Isaac Albéniz, Alicia de Larrocha's 'Suite española No. 1, Op. 47: Sevilla (Sevillanas)' came out on February 19, 1988. With this song being about 5 minutes long, at 4:37, "Suite española No. 1, Op. 47: Sevilla (Sevillanas)" by Isaac Albéniz, Alicia de Larrocha 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 song is number 7 out of 21 in Albéniz: Ibéria; Navarra; Suite Española by Isaac Albéniz, Alicia de Larrocha. 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, Suite española No. 1, Op. 47: Sevilla (Sevillanas) is currently below average in popularity. 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 Suite española No. 1, Op. 47: Sevilla (Sevillanas) by Isaac Albéniz, Alicia de Larrocha is Moderato (at a moderate speed), since this song has a tempo of 117 BPM. With that information, we can conclude that the song has a moderate tempo. This song can go great with walking. The time signature for this track is 3/4.
This song is in the music key of D Major. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Suite espanola No. 1, Op. 47: No. 5. Asturias (arr. A. Segovia) | Andrés Segovia, Isaac Albéniz | G Major | 3 | 9B | 115 BPM | ||
12 Piezas caracteristicas, Op. 92: No. 7. Zamba granadina (arr. A. Segovia) | Andrés Segovia, Isaac Albéniz | D Minor | 0 | 7A | 136 BPM | ||
Cello Sonata in G Minor, Op. 19: III. Andante | Sergei Rachmaninoff, Leonard Elschenbroich, Alexei Grynyuk | E♭ Major | 0 | 5B | 90 BPM | ||
Nocturne No. 1 in E-Flat Major | John Field, Benjamin Frith | E♭ Major | 0 | 5B | 73 BPM | ||
Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction: Grave, Adagio cantabile | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 60 BPM | ||
Waldszenen, Op. 82: No. 7 Vogel als Prophet | Robert Schumann, Wilhelm Kempff | E Major | 0 | 12B | 120 BPM | ||
Les Contes d'Hoffmann / Act 4: Entr'acte (Barcarolle) | Jacques Offenbach, Staatskapelle Dresden, Silvio Varviso | D Major | 0 | 10B | 121 BPM | ||
Rhapsodie Orientale, Op. 29: 1. Andante | Alexander Glazunov, Orchestre Symphonique de Montréal, Charles Dutoit | D♭ Major | 0 | 3B | 89 BPM | ||
Piano Concerto in G Major, M. 83: II. Adagio assai | Maurice Ravel, Krystian Zimerman, Cleveland Orchestra, Pierre Boulez | E Major | 0 | 12B | 74 BPM | ||
Piano Sonata No. 8 In C Minor, Op. 13 -"Pathétique": 1. Grave - Allegro di molto e con brio - Live | Ludwig van Beethoven, András Schiff | C Minor | 1 | 5A | 75 BPM |
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