Pyotr Ilyich Tchaikovsky, Berliner Philharmoniker, Mstislav Rostropovich made "The Nutcracker (Suite), Op. 71a, TH. 35: IIa. March" available on January 1, 1996. The duration of The Nutcracker (Suite), Op. 71a, TH. 35: IIa. March is about two minutes long, specifically at 2:26. This song does not appear to have any foul language. The Nutcracker (Suite), Op. 71a, TH. 35: IIa. March's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 19 in the song's album "Tchaikovsky: Ballet Suites". In this album, this song's track order is #13. Furthermore, we believe that the track originated from Germany. In terms of popularity, The Nutcracker (Suite), Op. 71a, TH. 35: IIa. March is currently not that popular. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
With The Nutcracker (Suite), Op. 71a, TH. 35: IIa. March by Pyotr Ilyich Tchaikovsky, Berliner Philharmoniker, Mstislav Rostropovich having a BPM of 112 with a half-time of 56 BPM and a double-time of 224 BPM, we would consider this track to have a Moderato (at a moderate speed) tempo marking. Because of this, we believe that the song has an overall moderate tempo. The time signature for this track is 4/4.
This song has a musical key of E Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Rachmaninov: 10 Preludes, Op. 23: No. 5 in G Minor | Sergei Rachmaninoff, Nikolai Lugansky | G Minor | 1 | 6A | 113 BPM | ||
Carmen Suite No. 1 (Arr. E. Guiraud): II. Aragonaise | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | D Minor | 0 | 7A | 117 BPM | ||
Peer Gynt Suite No.1 op. 46 Anitra's Dance (Tempo di Mazurka) | Academy of St. Martin in the Fields | E Minor | 0 | 9A | 168 BPM | ||
Etude Op. 25 no. 9 in G Flat Major | Valentina Lisitsa | F♯ Major | 2 | 2B | 111 BPM | ||
L’arlésienne Suite No. 1, Op. 23bis, WD 40: I. Prélude | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | C Minor | 0 | 5A | 87 BPM | ||
Requiem in D Minor, K. 626: 3. Sequentia: Dies irae - Live | Wolfgang Amadeus Mozart, Berliner Philharmoniker, Claudio Abbado, Swedish Radio Choir, Kay Johannsen | G Minor | 4 | 6A | 72 BPM | ||
Violin Concerto No. 3: III. Vivo | Grazyna Bacewicz, Łukasz Borowicz, Polish Radio Symphony Orchestra, Krakow, Joanna Kurkowicz | F♯ Major | 0 | 2B | 71 BPM | ||
Tchaikovsky: Swan Lake, Op. 20, Act 2: No. 10, Scene. Moderato | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | E Minor | 2 | 9A | 87 BPM | ||
Schwanensee, Op. 20: Act II No. 10: Scene | Pyotr Ilyich Tchaikovsky, Russian State Symphony Orchestra, Dmitry Yablonsky | E Minor | 2 | 9A | 87 BPM | ||
Le roi de Lahore, Opera in five Acts: Entr'acte Act V & Adagio & Waltz, Ballet Act III | Jules Massenet, London Symphony Orchestra, Richard Bonynge | E♭ Major | 2 | 5B | 109 BPM |
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