Moving The Parts
30s preview
- BPM
- 125
- Open Key
- 8d
- Energy
- 33/100
- Pop
- 0/100
- Length
- 6:50
- Released
- 2011
- Genre
- House
- Loudness
- -11.0 dB
- Dynamics
- 14.7 dB
- ISRC
- DEHQ40800052
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
At 125 BPM in D♭ major (3B), Moving The Parts is a club-tempo house production. The feel is subdued and even. The groove is strong and floor-ready. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps real dynamic headroom. The master keeps unusual dynamic range for club music (crest 15 dB). A 2011 production that still circulates in sets. Calmer than 99% of Trikk's catalogue. In a set it works best as a warm-up or breakdown cut.
- Reach:
- more underground than 99% of Trikk's catalogue
- Groove:
- groovier than 87% of Trikk's catalogue
- Brightness:
- brighter than 80% of Trikk's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 36%
- Low
- 30-130 Hz
- 26%
- Low-mid
- 130-570 Hz
- 18%
- Upper-mid
- 570 Hz-2.5 kHz
- 20%
- High
- 2.5-11 kHz
FAQ
What key is Moving The Parts in?
Moving The Parts by Trikk is in D♭ major, or 3B on the Camelot wheel.
What BPM is Moving The Parts?
Moving The Parts runs at 125 BPM, a club-tempo track.
What mixes well with Moving The Parts?
From 3B it blends harmonically with 4B, 3A, 2B. Moving to 4B lifts the energy a step.
Is Moving The Parts good for peak time?
With energy 33 out of 100 at 125 BPM, it works best as a warm-up or breakdown cut.
Mixes harmonically
3B → 2B · 4B · 3AFrom 3B, 4B (A♭ major) lifts the energy a step; 3A (B♭ minor) settles into the relative minor; 2B (F♯ major) cools the energy down a step.
How to mix it
In 3B at 125 BPM: 4B (A♭ major) — move to 4B to push the floor harder; 3A (B♭ minor) — switch to 3A for a mood change without losing the groove; 2B (F♯ major) — drop to 2B to bring the room down gently.
Pitch range at ±6%: 117-133 BPM — anything in that window beatmatches without sounding stretched.
Key on the fader: without key lock (Master Tempo on CDJs), above roughly +5% it plays a semitone higher, so treat it as 10B rather than 3B; below -5% it reads as 8B. With key lock on, it stays 3B across the whole range.
Programming: a warm-up or breakdown cut — early set or after a peak to reset the room.
Similar tempo
Within ±3 BPM of 125 — beatmatch without a big tempo pull.
More house
More from Trikk
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 125 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
