52 cues
Sits between the album's two poles: elegant and advertising-ready but tagged calm, moody and introspective, at 112 BPM in E minor with piano and bells over strings and light percussion. Tender rather than triumphant, it suits personal-story documentary, an intimate two-hander scene, or a brand film about people rather than product.
Slow and sad at 71 BPM in G minor, piano with cello and violin in the album's gloomier group. The title's image of stillness matches its restraint — minimal movement, sustained strings, space between phrases. Works for hospital or sickroom scenes, quiet loss, or a somber period documentary passage.
The outlier on the album — 110 BPM in A flat, a flowing piano and cello figure with a warmer, romantic and heartfelt cast rather than the gloom of its neighbours. At two minutes it works as a moving-forward cue for travel, correspondence or a tender reunion in a period setting.
The title cue and the most modern-sounding: piano and strings joined by synth and beat at a driving 150bpm in D minor, melancholy but propulsive and clearly building. Nearly four minutes gives it room to escalate from moody electronic-neoclassical pulse to a full dramatic head of steam.
The fastest and most purely orchestral cue on the album — 159 BPM in C major with piano, strings, brass and drums and no synth colouring. It pairs an intimate, reflective opening with a genuinely urgent, soaring push, ideal for city footage cut to motion.
The most emotionally weighted cue here: 111bpm in D minor, pairing cello and string writing with piano, synth and brass for a somber but inspiring lift across 1:53. Suits the turning point of a story where the stakes are personal as well as procedural.
E flat minor felt piano at 118, sharing its key with "Sap And Tears" but running longer and sitting closer to plain sorrow — abandonment, disuse, things left behind. Intimate close-recorded solo playing with room ambience intact, no build to a climax.
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 album's title cue: a live string quartet of violin, viola and cello moving at an unhurried 76 BPM in G, warm but shadowed. At just over four minutes it is the longest and most patient piece here, with room for a slow emotional build and a settled close.
E flat minor at 149bpm, driven by piano and live strings without percussion, giving an urgent but acoustic texture across 3:36. The confessional title points at revelation and secrets — well matched to a discovered letter, an archive read aloud, or a memory sequence in a period drama. Elegant and moody rather than aggressive.
The fastest cue on the album at 145bpm, piano, strings and bass in A, running just over four minutes with a hopeful undertow. The quick pulse makes it the natural pick when a neoclassical texture needs to feel light and moving rather than static.
The one cue on the album that adds trailer drums to the live quartet-and-piano writing, pushing an E minor idea forward at 90bpm with cello leading over sustained strings. It moves from intimate reflection to a wider, more urgent cinematic lift, suiting escape or pursuit imagery cut with emotional weight.
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.
Piano with violin and cello in G minor at a walking 100bpm, minimal and reflective rather than dramatic. The mood is tender and heartbroken but with a hopeful lift, and at 2:33 it works as a short emotional beat rather than a full arc.
The longest of the purely acoustic emotional pieces at 3:19, 76bpm in D minor, with cello, violin, piano and drone and no beat. The extra length gives room for a slow-widening arc, suiting landscape and empty-room footage where the title's emptiness is literal. Good for wintry drone shots, a memorial sequence, or a long documentary chapter.
Busy 128 BPM neoclassical advertising cue in C major with pizzicato-style string motion, piano, vibes and pads over a steady drum pulse. Reads as progress and cooperation rather than triumph, and its 1:43 length suits corporate, medical and science storytelling.
At 153 BPM the fastest of the D minor cues, with piano fragments over drone and strings and a busy, insistent beat — the title's suggestion of granular texture matches its restless surface. Darker and more agitated than its neighbours, useful when a scene needs urgency without volume.
Piano leads over a live string section of violin, viola and cello, with the 125bpm pulse sitting under the surface rather than driving it — an E minor underscore that reads as cold, quiet and introspective. The title's snowfall imagery matches the airy, reflective writing, suiting first-light landscape footage or a character stepping outside alone. Three and a half minutes gives room for a slow swell and a settled ending.
G minor solo felt piano at a funereal 84, and at 2:38 the longest and most openly mournful cue on the album. Slow, weighted phrases with the hammer noise softened almost to breath, leaving generous space for narration or dialogue over a scene of bad news.
Bright G-major piano-and-string-quartet cue at a walking 120 BPM, cheerful and unhurried with a feel-good lift. Violin, viola and cello frame the piano in a chamber setting that suits domestic milestones rather than grand drama.
Piano and strings joined by French horn and wider brass, 100bpm in C, the only cue on the album with a soaring lift written into it. Ethereal and hushed at the outset with room to open out — cut for wide landscape reveals and quietly heroic moments.
The slowest and longest piece here at 60bpm in C minor, a somber piano and cello lament with sparse string quartet support. Grief-adjacent and unhurried, it leaves plenty of room between phrases for narration or dialogue.
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.
The most propulsive cue in the set: 149bpm in C# minor with a programmed beat pushing the strings into short, urgent figures, and the shortest running time on the album at 2:55. The confrontational title supports use under investigative or pursuit footage where the tension is procedural rather than violent. Ends decisively rather than looping.
A piano-and-strings duo at a brisk 125bpm in C major, the shortest cue on the set and the most lyrical — a rolling keyboard figure with sustained string writing above it. Warm but shaded with melancholy, it suits a tender turn in a character story without overstaying its welcome.
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.
Neoclassical hybrid in D minor at a patient 85bpm, leading with piano and strings before brass and orchestral drums swell toward the triumphant close its title implies. The slower tempo leaves the early minutes sparse enough for narration.
At 85bpm in D minor this is the album's investigative side: drone and synth underneath cello and violin, with an abstract beat giving the cue a forward pulse. The title's sense of closing distance fits footage of a case tightening — surveillance, evidence boards, following a lead. Dark and purposeful rather than sad, and easy to loop under narration.
A short, hushed quartet piece at 68 BPM in B flat, intimate and introspective in the way its title suggests — a beginning rather than a climax. Under three minutes, it works as a compact opening statement for strings alone.
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.
A yearning A minor piece at 110 BPM with solo cello set against live strings, piano and brass — the fastest of the emotional cues and the most restless. The searching title and forward tempo suit a montage of someone looking for a missing person, letters unanswered, trains and empty rooms. Ends with an orchestral swell rather than a fade.
Neoclassical hybrid trailer cue in E minor that opens moody and mysterious on strings and violin before orchestral drums push it into a frantic, tempo-shifted final stretch. At just over two minutes it has room for a full three-act trailer build, ending on a hard futuristic crescendo.
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.
A slow 50bpm D minor lament built on cello, violin and sparse piano over a low drone, with no percussion to push it forward. The mood is wintry hardship and quiet regret rather than movement, and at 2:20 it works as a short, self-contained emotional bed. Suits a documentary scene about loss, a hospital or bereavement moment, or a reflective interview passage.
Bright indie folk built on strummed mandolin, piano and strings over a driving 130 BPM four-on-the-floor kick, with wordless oohs lifting the choruses. Sits in a warm, unclouded G major and grows from a light picked opening to a full, hands-in-the-air finish. Suits family-brand advertising and hopeful lifestyle montages.
The album's coldest opening statement: a plain D minor piano figure over a low drone, with strings and a restrained beat holding the pulse rather than driving it. It sits in unresolved, investigative territory throughout, better suited to atmosphere than payoff.
The fastest cue here at 90bpm, D minor, with beat, synth and drone driving strings and piano into cornered-in tension. Its 2:14 length and the title's sense of no alternative make it right for a decision point or escalating chase rather than a slow reveal. Works for thriller pursuit, a suspect confrontation, or a hard-cut trailer act two.
Piano and cello lead this D minor cue, with drone underneath and a pulsing beat that gives it more forward motion than the album's slower entries. Its shortest running time and cello-led warmth make it the most compact emotional statement here — haunting but with a thread of hope.
Slow, hushed D minor writing at 78 BPM where the orchestral elegance of the album turns mysterious — strings and piano moving carefully under sustained brass. Suited to dust-sheeted interiors, discovery of old books and papers, and quiet exploration of a house that holds a secret. Restrained enough to sit under narration for most of its length.
The album's title cue and its outlier in tone: 100bpm in A flat, busy and purposeful rather than mournful, with driving piano figures and quartet strings pressing forward. Serious with a playful edge, it fits British drama montages of work, investigation or clockwork routine.
Solo felt piano in A flat minor, moving at a steady 118 with the softened, close-miked attack that muffles the hammers and leaves the room tone audible. The longest cue on the record, it has space to develop from a single repeated figure into a fuller, more hopeful statement, matching its title's sense of an idea taking shape. Suits footage of someone at work alone — sketching, building, writing.
The most produced cue here: piano and strings sit over a pad, a light beat and treated vocal textures at 117bpm in C minor. Nordic-minimal but forward-moving and inspiring, suited to footage that needs quiet momentum rather than stillness.
Investigative A minor cue at 92 BPM built on live strings, brass and orchestral drums with no piano listed — the pulse carries it rather than melody. Curious and adventurous, tilting toward magical mystery rather than threat, good for a child's-eye investigation or a clue-following sequence. Momentum-driven and easy to talk over.
G minor at 145bpm with a beat under interlocking piano and string lines — the title's weaving image matches the busy, patterned feel of the arrangement. Darker and more mechanical than its neighbours, it works well under process footage, craft or manufacturing sequences, or a noir investigation building steam. Just over three minutes and self-contained.
110bpm D minor cue with piano and synth over ocean texture, drums and strings — tagged as an intro, so it functions as an opening statement rather than a climax. Dramatic and investigative, it grows steadily without fully paying off.
At 68bpm in D minor this is the album's slowest and longest statement, stripped to piano and violin alone. Sombre and openly grieving with a thread of hope, and the 4:17 length gives room for a long scene or a full narrated passage.
At 96 seconds the longest track on the album, 100bpm in F minor, layering drone, pad and strings with reverse sounds, a loop, beat and piano. Heartfelt and dramatic while staying psychologically uneasy, with enough length to score a full sequence.