Johann Strauss I, Slovak Sinfonietta Zilina, Christian Pollack made "Piefke und Pufke-Polka, Op. 235" available on September 3, 2013. The duration of Piefke und Pufke-Polka, Op. 235 is about two minutes long, specifically at 2:18. This song does not appear to have any foul language. Piefke und Pufke-Polka, Op. 235's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Johann Strauss I, Slovak Sinfonietta Zilina, Christian Pollack's "Johann Strauss I Edition, Vol. 24" album is number 5 out of 11. On top of that, Hong Kong appears to be the country where this track was created. Piefke und Pufke-Polka, Op. 235 is below average in popularity right now. The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe.
We consider the tempo marking of Piefke und Pufke-Polka, Op. 235 by Johann Strauss I, Slovak Sinfonietta Zilina, Christian Pollack to be Andante (at a walking pace) because the track has a tempo of 87 BPM, a half-time of 44BPM, and a double-time of 174 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of B♭ Major. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Coletta-Walzer | Franz von Suppé, Slovak State Philharmonic Orchestra, Kosice, Christian Pollack | C Major | 2 | 8B | 179 BPM | ||
Carmen Ballet Suite (after Bizet): II. Dance | Rodion Shchedrin, Slovenian Symphony Orchestra, Anton Nanut | D Major | 4 | 10B | 124 BPM | ||
Carmen Suite No. 2 (Arr. E. Guiraud): V. La garde montante | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | F Minor | 0 | 4A | 60 BPM | ||
Cinderella Suite No. 1, Op. 107: VII. Cinderella's Waltz | Sergei Prokofiev, Ukrainian State Symphony Orchestra, Theodore Kuchar | G Major | 3 | 9B | 194 BPM | ||
Ruslan and Ludmila: Overture | Mikhail Glinka, The USSR Bolshoy Theatre Orchestra, Yevgeny Svetlanov | F Major | 3 | 7B | 81 BPM | ||
Carmen Suite No. 2: 4. La garde montante | Georges Bizet, Orchestre de Paris, Semyon Bychkov | D Minor | 1 | 7A | 124 BPM | ||
Le Prophète: Coronation March | Giacomo Meyerbeer, Leonard Bernstein, New York Philharmonic | E♭ Major | 4 | 5B | 112 BPM | ||
Romeo And Juliet, Ballet Suite No. 1 - Op. 64a:5: Masks | Sergei Prokofiev, Royal Concertgebouw Orchestra, Myung-Whun Chung | C Major | 0 | 8B | 68 BPM | ||
Light Cavalry | Franz von Suppé, Stefan Rachon Orchestra, Stefan Rachon | A Major | 3 | 11B | 130 BPM | ||
Gayaneh: Sabre Dance | Aram Khachaturian, Valery Gergiev, Mariinsky Orchestra | C Major | 6 | 8B | 98 BPM |
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