"Swan Lake, Op. 20, TH 12, Act I: No. 9, Finale. Andante" by Pyotr Ilyich Tchaikovsky, Minnesota Orchestra, Antal Doráti was released on 1954. The duration of Swan Lake, Op. 20, TH 12, Act I: No. 9, Finale. Andante is about two minutes long, specifically at 2:38. This song does not appear to have any foul language. Swan Lake, Op. 20, TH 12, Act I: No. 9, Finale. Andante's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 51 in the song's album "Tchaikovsky: Swan Lake (The Mercury Masters: The Mono Recordings)". In this album, this song's track order is #18. Furthermore, we believe that the track originated from Netherlands. Swan Lake, Op. 20, TH 12, Act I: No. 9, Finale. Andante is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Swan Lake, Op. 20, TH 12, Act I: No. 9, Finale. Andante by Pyotr Ilyich Tchaikovsky, Minnesota Orchestra, Antal Doráti 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 4/4.
This song has a musical key of F♯ Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 11A. So, the perfect camelot match for 11A would be either 11A or 10B. While, a low energy boost can consist of either 11B or 12A. For moderate energy boost, you would use 8A and a high energy boost can either be 1A or 6A. However, if you are looking for a low energy drop, finding a song with a camelot key of 10A would be a great choice. Where 2A would give you a moderate drop, and 9A or 4A would be a high energy drop. Lastly, 2B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
The Sleeping Beauty, Op. 66, TH 13 / Act 1: 6. Valse | Pyotr Ilyich Tchaikovsky, Concertgebouworkest, Antal Doráti | B♭ Major | 2 | 6B | 102 BPM | ||
Elgar: Variations on an Original Theme, Op. 36, "Enigma": Theme (Andante) | Edward Elgar, London Symphony Orchestra, Sir Adrian Boult | G Minor | 1 | 6A | 178 BPM | ||
Lieder ohne Worte, Op. 19: No. 6 in G Minor (Andante sostenuto) "Venetian Gondola Song", MWV U78 | Felix Mendelssohn, Jan Lisiecki | G Minor | 0 | 6A | 168 BPM | ||
String Quartet No. 62 in C Major, Op. 76, No. 3, Hob.III:77, "Emperor": II. Poco adagio, cantabile | Joseph Haydn, Kodály Quartet | G Major | 0 | 9B | 106 BPM | ||
The Sorcerer's Apprentice | Philharmonia Orchestra | D♭ Major | 2 | 3B | 130 BPM | ||
Carmen Suite No. 2 (Arr. E. Guiraud): II. Habanera | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | D Major | 0 | 10B | 127 BPM | ||
Waltz of the Flowers | Pyotr Ilyich Tchaikovsky, Arthur Fiedler, Boston Pops Orchestra | D Major | 1 | 10B | 80 BPM | ||
Symphony in B Minor (arr. T. Finno for orchestra): II. Un poco lento, cantabile | Claude Debussy, Tony Finno, Orchestre National De Lyon, Jun Markl | D Major | 1 | 10B | 72 BPM | ||
4 Impromptus, Op. 90, D. 899: No. 3 in G-flat major | Franz Schubert, Khatia Buniatishvili | F♯ Major | 0 | 2B | 69 BPM | ||
Nocturne | Alexander Borodin, Julian Lloyd Webber, Royal Philharmonic Orchestra, James Judd | D Minor | 1 | 7A | 69 BPM |
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