October 10, 2021
Audio information that is featured on 6 Variations on ‘Salve tu, Domine‘ by Paisiello in F K.398: 5. Variation IV by Wolfgang Amadeus Mozart, Danielle Laval.
Find songs that harmonically matches to 6 Variations on ‘Salve tu, Domine‘ by Paisiello in F K.398: 5. Variation IV by Wolfgang Amadeus Mozart, Danielle Laval. Listed below are tracks with similar keys and BPM to the track where the track can be harmonically mixed.
|No Time To Die (arr. Orchestra) - From ''No Time To Die''||Royal Philharmonic Orchestra||F Minor||1||4A||94|
|Après un rêve, Op.7, No.1 (Arr. Cello & Piano)||Gabriel Fauré, Sheku Kanneh-Mason, Isata Kanneh-Mason||F Minor||1||4A||103|
|Gnossienne No. 1 - Excerpt||Erik Satie, Jean-Yves Thibaudet||F Minor||0||4A||74|
|Symphony No. 8, Zweiter Teil: XV. Alles Vergängliche ist nur ein Gleichnis||Gustav Mahler, Berliner Philharmoniker, Sir Simon Rattle, Rundfunkchor Berlin, MDR Leipzig Radio Chorus, Knaben des Staats- und Domchors Berlin, Erika Sunnegardh, Susan Bullock, Lilli Paasikivi, Nathalie Stutzmann, Johan Botha, David Wilson-Johnson, John Relyea||F Minor||2||4A||64|
|Gnossienne No. 1 - Nitin Sawhney Version||Hélène Grimaud, Nitin Sawhney||F Minor||0||4A||136|
|Aranjuez Concerto BWV 1056||Joaquín Rodrigo, Johann Sebastian Bach, Aleksander Debicz, Łukasz Kuropaczewski||F Minor||0||4A||128|
|Una furtiva lagrima||Gaetano Donizetti, Yohta Minakami, Kyohei Sorita, MLM National Orchestra||F Minor||0||4A||81|
|Etude No.6||Simone Dinnerstein, Philip Glass, Franz Schubert||F Minor||2||4A||99|
|Gnossiennes: No. 1. Lent||Erik Satie, Marcel Worms||F Minor||0||4A||77|
|Après un rêve, Op. 7, No. 1 (Arr. Piano)||Gabriel Fauré, Alan Feinberg||F Minor||0||4A||98|
|The Call (From 'Five Mystical Songs') (Arr. Harry D Bennett)||Ralph Vaughan Williams, Apollo5||F Minor||0||4A||73|
|Trois Gnoissiennes: I. Lent||Erik Satie, Riri Shimada||F Minor||0||4A||88|
|Octopussy (arr. C. Egan)||Philharmonia Orchestra||A♭ Major||2||4B||79|
|Le vieux châlet||Concertgebouworkest, Jeroen Bal, Julie Moulin||A♭ Major||1||4B||72|
|Symphony No.3 in D minor, WAB 103 (Edition Nowak): II. Andante. Bewegt, feierlich, quasi Adagio||Anton Bruckner, Christian Thielemann, Wiener Philharmoniker||A♭ Major||0||4B||65|
|Gianni Schicchi: "O mio Babbino caro"||Giacomo Puccini, BBC Concert Orchestra, Barry Wordsworth||A♭ Major||2||4B||89|
|Khachaturian: Children's Album, Book I, Op. 62: No. 1, Andantino||Aram Khachaturian, Alexandre Tharaud||A♭ Major||0||4B||90|
|Beethoven: Piano Sonata No. 8 in C Minor, Op. 13, "Pathétique": II. Adagio cantabile||Ludwig van Beethoven, Fazıl Say||A♭ Major||0||4B||68|
|Puccini: Gianni Schicchi, Act 1: "O mio babbino caro" (Lauretta)||Giacomo Puccini, Renaud Capuçon||A♭ Major||2||4B||89|
This song is track #27 in Mozart miniatures by Wolfgang Amadeus Mozart, Danielle Laval, which has a total of 98 tracks. The duration of this track is 1:19 and was released on October 10, 2021. As of now, this track is currently not as popular as other songs out there. 6 Variations on ‘Salve tu, Domine‘ by Paisiello in F K.398: 5. Variation IV doesn't provide as much energy as other songs but, this track can still be danceable to some people.
6 Variations on ‘Salve tu, Domine‘ by Paisiello in F K.398: 5. Variation IV has a BPM of 79. Since this track has a tempo of 79, the tempo markings of this song would be Andante (at a walking pace). Overall, we believe that this song has a slow tempo.
The key of 6 Variations on ‘Salve tu, Domine‘ by Paisiello in F K.398: 5. Variation IV is F Minor. In other words, for DJs who are harmonically matchings songs, the Camelot key for this track is 4A. So, the perfect camelot match for 4A would be either 4A or 3B. While, a low energy boost can consist of either 4B or 5A. For moderate energy boost, you would use 1A and a high energy boost can either be 6A or 11A. However, if you are looking for a low energy drop, finding a song with a camelot key of 3A would be a great choice. Where 7A would give you a moderate drop, and 2A or 9A would be a high energy drop. Lastly, 7B allows you to change the mood.
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