Emanuel Geibel, Robert Schumann, Erik Werba's 'Schumann: Spanische Liebeslieder, Op. 138, Pt. 2: No. 7, Sannosa esta la minna, "Weh, wie zornig ist das Mädchen" (Nicht schnell, sehr markiert)' came out on April 5, 2013. With Schumann: Spanische Liebeslieder, Op. 138, Pt. 2: No. 7, Sannosa esta la minna, "Weh, wie zornig ist das Mädchen" (Nicht schnell, sehr markiert) being less than two minutes long, at 1:29, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 43 in the song's album "Schumann: Lieder". In this album, this song's track order is #17. In terms of popularity, Schumann: Spanische Liebeslieder, Op. 138, Pt. 2: No. 7, Sannosa esta la minna, "Weh, wie zornig ist das Mädchen" (Nicht schnell, sehr markiert) is currently unknown. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Schumann: Spanische Liebeslieder, Op. 138, Pt. 2: No. 7, Sannosa esta la minna, "Weh, wie zornig ist das Mädchen" (Nicht schnell, sehr markiert) by Emanuel Geibel, Robert Schumann, Erik Werba having a BPM of 114 with a half-time of 57 BPM and a double-time of 228 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.
G Minor is the music key of this track. 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 | ||
---|---|---|---|---|---|---|---|
Nocturne No. 2 in C Minor, H 25 | John Field, Tyler Hay | E♭ Major | 0 | 5B | 73 BPM | ||
Piano Quintet No. 1 in C Minor, Op. 1: II. Scherzo. Allegro vivace – Trio – Reprise | Ernst von Dohnányi, Marc-André Hamelin, Takács Quartet | B Minor | 1 | 10A | 124 BPM | ||
Winterreise, D. 911: No. 23, Die Nebensonnen | Franz Schubert, Andrè Schuen, Daniel Heide | G Minor | 0 | 6A | 129 BPM | ||
Piano Quartet No. 1 in G Minor, Op. 25 (arr. A. Schoenberg): III. Andante con moto | Arnold Schoenberg, Johannes Brahms, Csilla Szabó, Peter Komlos, Géza Németh, Karoly Botvay | E♭ Major | 1 | 5B | 112 BPM | ||
Requiem in D Minor, K. 626 (Arr. for Piano 4-Hands by C. Czerny): IIIc. Sequentia: Rex tremendae | Wolfgang Amadeus Mozart, Jürgen Appell, Kerstin Straßburg | D Minor | 1 | 7A | 99 BPM | ||
Songs Without Words in F-Sharp Minor, MWV U 124 | Felix Mendelssohn, Christopher Williams | B♭ Major | 6 | 6B | 148 BPM | ||
8 Nocturnes, Op. 368: No. 2, Andantino animato | Carl Czerny, Roberte Mamou | E♭ Major | 0 | 5B | 169 BPM | ||
Triple Concerto in C Major, Op. 56: II. Largo | Ludwig van Beethoven, Gruppo Montebello, Henk Guittart, Gideon den Herder, Elena Nemtsova, Kristian Winther | A♭ Major | 0 | 4B | 76 BPM | ||
Comptine d’été No. 2 (From "Amélie") | Yann Tiersen, Anna Scheps | E Minor | 0 | 9A | 68 BPM | ||
Maamme | SRK Instrumentaali, Kristiina Puolitaival | G Major | 1 | 9B | 113 BPM |
Section: 0.9554002285003662
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