"Madama Butterfly, SC 74, Act II: Coro a bocca chiusa (Humming Chorus)" by Giacomo Puccini, Lawrence Foster, Orquestra Gulbenkian, Coro Gulbenkian was released on November 19, 2021. The duration of Madama Butterfly, SC 74, Act II: Coro a bocca chiusa (Humming Chorus) is about two minutes long, specifically at 2:47. This song does not appear to have any foul language. Madama Butterfly, SC 74, Act II: Coro a bocca chiusa (Humming Chorus)'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 38 in the song's album "Puccini: Madama Butterfly". In this album, this song's track order is #12. Furthermore, we believe that the track originated from Netherlands. Madama Butterfly, SC 74, Act II: Coro a bocca chiusa (Humming Chorus) 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 Madama Butterfly, SC 74, Act II: Coro a bocca chiusa (Humming Chorus) by Giacomo Puccini, Lawrence Foster, Orquestra Gulbenkian, Coro Gulbenkian having a BPM of 81 with a half-time of 40 BPM and a double-time of 162 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 3/4.
This song is in the music key of B♭ Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Madama Butterfly / Act 1: Ecco. Son giunte al sommo del pendio | Giacomo Puccini, Herbert von Karajan, Wiener Philharmoniker, Vienna State Opera Chorus, Michel Sénéchal, Mirella Freni, Robert Kerns, Luciano Pavarotti | B♭ Minor | 1 | 3A | 86 BPM | ||
Concerto in E-Flat Major, Op. 1: II. Adagio | Bernhard Henrik Crusell, Michael Collins, Swedish Chamber Orchestra | A♭ Major | 0 | 4B | 133 BPM | ||
Chant du menestrel for Cello and Orchestra, Op. 71 | Alexander Glazunov, Alexander Rudin, Moscow Symphony Orchestra, Igor Golovschin | F♯ Minor | 0 | 11A | 87 BPM | ||
Turandot, Act III: Nessun dorma (arr. for orchestra) | Anonymous , Giacomo Puccini, Sofia Philharmonic Orchestra, Emil Tabakov | D Major | 1 | 10B | 85 BPM | ||
Berceuse (Arr. For viola and piano) | Frank Bridge, Enikő Magyar, Tadashi Imai | B♭ Major | 0 | 6B | 84 BPM | ||
Après un rêve, Op. 7, No. 1 (Arr. for Cello and Piano) | Gabriel Fauré, Sheku Kanneh-Mason, Isata Kanneh-Mason | G Minor | 0 | 6A | 112 BPM | ||
Piano Concerto No. 2 in F Major, Op. 102: II. Andante | Dmitri Shostakovich, Boris Giltburg, Royal Liverpool Philharmonic Orchestra, Vasily Petrenko | C Minor | 0 | 5A | 77 BPM | ||
Turandot / Act 1: "Non piangere Liù" | Giacomo Puccini, Luciano Pavarotti, London Philharmonic Orchestra, Zubin Mehta | E♭ Minor | 3 | 2A | 100 BPM | ||
Beau soir, L. 6 (L. 84) (Arr. Heifetz for Violin and Piano) | Claude Debussy, Lisa Batiashvili, Yannick Nézet-Séguin | F Minor | 1 | 4A | 79 BPM | ||
Khachaturian: Spartacus (Highlights from the Ballet): Adagio of Spartacus and Phrygia | Aram Khachaturian, London Symphony Orchestra | A♭ Major | 1 | 4B | 88 BPM |
Section: 0.7213447093963623
End: 0.7269582748413086