Antonín Dvořák, Joanna Borowska, Pavel Daniluk, George Fortune, Vratislav Kriz, Miroslav Podskalsky, Wiesław Ochman, Milan Bürger, Richard Sporka, Zdenek Harvanek, Jan Markvart, Vladimir Nachazel, Roman Janál, Monika Brychtova, Prager Kammerchor, Czech Philharmonic, Gerd Albrecht's 'Armida, Op. 115, B. 206, Act II: Act II Scene 5: Co vidim, v tabore je zena cizi (Peter, Armida)' came out on July 1, 2016. The duration of Armida, Op. 115, B. 206, Act II: Act II Scene 5: Co vidim, v tabore je zena cizi (Peter, Armida) is about two minutes long, specifically at 2:47. This song does not appear to have any foul language. Armida, Op. 115, B. 206, Act II: Act II Scene 5: Co vidim, v tabore je zena cizi (Peter, Armida)'s duration is considered a little bit shorter than the average duration of a typical track. The song is number 13 out of 32 in Dvořák: Armida by Antonín Dvořák, Gerd Albrecht. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Armida, Op. 115, B. 206, Act II: Act II Scene 5: Co vidim, v tabore je zena cizi (Peter, Armida) is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of Armida, Op. 115, B. 206, Act II: Act II Scene 5: Co vidim, v tabore je zena cizi (Peter, Armida) by Antonín Dvořák, Joanna Borowska, Pavel Daniluk, George Fortune, Vratislav Kriz, Miroslav Podskalsky, Wiesław Ochman, Milan Bürger, Richard Sporka, Zdenek Harvanek, Jan Markvart, Vladimir Nachazel, Roman Janál, Monika Brychtova, Prager Kammerchor, Czech Philharmonic, Gerd Albrecht is Adagio (slowly with great expression), since this song has a tempo of 72 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
E Minor is the music key of this track. Because this track belongs in the E Minor key, the camelot key is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sibelius: Finlandia, Op. 26 | Jean Sibelius, Sakari Oramo, City Of Birmingham Symphony Orchestra | A♭ Major | 1 | 4B | 150 BPM | ||
Ständchen, S. 560 (Trans. from Schwanengesang No. 4, D. 957) | Franz Schubert, Franz Liszt, Khatia Buniatishvili | D Major | 0 | 10B | 67 BPM | ||
Haydn: String Quartet in C Major, Op. 76 No. 3, Hob. III:77 "Emperor": II. (a) Poco adagio, cantabile | Franz Joseph Haydn, Alban Berg Quartett | B♭ Major | 1 | 6B | 101 BPM | ||
Concerto for Strings in A Minor, RV 161: I. Allegro | Antonio Vivaldi, Accademia I Filarmonici, Alberto Martini | B♭ Major | 5 | 6B | 124 BPM | ||
Prelude In A Minor Op. 32 No. 8 | Vladimir Horowitz | F Major | 1 | 7B | 59 BPM | ||
Evening Songs, Op. 3: No. 2, Mně zdálo se | Antonín Dvořák, Magdalena Kozená, Czech Philharmonic, Sir Simon Rattle | G Major | 1 | 9B | 86 BPM | ||
Zapateado Op. 23 | Pablo de Sarasate, Sarah Chang, Charles Abramovic | A Major | 3 | 11B | 113 BPM | ||
Le roi s'amuse: Passepied | Léo Delibes, Slovak Philharmonic, Ondrej Lenard | A Major | 1 | 11B | 88 BPM | ||
Notturno in G Minor | Fanny Mendelssohn, Heather Schmidt | G Minor | 1 | 6A | 125 BPM | ||
Symphony in B Minor (arr. T. Finno for orchestra): I. Allegro ben marcato | Claude Debussy, Tony Finno, Orchestre National De Lyon, Jun Markl | C Major | 1 | 8B | 99 BPM |
Section: 0.6760401725769043
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