"Sinfonische Dichtung für großes Orchester, Op. 30: No. 5, Das Grablied" by Orquesta Sinfonica de Londres, Walter Kempe was released on May 8, 1978. The duration of Sinfonische Dichtung für großes Orchester, Op. 30: No. 5, Das Grablied is about two minutes long, specifically at 2:25. This song does not appear to have any foul language. Sinfonische Dichtung für großes Orchester, Op. 30: No. 5, Das Grablied's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 10 in the song's album "Richard Strauss: Así habló Zarathustra, Op. 30". In this album, this song's track order is #5. The popularity of Sinfonische Dichtung für großes Orchester, Op. 30: No. 5, Das Grablied is currently 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 Sinfonische Dichtung für großes Orchester, Op. 30: No. 5, Das Grablied by Orquesta Sinfonica de Londres, Walter Kempe having a BPM of 179 with a half-time of 90 BPM and a double-time of 358 BPM, we would consider this track to have a Presto (very, very fast) tempo marking. Because of this, we believe that the song has an overall fast tempo. The time signature for this track is 3/4.
This song has a musical key of F♯ Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Offenbach: Les Contes d'Hoffmann, Act 4: "Belle nuit, ô nuit d'amour" (Barcarolle) [Nicklausse, Giulietta, Chorus] | Jacques Offenbach, Sylvain Cambreling, Ann Murray, Jessye Norman, Orchestre De L'Opéra National Du Théatre Royal De La Monnaie, Bruxelles | D Major | 1 | 10B | 81 BPM | ||
La Leyenda del Beso: Intermezzo | Reveriano Soutullo, Juan Vert, Bratislava Symphony Orchestra, David Hernando Rico | D Major | 1 | 10B | 115 BPM | ||
Presto (Concierto Para Cuerda Sol Mayor) | Cámara de la Escala De Milan | D Major | 4 | 10B | 93 BPM | ||
Towards Victory | Fyodor Biryuchev | A Minor | 4 | 8A | 118 BPM | ||
Fucik : Entry of the Gladiators Op.68 | Julius Fučík, Václav Neumann, Czech Philharmonic Orchestra | C Major | 6 | 8B | 121 BPM | ||
Theme (From "Far and Away") | John Williams, Itzhak Perlman, Pittsburgh Symphony Orchestra | A Major | 1 | 11B | 89 BPM | ||
Respighi: Pini di Roma, P. 141: I. I pini di Villa Borghese | Ottorino Respighi, Riccardo Muti, Philadelphia Orchestra | F Major | 4 | 7B | 90 BPM | ||
Samson et Dalila: Bacchanale | Camille Saint-Saëns, Royal Stockholm Philharmonic Orchestra, James DePreist | D Minor | 1 | 7A | 122 BPM | ||
Piano Concerto No. 2 In C Minor, Op. 18: Piano Concerto No. 2 In C Minor: Ii. Adagio Sostenuto | Sergei Rachmaninoff, Budapest Symphony Orchestra, Jenő Jandó | E Major | 0 | 12B | 113 BPM | ||
Capriccio Espagnol, Op. 34: 1. Alborada | Nikolai Rimsky-Korsakov, Gothenburg Symphony Orchestra, Neeme Järvi | A Major | 3 | 11B | 137 BPM |
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