"12 Etudes d'exécution transcendante, S.139: No.10 Allegro agitato molto" by Franz Liszt, Claudio Arrau was released on January 1, 1977. With this song being about 5 minutes long, at 4:44, "12 Etudes d'exécution transcendante, S.139: No.10 Allegro agitato molto" by Franz Liszt, Claudio Arrau is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The track order of this song in Franz Liszt, Claudio Arrau's "Liszt: 12 Etudes d'exécution transcendante" album is number 10 out of 12. On top of that, Netherlands appears to be the country where this track was created. In terms of popularity, 12 Etudes d'exécution transcendante, S.139: No.10 Allegro agitato molto 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.
We consider the tempo marking of 12 Etudes d'exécution transcendante, S.139: No.10 Allegro agitato molto by Franz Liszt, Claudio Arrau to be Andante (at a walking pace) because the track has a tempo of 91 BPM, a half-time of 46BPM, and a double-time of 182 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 3/4.
B♭ Minor is the music key of this track. Because this track belongs in the B♭ Minor key, the camelot key is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Mahler / Transcr. Tharaud: Symphony No. 5 in C-Sharp Minor, Pt. 3: IV. Adagietto | Gustav Mahler, Alexandre Tharaud | F Major | 0 | 7B | 71 BPM | ||
Serenade in C Major, Op. 48: II. Walzer | Pyotr Ilyich Tchaikovsky, Vienna Chamber Orchestra, Philippe Entremont | G Major | 2 | 9B | 180 BPM | ||
Lyric Pieces Book VII, Op. 62: No. 4 Brooklet | Edvard Grieg, Emil Gilels | B Minor | 1 | 10A | 0 BPM | ||
6 Pezzi, P. 44: No. 1. Valse Caressante | Ottorino Respighi, Konstantin Scherbakov | E♭ Major | 1 | 5B | 70 BPM | ||
Lieder ohne Worte (Songs without Words), Book 2, Op. 30: No. 7 in E-Flat Major, Op. 30, No. 1 | Felix Mendelssohn, Péter Nagy | E♭ Major | 0 | 5B | 68 BPM | ||
Piano Concerto No. 1 in E-Flat Major, S. 124: I. Allegro maestoso | Franz Liszt, Célia Oneto Bensaid, Debora Waldman, Orchestre National Avignon-Provence | F Minor | 1 | 4A | 116 BPM | ||
Orpheo ed Euridice, Wq. 30, Act II: Dance of the Blessed Spirits | Christoph Willibald Gluck, Eugene Ormandy, Philadelphia Orchestra | D Minor | 1 | 7A | 67 BPM | ||
2 Arabesques, L. 66: No. 1 in E Major | Claude Debussy, Michael Korstick | E Major | 0 | 12B | 109 BPM | ||
Liebesbotschaft, S. 560/10 from Schwanengesang | Franz Liszt, Arcadi Volodos | G Major | 0 | 9B | 62 BPM | ||
Nocturnes n°4 en ut mineur | Francis Poulenc, Alexandre Tharaud | C Major | 0 | 8B | 73 BPM |
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