"Carmen Suite No. 1: VI. Les toréadors" by Georges Bizet, Cincinnati Symphony Orchestra, Jesús López-Cobos was released on April 1, 1990. The duration of Carmen Suite No. 1: VI. Les toréadors is about 3 minutes long, at 3:29. Based on our data, "Carmen Suite No. 1: VI. Les toréadors" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 1 out of 14 in Bizet: Carmen Suite, Symphony No. 1 in C Major & L’arlésienne Suite No. 1 by Georges Bizet, Jesús López-Cobos, Cincinnati Symphony Orchestra. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. Carmen Suite No. 1: VI. Les toréadors 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 Carmen Suite No. 1: VI. Les toréadors by Georges Bizet, Cincinnati Symphony Orchestra, Jesús López-Cobos is Andante (at a walking pace), since this song has a tempo of 79 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of F♯ Major. This also means that this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Ruslan and Lyudmila, Op. 5: Overture | Mikhail Glinka, Taras Shtonda, Ekaterina Morozova, Vadim Lynkovsky, Aleksandra Durseneva, Panfilov, Maria Gavrilova, Valery Gilmanov, Maksim Paster, Irina Dolzhenko, Bolshoi Theatre Orchestra, Alexander Vedernikov | E Minor | 1 | 9A | 154 BPM | ||
Wind Quintet in E-Flat Major, Hess 19: III. Minuetto | Ludwig van Beethoven, Ottó Rácz, Jozsef Vajda, Sándor Berki, János Keveházi, Jeno Kevehazi | E♭ Major | 0 | 5B | 82 BPM | ||
Shéhérazade, Op. 35: I. The Sea and Sinbad's Ship | Nikolai Rimsky-Korsakov, Sergej Galaktionov, Gianandrea Noseda, Filarmonica Teatro Regio Torino | E Major | 1 | 12B | 136 BPM | ||
Rhapsodie Orientale, Op. 29: 1. Andante | Alexander Glazunov, Orchestre Symphonique de Montréal, Charles Dutoit | D♭ Major | 0 | 3B | 89 BPM | ||
Bruch: Violin Concerto No. 1 in G Minor, Op. 26: I. Prelude. Allegro moderato | Max Bruch, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | E♭ Major | 1 | 5B | 113 BPM | ||
Clovis et Clotilde: Introduction | Georges Bizet, Katarina Jovanovic, Philippe Do, Mark Schnaible, Orchestre National de Lille, Jean-Claude Casadesus | F Minor | 3 | 4A | 171 BPM | ||
Vocalise, Op. 34 | London Philharmonic Orchestra, Pieter Schoeman | E Minor | 2 | 9A | 92 BPM | ||
21 Hungarian Dances, WoO 1 (version for orchestra): Hungarian Dance No. 1 (orch. J. Brahms) | Johannes Brahms, Budapest Symphony Orchestra, Istvan Bogar | G Minor | 2 | 6A | 135 BPM | ||
Scheherazade: The voice of Scheherazade | Nikolai Rimsky-Korsakov, Joakim Svenheden | G Major | 1 | 9B | 132 BPM | ||
Hungarian Dance No. 5 in G Minor | London Philharmonic Orchestra | G Minor | 2 | 6A | 139 BPM |
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