Adolphe Adam, London Symphony Orchestra, Anatole Fistoulari's 'Giselle - Act 2: No. 10 Apparition et scène de Myrtha: c) Pas de Myrtha (Andantino)' came out on January 1, 1996. Since Giselle - Act 2: No. 10 Apparition et scène de Myrtha: c) Pas de Myrtha (Andantino) 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 14 out of 25 in Adam: Giselle/Offenbach: Gaité Parisienne; Strauss, J. II: Graduation Ball by Adolphe Adam, London Symphony Orchestra, Anatole Fistoulari, Minnesota Orchestra, Antal Doráti. Going off of the ISRC code of this track, we detected that the origin of this track is from Netherlands. In terms of popularity, Giselle - Act 2: No. 10 Apparition et scène de Myrtha: c) Pas de Myrtha (Andantino) is currently not that popular. 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 Giselle - Act 2: No. 10 Apparition et scène de Myrtha: c) Pas de Myrtha (Andantino) by Adolphe Adam, London Symphony Orchestra, Anatole Fistoulari is Moderato (at a moderate speed), since this song has a tempo of 113 BPM. With that information, we can conclude that the song has a moderate tempo. The time signature for this track is 4/4.
E♭ Major is the music key of this track. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carmina Burana: VIII. Chramer, gip die varwa mir | Carl Orff, London Symphony Chorus, Richard Hickox, London Symphony Orchestra | G Major | 0 | 9B | 146 BPM | ||
La Bayadere, Act II: 33. "Wedding Variation - Gamzatti" | Evergreen Symphony Orchestra, Kevin Galiè | A♭ Major | 1 | 4B | 78 BPM | ||
For Ever, Polka schnell, Op. 193 | Josef Strauss, Slovak State Philharmonic Orchestra, Christian Pollack | G Major | 3 | 9B | 153 BPM | ||
La fille mal gardée / Act 2: 27. Thomas, Alain And The Notaries | Ferdinand Hérold, Orchestra of the Royal Opera House, Covent Garden, John Lanchbery | A Major | 1 | 11B | 130 BPM | ||
Ride of the Valkyries | Richard Wagner, London Symphony Orchestra, Yondani Butt | B Major | 2 | 1B | 102 BPM | ||
Symphony No. 9 in E Minor, Op. 95 "From the New World": I. Adagio - Allegro molto - Live | Antonín Dvořák, London Symphony Orchestra, Sir Colin Davis | E Minor | 0 | 9A | 122 BPM | ||
La boîte à joujoux, L. 128: III. La bergerie à vendre | Claude Debussy, London Symphony Orchestra, Michael Tilson Thomas | F Minor | 0 | 4A | 72 BPM | ||
Giselle: Act I: Marche des vignerons (Grape-Pickers' March) | Adolphe Adam, Academy of St. Martin in the Fields, Sir Neville Marriner | D Major | 3 | 10B | 115 BPM | ||
Capriccio espagnol, Op. 34: I. Alborada | Nikolai Rimsky-Korsakov, Seattle Symphony Orchestra, Gerard Schwarz | A Major | 3 | 11B | 127 BPM | ||
Cello Concerto in E Minor, Op. 85: III. Adagio | Edward Elgar, Sheku Kanneh-Mason, London Symphony Orchestra, Sir Simon Rattle | B♭ Major | 0 | 6B | 89 BPM |
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