"Samson et Dalila, Op. 47: Act I: Introduction" by Camille Saint-Saëns, Rise Stevens, Mario del Monaco, Martial Singher, Norman Scott, Giorgio Tozzi, Robert Nagy, Gabor Carelli, Osie Hawkins, Metropolitan Opera Chorus, Metropolitan Opera Orchestra, Anonymous, Fausto Cleva was released on February 1, 2015. With Samson et Dalila, Op. 47: Act I: Introduction being less than two minutes long, at 1:01, 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 29 in the song's album "Saint-Saëns: Samson et Dalila". In this album, this song's track order is #1. Furthermore, we believe that the track originated from United States. Samson et Dalila, Op. 47: Act I: Introduction 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.
With Samson et Dalila, Op. 47: Act I: Introduction by Camille Saint-Saëns, Rise Stevens, Mario del Monaco, Martial Singher, Norman Scott, Giorgio Tozzi, Robert Nagy, Gabor Carelli, Osie Hawkins, Metropolitan Opera Chorus, Metropolitan Opera Orchestra, Anonymous, Fausto Cleva having a BPM of 63 with a half-time of 32 BPM and a double-time of 126 BPM, we would consider this track to have a Larghetto (rather broadly) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
A Minor is the music key of this track. Which also means that the camelot key for this song is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Myrthen, Op. 25 - Version for Cello and Piano: XXIV. Du bist wie eine Blume | Robert Schumann, Kian Soltani, Aaron Pilsan | F Major | 0 | 7B | 116 BPM | ||
Orfeo ed Euridice, Wq. 30 (Arranged by Sgambati): Melodie dell'Orfeo | Christoph Willibald Gluck, Yuja Wang | D Minor | 0 | 7A | 70 BPM | ||
Lohengrin: Prelude | Richard Wagner, Slovak Philharmonic, Michael Halasz | A Major | 0 | 11B | 75 BPM | ||
Fantasia on Greensleeves | Ralph Vaughan Williams, Academy of St. Martin in the Fields, Sir Neville Marriner | C Minor | 1 | 5A | 89 BPM | ||
Bach - 3 chorales, P. 167: No. 3. Andante (after J.S. Bach's Wachet auf ruft uns die Stimme, BWV 645) | Ottorino Respighi, Seattle Symphony Orchestra, Gerard Schwarz | E♭ Major | 0 | 5B | 110 BPM | ||
A:4 Solfeggietto in C minor, Wq. 117/2 | Carl Philipp Emanuel Bach, C. P. E. Bach, Dinara Klinton | F Minor | 2 | 4A | 122 BPM | ||
Symphonie fantastique, Op. 14: Marche au supplice (Allegro non troppo) | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | B♭ Major | 2 | 6B | 147 BPM | ||
Kinderszenen, Op.15: 1. Von fremden Ländern und Menschen | Robert Schumann, Martha Argerich | G Major | 0 | 9B | 128 BPM | ||
12 Songs, Op. 21: V. Lilacs (Transcr. Rachmaninoff for Solo Piano) | Sergei Rachmaninoff, Sergei Babayan | A♭ Major | 0 | 4B | 78 BPM | ||
6 Album Leaves, Op. 2, JB 1:51: No. 2 in A Minor, Chanson. Moderato | Bedřich Smetana, Jitka Čechová | A Minor | 0 | 8A | 66 BPM |
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