"Symphony No. 4 in F Minor, Op. 36, TH 27: II. Andantino in modo di canzona" by Pyotr Ilyich Tchaikovsky, Leonard Bernstein, New York Philharmonic was released on 1959. Symphony No. 4 in F Minor, Op. 36, TH 27: II. Andantino in modo di canzona appears to be safe for all ages as it is not explicit. There are a total of 4 in the song's album "Tchaikovsky: Symphony No. 4 in F Minor, Op. 36, TH 27". In this album, this song's track order is #2. Furthermore, we believe that the track originated from United States. Symphony No. 4 in F Minor, Op. 36, TH 27: II. Andantino in modo di canzona 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.
With Symphony No. 4 in F Minor, Op. 36, TH 27: II. Andantino in modo di canzona by Pyotr Ilyich Tchaikovsky, Leonard Bernstein, New York Philharmonic having a BPM of 88 with a half-time of 44 BPM and a double-time of 176 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 3/4.
This song has a musical key of D♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Prelude In D Minor, BWV 926 : Prelude In D Minor, BWV 926 | Janos Sebestyen, Johann Sebastian Bach | G Minor | 2 | 6A | 126 BPM | ||
Don Quixote: Act III: Classical Variation II | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | F Minor | 1 | 4A | 98 BPM | ||
Violin Concerto No. 2 in B Minor, Op. 7, "La campanella": III. Rondo | Niccolò Paganini, Netherlands Symphony Orchestra, Rudolf Koelman, Jan Willem de Vriend | B Minor | 2 | 10A | 105 BPM | ||
Violin Concerto in E Minor, Op. 64, MWV O14: I. Allegro molto appassionato | Felix Mendelssohn, Hilary Hahn, Hugh Wolff, Oslo-Filharmonien | A Minor | 2 | 8A | 63 BPM | ||
Scènes de ballet, Op. 52: II. Marionnettes | Alexander Glazunov, Moscow Philharmonic Orchestra, Alexander Anissimov | D Major | 0 | 10B | 69 BPM | ||
6 Chants polonais, S. 480: No. 2, Frühling (Wiosna, Spring) [After Chopin's Op. 74] | Franz Liszt, Joseph Banowetz | G Minor | 0 | 6A | 96 BPM | ||
Cello Concerto in E Minor, RV 409: II. Allegro | Antonio Vivaldi, Julian Lloyd Webber, Jiaxin Lloyd Webber, European Union Chamber Orchestra, Hanspeter Hofmann | E Minor | 2 | 9A | 145 BPM | ||
Etude in F Minor | Felix Mendelssohn, Benjamin Frith | B♭ Major | 0 | 6B | 75 BPM | ||
Waltz of the Flowers | Pyotr Ilyich Tchaikovsky, Arthur Fiedler, Boston Pops Orchestra | D Major | 1 | 10B | 80 BPM | ||
Polovetsian Dances from Prince Igor: Moderato alla breve | Alexander Borodin, George Szell, Cleveland Orchestra | A Major | 2 | 11B | 108 BPM |
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