"Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28)" by Pyotr Ilyich Tchaikovsky, Sydney Symphony Orchestra, John Lanchbery was released on November 5, 2010. Since Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28) is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. There are a total of 31 in the song's album "Tchaikovsky: Onegin, Theme and Variations, Ballet Imperial". In this album, this song's track order is #11. Furthermore, we believe that the track originated from Australia. In terms of popularity, Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28) 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.
With Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28) by Pyotr Ilyich Tchaikovsky, Sydney Symphony Orchestra, John Lanchbery having a BPM of 94 with a half-time of 47 BPM and a double-time of 188 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. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 3/4.
This song has a musical key of B♭ Minor. Which also means that the camelot key for this song 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 | ||
---|---|---|---|---|---|---|---|
Concerto for Violin and Cello in A Minor, Op. 102: III. Vivace non troppo | Johannes Brahms, Bernard Haitink, Tim Hugh, Gordan Nikolitch, London Symphony Orchestra | A Major | 1 | 11B | 134 BPM | ||
Don Quixote: Act III: Quiteria's Variation | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | C Major | 1 | 8B | 167 BPM | ||
Symphony No. 1 in D Major "Titan": Ia. Langsam, schleppend | Gustav Mahler, Leonard Bernstein, New York Philharmonic | D Minor | 0 | 7A | 74 BPM | ||
Pelléas et Mélisande, L. 88 - put together by Erich Leinsdorf: Acte I - Une forêt | Claude Debussy, Berliner Philharmoniker, Claudio Abbado | D Minor | 0 | 7A | 141 BPM | ||
Fontane di Roma, P. 106: IV. La fontana di Villa Medici al tramonto | Ottorino Respighi, New York Philharmonic, Giuseppe Sinopoli | F♯ Minor | 0 | 11A | 61 BPM | ||
Carmen Suite No. 1 (Arr. E. Guiraud): II. Aragonaise | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | D Minor | 0 | 7A | 117 BPM | ||
Britten: The Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), Op. 34: Fugue (Allegro molto) | Benjamin Britten, Sir Simon Rattle, City Of Birmingham Symphony Orchestra | A Minor | 1 | 8A | 74 BPM | ||
Swan Lake, Op. 20 - Mariinsky Version / Act 1: Scene 1: Finale (Andante) | Pyotr Ilyich Tchaikovsky, Mariinsky Orchestra, Valery Gergiev | D Major | 3 | 10B | 86 BPM | ||
Overture to "A Midsummer Night's Dream", Op. 21: Allegro di molto | Felix Mendelssohn, London Symphony Orchestra, John Eliot Gardiner | E Major | 1 | 12B | 137 BPM | ||
6 Violin Sonatas, Op. 10b No. 3 in D Minor, J. 101: I. Air Russe: Allegretto moderato | Carl Maria von Weber, Nino Gvetadze, Frederieke Saeijs | D Minor | 1 | 7A | 112 BPM |
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