Songs like Only The Beginning of The Adventure by Harry Gregson-Williams
Based on a tempo of (+/- 10%) and a similar genre
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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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Harry Gregson-Williams
Only The Beginning of The Adventure
83 bpm • G# Maj • 05:32 • -18.08db
53% Popularity • 19% Danceability • 17% Energy • 10% Liveness
62% Instrumentalness • 4% Positiveness
53% Popularity • 19% Danceability • 17% Energy • 10% Liveness
62% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
Praying
83 bpm • A min • 05:49 • -13.18db
43% Popularity • 8% Danceability • 37% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
43% 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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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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Ludwig Göransson
The Mandalorian - Orchestral Version
83 bpm • D min • 02:20 • -13db
43% Popularity • 48% Danceability • 24% Energy • 29% Liveness
70% Instrumentalness • 12% Positiveness
43% Popularity • 48% Danceability • 24% Energy • 29% Liveness
70% Instrumentalness • 12% Positiveness
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Zbigniew Preisner
Happily Ever After
83 bpm • E Maj • 02:25 • -15.66db
33% Popularity • 17% Danceability • 18% Energy • 12% Liveness
62% Instrumentalness • 6% Positiveness
33% Popularity • 17% Danceability • 18% Energy • 12% Liveness
62% Instrumentalness • 6% Positiveness
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Harry Gregson-Williams
Fairytale
83 bpm • G# Maj • 01:26 • -18.77db
61% Popularity • 9% Danceability • 16% Energy • 46% Liveness
50% Instrumentalness • 10% Positiveness
61% Popularity • 9% Danceability • 16% Energy • 46% Liveness
50% Instrumentalness • 10% 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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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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John Powell
Where's Hiccup?
83 bpm • G Maj • 02:44 • -19.32db
45% Popularity • 13% Danceability • 8% Energy • 10% Liveness
94% Instrumentalness • 4% Positiveness
45% Popularity • 13% Danceability • 8% Energy • 10% Liveness
94% Instrumentalness • 4% 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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Ari Posner
Unrequited Love
84 bpm • G min • 02:30 • -25db
45% Popularity • 22% Danceability • 5% Energy • 13% Liveness
86% Instrumentalness • 8% Positiveness
45% Popularity • 22% Danceability • 5% Energy • 13% Liveness
86% Instrumentalness • 8% Positiveness
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Harry Gregson-Williams
The Fourth Virtue - Extended
82 bpm • D min • 05:41 • -23.03db
21% Popularity • 8% Danceability • 4% Energy • 11% Liveness
87% Instrumentalness • 4% Positiveness
21% Popularity • 8% Danceability • 4% Energy • 11% Liveness
87% 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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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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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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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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Ari Posner
No Regrets
84 bpm • G Maj • 01:44 • -21db
36% Popularity • 19% Danceability • 12% Energy • 14% Liveness
89% Instrumentalness • 4% Positiveness
36% Popularity • 19% Danceability • 12% Energy • 14% Liveness
89% Instrumentalness • 4% 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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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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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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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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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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Brian Tyler
Into Eternity
84 bpm • A# Maj • 03:41 • -18db
43% Popularity • 17% Danceability • 22% Energy • 13% Liveness
92% Instrumentalness • 3% Positiveness
43% Popularity • 17% Danceability • 22% Energy • 13% Liveness
92% Instrumentalness • 3% 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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Rupert Gregson-Williams
Pain, Loss & Love
85 bpm • F Maj • 05:27 • -25.51db
33% Popularity • 8% Danceability • 3% Energy • 8% Liveness
82% Instrumentalness • 3% Positiveness
33% Popularity • 8% Danceability • 3% Energy • 8% Liveness
82% Instrumentalness • 3% Positiveness
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Harry Gregson-Williams
The Wardrobe
81 bpm • C# min • 02:54 • -26.4db
52% Popularity • 8% Danceability • 4% Energy • 11% Liveness
84% Instrumentalness • 3% Positiveness
52% Popularity • 8% Danceability • 4% Energy • 11% Liveness
84% Instrumentalness • 3% Positiveness
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Geoff Zanelli
Dead Men Tell No Tales
85 bpm • D min • 01:51 • -18.2db
41% Popularity • 26% Danceability • 34% Energy • 5% Liveness
94% Instrumentalness • 4% Positiveness
41% Popularity • 26% Danceability • 34% Energy • 5% Liveness
94% Instrumentalness • 4% 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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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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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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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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Stephen Warbeck
The Shells
85 bpm • G min • 02:18 • -18.67db
44% Popularity • 9% Danceability • 10% Energy • 20% Liveness
91% Instrumentalness • 4% Positiveness
44% Popularity • 9% Danceability • 10% Energy • 20% Liveness
91% Instrumentalness • 4% Positiveness
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Harry Gregson-Williams
Syracuse
81 bpm • D# Maj • 01:18 • -9.02db
31% Popularity • 9% Danceability • 44% Energy • 11% Liveness
83% Instrumentalness • 7% Positiveness
31% Popularity • 9% Danceability • 44% Energy • 11% Liveness
83% Instrumentalness • 7% 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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Thomas Newman
Field Trip
85 bpm • D Maj • 00:57 • -19db
50% Popularity • 28% Danceability • 12% Energy • 10% Liveness
96% Instrumentalness • 16% Positiveness
50% Popularity • 28% Danceability • 12% Energy • 10% Liveness
96% Instrumentalness • 16% Positiveness
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Fernando Velázquez
Edith's Theme
81 bpm • G min • 01:56 • -14.8db
41% Popularity • 22% Danceability • 15% Energy • 10% Liveness
90% Instrumentalness • 5% Positiveness
41% Popularity • 22% Danceability • 15% Energy • 10% Liveness
90% Instrumentalness • 5% 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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Simon Franglen
Into the Water
86 bpm • G Maj • 03:40 • -20.82db
43% Popularity • 12% Danceability • 16% Energy • 55% Liveness
84% Instrumentalness • 4% Positiveness
43% Popularity • 12% Danceability • 16% Energy • 55% Liveness
84% 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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Harry Gregson-Williams
Return of the Lion - Score
80 bpm • B Maj • 04:11 • -10.89db
33% Popularity • 18% Danceability • 56% Energy • 11% Liveness
93% Instrumentalness • 8% Positiveness
33% Popularity • 18% Danceability • 56% Energy • 11% Liveness
93% Instrumentalness • 8% 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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The Chamber Orchestra Of London
Preparation
80 bpm • A min • 03:27 • -14db
34% Popularity • 41% Danceability • 28% Energy • 13% Liveness
83% Instrumentalness • 17% Positiveness
34% Popularity • 41% Danceability • 28% Energy • 13% Liveness
83% Instrumentalness • 17% Positiveness
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George Fenton
Utopia
86 bpm • C Maj • 01:18 • -32.88db
36% Popularity • 25% Danceability • 1% Energy • 13% Liveness
98% Instrumentalness • 18% Positiveness
36% Popularity • 25% Danceability • 1% Energy • 13% Liveness
98% Instrumentalness • 18% Positiveness
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Thomas Newman
Haiku
80 bpm • F# Maj • 01:41 • -27db
49% Popularity • 16% Danceability • 14% Energy • 12% Liveness
98% Instrumentalness • 4% Positiveness
49% Popularity • 16% Danceability • 14% Energy • 12% Liveness
98% Instrumentalness • 4% Positiveness
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Nicholas Hooper
Dumbledore's Army
80 bpm • G Maj • 02:40 • -21db
53% Popularity • 34% Danceability • 12% Energy • 16% Liveness
79% Instrumentalness • 21% Positiveness
53% Popularity • 34% Danceability • 12% Energy • 16% Liveness
79% Instrumentalness • 21% Positiveness
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Michael Giacchino
The Batman
80 bpm • A# min • 06:47 • -16.52db
57% Popularity • 21% Danceability • 15% Energy • 10% Liveness
90% Instrumentalness • 5% Positiveness
57% Popularity • 21% Danceability • 15% Energy • 10% Liveness
90% Instrumentalness • 5% Positiveness
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Steve Jablonsky
Prime
80 bpm • G# Maj • 02:14 • -17db
48% Popularity • 20% Danceability • 49% Energy • 9% Liveness
90% Instrumentalness • 14% Positiveness
48% Popularity • 20% Danceability • 49% Energy • 9% Liveness
90% Instrumentalness • 14% Positiveness
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Pinar Toprak
Dreams
86 bpm • A min • 01:03 • -18db
56% Popularity • 23% Danceability • 18% Energy • 9% Liveness
96% Instrumentalness • 3% Positiveness
56% Popularity • 23% Danceability • 18% Energy • 9% Liveness
96% Instrumentalness • 3% Positiveness
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Abel Korzeniowski
Dance For Me Wallis
86 bpm • G min • 03:08 • -14.69db
58% Popularity • 40% Danceability • 36% Energy • 15% Liveness
91% Instrumentalness • 16% Positiveness
58% Popularity • 40% Danceability • 36% Energy • 15% Liveness
91% Instrumentalness • 16% Positiveness
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Joe Hisaishi
Princess Mononoke Theme Song
86 bpm • E min • 02:08 • -19.41db
49% Popularity • 23% Danceability • 23% Energy • 11% Liveness
96% Instrumentalness • 6% Positiveness
49% Popularity • 23% Danceability • 23% Energy • 11% Liveness
96% Instrumentalness • 6% Positiveness
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Michael Kamen
Band Of Brothers Suite Two - Instrumenta...
80 bpm • D# Maj • 09:13 • -14.67db
30% Popularity • 8% Danceability • 25% Energy • 10% Liveness
87% Instrumentalness • 4% Positiveness
30% Popularity • 8% Danceability • 25% Energy • 10% Liveness
87% Instrumentalness • 4% Positiveness
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Harry Gregson-Williams
Transformation / The End
80 bpm • G Maj • 03:26 • -15.7db
30% Popularity • 8% Danceability • 20% Energy • 8% Liveness
74% Instrumentalness • 4% Positiveness
30% Popularity • 8% Danceability • 20% Energy • 8% Liveness
74% Instrumentalness • 4% Positiveness
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Steve Jablonsky
Autobots
80 bpm • G min • 02:33 • -14.76db
55% Popularity • 39% Danceability • 49% Energy • 11% Liveness
96% Instrumentalness • 18% Positiveness
55% Popularity • 39% Danceability • 49% Energy • 11% Liveness
96% Instrumentalness • 18% 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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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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Bear McCreary
Memories of Mother
79 bpm • D min • 03:39 • -15.15db
48% Popularity • 12% Danceability • 20% Energy • 9% Liveness
96% Instrumentalness • 4% Positiveness
48% Popularity • 12% Danceability • 20% Energy • 9% Liveness
96% Instrumentalness • 4% Positiveness
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John Debney
The Man Village
87 bpm • F# Maj • 02:57 • -32db
36% Popularity • 9% Danceability • 2% Energy • 8% Liveness
97% Instrumentalness • 4% Positiveness
36% Popularity • 9% Danceability • 2% Energy • 8% Liveness
97% Instrumentalness • 4% Positiveness
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Steve Jablonsky
No Sacrifice, No Victory
80 bpm • G min • 02:57 • -15.78db
51% Popularity • 15% Danceability • 46% Energy • 11% Liveness
91% Instrumentalness • 6% Positiveness
51% Popularity • 15% Danceability • 46% Energy • 11% Liveness
91% Instrumentalness • 6% Positiveness
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Marc Streitenfeld
Robin Speaks
79 bpm • D Maj • 02:33 • -19.82db
44% Popularity • 7% Danceability • 11% Energy • 11% Liveness
94% Instrumentalness • 3% Positiveness
44% Popularity • 7% Danceability • 11% Energy • 11% Liveness
94% Instrumentalness • 3% Positiveness
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Harry Gregson-Williams
Return to the Village
79 bpm • B min • 01:32 • -22.62db
25% Popularity • 19% Danceability • 9% Energy • 77% Liveness
83% Instrumentalness • 4% Positiveness
25% Popularity • 19% Danceability • 9% Energy • 77% Liveness
83% Instrumentalness • 4% Positiveness
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Joseph Trapanese
Ravka
79 bpm • C# min • 03:45 • -20db
40% Popularity • 27% Danceability • 21% Energy • 9% Liveness
88% Instrumentalness • 4% Positiveness
40% Popularity • 27% Danceability • 21% Energy • 9% Liveness
88% Instrumentalness • 4% Positiveness
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Joel P West
Xu Shang-Chi
87 bpm • A min • 02:55 • -8.47db
39% Popularity • 37% Danceability • 75% Energy • 7% Liveness
95% Instrumentalness • 57% Positiveness
39% Popularity • 37% Danceability • 75% Energy • 7% Liveness
95% Instrumentalness • 57% Positiveness
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Craig Armstrong
Far from the Madding Crowd Love Theme
87 bpm • A min • 03:42 • -12db
36% Popularity • 15% Danceability • 32% Energy • 13% Liveness
85% Instrumentalness • 4% Positiveness
36% Popularity • 15% Danceability • 32% Energy • 13% Liveness
85% Instrumentalness • 4% Positiveness
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Steve Jablonsky
Arrival to Earth
79 bpm • C min • 05:26 • -16.4db
61% Popularity • 10% Danceability • 38% Energy • 11% Liveness
90% Instrumentalness • 7% Positiveness
61% Popularity • 10% Danceability • 38% Energy • 11% Liveness
90% Instrumentalness • 7% Positiveness
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Anne Dudley
Rachel's Theme
79 bpm • E min • 01:28 • -16db
51% Popularity • 13% Danceability • 17% Energy • 8% Liveness
59% Instrumentalness • 8% Positiveness
51% Popularity • 13% Danceability • 17% Energy • 8% Liveness
59% Instrumentalness • 8% Positiveness
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Harry Gregson-Williams
The Door in the Air - Score
79 bpm • C Maj • 07:50 • -22.54db
35% Popularity • 8% Danceability • 8% Energy • 28% Liveness
81% Instrumentalness • 3% Positiveness
35% Popularity • 8% Danceability • 8% Energy • 28% Liveness
81% Instrumentalness • 3% 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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Thomas Newman
Nemo Egg (Main Title)
79 bpm • F Maj • 01:16 • -27.25db
65% Popularity • 16% Danceability • 2% Energy • 10% Liveness
97% Instrumentalness • 6% Positiveness
65% Popularity • 16% Danceability • 2% Energy • 10% Liveness
97% Instrumentalness • 6% Positiveness
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Michael Giacchino
Star Trek Main Theme
79 bpm • A# Maj • 03:25 • -9.54db
49% Popularity • 23% Danceability • 52% Energy • 48% Liveness
95% Instrumentalness • 15% Positiveness
49% Popularity • 23% Danceability • 52% Energy • 48% Liveness
95% Instrumentalness • 15% Positiveness
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William Ross
Hometown Hero
79 bpm • G# Maj • 01:59 • -21.2db
45% Popularity • 15% Danceability • 6% Energy • 13% Liveness
79% Instrumentalness • 4% Positiveness
45% Popularity • 15% Danceability • 6% Energy • 13% Liveness
79% Instrumentalness • 4% 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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Harry Gregson-Williams
Father Christmas
79 bpm • C# Maj • 03:20 • -20.98db
39% Popularity • 9% Danceability • 7% Energy • 7% Liveness
77% Instrumentalness • 4% Positiveness
39% Popularity • 9% Danceability • 7% Energy • 7% Liveness
77% Instrumentalness • 4% 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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Thomas Newman
Come Back to Us
79 bpm • G min • 05:39 • -30.22db
52% Popularity • 7% Danceability • 2% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
52% Popularity • 7% Danceability • 2% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
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Klaus Badelt
Elysium
88 bpm • A Maj • 02:41 • -25.28db
57% Popularity • 12% Danceability • 7% Energy • 14% Liveness
76% Instrumentalness • 4% Positiveness
57% Popularity • 12% Danceability • 7% Energy • 14% Liveness
76% Instrumentalness • 4% Positiveness
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William Ross
Will Grows Up
79 bpm • D# Maj • 08:57 • -18db
28% Popularity • 10% Danceability • 12% Energy • 27% Liveness
69% Instrumentalness • 4% Positiveness
28% Popularity • 10% Danceability • 12% Energy • 27% Liveness
69% Instrumentalness • 4% Positiveness
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Marc Streitenfeld
Walter's Burial
78 bpm • G min • 03:04 • -22db
48% Popularity • 7% Danceability • 6% Energy • 11% Liveness
94% Instrumentalness • 3% Positiveness
48% Popularity • 7% Danceability • 6% Energy • 11% Liveness
94% Instrumentalness • 3% Positiveness
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Harry Gregson-Williams
The Book of Peace
79 bpm • C# Maj • 01:39 • -23.14db
24% Popularity • 29% Danceability • 9% Energy • 13% Liveness
97% Instrumentalness • 6% Positiveness
24% Popularity • 29% Danceability • 9% Energy • 13% Liveness
97% Instrumentalness • 6% Positiveness
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Michael Giacchino
The Park is Closed
88 bpm • A# Maj • 01:38 • -15db
42% Popularity • 19% Danceability • 24% Energy • 10% Liveness
81% Instrumentalness • 7% Positiveness
42% Popularity • 19% Danceability • 24% Energy • 10% Liveness
81% Instrumentalness • 7% Positiveness
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Thomas Newman
Wow
88 bpm • F Maj • 02:31 • -25db
46% Popularity • 20% Danceability • 5% Energy • 12% Liveness
95% Instrumentalness • 5% Positiveness
46% Popularity • 20% Danceability • 5% Energy • 12% Liveness
95% Instrumentalness • 5% Positiveness
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Theodore Shapiro
Stationary Cycle
88 bpm • B min • 02:43 • -16.17db
40% Popularity • 49% Danceability • 18% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
40% Popularity • 49% Danceability • 18% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
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Nicholas Hooper
A Journey to Hogwarts
78 bpm • A min • 02:52 • -22db
47% Popularity • 9% Danceability • 14% Energy • 36% Liveness
93% Instrumentalness • 3% Positiveness
47% Popularity • 9% Danceability • 14% Energy • 36% Liveness
93% Instrumentalness • 3% Positiveness
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Joseph Trapanese
Court Demonstration
78 bpm • G# Maj • 03:09 • -21db
31% Popularity • 18% Danceability • 5% Energy • 8% Liveness
90% Instrumentalness • 3% Positiveness
31% Popularity • 18% Danceability • 5% Energy • 8% Liveness
90% Instrumentalness • 3% Positiveness
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Harry Gregson-Williams
Into The Sunset
78 bpm • C Maj • 02:21 • -9db
23% Popularity • 11% Danceability • 45% Energy • 20% Liveness
96% Instrumentalness • 9% Positiveness
23% Popularity • 11% Danceability • 45% Energy • 20% Liveness
96% Instrumentalness • 9% Positiveness
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Geoff Zanelli
My Name Is Barbossa
89 bpm • F Maj • 05:33 • -10.54db
49% Popularity • 10% Danceability • 33% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
49% Popularity • 10% Danceability • 33% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
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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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Angèle Dubeau
Suite Harry Potter: Lily’s Theme – H...
78 bpm • B min • 06:26 • -18.85db
33% Popularity • 9% Danceability • 16% Energy • 15% Liveness
46% Instrumentalness • 4% Positiveness
33% Popularity • 9% Danceability • 16% Energy • 15% Liveness
46% Instrumentalness • 4% Positiveness
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Jacob Shea
Northern Lights
77 bpm • C min • 02:00 • -21.55db
43% Popularity • 19% Danceability • 7% Energy • 6% Liveness
97% Instrumentalness • 3% Positiveness
43% Popularity • 19% Danceability • 7% Energy • 6% Liveness
97% Instrumentalness • 3% Positiveness
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John Barry
The John Dunbar Theme (film version)
89 bpm • D# Maj • 02:21 • -28db
51% Popularity • 10% Danceability • 6% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
51% Popularity • 10% Danceability • 6% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
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Harry Gregson-Williams
The White Witch
79 bpm • G# Maj • 05:30 • -23.05db
34% Popularity • 7% Danceability • 7% Energy • 23% Liveness
83% Instrumentalness • 3% Positiveness
34% Popularity • 7% Danceability • 7% Energy • 23% Liveness
83% Instrumentalness • 3% Positiveness
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Geoff Zanelli
Storybook
77 bpm • A min • 01:22 • -20.87db
50% Popularity • 44% Danceability • 12% Energy • 9% Liveness
92% Instrumentalness • 37% Positiveness
50% Popularity • 44% Danceability • 12% Energy • 9% Liveness
92% Instrumentalness • 37% 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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Ari Posner
Good Morning Anne
77 bpm • G Maj • 01:33 • -20.47db
41% Popularity • 38% Danceability • 15% Energy • 19% Liveness
92% Instrumentalness • 23% Positiveness
41% Popularity • 38% Danceability • 15% Energy • 19% Liveness
92% Instrumentalness • 23% Positiveness
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Thomas Newman
The Night Window
77 bpm • A# Maj • 03:41 • -20.65db
44% Popularity • 18% Danceability • 10% Energy • 10% Liveness
2% Instrumentalness • 3% Positiveness
44% Popularity • 18% Danceability • 10% Energy • 10% Liveness
2% Instrumentalness • 3% Positiveness
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George Fenton
Ever After Main Title
89 bpm • G min • 03:32 • -20.45db
32% Popularity • 16% Danceability • 7% Energy • 22% Liveness
90% Instrumentalness • 4% Positiveness
32% Popularity • 16% Danceability • 7% Energy • 22% Liveness
90% Instrumentalness • 4% Positiveness