Songs like You're Doing A Great Job by Daniel Hart
Based on a tempo of (+/- 10%) and a similar genre
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Trevor Gureckis
Hobart & Blackwell
151 bpm • D# min • 01:53 • -22.31db
14% Popularity • 22% Danceability • 15% Energy • 9% Liveness
93% Instrumentalness • 9% Positiveness
14% Popularity • 22% Danceability • 15% Energy • 9% Liveness
93% Instrumentalness • 9% Positiveness
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Daniel Hart
My Very Nature That of the Devil
154 bpm • F Maj • 02:14 • -22.83db
16% Popularity • 11% Danceability • 4% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
16% Popularity • 11% Danceability • 4% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
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Dan Romer
We Travel for a Reason
149 bpm • E Maj • 03:51 • -21.62db
16% Popularity • 12% Danceability • 9% Energy • 8% Liveness
72% Instrumentalness • 3% Positiveness
16% Popularity • 12% Danceability • 9% Energy • 8% Liveness
72% Instrumentalness • 3% Positiveness
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Stephanie Economou
Illumination
148 bpm • F# min • 02:36 • -16.73db
23% Popularity • 30% Danceability • 28% Energy • 7% Liveness
95% Instrumentalness • 4% Positiveness
23% Popularity • 30% Danceability • 28% Energy • 7% Liveness
95% Instrumentalness • 4% Positiveness
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Steven Price
She's Late
148 bpm • A min • 02:24 • -11.93db
11% Popularity • 42% Danceability • 61% Energy • 8% Liveness
95% Instrumentalness • 15% Positiveness
11% Popularity • 42% Danceability • 61% Energy • 8% Liveness
95% Instrumentalness • 15% Positiveness
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Adam Taylor
Forbidden Love
147 bpm • F# Maj • 01:38 • -25.74db
12% Popularity • 13% Danceability • 3% Energy • 11% Liveness
96% Instrumentalness • 2% Positiveness
12% Popularity • 13% Danceability • 3% Energy • 11% Liveness
96% Instrumentalness • 2% Positiveness
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Anjimile
1978 (Reunion) - Instrumental
146 bpm • B min • 04:29 • -13.83db
2% Popularity • 43% Danceability • 13% Energy • 39% Liveness
73% Instrumentalness • 45% Positiveness
2% Popularity • 43% Danceability • 13% Energy • 39% Liveness
73% Instrumentalness • 45% Positiveness
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Daniel Hart
I Will Strike Thee Down With Every Care ...
147 bpm • G min • 01:33 • -20.04db
16% Popularity • 17% Danceability • 21% Energy • 20% Liveness
82% Instrumentalness • 4% Positiveness
16% Popularity • 17% Danceability • 21% Energy • 20% Liveness
82% Instrumentalness • 4% Positiveness
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Rachel Portman
Bumper Crop
145 bpm • C Maj • 03:07 • -25.18db
16% Popularity • 29% Danceability • 3% Energy • 7% Liveness
91% Instrumentalness • 8% Positiveness
16% Popularity • 29% Danceability • 3% Energy • 7% Liveness
91% Instrumentalness • 8% Positiveness
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Thomas Newman
The TCBS
144 bpm • D min • 02:48 • -20.19db
31% Popularity • 48% Danceability • 23% Energy • 11% Liveness
91% Instrumentalness • 47% Positiveness
31% Popularity • 48% Danceability • 23% Energy • 11% Liveness
91% Instrumentalness • 47% Positiveness
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Tom Howe
Professor Marston
160 bpm • A min • 01:27 • -18.22db
12% Popularity • 12% Danceability • 20% Energy • 9% Liveness
96% Instrumentalness • 4% Positiveness
12% Popularity • 12% Danceability • 20% Energy • 9% Liveness
96% Instrumentalness • 4% Positiveness
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Lovett
Monsters
143 bpm • F min • 01:42 • -20.44db
23% Popularity • 16% Danceability • 5% Energy • 7% Liveness
92% Instrumentalness • 3% Positiveness
23% Popularity • 16% Danceability • 5% Energy • 7% Liveness
92% Instrumentalness • 3% Positiveness
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Mark Isham
Crossing the Sound
162 bpm • D min • 02:33 • -13.59db
16% Popularity • 31% Danceability • 32% Energy • 11% Liveness
14% Instrumentalness • 22% Positiveness
16% Popularity • 31% Danceability • 32% Energy • 11% Liveness
14% Instrumentalness • 22% Positiveness
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Daniel Hart
Five Minutes from Now
159 bpm • G Maj • 06:24 • -16.8db
14% Popularity • 14% Danceability • 23% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
14% Popularity • 14% Danceability • 23% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
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David Buckley
Meet Ethel Cripps
142 bpm • A# min • 02:54 • -35.13db
26% Popularity • 14% Danceability • 1% Energy • 11% Liveness
87% Instrumentalness • 3% Positiveness
26% Popularity • 14% Danceability • 1% Energy • 11% Liveness
87% Instrumentalness • 3% Positiveness
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Adam Taylor
They Were Once Madly in Love
142 bpm • A# min • 01:47 • -34.62db
16% Popularity • 16% Danceability • 1% Energy • 9% Liveness
96% Instrumentalness • 4% Positiveness
16% Popularity • 16% Danceability • 1% Energy • 9% Liveness
96% Instrumentalness • 4% Positiveness
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John Paesano
Battlin' Jack Murdock
142 bpm • D Maj • 03:05 • -19db
25% Popularity • 28% Danceability • 30% Energy • 9% Liveness
90% Instrumentalness • 4% Positiveness
25% Popularity • 28% Danceability • 30% Energy • 9% Liveness
90% Instrumentalness • 4% Positiveness
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Bear McCreary
A Return to Compassion
163 bpm • G Maj • 05:53 • -22.33db
23% Popularity • 9% Danceability • 12% Energy • 9% Liveness
89% Instrumentalness • 3% Positiveness
23% Popularity • 9% Danceability • 12% Energy • 9% Liveness
89% Instrumentalness • 3% Positiveness
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David Wingo
D.C.
141 bpm • B min • 02:10 • -24.37db
17% Popularity • 55% Danceability • 17% Energy • 10% Liveness
94% Instrumentalness • 8% Positiveness
17% Popularity • 55% Danceability • 17% Energy • 10% Liveness
94% Instrumentalness • 8% Positiveness
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Daniel Hart
The Fantasy of Happiness
142 bpm • F Maj • 04:04 • -18.92db
19% Popularity • 20% Danceability • 16% Energy • 11% Liveness
92% Instrumentalness • 4% Positiveness
19% Popularity • 20% Danceability • 16% Energy • 11% Liveness
92% Instrumentalness • 4% Positiveness
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Nathan Johnson
Grindle's Ghost
141 bpm • B min • 07:13 • -13.51db
10% Popularity • 16% Danceability • 36% Energy • 23% Liveness
78% Instrumentalness • 4% Positiveness
10% Popularity • 16% Danceability • 36% Energy • 23% Liveness
78% Instrumentalness • 4% Positiveness
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Bobby Krlic
Hålsingland
141 bpm • B Maj • 03:05 • -28.19db
24% Popularity • 16% Danceability • 20% Energy • 13% Liveness
95% Instrumentalness • 4% Positiveness
24% Popularity • 16% Danceability • 20% Energy • 13% Liveness
95% Instrumentalness • 4% Positiveness
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Dan Romer
The Mother
140 bpm • D Maj • 02:42 • -19.68db
12% Popularity • 20% Danceability • 20% Energy • 11% Liveness
90% Instrumentalness • 7% Positiveness
12% Popularity • 20% Danceability • 20% Energy • 11% Liveness
90% Instrumentalness • 7% Positiveness
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Christopher Spelman
In the Hospital
141 bpm • C# min • 03:33 • -15.57db
10% Popularity • 14% Danceability • 19% Energy • 11% Liveness
86% Instrumentalness • 4% Positiveness
10% Popularity • 14% Danceability • 19% Energy • 11% Liveness
86% Instrumentalness • 4% Positiveness
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Michael Abels
Winkin’ Well
140 bpm • D Maj • 03:42 • -15.57db
18% Popularity • 32% Danceability • 35% Energy • 19% Liveness
85% Instrumentalness • 4% Positiveness
18% Popularity • 32% Danceability • 35% Energy • 19% Liveness
85% Instrumentalness • 4% Positiveness
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조영욱과 THE SOUNDTRACKINGS
Feels Just Fine
140 bpm • C min • 03:08 • -13.05db
20% Popularity • 22% Danceability • 13% Energy • 12% Liveness
96% Instrumentalness • 6% Positiveness
20% Popularity • 22% Danceability • 13% Energy • 12% Liveness
96% Instrumentalness • 6% Positiveness
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Rachel Portman
The Worst Thing I Ever Did
165 bpm • E min • 01:46 • -32.82db
15% Popularity • 9% Danceability • 1% Energy • 8% Liveness
8% Instrumentalness • 4% Positiveness
15% Popularity • 9% Danceability • 1% Energy • 8% Liveness
8% Instrumentalness • 4% Positiveness
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Adam Taylor
Promenade of Stolen Children
140 bpm • D Maj • 03:09 • -20.39db
13% Popularity • 16% Danceability • 15% Energy • 9% Liveness
95% Instrumentalness • 3% Positiveness
13% Popularity • 16% Danceability • 15% Energy • 9% Liveness
95% Instrumentalness • 3% Positiveness
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Dan Romer
Into the Night
165 bpm • A# min • 01:40 • -14.27db
16% Popularity • 48% Danceability • 36% Energy • 9% Liveness
98% Instrumentalness • 27% Positiveness
16% Popularity • 48% Danceability • 36% Energy • 9% Liveness
98% Instrumentalness • 27% Positiveness
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Howard Shore
Shore: Finale
140 bpm • D min • 04:51 • -15.26db
20% Popularity • 15% Danceability • 24% Energy • 9% Liveness
86% Instrumentalness • 4% Positiveness
20% Popularity • 15% Danceability • 24% Energy • 9% Liveness
86% Instrumentalness • 4% Positiveness
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Michael Giacchino
Oceanic 815
139 bpm • C Maj • 06:11 • -29.64db
24% Popularity • 14% Danceability • 5% Energy • 12% Liveness
58% Instrumentalness • 3% Positiveness
24% Popularity • 14% Danceability • 5% Energy • 12% Liveness
58% Instrumentalness • 3% Positiveness
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Alex Heffes
Harry's Theme
139 bpm • D min • 02:03 • -26.38db
21% Popularity • 15% Danceability • 3% Energy • 12% Liveness
89% Instrumentalness • 7% Positiveness
21% Popularity • 15% Danceability • 3% Energy • 12% Liveness
89% Instrumentalness • 7% Positiveness
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Johannes Lehniger
Runaway
139 bpm • A Maj • 01:55 • -18.57db
34% Popularity • 31% Danceability • 15% Energy • 6% Liveness
70% Instrumentalness • 4% Positiveness
34% Popularity • 31% Danceability • 15% Energy • 6% Liveness
70% Instrumentalness • 4% Positiveness
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Trevor Gureckis
Goldfinch Reveal
139 bpm • G# Maj • 00:59 • -24.87db
14% Popularity • 14% Danceability • 5% Energy • 28% Liveness
38% Instrumentalness • 4% Positiveness
14% Popularity • 14% Danceability • 5% Energy • 28% Liveness
38% Instrumentalness • 4% Positiveness
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Lovett
You're Safe Now
139 bpm • A min • 02:04 • -19.27db
14% Popularity • 14% Danceability • 5% Energy • 10% Liveness
92% Instrumentalness • 5% Positiveness
14% Popularity • 14% Danceability • 5% Energy • 10% Liveness
92% Instrumentalness • 5% Positiveness
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Michael Abels
A Hero Falls
139 bpm • A# min • 02:46 • -15.21db
25% Popularity • 57% Danceability • 27% Energy • 10% Liveness
94% Instrumentalness • 13% Positiveness
25% Popularity • 57% Danceability • 27% Energy • 10% Liveness
94% Instrumentalness • 13% Positiveness
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Ben Salisbury
The Turing Test
139 bpm • C# Maj • 04:34 • -31db
39% Popularity • 19% Danceability • 4% Energy • 10% Liveness
90% Instrumentalness • 3% Positiveness
39% Popularity • 19% Danceability • 4% Energy • 10% Liveness
90% Instrumentalness • 3% Positiveness
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Nathan Johnson
Like Father, Like Son
138 bpm • D Maj • 01:01 • -21.18db
36% Popularity • 15% Danceability • 13% Energy • 17% Liveness
94% Instrumentalness • 3% Positiveness
36% Popularity • 15% Danceability • 13% Energy • 17% Liveness
94% Instrumentalness • 3% Positiveness
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Daniel Hart
In Stori Stif And Stronge
139 bpm • C# Maj • 02:01 • -17db
22% Popularity • 45% Danceability • 21% Energy • 11% Liveness
5% Instrumentalness • 3% Positiveness
22% Popularity • 45% Danceability • 21% Energy • 11% Liveness
5% Instrumentalness • 3% Positiveness
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Immediate
Where We Met
138 bpm • A# Maj • 03:32 • -10.85db
11% Popularity • 38% Danceability • 30% Energy • 12% Liveness
87% Instrumentalness • 4% Positiveness
11% Popularity • 38% Danceability • 30% Energy • 12% Liveness
87% Instrumentalness • 4% Positiveness
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Ilan Eshkeri
Mika And Kai
138 bpm • D min • 02:45 • -27.63db
47% Popularity • 15% Danceability • 3% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
47% Popularity • 15% Danceability • 3% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
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Christian Henson
Opening Titles
137 bpm • G# Maj • 02:30 • -18.55db
34% Popularity • 16% Danceability • 20% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
34% Popularity • 16% Danceability • 20% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
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Thomas Ross Fitzsimons
Apocalypse Practice
137 bpm • D Maj • 02:22 • -13.75db
29% Popularity • 54% Danceability • 58% Energy • 10% Liveness
96% Instrumentalness • 43% Positiveness
29% Popularity • 54% Danceability • 58% Energy • 10% Liveness
96% Instrumentalness • 43% Positiveness
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Nathan Johnson
Zeena's Spook Show
137 bpm • B min • 01:45 • -19.44db
9% Popularity • 24% Danceability • 13% Energy • 11% Liveness
90% Instrumentalness • 3% Positiveness
9% Popularity • 24% Danceability • 13% Energy • 11% Liveness
90% Instrumentalness • 3% Positiveness
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Daniel Hart
Excalibur
137 bpm • F Maj • 01:54 • -18.07db
22% Popularity • 15% Danceability • 7% Energy • 11% Liveness
96% Instrumentalness • 5% Positiveness
22% Popularity • 15% Danceability • 7% Energy • 11% Liveness
96% Instrumentalness • 5% Positiveness
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Michael Abels
The Muybridge Clip
170 bpm • A Maj • 03:34 • -22.31db
18% Popularity • 15% Danceability • 31% Energy • 27% Liveness
86% Instrumentalness • 6% Positiveness
18% Popularity • 15% Danceability • 31% Energy • 27% Liveness
86% Instrumentalness • 6% Positiveness
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Anjimile
In Your Eyes (Reflection) - Instrumental
170 bpm • G# min • 03:15 • -11.74db
3% Popularity • 23% Danceability • 27% Energy • 31% Liveness
80% Instrumentalness • 52% Positiveness
3% Popularity • 23% Danceability • 27% Energy • 31% Liveness
80% Instrumentalness • 52% Positiveness
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Marc Streitenfeld
Writing the Letter
136 bpm • C Maj • 02:00 • -25.14db
33% Popularity • 20% Danceability • 22% Energy • 10% Liveness
84% Instrumentalness • 4% Positiveness
33% Popularity • 20% Danceability • 22% Energy • 10% Liveness
84% Instrumentalness • 4% Positiveness
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Adam Taylor
Nick and Offred
171 bpm • F# Maj • 02:05 • -29.65db
16% Popularity • 8% Danceability • 0% Energy • 8% Liveness
92% Instrumentalness • 3% Positiveness
16% Popularity • 8% Danceability • 0% Energy • 8% Liveness
92% Instrumentalness • 3% Positiveness
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Nathan Johnson
Theme from Nightmare Alley - Solo Piano
135 bpm • G min • 03:52 • -24.13db
13% Popularity • 46% Danceability • 4% Energy • 27% Liveness
95% Instrumentalness • 4% Positiveness
13% Popularity • 46% Danceability • 4% Energy • 27% Liveness
95% Instrumentalness • 4% Positiveness
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Daniel Hart
In Throes of Increasing Wonder
135 bpm • E Maj • 02:12 • -18.41db
18% Popularity • 17% Danceability • 17% Energy • 8% Liveness
87% Instrumentalness • 4% Positiveness
18% Popularity • 17% Danceability • 17% Energy • 8% Liveness
87% Instrumentalness • 4% Positiveness
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Saunder Jurriaans
Delusions
172 bpm • G Maj • 03:57 • -19.07db
11% Popularity • 17% Danceability • 9% Energy • 7% Liveness
47% Instrumentalness • 4% Positiveness
11% Popularity • 17% Danceability • 9% Energy • 7% Liveness
47% Instrumentalness • 4% Positiveness
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Johannes Lehniger
Betrayal within
135 bpm • D Maj • 01:26 • -28.98db
24% Popularity • 16% Danceability • 2% Energy • 10% Liveness
83% Instrumentalness • 4% Positiveness
24% Popularity • 16% Danceability • 2% Energy • 10% Liveness
83% Instrumentalness • 4% Positiveness
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Thomas Newman
Constantine
172 bpm • C min • 04:08 • -21.94db
19% Popularity • 8% Danceability • 11% Energy • 10% Liveness
67% Instrumentalness • 4% Positiveness
19% Popularity • 8% Danceability • 11% Energy • 10% Liveness
67% Instrumentalness • 4% Positiveness
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Christopher Spelman
The Lost City of Z
134 bpm • B Maj • 00:59 • -20db
22% Popularity • 15% Danceability • 28% Energy • 8% Liveness
92% Instrumentalness • 3% Positiveness
22% Popularity • 15% Danceability • 28% Energy • 8% Liveness
92% Instrumentalness • 3% Positiveness
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Nick Cave & Warren Ellis
Corey's Story
172 bpm • B min • 03:08 • -17.66db
18% Popularity • 8% Danceability • 9% Energy • 17% Liveness
91% Instrumentalness • 13% Positiveness
18% Popularity • 8% Danceability • 9% Energy • 17% Liveness
91% Instrumentalness • 13% Positiveness
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Daniel Hart
The Giant's Call
137 bpm • D Maj • 02:57 • -17.59db
18% Popularity • 20% Danceability • 18% Energy • 13% Liveness
9% Instrumentalness • 6% Positiveness
18% Popularity • 20% Danceability • 18% Energy • 13% Liveness
9% Instrumentalness • 6% Positiveness
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Trent Reznor and Atticus Ross
Hand Covers Bruise, Reprise
134 bpm • D Maj • 01:52 • -26.63db
38% Popularity • 18% Danceability • 6% Energy • 12% Liveness
81% Instrumentalness • 3% Positiveness
38% Popularity • 18% Danceability • 6% Energy • 12% Liveness
81% Instrumentalness • 3% Positiveness
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Christopher Willis
My Own Story
134 bpm • A min • 01:46 • -14.87db
19% Popularity • 44% Danceability • 44% Energy • 6% Liveness
87% Instrumentalness • 11% Positiveness
19% Popularity • 44% Danceability • 44% Energy • 6% Liveness
87% Instrumentalness • 11% Positiveness
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Daniel L.K. Caldwell
Cee
134 bpm • A min • 01:50 • -25.04db
20% Popularity • 18% Danceability • 5% Energy • 12% Liveness
86% Instrumentalness • 3% Positiveness
20% Popularity • 18% Danceability • 5% Energy • 12% Liveness
86% Instrumentalness • 3% Positiveness
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Christophe Beck
Sokovia
173 bpm • C min • 02:10 • -22.76db
24% Popularity • 8% Danceability • 8% Energy • 26% Liveness
95% Instrumentalness • 4% Positiveness
24% Popularity • 8% Danceability • 8% Energy • 26% Liveness
95% Instrumentalness • 4% Positiveness
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Max Richter
Scream at the Sky
134 bpm • A# min • 06:04 • -27.86db
22% Popularity • 15% Danceability • 3% Energy • 11% Liveness
92% Instrumentalness • 4% Positiveness
22% Popularity • 15% Danceability • 3% Energy • 11% Liveness
92% Instrumentalness • 4% Positiveness
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Daniel Hart
Sciunt Se Esse Mortui
133 bpm • A# min • 03:09 • -17.31db
13% Popularity • 16% Danceability • 9% Energy • 8% Liveness
86% Instrumentalness • 2% Positiveness
13% Popularity • 16% Danceability • 9% Energy • 8% Liveness
86% Instrumentalness • 2% Positiveness
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Lovett
Came Here To Die
133 bpm • G Maj • 03:14 • -21.02db
20% Popularity • 22% Danceability • 5% Energy • 10% Liveness
79% Instrumentalness • 12% Positiveness
20% Popularity • 22% Danceability • 5% Energy • 10% Liveness
79% Instrumentalness • 12% Positiveness
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Carlos Rafael Rivera
Arrival to School
133 bpm • F Maj • 01:18 • -20db
21% Popularity • 40% Danceability • 24% Energy • 12% Liveness
93% Instrumentalness • 5% Positiveness
21% Popularity • 40% Danceability • 24% Energy • 12% Liveness
93% Instrumentalness • 5% Positiveness
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Roque Baños
Young Nickerson
132 bpm • F Maj • 02:16 • -20.17db
24% Popularity • 32% Danceability • 16% Energy • 10% Liveness
35% Instrumentalness • 4% Positiveness
24% Popularity • 32% Danceability • 16% Energy • 10% Liveness
35% Instrumentalness • 4% Positiveness
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Steven Price
Wardaddy
131 bpm • A min • 02:39 • -33.8db
29% Popularity • 18% Danceability • 1% Energy • 7% Liveness
95% Instrumentalness • 3% Positiveness
29% Popularity • 18% Danceability • 1% Energy • 7% Liveness
95% Instrumentalness • 3% Positiveness
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Clint Mansell
Last Night I Dreamt I Went To Manderley ...
176 bpm • D min • 02:59 • -15.7db
7% Popularity • 14% Danceability • 28% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
7% Popularity • 14% Danceability • 28% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
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Daniel Hart
Remember It Is Only A Game
133 bpm • A min • 02:27 • -17.51db
18% Popularity • 20% Danceability • 13% Energy • 18% Liveness
89% Instrumentalness • 3% Positiveness
18% Popularity • 20% Danceability • 13% Energy • 18% Liveness
89% Instrumentalness • 3% Positiveness
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Amie Doherty
A Life Without Limitations
132 bpm • C# Maj • 01:15 • -14db
37% Popularity • 31% Danceability • 16% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
37% Popularity • 31% Danceability • 16% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
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Dan Romer
The Haunted Train
176 bpm • C# Maj • 02:06 • -14db
9% Popularity • 66% Danceability • 56% Energy • 9% Liveness
89% Instrumentalness • 59% Positiveness
9% Popularity • 66% Danceability • 56% Energy • 9% Liveness
89% Instrumentalness • 59% Positiveness
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Hildur Guðnadóttir
Young Penny
131 bpm • A min • 02:01 • -28.53db
34% Popularity • 16% Danceability • 4% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
34% Popularity • 16% Danceability • 4% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
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Anjimile
Maker (Refraction) - Instrumental
177 bpm • A Maj • 02:58 • -9.4db
3% Popularity • 49% Danceability • 34% Energy • 11% Liveness
95% Instrumentalness • 20% Positiveness
3% Popularity • 49% Danceability • 34% Energy • 11% Liveness
95% Instrumentalness • 20% Positiveness
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Theodore Shapiro
Time & Life
177 bpm • D Maj • 02:14 • -20.7db
40% Popularity • 56% Danceability • 12% Energy • 16% Liveness
93% Instrumentalness • 39% Positiveness
40% Popularity • 56% Danceability • 12% Energy • 16% Liveness
93% Instrumentalness • 39% Positiveness
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Daniel Hart
One Door Closes
175 bpm • F Maj • 03:30 • -19.76db
15% Popularity • 8% Danceability • 17% Energy • 9% Liveness
85% Instrumentalness • 4% Positiveness
15% Popularity • 8% Danceability • 17% Energy • 9% Liveness
85% Instrumentalness • 4% Positiveness
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Stuart Earl
A Past Remembered
177 bpm • A min • 01:36 • -16.99db
11% Popularity • 8% Danceability • 16% Energy • 9% Liveness
69% Instrumentalness • 3% Positiveness
11% Popularity • 8% Danceability • 16% Energy • 9% Liveness
69% Instrumentalness • 3% Positiveness
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David Buckley
Dream's Escape
130 bpm • D min • 02:51 • -14.89db
26% Popularity • 17% Danceability • 42% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
26% Popularity • 17% Danceability • 42% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
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Philip Glass
Light in the Dark
130 bpm • C Maj • 02:11 • -27.85db
26% Popularity • 41% Danceability • 4% Energy • 9% Liveness
94% Instrumentalness • 21% Positiveness
26% Popularity • 41% Danceability • 4% Energy • 9% Liveness
94% Instrumentalness • 21% Positiveness
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Michael Giacchino
Win One For The Reaper
130 bpm • A# Maj • 02:39 • -41.51db
29% Popularity • 37% Danceability • 0% Energy • 8% Liveness
95% Instrumentalness • 5% Positiveness
29% Popularity • 37% Danceability • 0% Energy • 8% Liveness
95% Instrumentalness • 5% Positiveness
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Theodore Shapiro
Conan Cab
177 bpm • B min • 01:36 • -21.85db
39% Popularity • 44% Danceability • 9% Energy • 5% Liveness
84% Instrumentalness • 19% Positiveness
39% Popularity • 44% Danceability • 9% Energy • 5% Liveness
84% Instrumentalness • 19% Positiveness
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Dan Romer
To the Monsters We're the Monsters
130 bpm • E min • 01:49 • -18db
24% Popularity • 23% Danceability • 15% Energy • 16% Liveness
97% Instrumentalness • 3% Positiveness
24% Popularity • 23% Danceability • 15% Energy • 16% Liveness
97% Instrumentalness • 3% Positiveness
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Clinton Shorter
Prawnkus
130 bpm • G# Maj • 04:00 • -22db
36% Popularity • 16% Danceability • 9% Energy • 11% Liveness
87% Instrumentalness • 3% Positiveness
36% Popularity • 16% Danceability • 9% Energy • 11% Liveness
87% Instrumentalness • 3% Positiveness
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Mark Isham
Forgive Me
130 bpm • D Maj • 02:17 • -22.63db
14% Popularity • 20% Danceability • 5% Energy • 8% Liveness
24% Instrumentalness • 9% Positiveness
14% Popularity • 20% Danceability • 5% Energy • 8% Liveness
24% Instrumentalness • 9% Positiveness
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Amie Doherty
Why I Caused The Accident
178 bpm • A# min • 01:52 • -17.51db
15% Popularity • 14% Danceability • 9% Energy • 17% Liveness
92% Instrumentalness • 4% Positiveness
15% Popularity • 14% Danceability • 9% Energy • 17% Liveness
92% Instrumentalness • 4% Positiveness
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David Hirschfelder
Burning Down Dungatar
180 bpm • G Maj • 02:08 • -15db
19% Popularity • 15% Danceability • 17% Energy • 14% Liveness
74% Instrumentalness • 8% Positiveness
19% Popularity • 15% Danceability • 17% Energy • 14% Liveness
74% Instrumentalness • 8% Positiveness
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Hildur Guðnadóttir
A Bad Comedian
179 bpm • D# Maj • 01:28 • -30.48db
36% Popularity • 7% Danceability • 2% Energy • 11% Liveness
90% Instrumentalness • 3% Positiveness
36% Popularity • 7% Danceability • 2% Energy • 11% Liveness
90% Instrumentalness • 3% Positiveness
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Mark Korven
Foster The Children
180 bpm • G# Maj • 01:18 • -29.07db
19% Popularity • 7% Danceability • 1% Energy • 13% Liveness
20% Instrumentalness • 3% Positiveness
19% Popularity • 7% Danceability • 1% Energy • 13% Liveness
20% Instrumentalness • 3% Positiveness
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Anthony Willis
Damsels & 'Good Guys'
181 bpm • A min • 01:53 • -20.8db
7% Popularity • 9% Danceability • 21% Energy • 21% Liveness
73% Instrumentalness • 4% Positiveness
7% Popularity • 9% Danceability • 21% Energy • 21% Liveness
73% Instrumentalness • 4% Positiveness
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Jon Brion
Lady Bird
183 bpm • A# Maj • 05:10 • -17.66db
43% Popularity • 25% Danceability • 14% Energy • 9% Liveness
90% Instrumentalness • 7% Positiveness
43% Popularity • 25% Danceability • 14% Energy • 9% Liveness
90% Instrumentalness • 7% Positiveness
