At 120bpm in D flat, this is the album's most declamatory cue, pairing piano and sustained string writing with trailer drums, brass and treated vocal samples for a broad triumphant sweep. Nearly three minutes gives room for a long build to a full-orchestra payoff rather than a quick hit.
The longest cue here at 3:17, built in bright C major on piano, drone-supported strings and escalating percussion toward a soaring brass climax. Its extra length suits a full narrative arc — setback, resolve, ascent — with a clear landing.
The fastest and darkest cue on the album — 160bpm in G sharp minor — where the minor tonality gives the epic orchestral and trailer-drum palette a driven, embattled edge before the uplift arrives. Short at 2:21 and cut for urgency.
At 105bpm in B flat this is a more measured, effortful build, piano and strings carrying the weight before brass and drums widen the frame. Its slower pulse and 2:15 runtime make it a determined-underdog cue rather than a celebration.
A steady 115bpm ascent in C major, with piano and string figures accumulating percussion, drums and brass across just over two minutes. Reads as incremental progress toward a summit and lands on a full orchestral resolution.
The slowest cue at 98bpm in C, opening from drone and pad textures with piano, strings and atmospheric vocal samples before percussion and brass raise it. The unhurried tempo leaves the most headroom for narration in its early half.
A short 1:54 arrival cue at 100bpm in C, its slow-but-grand pulse favouring broad brass and string statements over rhythmic drive. Best used as an end-credit or summit moment where the picture has already earned the payoff.