45 cues
The fastest and most comedic cue at 150bpm in D minor, pairing mambo piano montunos and punchy horn sections with a modern beat, electric guitar and synth. Quirky and hectic, it drives hard from the top and works well cut short for gags or fast-paced sequences. Good for slapstick edits, chase montages and frantic cooking or getting-ready scenes.
The fastest and most driving cue here at 140bpm in C minor, pushing the album's bongo-and-horn funk into outright chase energy with strings adding urgent scrub and stab. Its 2:14 length keeps it lean — grab, run, out, with comic bravado rather than real threat.
The only major-key cue here — 100bpm in A, with a gentle trap beat, sweet synth and string lines over soft bass. Innocent and hopeful rather than comic-dark, the brightest option on the album. Suits children's content, birthday and wish-fulfilment moments, and warm-hearted brand storytelling.
A 130bpm electronic mash-up in A minor built on driving beats, electric guitar riffs, chopped vocal samples and stabbing horns, with a wide-open frontier swagger to match the title. The energy is immediate and comedic rather than menacing, and at under two minutes it works as a short, punchy montage bed for chase gags, road trips or competitive reality edits.
The slowest-leaning of the hip hop flavoured cuts at 103bpm in C minor, and the only track here with bass listed — a fat low end under head-nod drums, percussion, drone and pulse. Struttier and more advertising-ready than the breakbeat tracks, with room over the groove for copy or narration.
Mozart's early D major quartet K.155 slowed to a 90bpm head-nod with drums and bass under the strings, the title's waltz-into-hip-hop joke doing exactly what the album promises. Sunny, quirky and unhurried, urban groove against courtly string phrasing. Works for animated rodent capers, quirky product reveals and light comedy narration beds.
120bpm G minor soccer anthem energy with horn stabs, claps, vocal chants and trailer drums, plus strings adding a wider stadium sweep not present on the sibling cues. Straightforwardly celebratory — built for match coverage and tournament graphics.
The album's fastest feel-good opener: 158 BPM in bright D major driven by stacked male vocal harmonies, handclaps and a simple beat, with lead vocals carrying a cheeky hook. Under two minutes and relentlessly upbeat, it suits fast-cut comedy and consumer advertising where the voices are the whole arrangement.
Bright 107bpm A-minor electro hip hop with turntable scratching, vocoded robot vocal and chopped male samples over synth bass and keys. Playful and hook-driven without a full lead vocal, so it can carry dialogue or presenter voiceover.
The fastest of the funky cues at 137bpm in F minor, with synth, piano, bass and vocal samples pushing a double-time hip hop pulse; it is also tagged for holiday and Christmas use, so the piano figure carries seasonal connotation. Playful and quick, it works where a festive track needs street attitude.
Mendelssohn's Canzonetta from the Op.12 String Quartet recast over a hip hop beat and bass, the string writing kept intact while the rhythm section drives it hard at 135bpm in B minor. Bright, kitsch and comic, with the quartet lines doing the melodic work throughout. Suits fashion and sneaker spots, awards-night comedy or a strutting character entrance.
A 112bpm G minor urban pop groove with punchy horns, claps and trailer drum accents but no vocal samples, leaving the mix a little cleaner under dialogue and commentary. Friendly, crowd-rousing energy for light sports and comedy segments.
A compact 112bpm arena rocker in E minor with guitar, organ and horn hits stacked over a big beat and crowd-ready vocal shouts. Two minutes flat and relentlessly energetic, closer to a sports broadcast bumper than a hip hop instrumental.
The longest cue at 2:47 and one of the brightest, a 140bpm C major romp with accordion, bongo, guitar and children's vocals giving it an innocent, playground quality. Naive and joyful, it suits family footage where the other carnival cues would feel too sultry.
A laid-back 94 BPM hip hop groove in A minor built on a looping piano riff, fat beat, saxophone lines and chopped male vocal snips. Playful and street-level rather than triumphant, with a quirky summer swagger that suits pickup-game footage.
A strutting 107 BPM funk walk in C minor built on bongos and congas over a fat bass line, with trumpet and trombone punching out the hook. The swagger is comic rather than menacing — a character introduction rather than a chase. Suits the moment a crew member is introduced with a name card, or a slow-motion entrance through a casino lobby.
The album's fastest cut, a 130bpm breakbeat in C minor built on hard-hitting drums, layered percussion and a low drone with pulsing undercurrent, chopped vocal FX peppered across the groove. Cold, slightly eerie edge to the funk — more night-drive than sunshine — and long enough at nearly four minutes to carry a full sequence.
Schubert's String Quartet No.13 chopped over a steady 120bpm beat with bass, A minor giving it a slightly shady, scheming edge under the comedy. Strings carry the melody while the groove keeps a mid-tempo swagger. Good for heist capers, mischievous pet footage or skate and street content.
The album's caper track: 120bpm in E minor with synth, bass, turntable scratching, organ, horn stabs and guitar over a strutting beat, tagged for heist as well as comedy. Cool and mischievous with a cartoon-crime strut, it fits sneaky planning scenes, pranks and pickpocket-style reveals.
The most distinctive cut: 130bpm in E minor, layering koto over Latin-tinged horns, saxophone, urban beats and vocal samples for an East-meets-West festival flavour. Fast, bright and exotic — a fit for international sport branding and world-market campaigns.
Italian folk instruments meet a 120bpm hip hop pulse in A minor: mandolin and accordion lead over guitar, bass and horn punctuation. Cheeky and festive, it plays comedy as easily as romance and is best used for scooters, piazzas and family dinner chaos.
Banjo and harmonica set against distortion and a stomping programmed beat, with a male lead vocal, at 100 BPM in C minor. The country-blues instrumentation plus dramedy character makes it the album's rowdiest character piece.
Fast Balkan-style romp at 135bpm in D minor, with fiddle and violin trading lines over brash trumpet and horn stabs, accordion filling the middle and a modern programmed beat underneath. Comic and breathless throughout, it stays playful rather than dramatic and wraps up inside two and a quarter minutes.
Haydn's 'Emperor' quartet given an electronic hip hop treatment at 100bpm in G minor, beat and bass sitting under the noble string theme. Struts rather than sprints, with a wry regal swagger. Fits luxury-with-a-wink advertising, mock-serious documentary sequences and comedy villain scenes.
Darker than its neighbours: 110bpm in D minor, blending EDM production with saxophone and horn riffs, claps and heavy trailer drums. The moody edge makes it work for night-time sport promos and swaggering, slightly sultry action cuts.
The slowest and loosest track at 118bpm, and one of only two in a major key (A), giving it a sunnier, hip-swaying feel than its minor-key neighbours. Organ, guitar, horns, bongos and cowbell lock into an unhurried retro groove across 2:08 — good for leisure and vacation imagery that needs warmth over urgency.
Beethoven's late Op.132 quartet turned into a spinning 128bpm B flat groove, beat and bass giving the strings a fairground momentum. Bright, giddy and party-flavoured rather than solemn. Works for funfair and theme park footage, kids' brand advertising and whirling comedy montage.
A playful 95bpm D major break-driven cut with horns, flute and guitar bouncing over a prominent drum groove, bass and scratches. The major key and comedic streak make it the lightest, most upbeat track on the record — good for cheeky rather than tough footage.
Swing-flavoured pop at a dance-friendly 120 BPM in G minor, powered by claps, a plain beat and multi-tracked male vocals with a comic edge. The minor key gives it a slightly mischievous tint that separates it from the album's major-key cheerleaders.
A 105bpm hip hop groove in D minor and the longest sustained ride on the album at over four minutes, built from drums, percussion, drone and pulse with sound design accents. Steady and unhurried, it works as a bed rather than a statement, holding a scene together while dialogue or voiceover sits on top.
A brisk-feeling but slow-tempo 85bpm cut in B flat minor where horns and trumpet stabs sit over beat, bass and synth with vocal sample chops. The brass gives it the sharpest hook of the funky cues, and at 1:43 it is built for tight edits.
A mid-tempo D minor blues shuffle rebuilt on a programmed beat, with Hammond organ, distorted electric guitar, harmonica and a lead male vocal riding on top. Struts rather than broods — the swagger stays constant across nearly four minutes, making it a solid full-length walk-and-talk bed.
Mendelssohn's Op.13 quartet pushed to a fast 136bpm in A minor with beat and bass, the quickest tempo on the album and the most party-leaning. Urgent string figures over a driving pop pulse, comic but genuinely energetic. Good for chase sequences, high-speed comedy montage and upbeat retail spots.
A 130bpm minor-key beat cut with turntable scratching, vocal samples and a flute line running over the top. The DJ-driven texture sets it apart from the live-percussion cues around it and gives it a street-level, mischievous edge.
Synth-led club-flavoured cue at 128bpm in G minor, with pumping bass, four-on-the-floor beat and hooky vocal samples driving it forward. Feel-good and slightly tongue-in-cheek, it suits footage of people leading the camera somewhere — city walking shots, follow-cam sequences, nightlife arrivals.
Funk-leaning hip-hop instrumental with a springy bassline feel and a swaggering mid-tempo strut. Across 2:32 it keeps a confident, danceable pocket rather than building to a peak. Good for fashion and product reveals, comedy walk-and-talks and retro-styled ad spots.
Mozart's 'Hunt' quartet K.458 in B flat taken at a half-speed lurching groove, the slowest feel here and the most lumbering — hence the title. Strings over heavy beat and bass, comic and heavy-footed. Suits big clumsy characters, slow-motion gags and deadpan comedy narration.
D minor at 127bpm across a full 2:10, the deepest-toned of the shout-driven cuts, with funk guitar, organ, horn stabs and a thick bassline over bongos and cowbell. A classic seventies-flavoured strut for confident walk-and-talk and food or fashion visuals.
Beethoven's Op.74 quartet in E flat over a 120bpm hip hop beat and bass, at 1:58 one of the tighter edits on the album. Springy and optimistic, with pop-leaning drums under agile string writing. Fits spring seasonal ads, bouncy title sequences and light-hearted lifestyle content.
A 110bpm B flat funk cut distinguished by vocoder alongside synth, bass, guitar and beat, giving it a robotic, disco-flavoured hook. Smooth and playful, it works for retro-futurist tech content, dancefloor sequences and comedy that needs an electro sheen.