54 cues
115 BPM in B minor and the only cue on the album with 808 low end, giving it a more urban, hard-hitting bottom against the neoclassical strings, piano and arpeggios. Tagged for action and trailer rather than 'building', so it plays as a confident, already-arrived groove more than a slow climb. Fits street-level automotive, sneaker and gaming content, or a stylish crime-drama montage.
A tighter, more modern-sounding cut at 110 BPM in A minor, with a steady four-on-the-floor kick under piano, strings and synth arpeggios. Sleek and controlled rather than grand, and its 2:10 length cuts easily to a 60- or 30-second edit for fashion and lifestyle work.
The brightest cue on the set: strings and violin over timpani and a steady percussive pulse at 120bpm in major-key B, building from elegant restraint to an uplifting, resolved peak across three minutes. Its polished optimism suits premium brand storytelling more than the album's darker piano pieces.
The shortest and most compact cue at 1:58, running 136 BPM in E flat minor with piano, drums, strings and guitar. Fast minor-key momentum with a departure feel — tense at the start, propulsive by the end. Its tight length makes it a natural fit for a 60- or 90-second commercial cutdown or a trailer tag.
The slowest and longest cue at 72 BPM in A minor, running 3:10 with piano, bells and strings above trailer drums that give it real weight as it grows. Spacious and unhurried, it is the best bed here for long-form narration and awe-struck natural-world or scientific imagery.
The album's title cue and the only one with wordless female vocals riding above piano and string quartet writing, at a walking 85 BPM in C# minor. Angelic voice over cello and violin gives it a sacred, luminous quality that builds to a full statement across its two and a quarter minutes. Suits period drama openings, a candlelit interior reveal, or a reflective memorial sequence.
The Canzonetta from Mendelssohn's First Quartet, a short and delicately articulated romantic miniature with light, dancing string figures. At 3:42 it is the most compact cue on the album and the easiest to place whole. Ideal for whimsical period comedy, elegant title sequences and refined retail atmospheres.
A 120bpm A minor orchestral build for advertising, with piano figures, layered strings, brass and driving drums pushing toward a triumphant lift. At 2:23 it is the tightest of the album's inspiring cues, sized for a broadcast spot rather than a long-form film.
A moderate 118 BPM cut in A minor, pairing steady electronic drums and warm synth bass with sliced female vocal samples. Its shortest-on-album 2:12 runtime and mid-tempo pulse make it a practical bed for narrated brand spots and lifestyle cutdowns that need forward motion without aggression.
A moody mid-tempo swing at 124bpm in G minor, with saxophone and vibraphone shading the piano, guitar, upright bass and percussion. The title's restless craving reads in the somber-but-cool tone — smoky and slightly unresolved in feel while still landing.
A brisk 130bpm D minor adaptation of Bizet's Carmen theme for strings, piano and light percussion, keeping the famous melody's swagger but polished for advertising use. Playful and faintly mischievous rather than operatic, with a tight under-two-minute shape. Suits fashion, fragrance and food spots that want an instantly recognisable hook.
Slow 74 BPM A minor piano and strings with a wistful, city-at-night quality — the tempo leaves plenty of air between phrases, and orchestral drums stay reserved. More moody and romantic than triumphant, ideal for reflective travel or fashion imagery.
Mid-tempo 110 BPM E minor electronic pop cue with piano, guitar, keys, pads and strings over a four-on-the-floor kick. Its moody minor tonality keeps the hope measured rather than exuberant, making it useful for science, medical and technology narratives.
The album's title cue: live orchestral strings, piano and brass in D minor at a walking 100 BPM, romantic and stately rather than mournful. Builds from an intimate piano-and-strings statement to a soaring full-orchestra crest suited to period drama title sequences. Good for post-war English countryside imagery, reunions and sweeping estate establishing shots.
The most modern cue here: a programmed beat underpins violin and string figures at a brisk 135bpm in G minor, giving neoclassical phrasing a sleek electronic pulse. Fashion-forward and forward-leaning rather than sentimental, it suits catwalk and product reveal footage where motion matters more than melody.
Mid-tempo indie synthpop at 116 BPM in E flat, pairing piano and warm synth pads with bass, kit drums and a male vocal that turns the track optimistic and open-skied as it develops. At just over three minutes it has room for a proper ambient intro and an uplifting final section. Suits sunrise and horizon footage, corporate hope pieces, and romantic road-trip sequences.
The longest and most openly emotional of the downtempo cues, pairing piano and cello with pads and a relaxed 97bpm beat in E flat minor. It has room to build across three minutes, moving from intimate to warmly uplifting.
106bpm in A flat, with bell tones sparkling above a synth bed, sub bass and crisp claps, plus wordless female vocal samples for air. The bell layer gives it a slightly cooler, more nocturnal shimmer than its beach-oriented neighbours.
Despite the title, this sits at a restrained 78 BPM in B minor — momentum here comes from the string writing and pulsing piano rather than tempo. Elegant and slightly overcast, building patiently across a compact two and a half minutes. Works under sport recovery stories or brand films about persistence.
A 140bpm F minor swing with saxophone and vibraphone over piano, guitar, upright bass, drums and percussion — tighter and more insistent than the album's slower minor-key cues without becoming bebop-fast. Sophisticated and a little wry, good for urban movement.
Piano-led hybrid advertising cue at 95bpm in F minor, with sustained strings, synth arpeggios and brass swells building over a restrained drum pulse. The minor key keeps it emotive rather than celebratory, resolving into a warm final lift across its 1:43 run — a natural 30/60-second commercial edit.
A slow 66bpm F minor cue with saxophone and vibraphone drifting over piano, guitar, bass and drums, its fuller palette setting it apart from the other ballads. The title's comic exasperation reads as mild, hazy frustration rather than drama.
Elvira's mad scene from I puritani, six minutes of Bellini melancholy that alternates between broken, pleading phrasing and lyrical bel canto flow. Sorrow dominates, with the length allowing a full descent-into-delusion arc. Fits period drama heartbreak, a stage-life documentary, or a fractured-memory sequence.
An 82bpm A minor orchestral cue that trades choir for intimacy — piano and strings with brass and drums, more reflective and introspective than the album's overt epics before it turns proud. Suits red-carpet reveals and looking-back-to-look-forward narration.
Half-time 87 BPM future bass in D, moodier and more sensual than the album's dance cuts: soft trap-leaning beat, pitched vocal glitches and a thick sub bass. Sits in a slow, romantic groove for over three minutes without ever going full EDM.
A 120bpm E minor deep house groove with acoustic guitar, bass and piano under a lead female vocal, with strings and a saxophone line adding a jazzy, late-sunset gloss. Warm and flirtatious rather than peak-time, it suits footage of a beach party easing into evening.
At 110 BPM in A flat, this is the album's most soaring cue at its shortest length — piano and strings over orchestral drums, intimate at the open and expansive by the close. The wildlife-suggesting title fits sweeping aerial or natural-world footage cut tight for a promo slot.
French Baroque opera overture with a dotted, ceremonial slow section giving way to faster fugal writing for strings and winds. Formal and stately, with a mythic, oracular flavour suggested by the subject. Fits royal-court drama, ancient-world documentary and grand architectural reveals.
A light, bouncy string cue for cello and violin at 136bpm in B flat minor, playful and quirky in the pizzicato-adjacent tradition while staying refined. Its 1:31 length makes it a tidy fit for boutique advertising, garden and estate footage, or a gently comic upmarket sequence.
The brightest cue on the album: piano figures over strings in major-key E at a driving 118 BPM, with orchestral drums giving it a confident forward pulse. It reads as arrival and affirmation rather than doubt, arcing to a full-bodied lift by the end. Suits wedding films, aspirational brand spots and any montage where a decision has already been made.
The album's title cue and its fastest, hardest track — 164 BPM in A minor with driving drums, distorted bass and glitched female vocal fragments over bright synths. Tight 2:20 length and relentless tempo make it the obvious choice when the picture needs urgency rather than cool.
The brightest cue on the album — D major at 100 BPM with strings, piano, brass and orchestral drums, playful and storybook in character. Whimsical fantasy colour with a proud orchestral lift, suited to night-sky wonder, children at play and animated fairytale sequences. Clearly resolved and full-bodied.
At 110bpm in A minor this is the moodiest and longest-feeling of the electronic cues, pairing keys and arpeggiated synth with orchestral strings over a programmed beat. Mysterious in its opening half and gradually more hopeful, its two-minute length allows a full build for longer-form brand content.
A more relaxed 98 BPM piece for violin and cello alone in D flat major, elegant and unhurried with a gently festive warmth. The sparser two-instrument texture suits garden strolls, estate exteriors and narrated heritage footage.
A 118 BPM D major companion to the album's faster material, with piano, strings and orchestral drums pushing steadily forward, but tagged with a mysterious edge that keeps the outcome slightly open. Good for forward-looking technology or future-facing brand narration where hope is tempered by scale.
A flowing string reading of the Prelude from Bach's First Cello Suite at 132bpm in G major, with cello carrying the arpeggiated line and violin adding warmth. Continuous, elegant motion rather than dramatic peaks, running just over two minutes. Works for wedding films, jewellery advertising and reflective corporate storytelling.
Violin and cello at 126 BPM in A flat major, bright and purposeful with a playful proud lift and no keyboard to thicken it. The two-part clarity leaves room over the top for narration about place, travel or composer history.
The album's brightest forward-looking cue: piano figures over a steady 120bpm downtempo groove, warm synth pads and rounded bass in major-key D flat. Optimistic and clean, with enough repetition to sit under narration about innovation or discovery.
A mid-tempo future bass cue at 108 BPM in G flat minor, built on chopped female vocal samples, sub-heavy bass and synth pads, with brass stabs adding weight to the drops. The 108 BPM pocket gives it a slower, sultrier swagger than the rest of the album, and the near-three-minute runtime leaves room for a full build and payoff. Fits luxury car interiors, high-end fashion films and slow-motion product reveals.
At 120 BPM and 2:55 this is the fastest and longest cue on the record: driving D minor strings, brass and orchestral drums with a hopeful, adventurous cast. The title's certainty plays out as forward motion — good for journeys, homecoming chases and a hero's return across countryside. Enough length for a full build and a decisive orchestral finish.
The short, witty second movement of the Eighth: a ticking, mechanical accompaniment under a light orchestral melody, with the jokiest character on the album. Four minutes makes it the easiest cue here to place whole, ideal for comic timing, clockwork imagery or brisk process footage.
The slowest-moving track here at 93bpm in B minor, with chopped glitch vocals, claps, warm bass and synth layers giving it a floating, half-time feel. Romantic and airy rather than driving, it suits slow-motion imagery and reflective passages between bigger moments.
The fastest cue on the set: a 160bpm chillstep-pop drive in bright E major, with piano figures, arpeggiated synth and chopped vocal samples over a hard-edged beat. The 'Come Back' title and major key push it toward reunion and reconciliation footage, and the energy stays high enough for an end-of-episode montage.
The fastest of the bright pieces at 152 BPM in A major, driven by violin and cello over piano with an eager, feel-good forward motion. Its comedic lightness and festive lift work for busy period bustle or a modern scene played with wry sophistication.
An uplifting E minor vocal house cue at 120bpm, with female lead, piano, acoustic guitar and strings over a deep groove; the title's sense of ascent matches the longest run time in the E minor set at 3:31. Suits footage that opens outward — aerials, coastlines, journeys taken together.
The brightest and fastest of the vocal-flavoured cuts at 125bpm in B major, with bouncy synth pads, chopped vocal samples, vocoder colour, bass and claps. Happy and flirtatious rather than moody, it lifts feel-good action and summer party footage.
At 136bpm this is the fastest of the upbeat pop cuts, mixing hip hop drum programming with claps, glitched vocal chops and a bright bassline in D sharp. Youthful and hyperactive, it fits fast-cut footage of teenagers, skateparks and phone-shot summer chaos.