The briskest cue on the album at 92 BPM in A major, pairing clarinet lead with fingerpicked acoustic guitar over warm synth pad. Its pastoral, spring-like brightness and longer 3:21 run make it the most openly affectionate piece here, with room to breathe across a full sequence.
Gentle 72 BPM clarinet-and-acoustic-guitar underscore in F, with synth pad haze suggesting first light rather than full sun. Curious and neutral in tone, it moves forward steadily without pushing, and holds its calm for nearly three minutes.
A slow 59 BPM acoustic setting for clarinet and guitar with no synth padding, so the live room and woodwind breath carry the mood. Somber and moody rather than sweet, and short at 2:13, it works as a small pocket of sadness between scenes.
The title cue drops the guitar entirely: clarinet floating over ambient synth pad in A minor at 86 BPM. The minor key and short 2:09 length make it the most questioning, unsettled piece on the record — a decision point rather than an answer.
The only cue here scored with piano and strings alongside clarinet, giving it a more classical, chamber-film quality than its acoustic-guitar neighbours. At 58 BPM in A it is among the slowest and saddest on the album, intimate and unhurried across 2:28.
Very slow at 58 BPM in F, built from clarinet over sustained synth pad with no guitar or rhythm, so it sits far back in a mix. Somber but with the title's glimmer of possibility, it functions as a near-static bed rather than a melody-forward cue.
The one cue with a rhythm section — drums and bass under clarinet, acoustic guitar and pad — giving this 60 BPM F-major piece a slow indie pulse the rest of the album lacks. Somber but grounded, it builds a sense of forward motion over 2:52.
At 3:01 the longest cue here, a 61 BPM G-major bed of clarinet, acoustic guitar and synth pad that stays curious and neutral rather than dark, despite the title. Its length makes it the best choice when a whole interview or narrated passage needs one unbroken bed.