Johannes Brahms, Wiener Philharmoniker, Claudio Abbado made "21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in G Minor. Allegro (Orch. Schmeling)" available on January 1, 1984. The duration of 21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in G Minor. Allegro (Orch. Schmeling) is about two minutes long, specifically at 2:18. This song does not appear to have any foul language. 21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in G Minor. Allegro (Orch. Schmeling)'s duration is considered a little bit shorter than the average duration of a typical track. The song is number 5 out of 21 in Brahms: 21 Hungarian Dances by Johannes Brahms, Wiener Philharmoniker, Claudio Abbado. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Based on our statistics, 21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in G Minor. Allegro (Orch. Schmeling)'s popularity is fairly popular right now. The mood doesn't appear to be that danceable, but it still produces a high amount of positive energy.
The tempo marking of 21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in G Minor. Allegro (Orch. Schmeling) by Johannes Brahms, Wiener Philharmoniker, Claudio Abbado is Allegro (fast, quick, and bright), since this song has a tempo of 145 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with jogging or cycling. The time signature for this track is 4/4.
This song is in the music key of G Minor. Because this track belongs in the G Minor key, the camelot key 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 | ||
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La Gazza Ladra - La Urraca Ladrona Obertura | Gioachino Rossini, Inma Shara | E Major | 1 | 12B | 138 BPM | ||
The Godfather: V. Love Theme | Nino Rota, Riccardo Muti, Milan La Scala Philharmonic Orchestra | D♭ Major | 1 | 3B | 88 BPM | ||
In Saus und Braus | Carl Millöcker, Riccardo Muti, Wiener Philharmoniker | F Major | 4 | 7B | 84 BPM | ||
Serenade for Strings in E Major, Op. 22, B. 52: IV. Larghetto | Antonín Dvořák, Wiener Philharmoniker, Myung-Whun Chung | A Major | 1 | 11B | 79 BPM | ||
Violin Sonata in G Minor "Devil's Trill" | Giuseppe Tartini, David Oistrakh, Lev Oborin | G Minor | 2 | 6A | 104 BPM | ||
Helenen-Quadrille, Op. 14 | Eduard Strauss, Daniel Barenboim, Wiener Philharmoniker | F Major | 2 | 7B | 88 BPM | ||
Masquerade Suite: Maskarad (Masquerade): I. Waltz | St. Petersburg State Symphony Orchestra, Aram Khachaturian | C Major | 3 | 8B | 94 BPM | ||
Carmen Suite No. 2 (Arr. E. Guiraud): II. Habanera | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | D Major | 0 | 10B | 127 BPM | ||
Violin Concerto No. 1 in A minor, BWV 1041: I. (Allegro moderato) | Johann Sebastian Bach, Daniel Lozakovich, Chamber Orchestra of the Bavarian Radio, Radoslaw Szulc, Olga Watts | A Minor | 4 | 8A | 91 BPM | ||
Tannhäuser: Overture | Richard Wagner, Wiener Philharmoniker, Sir Georg Solti | E Major | 2 | 12B | 82 BPM |
Section: 0.7168521881103516
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