Ottorino Respighi, Boston Symphony Orchestra, Seiji Ozawa made "Ancient Airs And Dances, Suite No. 3, [P. 172]: 4. Passacaglia" available on January 1, 1979. The duration of Ancient Airs And Dances, Suite No. 3, [P. 172]: 4. Passacaglia is about 3 minutes long, at 3:23. Based on our data, "Ancient Airs And Dances, Suite No. 3, [P. 172]: 4. Passacaglia" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 12 in the song's album "Respighi: Ancient Airs and Dances". In this album, this song's track order is #12. Furthermore, we believe that the track originated from Germany. In terms of popularity, Ancient Airs And Dances, Suite No. 3, [P. 172]: 4. Passacaglia is currently below average in popularity. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
With Ancient Airs And Dances, Suite No. 3, [P. 172]: 4. Passacaglia by Ottorino Respighi, Boston Symphony Orchestra, Seiji Ozawa having a BPM of 116 with a half-time of 58 BPM and a double-time of 232 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. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
This song has a musical key of G Minor. Which also means that the camelot key for this song is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Suite No. 1, P. 109: IV. Passo Mezzo E Mascherada: Allegro Vivo | Ottorino Respighi, RTÉ National Symphony Orchestra | D Major | 2 | 10B | 137 BPM | ||
6 Violin Sonatas, Op. 10b No. 3 in D Minor, J. 101: II. Rondo: Presto | Carl Maria von Weber, Nino Gvetadze, Frederieke Saeijs | A Major | 1 | 11B | 138 BPM | ||
Overture "A Midsummer Night's Dream", Op.21 | Felix Mendelssohn, Boston Symphony Orchestra, Seiji Ozawa | E Major | 1 | 12B | 139 BPM | ||
Eine Alpensinfonie, Op. 64, TrV 233: No. 18, Stille vor dem Sturm | Richard Strauss, Boston Symphony Orchestra, Andris Nelsons | E♭ Major | 0 | 5B | 72 BPM | ||
L’arlésienne Suite No. 2 (Arr. E. Guiraud): III. Menuet | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | E♭ Major | 0 | 5B | 76 BPM | ||
Eine Alpensinfonie, Op. 64, TrV 233: No. 20, Sonnenuntergang | Richard Strauss, Boston Symphony Orchestra, Andris Nelsons | F Major | 2 | 7B | 83 BPM | ||
Lachian Dances, JW VI/17: No. 2. Pozehnany (Blessed) | Leoš Janáček, WDR Sinfonieorchester Köln, Gerd Albrecht | F Major | 1 | 7B | 60 BPM | ||
Totentanz, S. 525 | Franz Liszt, Krystian Zimerman, Boston Symphony Orchestra, Seiji Ozawa | D Minor | 2 | 7A | 78 BPM | ||
Double Concerto in A Minor, Op. 102 for Violin, Cello and Orchestra: III. Vivace non troppo | Johannes Brahms, Joshua Bell, Steven Isserlis, Academy of St. Martin in the Fields | A Minor | 2 | 8A | 86 BPM | ||
Concerto for Strings in A Minor, RV 161: I. Allegro | Antonio Vivaldi, Accademia I Filarmonici, Alberto Martini | B♭ Major | 5 | 6B | 124 BPM |
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