Cocktail

Brisk solo piano at 131 BPM in G, leaning on blues inflections and a bright, forward-rolling swing feel. Short at 1:35, so it works as a self-contained upbeat bed rather than a long scene cue, with vintage piano-bar warmth throughout.

Piano and upright bass move together at a cool, unhurried 105 BPM in D minor, with a slightly shady, inquisitive tone the title implies. Over two and a half minutes it holds one mood, making it a good underscore for scenes where something is being pieced together.

The album's most expansive solo piano piece at just over three minutes, 95 BPM in G, romantic and reflective with plenty of air between phrases. The wide, unhurried phrasing suits landscape footage and quiet emotional recollection.

A short, sombre solo piano bed at 80 BPM in E minor, deliberately plain and unobtrusive as the title says. Under 90 seconds, it is built for dropping under narration or a sad beat rather than carrying a scene alone.

Piano with upright bass at 80 BPM in E major, quiet and cautiously hopeful under a generally melancholy surface. The two-minute length gives room for a small emotional shift without ever raising the volume much.

Playful, bluesy solo piano at 98 BPM in F with a nudging, comic character implied by the title. At 1:42 it is a tight feel-good cue for light mischief and nostalgic warmth.

Piano and upright bass at 80 BPM in B minor, holding sadness and a faint lift in the same phrase as the title suggests. Just over two minutes of slow, reflective piano-bar playing with no dramatic escalation.

Very slow solo piano at 60 BPM in C, warm and heartfelt with plenty of space between chords. Nearly three minutes long, it settles into relief and calm rather than building anywhere.

A second short piano bed at 80 BPM in E minor, filed as film underscore rather than lounge jazz — plainer and more scoring-oriented than its cocktail-bar neighbours. At 1:12 it is a straightforward sombre pad for dialogue and narration.

Piano and bass pushing at 131 BPM in E minor, the fastest of the score-style cues, with a driving pulse under an otherwise sombre harmonic colour. The 1:40 length suits a purposeful walk-and-talk or a sequence where something is closing in.

The longest cue here at 4:33, a cool, loose-limbed solo piano groove at 120 BPM with an offbeat lilt in a minor key. Its length makes it a practical continuous bed for extended lounge or bar scenes.

Neoclassical solo piano in A minor with a hesitant, stop-start character matching the title's caution. Around two minutes, moody and unresolved-feeling, suited to a decision being made under doubt.

The third piano bed, at 90 BPM in E minor — slightly quicker and more restless than the other two, but equally plain by design. At 1:18 it is a drop-in sombre underscore for narration or a short reflective beat.

The only cue with cello alongside piano, at 120 BPM in C minor, giving it more weight and film-score gravity than the rest of the album. Two and a half minutes of sombre, introspective writing for a scene where a connection is uncovered.

Piano with upright bass at a slow 68 BPM in F, calm and consoling with a wintry, late-night jazz feel. The title's reassurance comes through in a steady, unhurried arc across just over two minutes.

Slow, easy solo piano at 60 BPM in C with bluesy voicings and a nostalgic lounge glow. At 2:46 it is the album's most literal cocktail-hour cue — background music that stays out of the way.