71 cues
The slowest and shortest piece, 75 BPM in F major and the one explicitly filed as folk, with warm acoustic guitar, woodwinds and piano growing into strings, brass and wordless choir. Golden-hour warmth and gentle nostalgia, resolving inside two and a half minutes.
At 90bpm in G major this is the album's warmest and fullest cue, adding strings, drums and percussion to the acoustic guitar, drone and chanted male vocals. The arc is openly emotional — heartfelt and hopeful with a somber undertow — and at 3:07 it has room to grow before it settles. Fits reunion scenes, memorial tributes, romantic drama and long-form brand storytelling.
Shares the 120 BPM C major, guitar-and-synth pop build of its neighbour but runs slightly tighter at 2:30, making it the cleaner fit for a fixed 30-second or 2:30 edit. Confident, arrival-flavoured energy with clap-driven momentum and vocal sample colour — footage of arriving, belonging, or reaching the goal.
The album's most relaxed cut at 108bpm in A, pairing warm electric guitar, bass and drums with wordless male background vocals for a nostalgic, bittersweet lift. Reflective rather than driving, it suits end-of-summer footage and looking-back narration.
The warmest and most romantic track on the album: 119bpm in E minor, with electric guitar added over the 4/4 kick, synth bass and glitched vocal chops. Emotional and love-leaning rather than purely club-driven, so it fits couple footage, golden-hour beach scenes and relationship-focused storytelling.
The most orchestral cue on the set: drums, bass and synth are joined by strings and cello, giving this C-major dream pop song a swelling, devotional lift behind the male lead vocal. Slightly faster and longer than its neighbours, it reads as a loyalty-and-commitment statement — the obvious first-dance or vows placement.
Mid-tempo indie folk at 100bpm in B, built on acoustic guitar and mandolin with piano, electric guitar textures and a steady four-on-the-floor kick under wordless background vocals. It moves from reflective and intimate toward an orchestral-drum lift, making it a natural fit for hopeful brand storytelling or a quiet outdoor sequence that opens out.
An F minor neoclassical cue at 146bpm carried by piano and strings alone, no percussion, so the momentum comes from the string writing itself. The longest of the mid-album pieces at 3:45, with a hopeful-but-unsettled cast that suits scenes of waiting or anticipation. Suited to drama where a character is holding on to a plan that hasn't happened yet.
The famous "Ombra mai fu" Largo from Serse, taken at a slow, sustained tempo with long-breathed melodic lines over gently pulsing strings and continuo. Warm and tender rather than grand, holding a single mood of romantic longing across nearly four minutes before a quiet resolution.
A relaxed 111 BPM instrumental in D led by piano and synth over a programmed beat, bass and drums — the only main mix here with no vocal, which makes it the easiest bed for narration. Feel-good and summery throughout, it stays bright without ever getting heavy. Ideal for advertising voiceover, product explainer video, summer travel content and upbeat corporate presentations.
Tchaikovsky's First Quartet in D major, the most overtly lyrical and Russian-flavoured cue on the album, with warm sustained violin melody over hymn-like viola and cello support. Seven minutes of tender, emotionally generous writing that arrives at a settled close. Suits nostalgic montage, love stories, and elegiac documentary passages.
The most stripped cue here: acoustic guitar and shaker only, with male vocals, at a relaxed 88 BPM in C. Introspective and chill, it stays intimate for its full two minutes rather than building to a peak. Good for reflective voiceover-adjacent sequences, quiet nature footage and slow-life brand storytelling.
A bright 102bpm indie-folk instrumental-leaning cue in G, built on strummed acoustic guitar, claps, a four-on-the-floor kick and strings, with chopped glitch vocal textures as hooks rather than a lead vocal. At 2:18 it's a tight, advert-length arc that opens sunny and lifts to a confident final chorus.
Bright D-major electro-cinematic build at 118bpm, with arpeggiated synth, pads, electric guitar and drums under wordless female vocal colour that lifts the last third into a soaring payoff. Suits triumphant present-tense storytelling where a character finally commits to something.
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.
A mid-tempo acoustic folk-pop song at 90 BPM in F, built on strummed acoustic guitar, electric guitar fills, claps, bass and drums under a warm male lead vocal. The mood is affectionate and slightly longing, sweet rather than sentimental, and it sits comfortably under wedding footage or a caring brand story.
Guitar-led electro-pop at a walking 100bpm, set in D minor for the most bruised, regretful colour on the album. Vocal samples and a soft beat keep it moving while the minor key suits break-up scenes, late-night driving and looking-back narration.
A mid-tempo indie folk song in C built on strummed acoustic guitar, bass and a stomp-and-clap backbeat under a warm male lead vocal. The mood is heartfelt and outdoorsy with a slightly somber edge, resolving on a settled final chord. Suits hiking and road-trip footage, rustic wedding films and outdoor apparel spots.
The title track and the fastest song on the album at 190 BPM in C, a short two-minute acoustic folk-pop run with driving strum, shaker, bass and drums plus a full male vocal. Bright, hurrying and joyful, it suits a fast-cut togetherness montage or a wedding reception sequence.
At 100 BPM this is one of the album's slowest and most spacious tracks, with electric guitar and treated vocal samples floating over a mellow beat, piano and bass in C. Green, nature-facing and unhurried — ideal for forest walks and slow-motion outdoor footage.
A four-on-the-floor folk-house cue at 115bpm in F# minor, pairing strummed acoustic and electric guitar with synth pads and layered male vocals with harmony backing. The minor key gives it a wistful edge under the driving beat, suiting night-drive and long-distance footage rather than outright celebration.
Driving 120bpm hybrid post-rock in D minor built on electric guitar, strings and brass over orchestral drums, with a synth siren adding urgency beneath the rhythm. Dark and tense in the first half, it escalates to a triumphant, heroic back end inside just over two minutes.
Mid-tempo 75bpm post-rock in A flat and the one cue on the album that carries male vocals alongside wordless backing voices, over acoustic drums, piano, pads, strings and electric guitar. The most human and anthemic entry here, building to a soaring close.
A mid-tempo indie dream pop song in C built on kit drums, warm bass and hazy synth pads under a lead male vocal. The tone is confessional and slightly moody — an admission of feeling rather than a declaration — and it stays intimate rather than anthemic across its three minutes.
The one instrumental with cinematic scope: brass, organ and choir layered over the lofi beat, piano and bass, building from chill introspection toward something soaring and near-spiritual in C. With no lead vocal it leaves room for narration, making it the album's go-to for uplift and big-picture visuals.
The album's title cue: 120bpm in D with piano, pads, arpeggiated synth, drums and processed vocal FX, moving from atmospheric opening to a wide, uplifting cinematic landscape. Best on coming-of-age and youth-focused storytelling that needs an emotional summit.
A 100bpm chillstep groove in E with marimba figures, clean electric guitar and clipped female vocal samples over a clap-driven downtempo beat. Warm and unhurried, it reads as sunlit lifestyle rather than club energy, with enough forward motion for a montage.
A warm 122 BPM indie folk song in C built on strummed acoustic guitar, bass and a straightforward drum kit under a male lead vocal, with an ambient opening that fills out into a heartfelt full-band chorus. The shortest of the guitar-led songs here, it keeps a hopeful, homespun feel rather than a big synth lift. Fits engagement and wedding films, small-town or family storytelling, and outdoor lifestyle brand spots.
At 75bpm in G major, this underscore adds a light drum pulse to acoustic guitar, electric guitar, bass, piano and strings, with male vocals and harmonies floating above. Slightly more propulsive than the album's slowest beds, good for a scene that begins to move.
The fastest cue on the album at 145 BPM in E flat, driven by kit drums and electric guitar with vocoder treatments over the male vocal for a shimmering, slightly wistful synthpop pulse. Emotional and introspective rather than celebratory, its steady forward motion works well against speed-ramped and slow-motion picture. Cut for surf and skate edits, night-drive timelapse, and reflective youth drama montages.
Intimate 100 BPM indie pop-rock cue in G minor with piano, guitar, snaps, claps and a restrained drum groove. Romantic and a little serious, and at 2:07 it is the shortest of the album's emotional cuts — good for personal-story advertising.
The album's title cue and its slowest piece at 78bpm in E, with piano and electric guitar floating over pads, bass and unhurried rock drums with angelic background vocals. Calm and romantic throughout, it holds a wide nocturnal stillness rather than pushing hard, suiting first-light landscape footage or a tender two-person scene.
The slowest and most spacious cue at 84 BPM in E flat, the title track pairs piano, acoustic and electric guitar with strings, drums and a male vocal, opening ambient and introspective before rising to a soaring resolution. Its unhurried tempo gives picture editors room to breathe between beats. Suited to emotional documentary sequences, heartfelt ad campaigns, first-dance wedding moments and reflective nature footage.
Anthemic 120bpm indie rock in F#m, layering synth, strings, xylophone accents and electric guitar over rock drums and a solid kick. Tagged as building and soaring, it climbs from a slightly darker minor opening to a heartfelt widescreen payoff — good for journey narratives and emotional brand films with an underdog arc.
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.
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.
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.
The slowest cue here at 85bpm in C, with slide guitar over acoustic strums, handclaps, strings and a steady 4/4 kick, and wordless backing vocals instead of a lead. Its relaxed sway feels warm and hearth-like, ideal for tender, feel-good imagery.
The fastest cue here at 150bpm in E, driving piano and electric guitar over rock drums, pulsing bass and a four-on-the-floor kick with airy background vocals on top. Energized and excited from early on, it works for quick-cut adventure, sports or product montages that need forward motion without losing the hopeful indie warmth.
The slowest cue here at 70 BPM in G#, a downtempo chillstep bed of sparse beat, hazy synths, deep bass and scattered vocal glitches. Sultry and unhurried, closer to atmosphere than song, and short enough at 3:05 to sit under a whole scene.
The most overtly playful cue here: 122bpm acoustic guitar in E with bouncy organ, bongos and walking bass, aimed squarely at cheerful, comedic and kid-friendly picture. Light-footed and cute, good for animated explainers, toy or snack advertising and light domestic comedy beats.
Bright, mid-tempo acoustic pop in C major built on guitar, piano, mandolin and ukulele over a steady 4/4 beat, with warm male lead and stacked harmonies. Reassuring and corporate-friendly, it reads as everything-is-fine optimism.
A 122bpm indie folk-rock cue in B, built on acoustic and electric guitar with bass, drums and a sweetening string layer for a homecoming lift. Warm and soaring rather than driving, it resolves cleanly inside 2:37 for a montage payoff.
A brisk but tender dream pop song in C, kept to drums, bass, synth and male lead vocal with no orchestral sweetening. The theme is belonging — home as a person — giving it a warm, homecoming-shaped arc that suits reunions and arrivals as much as romance.
The shortest cue at 2:45, a 100bpm G major track with marimba, guitar, claps and glitched vocal touches plus a classical influence in the harmony. Its concise length and affirmative title make it an easy fit for ceremony recaps and short-form social edits.
At 5:17 the longest piece here, 76bpm in E with piano, strings and drums and no synth layer — an acoustic, romantic slow build with room to develop across several scenes. Tagged for spring, it carries warmth and quiet longing rather than corporate polish.
Beethoven's Op.74 quartet in a seven-minute reading, more classical in outline than the late Op.132 but with firm rhythmic drive and strong contrasts between the violins and the lower strings. Assertive and structurally clear, closing decisively. Good for period drama with stakes, courtroom or political intrigue, and prestige brand storytelling.
The shortest and most stripped cue here — no piano or guitar listed, just synth pads, vocal samples and a relaxed 106bpm beat in E major. Its confident, upbeat title and lean arrangement make it useful as a bed under narration or a quick 2:43 cutdown.
The EP's slowest cue at 78bpm, guitar-free and built from beat, bass and synth in E flat, with a moody, somber undertow beneath the romantic pop sheen. Emotional and half-time, suited to a reflective beat before the story resolves.
Electro-folk at 110bpm in E major, blending acoustic and electric guitar with synth textures and a house-leaning 4/4 pulse under male vocals and harmonies. The homecoming title suits arrival scenes and the closing act of a journey piece.
A relaxed 94 BPM acoustic guitar figure in F sits over sustained pads and a low drone, with soft drums and bass keeping an easy pulse. Warm and unhurried, it plays as end-of-day contentment rather than drama, and its short 1:52 length suits a tight edit.
A 120bpm house-pop cue in A minor built on four-to-the-floor beat, funky bass and synth stabs, with male and female vocal lines and processed vocal styling carrying the hook. The minor key gives it a slightly wistful edge under the party energy, making it useful where celebration and sentiment sit together.
The title cue: a 120bpm synthpop-pop hybrid in C# where synth pads and pulse sit under acoustic guitar, dulcimer, percussion and a full drum kit. Bright, summer-forward and ad-ready, with an uplifting arc that lands by 2:44.
The album's gentlest cue at 94bpm in D, with whistling and melodica floating above lightly picked acoustic guitar, soft drums, bass, shaker and claps. Nostalgic and childlike in the best sense, ideal for childhood memory sequences, slow-motion summer footage and warm reflective openings.
Feel-good 120bpm electro-pop in B flat, guitar-and-synth led over a driving pop beat, with a nostalgic summer-romance tilt in the title. Cheerful and anthemic, close in energy to the EP's other uptempo cuts but slightly warmer and longer at 2:57.
At 106bpm this is the slowest cue here, a C# minor piece where piano and live strings move over a soft beat with plenty of air between phrases. The coming-of-age title fits footage of transition — leaving home, a first job, a look back at childhood — and the restrained arrangement leaves the midrange clear for narration. Emotional but never overplayed.
The album's shortest and slowest piece: a 67bpm G major underscore of fingerpicked acoustic guitar, piano, bass and bells with soft male vocal and harmony layers. Tender and introspective, with no drum kit, so it sits easily beneath narration.
At 126bpm in D this cue combines acoustic and electric guitar with piano, drums, bass, shaker and claps for a rolling, road-ready pulse that stays intimate rather than anthemic. Good for landscape driving footage, small-team progress stories and mid-film montages.
70 BPM chillstep in E minor, the shortest and most melancholy of the slow cuts, with a laid-back beat, breathy vocal glitches and heavy low end. Emotional and yearning, suited to reflective moments before a lift elsewhere in the edit.