"Prokofiev: 10 Pieces from Romeo & Juliet, Op. 75: VIII. Mercutio" by Sergei Prokofiev, Nikolai Lugansky was released on March 5, 2004. The duration of Prokofiev: 10 Pieces from Romeo & Juliet, Op. 75: VIII. Mercutio is about two minutes long, specifically at 2:06. This song does not appear to have any foul language. Prokofiev: 10 Pieces from Romeo & Juliet, Op. 75: VIII. Mercutio's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 17 in the song's album "Prokofiev : Piano Sonatas 4 & 6, Romeo & Juliet selection". In this album, this song's track order is #15. Furthermore, we believe that the track originated from United Kingdom. In terms of popularity, Prokofiev: 10 Pieces from Romeo & Juliet, Op. 75: VIII. Mercutio is currently not that popular. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Prokofiev: 10 Pieces from Romeo & Juliet, Op. 75: VIII. Mercutio by Sergei Prokofiev, Nikolai Lugansky 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 4/4.
This song has a musical 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 | ||
---|---|---|---|---|---|---|---|
3 Études de Concert, S. 144: No. 3 in D-Flat Major "Un sospiro" | Franz Liszt, Daniil Trifonov | D♭ Major | 1 | 3B | 76 BPM | ||
Capriol Suite: 2. Pavane | Peter Warlock, Academy of St. Martin in the Fields, Sir Neville Marriner | B♭ Major | 0 | 6B | 160 BPM | ||
Sylvia: Pizzicato | Léo Delibes, Slovak Philharmonic, Ondrej Lenard | E♭ Major | 0 | 5B | 159 BPM | ||
Masquerade Suite: Romance | Aram Khachaturian, St. Petersburg State Symphony Orchestra, Andre Anichanov | B♭ Minor | 1 | 3A | 176 BPM | ||
Peer Gynt Suite No.1 op. 46 Anitra's Dance (Tempo di Mazurka) | Academy of St. Martin in the Fields | E Minor | 0 | 9A | 168 BPM | ||
Soirees musicales, Op. 9: I. March | Benjamin Britten, Helsingborg Symphony Orchestra, Okko Kamu | B♭ Major | 1 | 6B | 124 BPM | ||
Bacchanale | Camille Saint-Saëns, Leonard Bernstein, New York Philharmonic | D Minor | 2 | 7A | 145 BPM | ||
Prélude à l'après-midi d'un faune, L.86 | Claude Debussy, Timothy Hutchins, Orchestre Symphonique de Montréal, Charles Dutoit | A♭ Minor | 0 | 1A | 90 BPM | ||
Choral-Vatiationen: Var. I. In canone all'Ottava | Igor Stravinsky, Philippe Herreweghe, Royal Flemish Philharmonic, Collegium Vocale Gent | C Major | 1 | 8B | 93 BPM | ||
Symphony No. 3 In A Minor, Op. 56, MWV N 18 - "Scottish": 2. Vivace non troppo | Felix Mendelssohn, London Symphony Orchestra, Peter Maag | F Major | 3 | 7B | 132 BPM |
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