"5 Betjeman Songs: No. 4, Undenominational" by Madeleine Dring, James Gilchrist, Nathan Williamson was released on January 21, 2022. With 5 Betjeman Songs: No. 4, Undenominational being less than two minutes long, at 1:26, 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 28 in the song's album "One Hundred Years of British Song, Vol. 3". In this album, this song's track order is #9. Furthermore, we believe that the track originated from United Kingdom. Based on our statistics, 5 Betjeman Songs: No. 4, Undenominational'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 5 Betjeman Songs: No. 4, Undenominational by Madeleine Dring, James Gilchrist, Nathan Williamson having a BPM of 155 with a half-time of 78 BPM and a double-time of 310 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 running. The time signature for this track is 5/4.
This song is in the music key of D♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Suite for Violin and Piano from Pulcinella, K34 (1925 Version): III. Tarantella | Igor Stravinsky, Anthony Marwood, Thomas Adès | B♭ Major | 4 | 6B | 103 BPM | ||
Sucinto | João Marcondes, Camerata Inaugural | F Major | 3 | 7B | 100 BPM | ||
Eccles: Sonata in G Minor: IV. Presto | Mark Morton | G Minor | 2 | 6A | 117 BPM | ||
Cello Concerto in B Minor, Op. 104: III. Allegro moderato. Original Ending | Antonín Dvořák, Steven Isserlis, Daniel Harding, Mahler Chamber Orchestra | B Major | 0 | 1B | 77 BPM | ||
Viola Sonata: I. Impetuoso | Rebecca Clarke, Philip Dukes, Sophia Rahman | F Major | 1 | 7B | 79 BPM | ||
String Quartet No. 1 in G Major, Op. 58: II. Strimpellata. Mosso e spensierato | Mario Castelnuovo-Tedesco, Quartetto Adorno | A Major | 2 | 11B | 160 BPM | ||
String Quartet in G minor | Antonios Fotopoulos, Antonis Fotopoulos | A♭ Major | 0 | 4B | 58 BPM | ||
Piano Concerto No. 2: Lento | George Lloyd, Martin Roscoe, BBC Philharmonic | D Major | 0 | 10B | 62 BPM | ||
Valses nobles et sentimentales, M. 61 (1912 Version for Orchestra): No. 3, Modéré | Maurice Ravel, Basque National Orchestra, Robert Trevino | C Major | 0 | 8B | 82 BPM | ||
Symphony No. 3 in F Major, Op. 90: II. Andante (1) | Johannes Brahms, Netherlands Philharmonic Orchestra, Jaap Van Zweden | F Major | 0 | 7B | 67 BPM |
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