"Prokofiev: Cinderella, Op. 87, Act 2: No. 20, Court Dance (Andante grazioso)" by Sergei Prokofiev, André Previn, London Symphony Orchestra was released on January 10, 1995. The duration of Prokofiev: Cinderella, Op. 87, Act 2: No. 20, Court Dance (Andante grazioso) is about two minutes long, specifically at 2:22. This song does not appear to have any foul language. Prokofiev: Cinderella, Op. 87, Act 2: No. 20, Court Dance (Andante grazioso)'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 54 in the song's album "Prokofiev: Cinderella - Ballet/Symphony No. 1". In this album, this song's track order is #20. Prokofiev: Cinderella, Op. 87, Act 2: No. 20, Court Dance (Andante grazioso) is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Prokofiev: Cinderella, Op. 87, Act 2: No. 20, Court Dance (Andante grazioso) by Sergei Prokofiev, André Previn, London Symphony Orchestra having a BPM of 86 with a half-time of 43 BPM and a double-time of 172 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 B♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
The Secret Wedding | James Horner, London Symphony Orchestra | D Minor | 0 | 7A | 135 BPM | ||
Don Quixote: Act II, Scene: Puppet Theatre, attacked by Don Quixote, who then attacks the windmill | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | A Minor | 0 | 8A | 133 BPM | ||
Giselle: Act II - Introduction: Andante sostenuto | Adolphe Adam, London Symphony Orchestra, Michael Tilson Thomas | D Major | 0 | 10B | 100 BPM | ||
21 Hungarian Dances, WoO 1: Hungarian Dance No. 6 in D-Flat Major | Seattle Symphony Orchestra, Johannes Brahms, Gerard Schwarz | D Major | 1 | 10B | 81 BPM | ||
War Requiem, Op. 66: vii. Dies Irae - Liber scriptus | Benjamin Britten, Gianandrea Noseda, Sabina Cvilak, London Symphony Chorus, London Symphony Orchestra | E Major | 0 | 12B | 64 BPM | ||
Elgar: Variations on an Original Theme, Op. 36, "Enigma": XIV. E.D.U. (The Composer). Allegro presto (Finale) | Edward Elgar, London Symphony Orchestra, Sir Adrian Boult | G Major | 3 | 9B | 73 BPM | ||
Act I: Street Dancer (Minkus) | Mariinsky Orchestra | D Major | 1 | 10B | 87 BPM | ||
L'Oiseau de feu, K010: VIII. Jeu de princesses avec les pommes d'or | Igor Stravinsky, Chicago Symphony Orchestra, Pierre Boulez | D Major | 2 | 10B | 87 BPM | ||
Romeo and Juliet, Op. 64 - Act 2: The Nurse - The Nurse and Romeo | Sergei Prokofiev, Cleveland Orchestra, Lorin Maazel | C Major | 1 | 8B | 139 BPM | ||
Le Prophete, Acte III: No. 15d, Quatrième Air de ballet. Galop. - Live | Giacomo Meyerbeer, Sir Mark Elder, London Symphony Orchestra | E Major | 1 | 12B | 138 BPM |
Section: 0.6023592948913574
End: 0.6070091724395752