"Gaîté parisienne: 14. Valse" by Jacques Offenbach, Orchestra of the Royal Opera House, Covent Garden, Sir Georg Solti was released on 1957. The duration of Gaîté parisienne: 14. Valse is about two minutes long, specifically at 2:55. This song does not appear to have any foul language. Gaîté parisienne: 14. Valse's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 45 in the song's album "Solti At The Ballet". In this album, this song's track order is #14. Furthermore, we believe that the track originated from United Kingdom. Based on our statistics, Gaîté parisienne: 14. Valse's popularity is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Gaîté parisienne: 14. Valse by Jacques Offenbach, Orchestra of the Royal Opera House, Covent Garden, Sir Georg Solti having a BPM of 129 with a half-time of 64 BPM and a double-time of 258 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 3/4.
This song is in the music key of D♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Gymnopédie No. 1 in D Major: Lent et douloureux | Erik Satie, Charles Gerhardt | G Major | 1 | 9B | 63 BPM | ||
Aida Highlights (1998 Digital Remaster), Act II: Gloria all'Egitto (Chorus) | Giuseppe Verdi, Riccardo Muti, New Philharmonia Orchestra, Chorus of the Royal Opera House, Covent Garden | E Major | 3 | 12B | 125 BPM | ||
Sylvia: Act I: Valse lente | Léo Delibes, Razumovsky Symphony Orchestra, Andrew Mogrelia | A♭ Major | 0 | 4B | 111 BPM | ||
Gold Und Silber (Gold And Silver), Op. 79 | Slovak Radio Symphony Orchestra, Franz Lehár | C Major | 1 | 8B | 81 BPM | ||
Les contes d'Hoffmann (The Tales of Hoffmann) (arr. M. Rosenthal for orchestra): 2. Barbe-Bleu - La Fille du Tambour-Majeur | Jacques Offenbach, Manuel Rosenthal, Monte-Carlo Philharmonic Orchestra | A♭ Major | 0 | 4B | 89 BPM | ||
Boccherini: String Quintet in E Major, Op. 11 No. 5, G. 275: III. Minuetto - Trio (Arr. Woodhouse for String Orchestra) | Luigi Boccherini, Sir Neville Marriner, Academy of St. Martin in the Fields | A Major | 0 | 11B | 85 BPM | ||
Coro a bocca chiusa from Madama Butterfly - Voice | Giacomo Puccini, Plácido Domingo, Renata Scotto, Lorin Maazel | F Major | 1 | 7B | 147 BPM | ||
Jazz Suite No. 2: 4. Waltz I | Dmitri Shostakovich, Concertgebouworkest, Riccardo Chailly | B♭ Major | 2 | 6B | 178 BPM | ||
Chanson de matin | Edward Elgar, Britten Sinfonia, Nicholas Cleobury | G Major | 2 | 9B | 171 BPM | ||
Concerto Grosso In D Major, Op. 6, No. 1 : IV. Allegro | Arcangelo Corelli, Anna Holbling, Daniela Ruso, Quido Holbling, Ludovit Kanta, Capella Istropolitana | D Major | 3 | 10B | 129 BPM |
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