"Bliss, Act III, Scene 5, "In Elysium": "At evening mortal memory takes its course"" by Brett Dean, Amanda Holden, Peter Coleman-Wright, Lorina Gore, Opera Australia Orchestra, Elgar Howarth was released on June 12, 2015. Since Bliss, Act III, Scene 5, "In Elysium": "At evening mortal memory takes its course" 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. The song is number 44 out of 44 in Bliss by Amanda Holden, Brett Dean, Opera Australia. Going off of the ISRC code of this track, we detected that the origin of this track is from Australia. Bliss, Act III, Scene 5, "In Elysium": "At evening mortal memory takes its course" is unknown right now. 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 Bliss, Act III, Scene 5, "In Elysium": "At evening mortal memory takes its course" by Brett Dean, Amanda Holden, Peter Coleman-Wright, Lorina Gore, Opera Australia Orchestra, Elgar Howarth is Andante (at a walking pace), since this song has a tempo of 81 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
G Minor is the music key of this track. Because this track belongs in the G Minor key, the camelot key is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Konzertmusik, Op. 48: II. Ruhig gehend | Paul Hindemith, Brett Dean, Queensland Symphony Orchestra, Werner Andreas Albert | D♭ Major | 0 | 3B | 93 BPM | ||
Spring Symphony, Op. 44, Part IV: Finale. London, to Thee I do Present (soprano, alto, tenor, chorus, children's chorus) | Benjamin Britten, Sir Simon Rattle, London Symphony Orchestra, Elizabeth Watts, Alice Coote, Allan Clayton, London Symphony Chorus, Tiffin Boys' Choir, Tiffin Children's Chorus, The Tiffin Girls' School Choir | C Major | 3 | 8B | 134 BPM | ||
The Lost Art of Letter Writing: IV. Jerilderie, 1879 | Brett Dean, Frank Peter Zimmermann, Sydney Symphony Orchestra, Jonathan Nott | C Major | 3 | 8B | 131 BPM | ||
King Kristian II, Op. 27: II. Elegie: III. Musette | Jean Sibelius, New Zealand Symphony Orchestra, Pietari Inkinen | A♭ Major | 0 | 4B | 104 BPM | ||
Karelia Suite, Op. 11: II. Ballade. Tempo di Menuetto | Jean Sibelius, Helsinki Philharmonic Orchestra, Susanna Mälkki | C Minor | 2 | 5A | 144 BPM | ||
Serenade: IV. Agathon. Adagio | Leonard Bernstein, James Ehnes, St. Louis Symphony, Stéphane Denève | G Major | 2 | 9B | 83 BPM | ||
O Retorno | Natália Roschel, João Marcondes, Sonoras | A Minor | 1 | 8A | 176 BPM | ||
The Pool Among the Rushes | Joan Trimble, John Finucane, Elisaveta Blumina | A Minor | 0 | 8A | 135 BPM | ||
Viola Concerto, Op. 45: I. Andante - Allegro moderato | Benjamin Frankel, Brett Dean, Queensland Symphony Orchestra, Werner Andreas Albert | A Minor | 1 | 8A | 120 BPM | ||
Bliss, Act I, Scene 4, "Man about Town": "Aldo, my table is taken" | Brett Dean, Amanda Holden, Peter Coleman-Wright, Henry Choo, Opera Australia Chorus, Opera Australia Orchestra, Elgar Howarth | C Major | 3 | 8B | 84 BPM |
Section: 0.7015933990478516
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