Jenö Takács, Attila Szabó, Gyor Dodici Chamber Orchestra made "Postcard Greetings: No. 7. To Bela Bartok" available on July 15, 2014. With Postcard Greetings: No. 7. To Bela Bartok being less than two minutes long, at 1:42, 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 19 in the song's album "Takacs: Postcard Greetings / American Rhapsody / Serenade / Passacaglia". In this album, this song's track order is #15. Furthermore, we believe that the track originated from Hungary. Based on our statistics, Postcard Greetings: No. 7. To Bela Bartok's popularity is unknown right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
With Postcard Greetings: No. 7. To Bela Bartok by Jenö Takács, Attila Szabó, Gyor Dodici Chamber Orchestra having a BPM of 146 with a half-time of 73 BPM and a double-time of 292 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 jogging or cycling. The time signature for this track is 4/4.
This song is in the music key of G Major. 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 | ||
---|---|---|---|---|---|---|---|
Scenes from the Epic of Gilgamesh: I. Prologue | Robert Saxton, English Symphony Orchestra, Kenneth Woods | A Minor | 1 | 8A | 117 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 | ||
Pasther Walzer, Op. 93 | Jenö Takács, Aima Maria Labra-Makk | E Minor | 2 | 9A | 89 BPM | ||
String Quartet in G minor | Antonios Fotopoulos, Antonis Fotopoulos | A♭ Major | 0 | 4B | 58 BPM | ||
Cello Concerto: IV. Finale | Kirmo Lintinen, Trey Lee, English Chamber Orchestra, Emilia Hoving | G Major | 2 | 9B | 85 BPM | ||
Sonate pour flûte et piano, Op. 64: I. Andantino con moto | Mel Bonis, Mathilde Calderini, Aurèle Marthan | F♯ Major | 0 | 2B | 66 BPM | ||
Sandström: Sueño Macabros: IV Gatear en el la Mona Lisa | Jan Sandström, Christian Lindberg, Swedish Chamber Orchestra | E♭ Major | 0 | 5B | 178 BPM | ||
Short Cuts: I. Flute | John Carmichael, Susan Torke, Antony Gray | A Minor | 0 | 8A | 49 BPM | ||
Rhapsody, Op. 49 | Jenö Takács, Attila Szabó, Camerata De Budapest | G Major | 0 | 9B | 75 BPM | ||
Abbey Road concerto for Violin and Orchestra: IV. Intermezzo 2 | Guy Braunstein, Orchestre Philharmonique Royal de Liège, Alondra de la Parra | G Major | 1 | 9B | 75 BPM |
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