Felix Mendelssohn, Howard Shelley's 'Fantasia in F-Sharp Minor, Op. 28 "Sonate écossaise": I. Con moto agitato – Andante' came out on June 29, 2014. With this song being about 5 minutes long, at 5:11, "Fantasia in F-Sharp Minor, Op. 28 "Sonate écossaise": I. Con moto agitato – Andante" by Felix Mendelssohn, Howard Shelley is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The track order of this song in Felix Mendelssohn, Howard Shelley's "Mendelssohn: The Complete Solo Piano Music 2" album is number 6 out of 22. On top of that, United Kingdom appears to be the country where this track was created. Fantasia in F-Sharp Minor, Op. 28 "Sonate écossaise": I. Con moto agitato – Andante 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.
We consider the tempo marking of Fantasia in F-Sharp Minor, Op. 28 "Sonate écossaise": I. Con moto agitato – Andante by Felix Mendelssohn, Howard Shelley to be Larghetto (rather broadly) because the track has a tempo of 66 BPM, a half-time of 33BPM, and a double-time of 132 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
A♭ Major is the music key of this track. This also means that this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Liebeslied, S. 566 (After Schumann’s Widmung, Op. 25 No. 1) | Franz Liszt, Rudolf Buchbinder | F♯ Major | 0 | 2B | 68 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 | ||
Lyric Pieces, Book 1, Op. 12: I. Arietta | Edvard Grieg, Javier Perianes | B♭ Major | 0 | 6B | 72 BPM | ||
Symphonic Studies, Op. 13 - Version 1852 with Etudes from 1837 version: Variation II. Marcato il canto | Robert Schumann, Mikhail Pletnev | D♭ Minor | 1 | 12A | 69 BPM | ||
Saint-Saëns: Piano Concerto No. 2 in G Minor, Op. 22: II. Allegro scherzando | Camille Saint-Saëns, Bertrand Chamayou, Emmanuel Krivine, Orchestre National De France | F♯ Minor | 0 | 11A | 84 BPM | ||
Nocturne No. 3 in A-Flat Major | John Field, Benjamin Frith | A♭ Major | 0 | 4B | 70 BPM | ||
Melody from « Orfeo » | Christoph Willibald Gluck, Roberto Giordano | G Minor | 2 | 6A | 115 BPM | ||
Piano Concerto in G Major, M. 83: II. Adagio assai | Maurice Ravel, Krystian Zimerman, Cleveland Orchestra, Pierre Boulez | E Major | 0 | 12B | 74 BPM | ||
Nocturne No. 1 in E Flat Major, H.24 | John Field, Elizabeth Joy Roe | E♭ Major | 0 | 5B | 75 BPM | ||
Cello Concerto No. 1 in A Minor, Op. 33: I. Allegro non troppo | Camille Saint-Saëns, Mischa Maisky, Orpheus Chamber Orchestra | F Major | 2 | 7B | 131 BPM |
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