"Ballet Suite No. 1 (arr. L. Atovmyan): Romance (The Limpid Stream)" by Lev Atovmyan, Dmitri Shostakovich, Russian Philharmonic Orchestra, Dmitry Yablonsky was released on October 6, 2004. The duration of Ballet Suite No. 1 (arr. L. Atovmyan): Romance (The Limpid Stream) is about two minutes long, specifically at 2:44. This song does not appear to have any foul language. Ballet Suite No. 1 (arr. L. Atovmyan): Romance (The Limpid Stream)'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 21 in the song's album "Shostakovich: Ballet Suites Nos. 1-4". In this album, this song's track order is #3. In terms of popularity, Ballet Suite No. 1 (arr. L. Atovmyan): Romance (The Limpid Stream) is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Ballet Suite No. 1 (arr. L. Atovmyan): Romance (The Limpid Stream) by Lev Atovmyan, Dmitri Shostakovich, Russian Philharmonic Orchestra, Dmitry Yablonsky having a BPM of 90 with a half-time of 45 BPM and a double-time of 180 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 1/4.
This song is in the music key of F Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Grieg: Peer Gynt, Op. 23, Act 4: No. 16, Anitra's Dance | Edvard Grieg, Sir Thomas Beecham, Royal Philharmonic Orchestra | A Major | 2 | 11B | 95 BPM | ||
Le Cid / Act 2: Aragonaise | Jules Massenet, National Philharmonic Orchestra, Richard Bonynge | G Major | 2 | 9B | 78 BPM | ||
Mahler: Symphony No. 1 in D Major: II. Kräftig bewegt, doch nicht zu schnell | Gustav Mahler, San Francisco Symphony, Michael Tilson Thomas | A Major | 1 | 11B | 176 BPM | ||
踊る人形 | Ede Poldini, Sir Charles Groves, フィルハーモニア管弦楽団 | D Major | 1 | 10B | 87 BPM | ||
Carissima | Edward Elgar, New Zealand Symphony Orchestra, James Judd | E Minor | 2 | 9A | 87 BPM | ||
Swan Lake - Prelude | London Philharmonic Orchestra | B Minor | 0 | 10A | 85 BPM | ||
Ballet Suite No. 3 (arr. L. Atovmyan): Waltz (The Human Comedy) | Lev Atovmyan, Dmitri Shostakovich, Russian Philharmonic Orchestra, Dmitry Yablonsky | A Major | 2 | 11B | 98 BPM | ||
Soirees musicales, Op. 9: II. Canzonetta | Benjamin Britten, Helsingborg Symphony Orchestra, Okko Kamu | A Major | 1 | 11B | 123 BPM | ||
Symphony No. 14 in G Minor, Op. 135: VI. Les attentives II | Dmitri Shostakovich, Kristine Opolais, Alexander Tsymbalyuk, Boston Symphony Orchestra, Andris Nelsons | G Major | 1 | 9B | 87 BPM | ||
Etudes: III. Sillhouetter | Knudåge Riisager, Gennady Rozhdestvensky, Danish National Symphony Orchestra | G Minor | 2 | 6A | 83 BPM |
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