Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov's 'Don Quixote: Act IV: Entree' came out on January 1, 1995. With Don Quixote: Act IV: Entree being less than two minutes long, at 1:56, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The track order of this song in Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov's "Minkus, L.: Don Quixote [Ballet]" album is number 17 out of 56. Don Quixote: Act IV: Entree is not that popular right now. 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 Don Quixote: Act IV: Entree by Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov to be Andante (at a walking pace) because the track has a tempo of 87 BPM, a half-time of 44BPM, and a double-time of 174 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 4/4.
This song is in the music key of C Major. 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 | ||
---|---|---|---|---|---|---|---|
Raymonda, Act III: Pas Classique Hongrois | Alexander Glazunov, Kivov Orchestra, Viktor Fedotov | F Minor | 0 | 4A | 139 BPM | ||
Carmen Suite: VIII. Bolero (after G. Bizet): Changing of the Guard | Rodion Shchedrin, Ukrainian State Symphony Orchestra, Theodore Kuchar | G Major | 1 | 9B | 114 BPM | ||
Czech Suite, Op. 39: II. Polka | Antonín Dvořák, Janacek Philharmonic Orchestra, Theodore Kuchar | F♯ Major | 1 | 2B | 86 BPM | ||
Hérold & Lanchbery: La fille mal gardée, Act 1: No. 16d, Pas de deux de Fanny Elssler. Man's Solo | Ferdinand Hérold, John Lanchbery, Royal Liverpool Philharmonic Orchestra, Barry Wordsworth | B♭ Major | 2 | 6B | 128 BPM | ||
Act I: Pas De Caractere (Street Dancer & Torero Espada) (Minkus) | Mariinsky Orchestra | C Major | 4 | 8B | 142 BPM | ||
La Bayadere, Act III: 45. "Variation - 2nd Soloist Shade" | Evergreen Symphony Orchestra, Kevin Galiè | G Major | 0 | 9B | 175 BPM | ||
Napoli: Act III: Tarantella | Hans Christian Lumbye, Holger Simon Paulli, Niels Gade, Edvard Helsted, Signe Madsen, Lars Ole Schmidt, Aalborg Symphony Orchestra, Peter Ernst Lassen | D Major | 1 | 10B | 147 BPM | ||
Manon Ballet - Arranged and orchestrated by Leighton Lucas with the collaboration of Hilda Gaunt / Act 3: Scene 3 - A Swamp in Louisiana | Jules Massenet, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | D♭ Major | 3 | 3B | 70 BPM | ||
Le Corsaire: Act I - "11. Pas de Trois des Odalisques: Variation: 3rd Odalisque" | Evergreen Symphony Orchestra, Kevin Galiè, Anna-Marie Holmes | D Major | 0 | 10B | 114 BPM | ||
Raymonda, Act I: Grand Valse | Alexander Glazunov, Kivov Orchestra, Viktor Fedotov | D Major | 1 | 10B | 179 BPM |
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