Edward MacDowell, Alan Mandel made "Woodland Sketches, Op. 51: No. 7, From Uncle Remus" available on September 28, 2000. With Woodland Sketches, Op. 51: No. 7, From Uncle Remus being less than two minutes long, at 1:13, 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. The track order of this song in Edward MacDowell, Alan Mandel's "MacDowell: Piano Sonatas Nos. 2-4, Sea Pieces, Sonata Tragica, & Woodland Sketches" album is number 7 out of 32. In terms of popularity, Woodland Sketches, Op. 51: No. 7, From Uncle Remus is currently not that popular. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of Woodland Sketches, Op. 51: No. 7, From Uncle Remus by Edward MacDowell, Alan Mandel to be Moderato (at a moderate speed) because the track has a tempo of 117 BPM, a half-time of 58BPM, and a double-time of 234 BPM. Based on that, the speed of the song's tempo is moderate. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
F Major is the music key of this track. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Capriol Suite: 5. Pied-en- l'air | Peter Warlock, Academy of St. Martin in the Fields, Nicholas Kraemer, Sir Neville Marriner | G Major | 1 | 9B | 113 BPM | ||
Ponce: Estrellita | Manuel Ponce, Cocomi, 佐藤晴真, Miyuji Kaneko | E Major | 1 | 12B | 78 BPM | ||
6 Consolations, S. 172: No. 2 in E Major (Un Poco Più Mosso) | Franz Liszt, Daniel Barenboim | B Major | 0 | 1B | 69 BPM | ||
Lieder ohne Worte (Songs without Words), Book 6, Op. 67: No. 32 in F-Sharp Minor, Op. 67, No. 2 | Felix Mendelssohn, Péter Nagy | F♯ Minor | 1 | 11A | 166 BPM | ||
Cello Sonata, FP 143: Cavatine: Tres calme | Francis Poulenc, Françoise Groben, Alexandre Tharaud | B♭ Minor | 0 | 3A | 122 BPM | ||
Three Romances, Op. 11: No. 1 in E-Flat Minor, Andante | Clara Schumann, Sara Costa | E♭ Minor | 1 | 2A | 134 BPM | ||
6 Violin Sonatas, Op. 10b No. 1 in F Major, J. 99: II. Romanza: Larghetto | Carl Maria von Weber, Frederieke Saeijs, Nino Gvetadze | B♭ Major | 0 | 6B | 83 BPM | ||
Wind Quintet in E-Flat Major, Hess 19: II. Adagio maestoso | Ludwig van Beethoven, Ottó Rácz, Jozsef Vajda, Sándor Berki, János Keveházi, Jeno Kevehazi | E♭ Major | 0 | 5B | 62 BPM | ||
Love's Labour's Lost, Op. 28a: III. Dumaine's Poem | Gerald Finzi, Robert Plane, Royal Northern Sinfonia, Howard Griffiths | G Minor | 1 | 6A | 105 BPM | ||
Prélude, fugue et variation in B Minor, Op. 18, FWV 30 (Arr. H. Bauer for Piano): II. Lento | César Franck, Jean-Pierre Armengaud | F♯ Major | 0 | 2B | 112 BPM |
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