Enrique Granados, María Luisa Anido's 'Tonadillas al Estilo Antiguo, H. 136: No. 7, La maja de Goya (Arr. for Guitar)' came out on 2009. The duration of Tonadillas al Estilo Antiguo, H. 136: No. 7, La maja de Goya (Arr. for Guitar) is about two minutes long, specifically at 2:43. This song does not appear to have any foul language. Tonadillas al Estilo Antiguo, H. 136: No. 7, La maja de Goya (Arr. for Guitar)'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 81 in the song's album "Segovia & Contemporaries, Vol. 11: Rio de la Plata Guitarists". In this album, this song's track order is #5. Furthermore, we believe that the track originated from Canada. Tonadillas al Estilo Antiguo, H. 136: No. 7, La maja de Goya (Arr. for Guitar) is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Tonadillas al Estilo Antiguo, H. 136: No. 7, La maja de Goya (Arr. for Guitar) by Enrique Granados, María Luisa Anido having a BPM of 80 with a half-time of 40 BPM and a double-time of 160 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
G Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Piano Quintet in C Minor: I. Andante | Alexander Borodin, Ilona Prunyi, New Budapest Quartet | C Minor | 1 | 5A | 68 BPM | ||
Suite española No. 1, Op. 47: Sevilla (Sevillanas) | Isaac Albéniz, Alicia de Larrocha | D Major | 1 | 10B | 117 BPM | ||
Música callada, Book 1: No. 3, Placide | Federico Mompou, Lilit Grigoryan | B♭ Major | 1 | 6B | 70 BPM | ||
Lyric Pieces Book I, Op. 12: No. 7 Album Leaf | Edvard Grieg, Alice Sara Ott | D Major | 2 | 10B | 121 BPM | ||
Nocturne No. 1 in E-Flat Major | John Field, Benjamin Frith | E♭ Major | 0 | 5B | 73 BPM | ||
Keyboard Suite No. 1 (Set II) in B-Flat Major, HWV 434: IV. Menuet (arr. W. Kempff for piano) | Wilhelm Kempff, George Frideric Handel, Roberto Cominati | G Minor | 0 | 6A | 60 BPM | ||
Divertimento No. 6 in G Major, Op. 38: Divertimento No. 6 in G Major, Op. 38 | Carl Maria von Weber, Ensemble 3 Mouvements | G Major | 0 | 9B | 119 BPM | ||
8 Pièces brèves, Op. 84: No. 5, Improvisation in C-Sharp Minor | Gabriel Fauré, Christine Croshaw | F♯ Minor | 0 | 11A | 70 BPM | ||
Orfeo ed Euridice: Melody (arr. G. Sgambati) | Giovanni Sgambati, Christoph Willibald Gluck, Jura Margulis | D Minor | 0 | 7A | 71 BPM | ||
Danzas Españolas, Op. 37: I. Galante. Allegro | Enrique Granados, Alicia de Larrocha | G Major | 0 | 9B | 174 BPM |
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