 05:13 • -34.35db
25% Popularity • 37% Danceability • 6% Energy • 8% Liveness
93% Instrumentalness • 25% Positiveness
25% Popularity • 37% Danceability • 6% Energy • 8% Liveness
93% Instrumentalness • 25% Positiveness
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Daníel Bjarnason
Air to Breath
145 bpm • E Maj • 04:42 • -14.02db
9% Popularity • 15% Danceability • 25% Energy • 16% Liveness
92% Instrumentalness • 3% Positiveness
9% Popularity • 15% Danceability • 25% Energy • 16% Liveness
92% Instrumentalness • 3% Positiveness
► Preview
Colin Stetson
Never Were the Way She Was
126 bpm • A min • 08:12 • -13db
16% Popularity • 17% Danceability • 41% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
16% Popularity • 17% Danceability • 41% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
► Preview
John Cage
A Room: From She Is Asleep
147 bpm • C# min • 02:18 • -44.83db
21% Popularity • 13% Danceability • 0% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
21% Popularity • 13% Danceability • 0% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
► Preview
Julia Kent
Lac des Arcs
147 bpm • A min • 05:38 • -14.92db
17% Popularity • 13% Danceability • 31% Energy • 7% Liveness
80% Instrumentalness • 3% Positiveness
17% Popularity • 13% Danceability • 31% Energy • 7% Liveness
80% Instrumentalness • 3% Positiveness
► Preview
Caroline Shaw
Limestone & Felt
147 bpm • D Maj • 05:42 • -25.22db
18% Popularity • 48% Danceability • 3% Energy • 8% Liveness
92% Instrumentalness • 10% Positiveness
18% Popularity • 48% Danceability • 3% Energy • 8% Liveness
92% Instrumentalness • 10% Positiveness
► Preview
John Adams
Shaker Loops (version for string orchest...
146 bpm • C Maj • 08:27 • -27db
14% Popularity • 22% Danceability • 10% Energy • 7% Liveness
56% Instrumentalness • 15% Positiveness
14% Popularity • 22% Danceability • 10% Energy • 7% Liveness
56% Instrumentalness • 15% Positiveness
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Ryan Lott
Water Fields
124 bpm • G Maj • 03:24 • -12db
7% Popularity • 23% Danceability • 26% Energy • 6% Liveness
53% Instrumentalness • 4% Positiveness
7% Popularity • 23% Danceability • 26% Energy • 6% Liveness
53% Instrumentalness • 4% Positiveness
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Steve Reich
Duet for two Solo Violins and String Orc...
124 bpm • F Maj • 05:34 • -16db
27% Popularity • 29% Danceability • 27% Energy • 91% Liveness
0% Instrumentalness • 19% Positiveness
27% Popularity • 29% Danceability • 27% Energy • 91% Liveness
0% Instrumentalness • 19% Positiveness
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Akira Rabelais
1440 Promp. Parv. 518/2 Wawyn, Or Wauery...
123 bpm • A# Maj • 06:36 • -32.67db
7% Popularity • 17% Danceability • 2% Energy • 7% Liveness
53% Instrumentalness • 2% Positiveness
7% Popularity • 17% Danceability • 2% Energy • 7% Liveness
53% Instrumentalness • 2% Positiveness
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Irena And Vojtech Havlovi
Piano & Violoncello 1
148 bpm • A min • 02:15 • -20.65db
32% Popularity • 28% Danceability • 9% Energy • 11% Liveness
79% Instrumentalness • 4% Positiveness
32% Popularity • 28% Danceability • 9% Energy • 11% Liveness
79% Instrumentalness • 4% Positiveness
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Ernst Reijseger
Forgotten Dreams #2
123 bpm • G Maj • 01:55 • -23.75db
22% Popularity • 33% Danceability • 8% Energy • 11% Liveness
65% Instrumentalness • 20% Positiveness
22% Popularity • 33% Danceability • 8% Energy • 11% Liveness
65% Instrumentalness • 20% Positiveness
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Popol Vuh
Aguirre III
148 bpm • A# Maj • 07:16 • -13.33db
16% Popularity • 12% Danceability • 46% Energy • 10% Liveness
97% Instrumentalness • 21% Positiveness
16% Popularity • 12% Danceability • 46% Energy • 10% Liveness
97% Instrumentalness • 21% Positiveness
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Wendy Carlos
Rocky Mountains
149 bpm • E min • 02:53 • -22db
32% Popularity • 12% Danceability • 22% Energy • 47% Liveness
84% Instrumentalness • 3% Positiveness
32% Popularity • 12% Danceability • 22% Energy • 47% Liveness
84% Instrumentalness • 3% Positiveness
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Ingram Marshall
Wanderer'S Night Song
121 bpm • C Maj • 04:05 • -29.43db
1% Popularity • 18% Danceability • 6% Energy • 28% Liveness
20% Instrumentalness • 4% Positiveness
1% Popularity • 18% Danceability • 6% Energy • 28% Liveness
20% Instrumentalness • 4% Positiveness
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Richard Skelton
Undertow
120 bpm • G# Maj • 06:26 • -16db
16% Popularity • 20% Danceability • 22% Energy • 11% Liveness
97% Instrumentalness • 4% Positiveness
16% Popularity • 20% Danceability • 22% Energy • 11% Liveness
97% Instrumentalness • 4% Positiveness
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Terry Riley
In C: I. Part 1
120 bpm • F Maj • 06:11 • -14.42db
7% Popularity • 60% Danceability • 32% Energy • 8% Liveness
89% Instrumentalness • 36% Positiveness
7% Popularity • 60% Danceability • 32% Energy • 8% Liveness
89% Instrumentalness • 36% Positiveness
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Ernst Reijseger
Forgotten Dreams #4
123 bpm • G Maj • 04:11 • -22.87db
16% Popularity • 38% Danceability • 8% Energy • 5% Liveness
95% Instrumentalness • 14% Positiveness
16% Popularity • 38% Danceability • 8% Energy • 5% Liveness
95% Instrumentalness • 14% Positiveness
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John Cage
Music for Marcel Duchamp
120 bpm • D# Maj • 05:55 • -38db
10% Popularity • 36% Danceability • 1% Energy • 11% Liveness
93% Instrumentalness • 3% Positiveness
10% Popularity • 36% Danceability • 1% Energy • 11% Liveness
93% Instrumentalness • 3% Positiveness
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Biosphere
Addio
120 bpm • D Maj • 01:30 • -28.02db
31% Popularity • 46% Danceability • 12% Energy • 13% Liveness
99% Instrumentalness • 69% Positiveness
31% Popularity • 46% Danceability • 12% Energy • 13% Liveness
99% Instrumentalness • 69% Positiveness
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David Skidmore
Aliens with Extraordinary Abilities: Agr...
120 bpm • G# Maj • 04:27 • -13.33db
8% Popularity • 64% Danceability • 71% Energy • 11% Liveness
86% Instrumentalness • 22% Positiveness
8% Popularity • 64% Danceability • 71% Energy • 11% Liveness
86% Instrumentalness • 22% Positiveness
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David Lang
Increase
120 bpm • C# Maj • 10:15 • -12db
19% Popularity • 40% Danceability • 37% Energy • 8% Liveness
92% Instrumentalness • 22% Positiveness
19% Popularity • 40% Danceability • 37% Energy • 8% Liveness
92% Instrumentalness • 22% Positiveness
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Marcos Balter
Bladed Stance
120 bpm • B min • 05:47 • -21db
12% Popularity • 50% Danceability • 16% Energy • 19% Liveness
84% Instrumentalness • 14% Positiveness
12% Popularity • 50% Danceability • 16% Energy • 19% Liveness
84% Instrumentalness • 14% Positiveness
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John Adams
China Gates
152 bpm • C# Maj • 05:24 • -26db
25% Popularity • 29% Danceability • 12% Energy • 19% Liveness
86% Instrumentalness • 17% Positiveness
25% Popularity • 29% Danceability • 12% Energy • 19% Liveness
86% Instrumentalness • 17% Positiveness
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Ernst Reijseger
Carbon Date Solo Cello
120 bpm • G Maj • 07:24 • -17.69db
10% Popularity • 43% Danceability • 30% Energy • 13% Liveness
90% Instrumentalness • 33% Positiveness
10% Popularity • 43% Danceability • 30% Energy • 13% Liveness
90% Instrumentalness • 33% Positiveness
