Songs like Jenny of Oldstones by Ramin Djawadi
Based on a tempo of (+/- 10%) and a similar genre
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Eternal Eclipse
Afterlight
87 bpm • G min • 02:17 • -13.54db
48% Popularity • 17% Danceability • 32% Energy • 11% Liveness
76% Instrumentalness • 4% Positiveness
48% Popularity • 17% Danceability • 32% Energy • 11% Liveness
76% Instrumentalness • 4% Positiveness
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Ramin Djawadi
Jenny of Oldstones
87 bpm • C min • 02:30 • -17.53db
52% Popularity • 25% Danceability • 9% Energy • 10% Liveness
93% Instrumentalness • 7% Positiveness
52% Popularity • 25% Danceability • 9% Energy • 10% Liveness
93% Instrumentalness • 7% Positiveness
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Stephen Warbeck
Alone
87 bpm • D Maj • 01:10 • -22.81db
54% Popularity • 10% Danceability • 7% Energy • 13% Liveness
97% Instrumentalness • 13% Positiveness
54% Popularity • 10% Danceability • 7% Energy • 13% Liveness
97% Instrumentalness • 13% Positiveness
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Audiomachine
Wildfire
87 bpm • G# Maj • 02:58 • -17db
39% Popularity • 35% Danceability • 23% Energy • 10% Liveness
0% Instrumentalness • 4% Positiveness
39% Popularity • 35% Danceability • 23% Energy • 10% Liveness
0% Instrumentalness • 4% Positiveness
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Trevor Rabin
Declaration of Independence
87 bpm • F Maj • 01:43 • -24db
46% Popularity • 14% Danceability • 9% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
46% Popularity • 14% Danceability • 9% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
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Thomas Wander
Edward's Theme
87 bpm • C min • 01:33 • -25.77db
38% Popularity • 23% Danceability • 2% Energy • 7% Liveness
88% Instrumentalness • 4% Positiveness
38% Popularity • 23% Danceability • 2% Energy • 7% Liveness
88% Instrumentalness • 4% Positiveness
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Paolo Buonvino
Vision
87 bpm • F Maj • 03:31 • -18.12db
36% Popularity • 10% Danceability • 17% Energy • 8% Liveness
92% Instrumentalness • 4% Positiveness
36% Popularity • 10% Danceability • 17% Energy • 8% Liveness
92% Instrumentalness • 4% Positiveness
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Eternal Eclipse
Shape of Lies
87 bpm • G# Maj • 02:52 • -11.24db
51% Popularity • 38% Danceability • 61% Energy • 11% Liveness
95% Instrumentalness • 23% Positiveness
51% Popularity • 38% Danceability • 61% Energy • 11% Liveness
95% Instrumentalness • 23% Positiveness
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Marc Streitenfeld
Honoring the Dead
87 bpm • G min • 02:43 • -16db
44% Popularity • 9% Danceability • 27% Energy • 12% Liveness
93% Instrumentalness • 6% Positiveness
44% Popularity • 9% Danceability • 27% Energy • 12% Liveness
93% Instrumentalness • 6% Positiveness
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The Chamber Orchestra Of London
Story Of My Life
86 bpm • F min • 01:57 • -18.17db
44% Popularity • 10% Danceability • 14% Energy • 12% Liveness
2% Instrumentalness • 3% Positiveness
44% Popularity • 10% Danceability • 14% Energy • 12% Liveness
2% Instrumentalness • 3% Positiveness
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Simon Franglen
Leaving Home
88 bpm • D min • 03:27 • -19db
39% Popularity • 18% Danceability • 22% Energy • 7% Liveness
91% Instrumentalness • 4% Positiveness
39% Popularity • 18% Danceability • 22% Energy • 7% Liveness
91% Instrumentalness • 4% Positiveness
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Ludwig Göransson
A Lowly Shoe Salesman
87 bpm • C# min • 03:34 • -27.63db
60% Popularity • 20% Danceability • 5% Energy • 10% Liveness
94% Instrumentalness • 3% Positiveness
60% Popularity • 20% Danceability • 5% Energy • 10% Liveness
94% 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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Ramin Djawadi
A Lannister Always Pays His Debts
86 bpm • D min • 02:50 • -16.52db
59% Popularity • 29% Danceability • 29% Energy • 17% Liveness
95% Instrumentalness • 10% Positiveness
59% Popularity • 29% Danceability • 29% Energy • 17% Liveness
95% Instrumentalness • 10% Positiveness
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Hildur Guðnadóttir
Bathroom Dance
86 bpm • G# min • 02:08 • -19.22db
54% Popularity • 17% Danceability • 7% Energy • 8% Liveness
26% Instrumentalness • 4% Positiveness
54% Popularity • 17% Danceability • 7% Energy • 8% Liveness
26% Instrumentalness • 4% Positiveness
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Secession Studios
Darkness of Light
86 bpm • F# Maj • 02:25 • -15.5db
46% Popularity • 40% Danceability • 27% Energy • 9% Liveness
89% Instrumentalness • 5% Positiveness
46% Popularity • 40% Danceability • 27% Energy • 9% Liveness
89% Instrumentalness • 5% Positiveness
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Bear McCreary
Ashes
86 bpm • C Maj • 06:09 • -16.51db
44% Popularity • 9% Danceability • 19% Energy • 11% Liveness
55% Instrumentalness • 3% Positiveness
44% Popularity • 9% Danceability • 19% Energy • 11% Liveness
55% Instrumentalness • 3% Positiveness
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Christoffer Moe Ditlevsen
Partners in Crime
86 bpm • E min • 03:27 • -14.11db
39% Popularity • 51% Danceability • 28% Energy • 9% Liveness
89% Instrumentalness • 41% Positiveness
39% Popularity • 51% Danceability • 28% Energy • 9% Liveness
89% Instrumentalness • 41% Positiveness
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Michael Kamen
Austria - Instrumental
86 bpm • A# Maj • 01:59 • -22db
36% Popularity • 16% Danceability • 12% Energy • 18% Liveness
94% Instrumentalness • 8% Positiveness
36% Popularity • 16% Danceability • 12% Energy • 18% Liveness
94% Instrumentalness • 8% Positiveness
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Ramin Djawadi
Breaker of Chains
88 bpm • F Maj • 04:05 • -19db
37% Popularity • 9% Danceability • 16% Energy • 9% Liveness
86% Instrumentalness • 3% Positiveness
37% Popularity • 9% Danceability • 16% Energy • 9% Liveness
86% Instrumentalness • 3% Positiveness
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Geoff Zanelli
My Name Is Barbossa
89 bpm • F Maj • 05:33 • -10.54db
48% Popularity • 10% Danceability • 33% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
48% Popularity • 10% Danceability • 33% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
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Chance Thomas
The Grey Havens
85 bpm • D min • 02:18 • -22db
45% Popularity • 22% Danceability • 7% Energy • 11% Liveness
92% Instrumentalness • 6% Positiveness
45% Popularity • 22% Danceability • 7% Energy • 11% Liveness
92% Instrumentalness • 6% Positiveness
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Bill Brown
Crossroad at Dawn
89 bpm • G min • 02:00 • -19.39db
53% Popularity • 12% Danceability • 12% Energy • 14% Liveness
94% Instrumentalness • 11% Positiveness
53% Popularity • 12% Danceability • 12% Energy • 14% Liveness
94% Instrumentalness • 11% Positiveness
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Marcin Przybyłowicz
Geralt Of Rivia
85 bpm • E min • 02:21 • -12.68db
54% Popularity • 26% Danceability • 57% Energy • 11% Liveness
96% Instrumentalness • 7% Positiveness
54% Popularity • 26% Danceability • 57% Energy • 11% Liveness
96% Instrumentalness • 7% Positiveness
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Steven Price
A Game of Strategy
85 bpm • B min • 03:17 • -18db
32% Popularity • 27% Danceability • 37% Energy • 14% Liveness
96% Instrumentalness • 20% Positiveness
32% Popularity • 27% Danceability • 37% Energy • 14% Liveness
96% Instrumentalness • 20% Positiveness
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Ramin Djawadi
Arrival at Winterfell
85 bpm • C min • 03:43 • -12.84db
46% Popularity • 20% Danceability • 37% Energy • 11% Liveness
76% Instrumentalness • 4% Positiveness
46% Popularity • 20% Danceability • 37% Energy • 11% Liveness
76% Instrumentalness • 4% Positiveness
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Clinton Shorter
The Expanse
85 bpm • C Maj • 01:04 • -13.23db
44% Popularity • 9% Danceability • 36% Energy • 9% Liveness
26% Instrumentalness • 17% Positiveness
44% Popularity • 9% Danceability • 36% Energy • 9% Liveness
26% Instrumentalness • 17% Positiveness
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Steve Jablonsky
Sacrifice
89 bpm • D min • 06:46 • -18.58db
45% Popularity • 10% Danceability • 11% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
45% Popularity • 10% Danceability • 11% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
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Rohan Stevenson
Lancelot Leaves
85 bpm • A# min • 01:55 • -20.15db
35% Popularity • 9% Danceability • 6% Energy • 10% Liveness
50% Instrumentalness • 3% Positiveness
35% Popularity • 9% Danceability • 6% Energy • 10% Liveness
50% Instrumentalness • 3% Positiveness
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Eternal Eclipse
Hidden Machinations
84 bpm • D min • 02:57 • -8.68db
48% Popularity • 45% Danceability • 70% Energy • 18% Liveness
70% Instrumentalness • 16% Positiveness
48% Popularity • 45% Danceability • 70% Energy • 18% Liveness
70% Instrumentalness • 16% Positiveness
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Craig Armstrong
Hollow in the Ferns
85 bpm • D min • 03:38 • -17.3db
47% Popularity • 22% Danceability • 14% Energy • 12% Liveness
86% Instrumentalness • 5% Positiveness
47% Popularity • 22% Danceability • 14% Energy • 12% Liveness
86% Instrumentalness • 5% Positiveness
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Nicholas Hooper
Harry & Hermione
90 bpm • C Maj • 02:52 • -29.09db
55% Popularity • 32% Danceability • 4% Energy • 16% Liveness
92% Instrumentalness • 4% Positiveness
55% Popularity • 32% Danceability • 4% Energy • 16% Liveness
92% Instrumentalness • 4% Positiveness
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Michael Kamen
Main Titles from the HBO Miniseries Band...
84 bpm • F Maj • 02:24 • -17.62db
45% Popularity • 8% Danceability • 18% Energy • 10% Liveness
97% Instrumentalness • 4% Positiveness
45% Popularity • 8% Danceability • 18% Energy • 10% Liveness
97% Instrumentalness • 4% Positiveness
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Anne Dudley
Suite from Poldark
84 bpm • A min • 05:31 • -17db
33% Popularity • 12% Danceability • 18% Energy • 32% Liveness
76% Instrumentalness • 6% Positiveness
33% Popularity • 12% Danceability • 18% Energy • 32% Liveness
76% Instrumentalness • 6% Positiveness
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Harald Kloser
You Came For Me
90 bpm • F Maj • 02:06 • -19db
35% Popularity • 10% Danceability • 15% Energy • 15% Liveness
98% Instrumentalness • 3% Positiveness
35% Popularity • 10% Danceability • 15% Energy • 15% Liveness
98% Instrumentalness • 3% Positiveness
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William Ross
A King's Sadness
84 bpm • C min • 02:00 • -36.4db
56% Popularity • 18% Danceability • 1% Energy • 6% Liveness
96% Instrumentalness • 4% Positiveness
56% Popularity • 18% Danceability • 1% Energy • 6% Liveness
96% Instrumentalness • 4% Positiveness
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Mikolai Stroinski
The Tree When We Sat Once
90 bpm • D min • 02:35 • -13.78db
49% Popularity • 15% Danceability • 18% Energy • 13% Liveness
75% Instrumentalness • 10% Positiveness
49% Popularity • 15% Danceability • 18% Energy • 13% Liveness
75% Instrumentalness • 10% Positiveness
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Nicholas Hooper
Loved Ones and Leaving
90 bpm • D Maj • 03:15 • -22.28db
46% Popularity • 22% Danceability • 7% Energy • 9% Liveness
94% Instrumentalness • 3% Positiveness
46% Popularity • 22% Danceability • 7% Energy • 9% Liveness
94% Instrumentalness • 3% Positiveness
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Lorne Balfe
Forgotten
90 bpm • C min • 09:09 • -17.26db
37% Popularity • 29% Danceability • 2% Energy • 7% Liveness
90% Instrumentalness • 4% Positiveness
37% Popularity • 29% Danceability • 2% Energy • 7% Liveness
90% Instrumentalness • 4% Positiveness
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Anne Dudley
The Longest Walk
90 bpm • G min • 02:42 • -14.91db
21% Popularity • 10% Danceability • 18% Energy • 10% Liveness
98% Instrumentalness • 4% Positiveness
21% Popularity • 10% Danceability • 18% Energy • 10% Liveness
98% Instrumentalness • 4% Positiveness
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Bear McCreary
Galadriel
84 bpm • A# min • 03:43 • -16.17db
41% Popularity • 16% Danceability • 17% Energy • 13% Liveness
93% Instrumentalness • 4% Positiveness
41% Popularity • 16% Danceability • 17% Energy • 13% Liveness
93% Instrumentalness • 4% Positiveness
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Steven Price
I'm Scared Too
90 bpm • C min • 03:45 • -22db
32% Popularity • 10% Danceability • 23% Energy • 11% Liveness
97% Instrumentalness • 4% Positiveness
32% Popularity • 10% Danceability • 23% Energy • 11% Liveness
97% Instrumentalness • 4% Positiveness
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Ramin Djawadi
Wallfacers
84 bpm • E min • 03:30 • -33.41db
30% Popularity • 24% Danceability • 4% Energy • 9% Liveness
89% Instrumentalness • 9% Positiveness
30% Popularity • 24% Danceability • 4% Energy • 9% Liveness
89% Instrumentalness • 9% Positiveness
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Nicholas Hooper
When Ginny Kissed Harry
84 bpm • E min • 02:38 • -28.26db
55% Popularity • 48% Danceability • 6% Energy • 4% Liveness
96% Instrumentalness • 8% Positiveness
55% Popularity • 48% Danceability • 6% Energy • 4% Liveness
96% Instrumentalness • 8% Positiveness
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Harald Kloser
10,000 BC/End Credits
84 bpm • E min • 02:55 • -12.92db
35% Popularity • 9% Danceability • 53% Energy • 9% Liveness
61% Instrumentalness • 15% Positiveness
35% Popularity • 9% Danceability • 53% Energy • 9% Liveness
61% Instrumentalness • 15% Positiveness
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Klaus Badelt
Eloi
91 bpm • B min • 02:12 • -15.93db
43% Popularity • 12% Danceability • 9% Energy • 10% Liveness
3% Instrumentalness • 4% Positiveness
43% Popularity • 12% Danceability • 9% Energy • 10% Liveness
3% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
Praying
83 bpm • A min • 05:49 • -13.18db
42% Popularity • 8% Danceability • 37% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
42% Popularity • 8% Danceability • 37% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
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Geoff Zanelli
Evelyn Goes It Alone
83 bpm • F# min • 02:33 • -25.17db
42% Popularity • 21% Danceability • 5% Energy • 15% Liveness
88% Instrumentalness • 11% Positiveness
42% Popularity • 21% Danceability • 5% Energy • 15% Liveness
88% Instrumentalness • 11% Positiveness
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Alexandre Desplat
Snape's Demise
83 bpm • G# Maj • 02:51 • -31.83db
41% Popularity • 18% Danceability • 4% Energy • 14% Liveness
96% Instrumentalness • 8% Positiveness
41% Popularity • 18% Danceability • 4% Energy • 14% Liveness
96% Instrumentalness • 8% Positiveness
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Burkhard Dallwitz
Tibet
91 bpm • E min • 05:26 • -16db
28% Popularity • 13% Danceability • 17% Energy • 11% Liveness
91% Instrumentalness • 3% Positiveness
28% Popularity • 13% Danceability • 17% Energy • 11% Liveness
91% Instrumentalness • 3% Positiveness
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Craig Armstrong
Opening
91 bpm • D min • 04:39 • -15.73db
52% Popularity • 14% Danceability • 19% Energy • 11% Liveness
28% Instrumentalness • 7% Positiveness
52% Popularity • 14% Danceability • 19% Energy • 11% Liveness
28% Instrumentalness • 7% 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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Jóhann Jóhannsson
Cambridge, 1963
83 bpm • A# Maj • 01:41 • -16.91db
58% Popularity • 36% Danceability • 9% Energy • 10% Liveness
98% Instrumentalness • 65% Positiveness
58% Popularity • 36% Danceability • 9% Energy • 10% Liveness
98% Instrumentalness • 65% Positiveness
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Ramin Djawadi
I Need You by My Side (Bonus Track)
83 bpm • G# Maj • 02:36 • -18.91db
36% Popularity • 8% Danceability • 21% Energy • 11% Liveness
93% Instrumentalness • 4% Positiveness
36% Popularity • 8% Danceability • 21% Energy • 11% Liveness
93% Instrumentalness • 4% Positiveness
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Audiomachine
Wars of Faith
91 bpm • C min • 03:51 • -13.13db
45% Popularity • 16% Danceability • 43% Energy • 9% Liveness
93% Instrumentalness • 9% Positiveness
45% Popularity • 16% Danceability • 43% Energy • 9% Liveness
93% Instrumentalness • 9% Positiveness
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Nicholas Hooper
The Kiss
91 bpm • D# Maj • 01:56 • -30db
45% Popularity • 11% Danceability • 1% Energy • 8% Liveness
97% Instrumentalness • 3% Positiveness
45% Popularity • 11% Danceability • 1% Energy • 8% Liveness
97% Instrumentalness • 3% Positiveness
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John Lunn
Duneagle
92 bpm • F# min • 02:06 • -14.23db
46% Popularity • 31% Danceability • 20% Energy • 9% Liveness
91% Instrumentalness • 28% Positiveness
46% Popularity • 31% Danceability • 20% Energy • 9% Liveness
91% Instrumentalness • 28% Positiveness
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Marc Streitenfeld
Sherwood Forest
91 bpm • A min • 02:19 • -21db
57% Popularity • 27% Danceability • 13% Energy • 12% Liveness
95% Instrumentalness • 7% Positiveness
57% Popularity • 27% Danceability • 13% Energy • 12% Liveness
95% Instrumentalness • 7% Positiveness
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John Powell
New Tail
83 bpm • G Maj • 02:48 • -13.4db
48% Popularity • 13% Danceability • 26% Energy • 6% Liveness
82% Instrumentalness • 9% Positiveness
48% Popularity • 13% Danceability • 26% Energy • 6% Liveness
82% Instrumentalness • 9% Positiveness
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Ramin Djawadi
Truth
83 bpm • D min • 03:31 • -13db
46% Popularity • 8% Danceability • 22% Energy • 11% Liveness
83% Instrumentalness • 3% Positiveness
46% Popularity • 8% Danceability • 22% Energy • 11% Liveness
83% Instrumentalness • 3% Positiveness
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David Arnold
High King and Queen of Narnia
83 bpm • C Maj • 01:33 • -18.57db
44% Popularity • 11% Danceability • 4% Energy • 11% Liveness
93% Instrumentalness • 8% Positiveness
44% Popularity • 11% Danceability • 4% Energy • 11% Liveness
93% Instrumentalness • 8% Positiveness
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Alexandre Desplat
Farewell to Dobby
82 bpm • C# Maj • 03:43 • -26.57db
46% Popularity • 9% Danceability • 6% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
46% Popularity • 9% Danceability • 6% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
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Carter Burwell
My Dear Anne
82 bpm • A min • 02:37 • -20.64db
40% Popularity • 14% Danceability • 4% Energy • 11% Liveness
84% Instrumentalness • 6% Positiveness
40% Popularity • 14% Danceability • 4% Energy • 11% Liveness
84% Instrumentalness • 6% Positiveness
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The Chamber Orchestra Of London
Downton Abbey - The Suite
82 bpm • A min • 07:08 • -14db
43% Popularity • 14% Danceability • 28% Energy • 10% Liveness
89% Instrumentalness • 11% Positiveness
43% Popularity • 14% Danceability • 28% Energy • 10% Liveness
89% Instrumentalness • 11% Positiveness
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Eternal Eclipse
Inferia
82 bpm • G# min • 02:48 • -13db
47% Popularity • 8% Danceability • 50% Energy • 9% Liveness
98% Instrumentalness • 4% Positiveness
47% Popularity • 8% Danceability • 50% Energy • 9% Liveness
98% Instrumentalness • 4% Positiveness
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Nicholas Britell
Song of Hal: Conclusio in C Minor
92 bpm • C min • 04:50 • -16.58db
39% Popularity • 14% Danceability • 9% Energy • 11% Liveness
96% Instrumentalness • 3% Positiveness
39% Popularity • 14% Danceability • 9% Energy • 11% Liveness
96% Instrumentalness • 3% Positiveness
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Jeff Beal
Next In Line
82 bpm • D min • 01:46 • -18db
43% Popularity • 26% Danceability • 27% Energy • 12% Liveness
98% Instrumentalness • 6% Positiveness
43% Popularity • 26% Danceability • 27% Energy • 12% Liveness
98% Instrumentalness • 6% Positiveness
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Anne Sophie Versnaeyen
The Path of Silence
92 bpm • C min • 03:15 • -12.32db
43% Popularity • 21% Danceability • 41% Energy • 11% Liveness
86% Instrumentalness • 16% Positiveness
43% Popularity • 21% Danceability • 41% Energy • 11% Liveness
86% Instrumentalness • 16% Positiveness
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Ramin Djawadi
Dracarys
82 bpm • C Maj • 02:53 • -18.41db
45% Popularity • 43% Danceability • 16% Energy • 12% Liveness
92% Instrumentalness • 4% Positiveness
45% Popularity • 43% Danceability • 16% Energy • 12% Liveness
92% Instrumentalness • 4% Positiveness
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Anne Dudley
Resurgam
82 bpm • F min • 03:24 • -13.24db
30% Popularity • 12% Danceability • 23% Energy • 10% Liveness
91% Instrumentalness • 4% Positiveness
30% Popularity • 12% Danceability • 23% Energy • 10% Liveness
91% Instrumentalness • 4% Positiveness
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Christopher Willis
David's Writings
92 bpm • C# min • 02:57 • -13.54db
49% Popularity • 30% Danceability • 36% Energy • 14% Liveness
91% Instrumentalness • 4% Positiveness
49% Popularity • 30% Danceability • 36% Energy • 14% Liveness
91% Instrumentalness • 4% Positiveness
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John Powell
Stoick Saves Hiccup
82 bpm • C min • 02:18 • -15.88db
36% Popularity • 8% Danceability • 16% Energy • 13% Liveness
98% Instrumentalness • 4% Positiveness
36% Popularity • 8% Danceability • 16% Energy • 13% Liveness
98% Instrumentalness • 4% Positiveness
► Preview
Nicholas Hooper
Farewell Aragog
82 bpm • G Maj • 02:08 • -25db
45% Popularity • 12% Danceability • 3% Energy • 8% Liveness
6% Instrumentalness • 5% Positiveness
45% Popularity • 12% Danceability • 3% Energy • 8% Liveness
6% Instrumentalness • 5% Positiveness
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X-Ray Dog
The Vision
92 bpm • A min • 01:50 • -11.3db
26% Popularity • 24% Danceability • 25% Energy • 17% Liveness
93% Instrumentalness • 4% Positiveness
26% Popularity • 24% Danceability • 25% Energy • 17% Liveness
93% Instrumentalness • 4% Positiveness
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Ramin Djawadi
Farewell
82 bpm • F min • 05:31 • -17.82db
40% Popularity • 8% Danceability • 10% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
40% Popularity • 8% Danceability • 10% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
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Craig Armstrong
Bathsheba and Oak Unite
82 bpm • G Maj • 01:35 • -17.66db
47% Popularity • 17% Danceability • 21% Energy • 32% Liveness
88% Instrumentalness • 4% Positiveness
47% Popularity • 17% Danceability • 21% Energy • 32% Liveness
88% Instrumentalness • 4% Positiveness
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Jeremy Soule
Solitude
82 bpm • G min • 02:10 • -22.48db
56% Popularity • 15% Danceability • 9% Energy • 9% Liveness
61% Instrumentalness • 3% Positiveness
56% Popularity • 15% Danceability • 9% Energy • 9% Liveness
61% Instrumentalness • 3% Positiveness
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Harald Kloser
Sea Of Sand
82 bpm • C# Maj • 02:41 • -13.85db
38% Popularity • 15% Danceability • 39% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
38% Popularity • 15% Danceability • 39% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
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Steven Price
Gravity
93 bpm • G# min • 04:35 • -15.36db
49% Popularity • 12% Danceability • 26% Energy • 20% Liveness
98% Instrumentalness • 6% Positiveness
49% Popularity • 12% Danceability • 26% Energy • 20% Liveness
98% Instrumentalness • 6% Positiveness
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Jóhann Jóhannsson
Chalkboard
93 bpm • A min • 01:05 • -15.93db
66% Popularity • 43% Danceability • 11% Energy • 9% Liveness
77% Instrumentalness • 8% Positiveness
66% Popularity • 43% Danceability • 11% Energy • 9% Liveness
77% Instrumentalness • 8% Positiveness
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Lisa Gerrard
The Wheat
82 bpm • B min • 01:03 • -33.48db
54% Popularity • 19% Danceability • 3% Energy • 10% Liveness
83% Instrumentalness • 9% Positiveness
54% Popularity • 19% Danceability • 3% Energy • 10% Liveness
83% Instrumentalness • 9% Positiveness
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Daniel Pemberton
Speak For The Dead
82 bpm • C min • 02:44 • -15db
24% Popularity • 14% Danceability • 23% Energy • 12% Liveness
89% Instrumentalness • 7% Positiveness
24% Popularity • 14% Danceability • 23% Energy • 12% Liveness
89% Instrumentalness • 7% Positiveness
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Bear McCreary
Faith
81 bpm • E min • 03:29 • -26.69db
34% Popularity • 8% Danceability • 5% Energy • 18% Liveness
99% Instrumentalness • 4% Positiveness
34% Popularity • 8% Danceability • 5% Energy • 18% Liveness
99% Instrumentalness • 4% Positiveness
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Carlos Rafael Rivera
Main Title
93 bpm • C Maj • 01:49 • -10.98db
50% Popularity • 47% Danceability • 61% Energy • 41% Liveness
82% Instrumentalness • 49% Positiveness
50% Popularity • 47% Danceability • 61% Energy • 41% Liveness
82% Instrumentalness • 49% Positiveness
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Kevin Kiner
Anakin and Padmé
81 bpm • G min • 01:48 • -14.36db
46% Popularity • 16% Danceability • 24% Energy • 10% Liveness
82% Instrumentalness • 4% Positiveness
46% Popularity • 16% Danceability • 24% Energy • 10% Liveness
82% Instrumentalness • 4% Positiveness
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Benjamin Wallfisch
Denouement
93 bpm • D min • 04:57 • -14.72db
25% Popularity • 11% Danceability • 21% Energy • 14% Liveness
97% Instrumentalness • 3% Positiveness
25% Popularity • 11% Danceability • 21% Energy • 14% Liveness
97% Instrumentalness • 3% Positiveness
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Anne Dudley
A Seam of Ironstone
81 bpm • D min • 01:30 • -10.82db
27% Popularity • 21% Danceability • 23% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
27% Popularity • 21% Danceability • 23% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
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Thomas Newman
Fellowship
81 bpm • G min • 05:06 • -19.93db
38% Popularity • 31% Danceability • 15% Energy • 22% Liveness
94% Instrumentalness • 6% Positiveness
38% Popularity • 31% Danceability • 15% Energy • 22% Liveness
94% Instrumentalness • 6% Positiveness
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Rupert Gregson-Williams
Lightning Strikes
94 bpm • D Maj • 03:35 • -13.6db
30% Popularity • 25% Danceability • 38% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
30% Popularity • 25% Danceability • 38% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
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Sonya Belousova
Geralt of Rivia
81 bpm • G Maj • 01:52 • -7.09db
47% Popularity • 23% Danceability • 87% Energy • 11% Liveness
17% Instrumentalness • 18% Positiveness
47% Popularity • 23% Danceability • 87% Energy • 11% Liveness
17% Instrumentalness • 18% Positiveness
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John Lunn
One Hundred Years Of Downton
81 bpm • A min • 05:13 • -17db
31% Popularity • 16% Danceability • 21% Energy • 7% Liveness
90% Instrumentalness • 6% Positiveness
31% Popularity • 16% Danceability • 21% Energy • 7% Liveness
90% Instrumentalness • 6% Positiveness
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Ramin Djawadi
Dark Wings, Dark Words
81 bpm • C min • 02:47 • -24.15db
43% Popularity • 18% Danceability • 5% Energy • 12% Liveness
97% Instrumentalness • 3% Positiveness
43% Popularity • 18% Danceability • 5% Energy • 12% Liveness
97% Instrumentalness • 3% Positiveness
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Nicholas Britell
Ballade in C# Minor: Coronation
80 bpm • C# Maj • 02:28 • -16.09db
47% Popularity • 20% Danceability • 18% Energy • 7% Liveness
92% Instrumentalness • 4% Positiveness
47% Popularity • 20% Danceability • 18% Energy • 7% Liveness
92% Instrumentalness • 4% Positiveness
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Ludwig Göransson
American Prometheus
80 bpm • C# min • 02:37 • -21.31db
62% Popularity • 11% Danceability • 14% Energy • 7% Liveness
44% Instrumentalness • 6% Positiveness
62% Popularity • 11% Danceability • 14% Energy • 7% Liveness
44% Instrumentalness • 6% Positiveness
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Rupert Gregson-Williams
Amazons Of Themyscira
80 bpm • E min • 06:47 • -21db
38% Popularity • 8% Danceability • 22% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
38% Popularity • 8% Danceability • 22% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
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Johannes Bornlöf
Let's Run Away Together
80 bpm • G Maj • 02:57 • -19db
44% Popularity • 28% Danceability • 15% Energy • 8% Liveness
82% Instrumentalness • 6% Positiveness
44% Popularity • 28% Danceability • 15% Energy • 8% Liveness
82% Instrumentalness • 6% Positiveness
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Nicholas Hooper
Dumbledore's Army
80 bpm • G Maj • 02:40 • -21db
52% Popularity • 34% Danceability • 12% Energy • 16% Liveness
79% Instrumentalness • 21% Positiveness
52% Popularity • 34% Danceability • 12% Energy • 16% Liveness
79% Instrumentalness • 21% Positiveness
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Mikolai Stroinski
Wake Up, Ciri
80 bpm • D min • 01:34 • -11.93db
47% Popularity • 14% Danceability • 27% Energy • 26% Liveness
69% Instrumentalness • 3% Positiveness
47% Popularity • 14% Danceability • 27% Energy • 26% Liveness
69% Instrumentalness • 3% Positiveness
