"Awakenings, Act II, Scene 2: Leonards room, a week later. September 1969" by Tobias Picker, Aryeh Lev Stollman, Boston Modern Orchestra Project, Gil Rose was released on September 15, 2023. Since Awakenings, Act II, Scene 2: Leonards room, a week later. September 1969 is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. There are a total of 13 in the song's album "Tobias Picker: Awakenings". In this album, this song's track order is #2. Furthermore, we believe that the track originated from United States. Awakenings, Act II, Scene 2: Leonards room, a week later. September 1969 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 Awakenings, Act II, Scene 2: Leonards room, a week later. September 1969 by Tobias Picker, Aryeh Lev Stollman, Boston Modern Orchestra Project, Gil Rose having a BPM of 69 with a half-time of 34 BPM and a double-time of 138 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 3/4.
This song has a musical key of A Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Haugtussa, Op. 67: III. Blåbaer-li | Charlotte Hoather, George Todica | F Major | 2 | 7B | 92 BPM | ||
Puts: The Hours, Act 1: "Oh Dan. Roses? On Your Birthday?" (Laura, Dan, Richie, Chorus) [Live] | Kevin Puts, Yannick Nézet-Séguin, Brandon Cedel, Kai Edgar, Kelli O'Hara, Metropolitan Opera Chorus, Metropolitan Opera Orchestra | A Major | 1 | 11B | 79 BPM | ||
Violin Concerto: III. Electric | Christopher Alan Schmitz, Amy Schwartz Moretti, London Symphony Orchestra, Stefan Sanderling | F Major | 2 | 7B | 129 BPM | ||
Pulcinella, Ballet in One Act After Pergolesi for Soprano, Tenor, Bass, Soloists and Orchestra: XVIII. Vivo | Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra | G Minor | 0 | 6A | 140 BPM | ||
Carmina Burana, Pt. 1: No. 7, Floret silva nobilis | Carl Orff, Atlanta Symphony Orchestra, Robert Shaw | D Minor | 1 | 7A | 138 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. 2 - "Aussöhnung" | Tobias Picker, Houston Symphony, Leona Mitchell, Sergiu Comissiona | G Major | 1 | 9B | 87 BPM | ||
Approaching the Crazed Myth Hunter | Milo Paulus | F♯ Major | 3 | 2B | 65 BPM | ||
And Tired From Happiness, They Started to Dance: I. Shadows in the Mirror | Jüri Reinvere, Estonian Festival Orchestra, Paavo Järvi | G Major | 2 | 9B | 85 BPM | ||
Respighi: Pines of Rome P. 141: The Pines of Janiculum | Ottorino Respighi, San Francisco Symphony, Esa-Pekka Salonen | B Major | 0 | 1B | 95 BPM |
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