Franz Lehár, Else Macha, Cilly Togel, Oskar Morwald, Ernst Tautenhayn, Fred Liewehr made "Wo die Lerche singt, Act III: Dialog 1 (Margit, Borsca, Pista, Pál, Sándor)" available on March 6, 2015. With Wo die Lerche singt, Act III: Dialog 1 (Margit, Borsca, Pista, Pál, Sándor) being less than two minutes long, at 1:12, 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. The track order of this song in Franz Lehár, Großes Wiener Rundfunkorchester, Ernst Tautenhayn, Else Macha's "Lehár: Wo die Lerche singt" album is number 28 out of 29. On top of that, Germany appears to be the country where this track was created. Wo die Lerche singt, Act III: Dialog 1 (Margit, Borsca, Pista, Pál, Sándor) is unknown right now. Even with the track produces more of a neutral energy, it is pretty danceable compared to others.
We consider the tempo marking of Wo die Lerche singt, Act III: Dialog 1 (Margit, Borsca, Pista, Pál, Sándor) by Franz Lehár, Else Macha, Cilly Togel, Oskar Morwald, Ernst Tautenhayn, Fred Liewehr to be Andante (at a walking pace) because the track has a tempo of 83 BPM, a half-time of 42BPM, and a double-time of 166 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
D Minor is the music key of this track. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Salut For August Bournonville, Galop (1869) | Hans Christian Lumbye, Tivoli Symphony Orchestra | D Major | 3 | 10B | 161 BPM | ||
La fille du régiment / Act 1: "Ah! mes amis, quel jour de fête!" | Gaetano Donizetti, Juan Diego Flórez, Nikola Mijailovic, Coro Sinfonico di Milano Giuseppe Verdi, Orchestra Sinfonica di Milano Giuseppe Verdi, Riccardo Frizza | F Major | 1 | 7B | 134 BPM | ||
Der Zigeunerbaron, Act I: Als flotter Geist - Ja, das alles auf Ehr | Nicolai Gedda, Chor der Bayerischen Staatsoper München, Bavarian State Orchestra, Franz Allers | C Major | 4 | 8B | 84 BPM | ||
Viktoria und ihr Husar: Reich' mir zum Abschied noch einmal die Hände | Paul Abraham, Sandor Konya, Herta Talmar, Grosses Operetten Orchester, Franz Marszalek | B♭ Major | 3 | 6B | 110 BPM | ||
Loewe: My fair lady: "I could have danced all night" (Eliza Doolittle) | Frederick Loewe, Diana Damrau, David Charles Abell, Royal Liverpool Philharmonic Orchestra | C Major | 5 | 8B | 153 BPM | ||
Miniera | Leo Nucci, Salotto Ottocento Ensemble | A Major | 2 | 11B | 119 BPM | ||
Strauss, Johann II: Die Fledermaus, Act 2: "Mein Herr Marquis" (Adele) | Johann Strauss II, Diana Damrau, David Charles Abell, Karl Huffier, Royal Liverpool Philharmonic Orchestra | G Major | 3 | 9B | 73 BPM | ||
Offenbach: Les Brigands: Overture | Jacques Offenbach, John Eliot Gardiner, Orchestre de l'Opéra de Lyon | E♭ Major | 2 | 5B | 89 BPM | ||
Tosca / Act 2: "Vissi d'arte, vissi d'amore" | Giacomo Puccini, Leontyne Price, Giuseppe Taddei, Wiener Philharmoniker, Herbert von Karajan | A♭ Major | 1 | 4B | 76 BPM | ||
The Merry Widow / Act 1: March from Introduction - Duet: A Highly Respectable Wife | Franz Lehár, Valerie Masterson, John Brecknock, National Philharmonic Orchestra, Richard Bonynge | C Major | 2 | 8B | 89 BPM |
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