"Swan Lake, Op. 20, TH 12, Act III: No. 19f, Pas de six: Variation V" by Pyotr Ilyich Tchaikovsky, Minnesota Orchestra, Antal Doráti was released on 1954. With Swan Lake, Op. 20, TH 12, Act III: No. 19f, Pas de six: Variation V being less than two minutes long, at 1:16, 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. There are a total of 51 in the song's album "Tchaikovsky: Swan Lake (The Mercury Masters: The Mono Recordings)". In this album, this song's track order is #39. Furthermore, we believe that the track originated from Netherlands. Swan Lake, Op. 20, TH 12, Act III: No. 19f, Pas de six: Variation V 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 Swan Lake, Op. 20, TH 12, Act III: No. 19f, Pas de six: Variation V by Pyotr Ilyich Tchaikovsky, Minnesota Orchestra, Antal Doráti having a BPM of 78 with a half-time of 39 BPM and a double-time of 156 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. The time signature for this track is 4/4.
This song has a musical key of E Minor. Which also means that the camelot key for this song is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphonie fantastique, Op. 14, H 48: V. Songe d'une nuit de sabbat | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 60 BPM | ||
Román népi táncok (Romanian Folk Dances), BB 76: No. 4. Buciumeana: Andante | Béla Bartók, Hungarian National Philharmonic, Zoltán Kocsis | B Minor | 1 | 10A | 99 BPM | ||
Pelléas et Mélisande, Op. 80: II. Fileuse. Andantino quasi Allegretto | Gabriel Fauré, Frankfurt Radio Symphony Orchestra, Paavo Järvi | G Major | 0 | 9B | 129 BPM | ||
Walpurgis Night. Ballet music from Faust Bacchante and Bacchus | Victor Fedotov, Academic Symphony Orchestra Of The St. Petersburg Philharmonic | E♭ Major | 1 | 5B | 140 BPM | ||
Symphony No. 5, Op. 50: IIc. Andante poco tranquillo | Carl Nielsen, Danish National Symphony Orchestra, Fabio Luisi | D♭ Major | 0 | 3B | 60 BPM | ||
Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28) | Pyotr Ilyich Tchaikovsky, Sydney Symphony Orchestra, John Lanchbery | B♭ Minor | 1 | 3A | 94 BPM | ||
Sibelius: Symphony No. 3, Op. 52: I. Allegro moderato | Jean Sibelius, Sakari Oramo, City Of Birmingham Symphony Orchestra | C Major | 1 | 8B | 127 BPM | ||
Il Barbiere Di Siviglia: Overture | Gioachino Rossini, Donato Renzetti, Orchestra Filarmonica Gioachino Rossini | G Major | 2 | 9B | 136 BPM | ||
Sylvia: Act III: Cortege de Bacchus | Léo Delibes, Razumovsky Symphony Orchestra, Andrew Mogrelia | E Major | 1 | 12B | 129 BPM | ||
Schwanensee, Op. 20: Act III No. 19: Pas de six | Pyotr Ilyich Tchaikovsky, Russian State Symphony Orchestra, Dmitry Yablonsky | E♭ Major | 0 | 5B | 98 BPM |
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