"Tchaikovsky: Swan Lake, Op. 20, Act I: No. 4a, Pas de trois. Intrada" by Pyotr Ilyich Tchaikovsky, David Lloyd-Jones, The New London Orchestra was released on 1996. The duration of Tchaikovsky: Swan Lake, Op. 20, Act I: No. 4a, Pas de trois. Intrada is about two minutes long, specifically at 2:25. This song does not appear to have any foul language. Tchaikovsky: Swan Lake, Op. 20, Act I: No. 4a, Pas de trois. Intrada's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 39 in the song's album "Swan Lake [Matthew Bourne version]". In this album, this song's track order is #4. Furthermore, we believe that the track originated from Germany. Based on our statistics, Tchaikovsky: Swan Lake, Op. 20, Act I: No. 4a, Pas de trois. Intrada's popularity is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Tchaikovsky: Swan Lake, Op. 20, Act I: No. 4a, Pas de trois. Intrada by Pyotr Ilyich Tchaikovsky, David Lloyd-Jones, The New London Orchestra having a BPM of 132 with a half-time of 66 BPM and a double-time of 264 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast 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 B Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Swan Lake (Suite), Op. 20a, TH. 219: I. Scene - Swan Theme | Pyotr Ilyich Tchaikovsky, Berliner Philharmoniker, Mstislav Rostropovich | E Minor | 2 | 9A | 74 BPM | ||
Violin Partita No. 3 in E Major, BWV 1006: III. Gavotte en rondeau | Johann Sebastian Bach, Hilary Hahn | E Major | 1 | 12B | 112 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 | ||
Variations on a Rococo Theme, Op. 33, TH 57: Var: VI. Andante | Pyotr Ilyich Tchaikovsky, Jean-Guihen Queyras, BBC Symphony Orchestra, Jiří Bělohlávek | D Major | 0 | 10B | 114 BPM | ||
Humoresque No. 7 in G-flat Major, Op. 101 | Boston Symphony Orchestra, Yo-Yo Ma, Seiji Ozawa, Itzhak Perlman | F♯ Major | 1 | 2B | 83 BPM | ||
Symphony No. 9 in E Minor, Op. 95 "From the New World": I. Adagio — Allegro molto | Antonín Dvořák, New York Philharmonic, Alan Gilbert | E Minor | 1 | 9A | 125 BPM | ||
Tchaikovsky: Swan Lake, Op. 20, Act IV: No. 28, Scene. Allegro agitato | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | A♭ Minor | 2 | 1A | 76 BPM | ||
Symphonie fantastique, Op. 14, H 48: IV. Marche au supplice | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | B♭ Major | 1 | 6B | 155 BPM | ||
Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction: Grave, Adagio cantabile | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 60 BPM | ||
Spartacus, Act III: Adagio of Spartacus and Phrygia (arr. Y. Grigorovich) [1968 Bolshoi Version] | Aram Khachaturian, RIAS Kammerchor, Deutsches Symphonie-Orchester Berlin, Michail Jurowski | E Major | 2 | 12B | 123 BPM |
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