Arthur Sullivan, Valerie Masterson, Philip Potter, The D'Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Isidore Godfrey made "11. How beautifully blue the sky" available on January 1, 1968. The duration of 11. How beautifully blue the sky is about two minutes long, specifically at 2:02. This song does not appear to have any foul language. 11. How beautifully blue the sky's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Arthur Sullivan, The D'Oyly Carte Opera Company, Royal Philharmonic Orchestra, Isidore Godfrey's "Gilbert & Sullivan: The Pirates of Penzance" album is number 12 out of 40. 11. How beautifully blue the sky is not that popular right now. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
We consider the tempo marking of 11. How beautifully blue the sky by Arthur Sullivan, Valerie Masterson, Philip Potter, The D'Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Isidore Godfrey to be Andante (at a walking pace) because the track has a tempo of 82 BPM, a half-time of 41BPM, and a double-time of 164 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
F♯ Major is the music key of this track. This also means that this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Beethoven: Mass in C Major, Op. 86: II. Gloria (Allegro con brio - Andante mosso) | Ludwig van Beethoven, Sir Thomas Beecham, Royal Philharmonic Orchestra | E♭ Major | 1 | 5B | 116 BPM | ||
The Rake's Progress / Act 2 / Scene 3: "As I was saying, both brothers.." | Igor Stravinsky, Sarah Walker, Philip Langridge, London Sinfonietta, Riccardo Chailly | D Minor | 2 | 7A | 141 BPM | ||
Vedrai, carino | Wolfgang Amadeus Mozart, Vesselina Kasarova, Sir Colin Davis | E♭ Major | 0 | 5B | 135 BPM | ||
On the Day When I Was Wedded from "The Gondoliers" | James Walker, Jean Allister, Royal Philharmonic Orchestra | C Major | 2 | 8B | 130 BPM | ||
Faust / Act 3: "Ah! Je ris de me voir" | Charles Gounod, Renée Fleming, English Chamber Orchestra, Jeffrey Tate | G Major | 3 | 9B | 76 BPM | ||
Candide / Act I: 13. You Were Dead, You Know | Leonard Bernstein, June Anderson, Jerry Hadley, London Symphony Orchestra | C Major | 2 | 8B | 79 BPM | ||
Don Pasquale, Act I Quarta Scena: 'Quel guardo il cavaliere' (Norina) | Gaetano Donizetti, Mirella Freni, Riccardo Muti, Philharmonia Orchestra | G Major | 1 | 9B | 111 BPM | ||
West Side Story: 15. I Have A Love | Leonard Bernstein, Kiri Te Kanawa, Tatiana Troyanos | D Major | 1 | 10B | 92 BPM | ||
Puccini: La bohème, Act 4: "Vecchia zimarra, senti" (Colline/Schaunard) | Giacomo Puccini, Nicola Zaccaria, Antonino Votto, Orchestra Del Teatro Alla Scala Di Milan, Orchestra Del Teatro Alla Scala, Milano | D♭ Minor | 1 | 12A | 85 BPM | ||
La Cenerentola / Act 1: "O figlie amabili" | Gioachino Rossini, Fernanda Costa, Gloria Banditelli, Cecilia Bartoli, Michele Pertusi, Coro del Teatro Comunale di Bologna, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | F Major | 2 | 7B | 86 BPM |
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