Samuel Coleridge-Taylor, Philharmonia Orchestra, Royal Choral Society, Richard Lewis, Sir Malcolm Sargent's 'Samuel Coleridge-Taylor: Hiawatha’s Wedding Feast: Such was Hiawatha’s wedding' came out on February 18, 2013. With Samuel Coleridge-Taylor: Hiawatha’s Wedding Feast: Such was Hiawatha’s wedding being less than two minutes long, at 1:46, 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 Samuel Coleridge-Taylor, Philharmonia Orchestra, Sir Malcolm Sargent's "Hiawatha's Wedding Feast" album is number 9 out of 22. On top of that, United Kingdom appears to be the country where this track was created. Samuel Coleridge-Taylor: Hiawatha’s Wedding Feast: Such was Hiawatha’s wedding 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.
We consider the tempo marking of Samuel Coleridge-Taylor: Hiawatha’s Wedding Feast: Such was Hiawatha’s wedding by Samuel Coleridge-Taylor, Philharmonia Orchestra, Royal Choral Society, Richard Lewis, Sir Malcolm Sargent to be Larghetto (rather broadly) because the track has a tempo of 63 BPM, a half-time of 32BPM, and a double-time of 126 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song has a musical key of B♭ Minor. Because this track belongs in the B♭ Minor key, the camelot key is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Clarinet Trio in A Minor, Op. 114: I. Allegro | Johannes Brahms, Andreas Ottensamer, Gautier Capuçon, Yuja Wang | A Minor | 1 | 8A | 68 BPM | ||
13 Preludes, Op. 32: No. 5 in G Major. Moderato | Sergei Rachmaninoff, Idil Biret | A♭ Minor | 3 | 1A | 111 BPM | ||
Lieder ohne Worte (Songs without Words), Book 6, Op. 67: No. 32 in F-Sharp Minor, Op. 67, No. 2 | Felix Mendelssohn, Péter Nagy | F♯ Minor | 1 | 11A | 166 BPM | ||
Le roi s'amuse: Passepied | Léo Delibes, Slovak Philharmonic, Ondrej Lenard | A Major | 1 | 11B | 88 BPM | ||
String Quartet No. 2 in D Major: I. Allegro moderato | Alexander Borodin, Budapest Haydn Quartet | D Major | 1 | 10B | 75 BPM | ||
Thaïs: Médiation | Jules Massenet, Arabella Steinbacher, Orchestre Philharmonique de Monte-Carlo, Lawrence Foster | D Major | 0 | 10B | 91 BPM | ||
Six Romances, Op. 6, TH 93: VI. None but the Lonely Heart (Arr. Elman) | Pyotr Ilyich Tchaikovsky, Daniel Lozakovich, Stanislav Soloviev | D♭ Major | 1 | 3B | 101 BPM | ||
Adoration (Version for Solo Violin and String Orchestra) | Florence Beatrice Price, Daniel Hope, Zürcher Kammerorchester | D Major | 1 | 10B | 80 BPM | ||
African Suite, Op. 35: IV. Danse Nègre | Samuel Coleridge-Taylor, Rochelle Sennet | A♭ Minor | 0 | 1A | 70 BPM | ||
Les danses polovtsiennes (Extraits de l'opéra Le Prince Igor): II. Danse des hommes | Alexander Borodin, Anima Eterna, Jos Van Immerseel | A Major | 0 | 11B | 87 BPM |
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