""West Side Story" - Symphonic Dances: VI. Meeting Scene - Live" by Leonard Bernstein, Los Angeles Philharmonic was released on January 1, 1983. With "West Side Story" - Symphonic Dances: VI. Meeting Scene - Live being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The track order of this song in Leonard Bernstein, Los Angeles Philharmonic, George Gershwin's "Gershwin: Rhapsody in Blue; Prelude for Piano No. 2 / Bernstein: Symphonic Dances From "West Side Story"" album is number 8 out of 11. On top of that, Germany appears to be the country where this track was created. In terms of popularity, "West Side Story" - Symphonic Dances: VI. Meeting Scene - Live 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 "West Side Story" - Symphonic Dances: VI. Meeting Scene - Live by Leonard Bernstein, Los Angeles Philharmonic to be Andante (at a walking pace) because the track has a tempo of 92 BPM, a half-time of 46BPM, and a double-time of 184 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.
This song is in the music key of A Minor. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Brook Green Suite: I. Prelude | Gustav Holst, English Sinfonia, Howard Griffiths | F Major | 2 | 7B | 123 BPM | ||
Hary Janos Suite: Háry János Suite: IV. The Battle and Defeat of Napoleon | Zoltán Kodály, Neeme Järvi, Chicago Symphony Orchestra, Laurence Kaptain | F Major | 1 | 7B | 83 BPM | ||
Symphony No. 1 in F Minor, Op. 10: III. Lento - Largo - [Lento] (attacca:) - Live | Dmitri Shostakovich, Chicago Symphony Orchestra, Leonard Bernstein | G Major | 2 | 9B | 102 BPM | ||
Symphony No.3 In D Minor / Part 2: 6.- Langsam. Tempo I - Live | Gustav Mahler, New York Philharmonic, Leonard Bernstein | D Major | 0 | 10B | 111 BPM | ||
Symphony No. 9 in E-Flat Major, Op. 70: IV. Largo | Dmitri Shostakovich, Leonard Bernstein, New York Philharmonic | F Major | 0 | 7B | 78 BPM | ||
Pelléas et Mélisande, (Suite), Op. 46: V. The Three Blind Sisters | Jean Sibelius, Berliner Philharmoniker, Herbert von Karajan | F Minor | 0 | 4A | 70 BPM | ||
Symphony No. 1 in D Major "Titan": Ic. Sehr gemächlich | Gustav Mahler, Leonard Bernstein, New York Philharmonic | A Minor | 0 | 8A | 168 BPM | ||
Symphonie fantastique, Op. 14, H 48: II. Un Bal | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | A Major | 1 | 11B | 113 BPM | ||
Variations on an Original Theme, Op. 36 "Enigma": 8. W.N. (Allegretto) | Edward Elgar, Los Angeles Philharmonic, Zubin Mehta | G Major | 0 | 9B | 168 BPM | ||
Essay For Orchestra No. 1, Op. 12 | Samuel Barber, St. Louis Symphony, Leonard Slatkin | E Major | 2 | 12B | 179 BPM |
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