"3 Pieces in Old Style: No. 1. Aria" by Krzysztof Penderecki, Warsaw Philharmonic Chamber Orchestra, Antoni Wit was released on February 7, 2012. The duration of 3 Pieces in Old Style: No. 1. Aria is about two minutes long, specifically at 2:13. This song does not appear to have any foul language. 3 Pieces in Old Style: No. 1. Aria's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 13 in the song's album "Penderecki: Sinfoniettas - Oboe Capriccio". In this album, this song's track order is #1. 3 Pieces in Old Style: No. 1. Aria is average in popularity right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With 3 Pieces in Old Style: No. 1. Aria by Krzysztof Penderecki, Warsaw Philharmonic Chamber Orchestra, Antoni Wit having a BPM of 85 with a half-time of 42 BPM and a double-time of 170 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 is in the music 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 | ||
---|---|---|---|---|---|---|---|
Couperin: Les Baricades mistérieuses | François Couperin, Aurora Orchestra, Nicholas Collon | B♭ Major | 0 | 6B | 65 BPM | ||
Beau soir, L. 6 (L. 84) (Arr. Heifetz for Violin and Piano) | Claude Debussy, Lisa Batiashvili, Yannick Nézet-Séguin | F Minor | 1 | 4A | 79 BPM | ||
Cello Concerto No. 1 in C Major, Hob. VIIb:1: II. Adagio | Franz Joseph Haydn, Yo-Yo Ma, José-Luis Garcia, English Chamber Orchestra | F Major | 1 | 7B | 62 BPM | ||
Czech Suite, Op. 39, B. 93: I. Preludium (Pastorale) | Antonín Dvořák, Polish National Radio Symphony Orchestra, Antoni Wit | D Major | 0 | 10B | 87 BPM | ||
Larghetto (after Concerto for 4 Violins and Cello in B Minor, Op. 3, No. 10 / RV 580, arr. for Baroque Ensemble by Wolfgang Katschner) | Antonio Vivaldi, Lautten Compagney, Wolfgang Katschner | D Major | 1 | 10B | 112 BPM | ||
Lieder ohne Worte, Op. 19: No. 6 Andante sostenuto "Venetianisches Gondellied" (Arr. Ottensamer for Clarinet and Strings) | Felix Mendelssohn, Andreas Ottensamer, Schumann Quartett, Gunars Upatnieks | G Minor | 0 | 6A | 84 BPM | ||
Piano Concerto No. 1 in E minor, Op. 11: II. Romanza: Larghetto | Frédéric Chopin, Eldar Nebolsin, Warsaw Philharmonic Orchestra, Antoni Wit | E Major | 0 | 12B | 93 BPM | ||
Suite d'orchestre dans le style ancien, Op. 2: II. Sarabande. Mesto | Albéric Magnard, Philharmonisches Orchester Freiburg, Fabrice Bollon | G Minor | 0 | 6A | 116 BPM | ||
Polish Requiem: Ciaconne (Chaconne): A Polish Requiem: Ciaconne (Chaconne) | Krzysztof Penderecki, Sinfonia Varsovia | G Minor | 1 | 6A | 103 BPM | ||
Quatuor pour la fin du Temps: V. Louange à l'Éternité de Jésus | Olivier Messiaen, Robert Plane, Gould Piano Trio | E Major | 0 | 12B | 81 BPM |
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