"Maleficent Is Captured" by James Newton Howard had its release date on January 1, 2014. Since This song is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The track order of this song in James Newton Howard's "Maleficent (Original Motion Picture Soundtrack)" album is number 21 out of 23. On top of that, United States appears to be the country where this track was created. Maleficent Is Captured is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Maleficent Is Captured by James Newton Howard to be Andante (at a walking pace) because the track has a tempo of 85 BPM, a half-time of 42BPM, and a double-time of 170 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Want to find the BPM and music key for other songs? Check out our BPM and Key Finder page!
| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
| The Fallen | The Chamber Orchestra Of London | B♭ Minor | 2 | 3A | 142 BPM | ||
| Peculiars vs Wights | Mike Higham, Matthew Margeson | D Minor | 4 | 7A | 121 BPM | ||
| The Boy Who Forgave | Mark Isham, Michael D. Simon | F♯ Minor | 4 | 11A | 124 BPM | ||
| Maleficent Returns | Geoff Zanelli | D♭ Minor | 5 | 12A | 73 BPM | ||
| The Chronosphere - From “Alice Through the Looking Glass”/Score | Danny Elfman | A Minor | 1 | 8A | 148 BPM | ||
| Homeward | David Fleming | G Major | 3 | 9B | 100 BPM | ||
| Game Over | Steve Jablonsky | B♭ Major | 0 | 6B | 74 BPM | ||
| Projecting Dreams | Mike Higham, Matthew Margeson | F Minor | 3 | 4A | 120 BPM | ||
| To Lose Himself in Vengeance | Steven Price | E Minor | 3 | 9A | 112 BPM | ||
| The Stone Table | Harry Gregson-Williams | G Minor | 2 | 6A | 99 BPM | ||
| No Man's Land | Rupert Gregson-Williams | E Minor | 5 | 9A | 98 BPM | ||
| The Star Shines | Ilan Eshkeri, London Metropolitan Orchestra, Andy Brown | C Major | 2 | 8B | 130 BPM | ||
| The Kiss | Nicholas Hooper | E♭ Major | 0 | 5B | 91 BPM | ||
| Meet the Sisters! | Dario Marianelli | D♭ Major | 5 | 3B | 129 BPM | ||
| Enslaved | Clinton Shorter | B Minor | 2 | 10A | 70 BPM | ||
| The Ballad of the Witches' Road (Score Version) | Christophe Beck, Michael Paraskevas | G Minor | 0 | 6A | 133 BPM | ||
| Speech | Harald Kloser, Thomas Wander | D Minor | 3 | 7A | 82 BPM | ||
| Lamia's Doll | Ilan Eshkeri, London Metropolitan Orchestra, Andy Brown | A Major | 3 | 11B | 87 BPM | ||
| Front Titles (Inkheart) | Javier Navarrete | B Minor | 1 | 10A | 66 BPM | ||
| Commander | Steve Jablonsky | C Minor | 2 | 5A | 79 BPM | ||
| The Wardrobe | Harry Gregson-Williams | D♭ Minor | 0 | 12A | 81 BPM | ||
| A Family Gathering | David Buckley | D Minor | 2 | 7A | 74 BPM | ||
| Shoot Anything That Moves | Atli Örvarsson | D♭ Major | 8 | 3B | 73 BPM | ||
| The Witches' Transformation | Theodore Shapiro | D Major | 1 | 10B | 89 BPM | ||
| Aurora in Faerieland | James Newton Howard | A Minor | 0 | 8A | 106 BPM |