"Britten: Four Sea Interludes from Peter Grimes, Op. 33a: No. 2, Sunday Morning" by Benjamin Britten, André Previn, London Symphony Orchestra was released on January 1, 1976. With this song being around four minutes long, at 3:52, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The song is number 5 out of 8 in Britten: Four Sea Interludes, Passacaglia from Peter Grimes & Sinfonia da Requiem by Benjamin Britten, André Previn, London Symphony Orchestra. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. In terms of popularity, Britten: Four Sea Interludes from Peter Grimes, Op. 33a: No. 2, Sunday Morning is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Britten: Four Sea Interludes from Peter Grimes, Op. 33a: No. 2, Sunday Morning by Benjamin Britten, André Previn, London Symphony Orchestra is Moderato (at a moderate speed), since this song has a tempo of 114 BPM. With that information, we can conclude that the song has a moderate tempo. The time signature for this track is 4/4.
C Major is the music key of this track. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Debussy: Syrinx, L. 129 | Claude Debussy, Emmanuel Pahud | B Major | 0 | 1B | 165 BPM | ||
5 Bagatelles, Op. 23a (Arr. L. Ashmore for Clarinet & Strings): No. 3, Carol. Andante semplice | Gerald Finzi, Robert Plane, Royal Northern Sinfonia, Howard Griffiths | B♭ Major | 0 | 6B | 78 BPM | ||
La Mer, L.109: 2. Play of the Waves (Jeux de vagues) | Claude Debussy, Orchestre Symphonique de Montréal, Charles Dutoit | E Major | 1 | 12B | 113 BPM | ||
Quiet City | Aaron Copland, Celia Nicklin, Michael Laird, Academy of St. Martin in the Fields, Sir Neville Marriner | F Major | 1 | 7B | 70 BPM | ||
Departures | Joe Hisaishi, London Symphony Orchestra | G Major | 1 | 9B | 124 BPM | ||
Kammermusik No. 1, Op.24 No.1: I. Sehr schnell und wild | Paul Hindemith, Claudio Abbado;Berliner Philharmoniker, Claudio Abbado, Berliner Philharmoniker | B Major | 4 | 1B | 137 BPM | ||
John Nineteen: Forty-One - From "Jesus Christ Superstar" Soundtrack | André Previn | F Major | 1 | 7B | 88 BPM | ||
Wesendonck Lieder, WWV 91: Schmerzen | Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 132 BPM | ||
Tannhauser: Overture | Richard Wagner, Slovak Philharmonic, Michael Halasz | B Major | 0 | 1B | 98 BPM | ||
Symphonie fantastique, Op. 14: II. Un bal | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | A Major | 1 | 11B | 107 BPM |
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