"Shanghai Reminiscences, Pt. I, My Childhood: Part I: My Childhood: IV. Pedlar's Tune I (Sharpening Knives)" by Gan-Ru Ge, Royal Scottish National Orchestra, Tsung Yeh was released on January 6, 2015. The duration of Shanghai Reminiscences, Pt. I, My Childhood: Part I: My Childhood: IV. Pedlar's Tune I (Sharpening Knives) is about 3 minutes long, at 3:05. Based on our data, "Shanghai Reminiscences, Pt. I, My Childhood: Part I: My Childhood: IV. Pedlar's Tune I (Sharpening Knives)" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The track order of this song in Gan-Ru Ge, Royal Scottish National Orchestra, Tsung Yeh's "Ge Gan-Ru: Shanghai Reminiscences & Butterfly Overture" album is number 4 out of 16. Shanghai Reminiscences, Pt. I, My Childhood: Part I: My Childhood: IV. Pedlar's Tune I (Sharpening Knives) 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.
We consider the tempo marking of Shanghai Reminiscences, Pt. I, My Childhood: Part I: My Childhood: IV. Pedlar's Tune I (Sharpening Knives) by Gan-Ru Ge, Royal Scottish National Orchestra, Tsung Yeh to be Andante (at a walking pace) because the track has a tempo of 78 BPM, a half-time of 39BPM, and a double-time of 156 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Angel, Poem-Nocturne | Theodore Akimenko, Bournemouth Symphony Orchestra, Kirill Karabits | E Major | 1 | 12B | 77 BPM | ||
Carmen-Suite Nr.1 und Nr.2 (excerpts), Nr.1: Les Dragons d'Alcalo | Georges Bizet, Radio-Sinfonieorchester Stuttgart, Sir Neville Marriner | G Major | 0 | 9B | 108 BPM | ||
Le canon, les animas (frontière Bolivie-Chili) | Georges Garvarentz, Raymond Lefèvre | F♯ Major | 1 | 2B | 79 BPM | ||
21 Hungarian Dances, WoO 1 (version for orchestra): Hungarian Dance No. 3 in F Major (orch. J. Brahms) | Johannes Brahms, London Philharmonic Orchestra, Marin Alsop | F Major | 0 | 7B | 138 BPM | ||
The Music Makers, Op. 69: I. Introduction. Moderato | Edward Elgar, Sarah Connolly, Greg Beardsell, Bournemouth Symphony Chorus, Bournemouth Symphony Orchestra, Simon Wright | G Major | 2 | 9B | 85 BPM | ||
21 Hungarian Dances, WoO 1 (Excerpts Arr. A. Dvořák for Orchestra): No. 18, Molto vivace | Johannes Brahms, Bamberg Symphony, Jakub Hrůša | G Major | 3 | 9B | 99 BPM | ||
Violin Concerto No. 2 in D Minor, Op. 61: III. Allegramente | Karol Szymanowski, Warmia Symphonic Orchestra, Silvano Frontalini, Beatrice Antonionini | G Major | 3 | 9B | 89 BPM | ||
The Tempest: Suite No. 2, Op. 109: V. Song I and II | Jean Sibelius, Iceland Symphony Orchestra, Petri Sakari | C Major | 1 | 8B | 70 BPM | ||
Concertante Variationen über ein Thema von Beethoven für Klavier und Orchester: III. Ruhig fließend - Arr. For 2 Hands by Friedrich Wührer | Franz Schmidt, Friedrich Wührer, Ragna Schirmer, Andrey Boreyko, Hamburg Symphony Orchestra | F♯ Minor | 2 | 11A | 107 BPM | ||
Rhapsody on a Theme of Paganini, Op. 43: Var. 16, Allegretto | Sergei Rachmaninoff, Dubravka Tomšič, Ljubljana Symphony Orchestra, Anton Nanut | A Major | 3 | 11B | 106 BPM |
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