Fernando Obradors, Pumeza Matshikiza, James Baillieu's 'Canciones Clásicas Españolas, Vol. 1: VI. Del cabello más sutil (Dos cantares populares)' came out on February 19, 2021. With Canciones Clásicas Españolas, Vol. 1: VI. Del cabello más sutil (Dos cantares populares) being less than two minutes long, at 1:13, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. Since Obradors: Canciones Clásicas Españolas, Vol. 1: VI. Del cabello más sutil (Dos cantares populares) [Musical Moments] only contains only one song in the album, we like to consider this song as a single. Canciones Clásicas Españolas, Vol. 1: VI. Del cabello más sutil (Dos cantares populares) 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 Canciones Clásicas Españolas, Vol. 1: VI. Del cabello más sutil (Dos cantares populares) by Fernando Obradors, Pumeza Matshikiza, James Baillieu having a BPM of 67 with a half-time of 34 BPM and a double-time of 134 BPM, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
F♯ Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Six Lieder, Op. 13: 2. Sie liebten sich beide | Clara Schumann, Barbara Bonney, Vladimir Ashkenazy | C Minor | 0 | 5A | 167 BPM | ||
Chansons de Marjolie: No. 3, Celui que j’aime | Théodore Dubois, Véronique Gens, Munich Radio Orchestra, Herve Niquet | A Major | 1 | 11B | 89 BPM | ||
Strauss, R: 5 Lieder, Op. 48: No. 2, In Schwebe | Richard Strauss, Sabine Devieilhe, Mathieu Pordoy | G Minor | 0 | 6A | 82 BPM | ||
Te Deum: Sanctus | Johann Simon Mayr, Priska Eser-Streit, Merit Ostermann, Andreas Hirtreiter, Jorg Schneider, Robert Merwald, Simon Mayr Choir, Franz Hauk, Ingolstadt Georgian Chamber Orchestra | A♭ Minor | 2 | 1A | 125 BPM | ||
Tchut, Tchut, Serie 4, No. 4 | Joseph Canteloube, Patricia Rozario, Sir John Pritchard, Philharmonia Orchestra | A Major | 1 | 11B | 115 BPM | ||
Annelies (chamber version): V. Life in hiding | James Whitbourn, Arianna Zukerman, Westminster Williamson Voices, Lincoln Trio, Bharat Chandra, James Jordan | A Minor | 1 | 8A | 78 BPM | ||
Stabat Mater, Op. 58, B. 71: V. Tui nati vulnerati. Andante con moto quasi allegretto | Antonín Dvořák, Prague Symphony Orchestra, Prague Philharmonic Choir, Jiří Bělohlávek, Jaroslav Brych | G Major | 0 | 9B | 88 BPM | ||
Debussy: Apparition, CD 57, L. 53 | Claude Debussy, Sabine Devieilhe, Alexandre Tharaud | A♭ Minor | 1 | 1A | 89 BPM | ||
Iphigénie en Tauride, Wq. 46 (Excerpts): Patrie infortunée | Christoph Willibald Gluck, Munich Radio Orchestra, Lamberto Gardelli, Pilar Lorengar | G Major | 1 | 9B | 86 BPM | ||
An die Musik | Vienna Boys' Choir | E Major | 0 | 12B | 80 BPM |
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