Heitor Villa-Lobos, John Williams's 'Chôros No. 1, W161 "Chôro Tipico"' came out on 1988. With this song being around four minutes long, at 3:40, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. There are a total of 18 in the song's album "Spirit of the Guitar: Music of the Americas". In this album, this song's track order is #16. Chôros No. 1, W161 "Chôro Tipico" 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.
With Chôros No. 1, W161 "Chôro Tipico" by Heitor Villa-Lobos, John Williams having a BPM of 84 with a half-time of 42 BPM and a double-time of 168 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. The time signature for this track is 4/4.
This song is in the music key of E Minor. Which also means that the camelot key for this song 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 | ||
---|---|---|---|---|---|---|---|
Guia Prático, Album 9, W359: No. 35. O ciranda, o cirandinha | Heitor Villa-Lobos, Andrea Bissoli, Federica Artuso, Stefano Brait, Enrico Filippo Maligno | B♭ Major | 1 | 6B | 95 BPM | ||
Consolation No. 3 in D-Flat Major, S. 172/3 | Franz Liszt, Vladimir Horowitz | D♭ Major | 0 | 3B | 70 BPM | ||
Danzas Argentinas: No. 2, Danza de la moza donosa - Arr. for Harp | Alberto Ginastera, Marie-Pierre Langlamet | E Minor | 0 | 9A | 94 BPM | ||
Après un rêve, Op. 7 No. 1 (Arr. P. Casals for Cello & Piano) | Gabriel Fauré, Ina-Esther Joost Ben-Sasson, Allan Sternfield | F Minor | 1 | 4A | 97 BPM | ||
Suite espagnole, Op. 47: VI. Aragón | Isaac Albéniz, Thibault Cauvin | F Major | 2 | 7B | 169 BPM | ||
Wiegenlied, Op. 49, No. 4 | Johannes Brahms, Leonidas Kavakos, Yuja Wang | E♭ Major | 0 | 5B | 74 BPM | ||
Concerto No. 2 for Piano and Orchestra, Op. 102 (Remastered): II. Andante | Dmitri Shostakovich, Leonard Bernstein | F Major | 1 | 7B | 172 BPM | ||
Romance "O pourquoi donc" in E Minor, S. 169 | Franz Liszt, Lang Lang | E Minor | 0 | 9A | 67 BPM | ||
Miroirs: IV. Alborada del gracioso | Maurice Ravel, André Laplante | D Major | 1 | 10B | 140 BPM | ||
Deux Arabesques, L. 66: No. 1 Andante con moto | Claude Debussy, Menahem Pressler | F♯ Minor | 0 | 11A | 129 BPM |
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