Robert Schumann, Edith Mathis, Christoph Eschenbach's 'Lieder und Gesänge aus 'Wilhelm Meister', Op. 98a: 7. Singet nicht in Trauertönen' came out on January 1, 2001. The duration of Lieder und Gesänge aus 'Wilhelm Meister', Op. 98a: 7. Singet nicht in Trauertönen is about two minutes long, specifically at 2:18. This song does not appear to have any foul language. Lieder und Gesänge aus 'Wilhelm Meister', Op. 98a: 7. Singet nicht in Trauertönen's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 35 in the song's album "Schumann: Frauenliebe und Leben & andere Lieder". In this album, this song's track order is #21. Furthermore, we believe that the track originated from Germany. Lieder und Gesänge aus 'Wilhelm Meister', Op. 98a: 7. Singet nicht in Trauertönen 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.
With Lieder und Gesänge aus 'Wilhelm Meister', Op. 98a: 7. Singet nicht in Trauertönen by Robert Schumann, Edith Mathis, Christoph Eschenbach having a BPM of 76 with a half-time of 38 BPM and a double-time of 152 BPM, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
This song has a musical key of F Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Schumann: Davidsbündlertänze, Op. 6, Heft II: No. 17, Wie aus der Ferne | Robert Schumann, Stephen Hough | B Major | 0 | 1B | 69 BPM | ||
Prelude In A Minor Op. 32 No. 8 | Vladimir Horowitz | F Major | 1 | 7B | 59 BPM | ||
Elégie in C Minor, Op. 24 (Arr. Parkin) | Gabriel Fauré, Sheku Kanneh-Mason, Rowena Calvert, Ashok Klouda, Nicholas Trygstad, Caroline Dearnley, Desmond Neysmith, Josephine Knight, Hannah Roberts, Chris Murray, Robert Max | A♭ Major | 0 | 4B | 88 BPM | ||
Ravel: Pavane pour une infante défunte, M. 19 | Maurice Ravel, Monique Haas | E Minor | 0 | 9A | 101 BPM | ||
6 Studies in English Folksong (Version for Cello & Piano): No. 2, Andante sostenuto "Spurn Point" | Ralph Vaughan Williams, Gerald Peregrine, Antony Ingham | E♭ Major | 0 | 5B | 90 BPM | ||
Phantasiestücke, Op. 88: No. 3, Duett (Arr. for Horn by Martin Owen) | Robert Schumann, Martin Owen, Francesca Dego, Alessandro Taverna | D Major | 0 | 10B | 95 BPM | ||
Nocturne No. 5 in B Flat Major, H.37 | John Field, Elizabeth Joy Roe | B♭ Major | 0 | 6B | 65 BPM | ||
Suite No. 7 in B-Flat Major, HWV 440: III. Sarabande | George Frideric Handel, Seong-Jin Cho | B♭ Major | 0 | 6B | 100 BPM | ||
Schwanengesang, S. 560: Schubert - Schwanengesang, S. 560/R. 245: No. 7, Standchen (Leise flehen meine Lieder) [After F. Schubert] | Franz Liszt, Oxana Yablonskaya | D Major | 0 | 10B | 66 BPM | ||
Schumann: Bunte Blätter, Op. 99: No. 6, Albumblätter III | Robert Schumann, Maria João Pires | A♭ Major | 0 | 4B | 91 BPM |
Section: 0.6464576721191406
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