Kurt Weill, Lotte Lenya, Roger Bean's 'Happy End: Surabaya-Johnny' had a release date set for 1955. With this song being around four minutes long, at 4:23, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The track order of this song in Kurt Weill, Lotte Lenya's "Lotte Lenya Sings Kurt Weill - The Seven Deadly Sins / Berlin Theatre Songs" album is number 17 out of 21. On top of that, United States appears to be the country where this track was created. Based on our statistics, Happy End: Surabaya-Johnny's popularity 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.
We consider the tempo marking of Happy End: Surabaya-Johnny by Kurt Weill, Lotte Lenya, Roger Bean to be Allegro (fast, quick, and bright) because the track has a tempo of 128 BPM, a half-time of 64BPM, and a double-time of 256 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of C Minor. Because this track belongs in the C Minor key, the camelot key is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Je ne t'aime pas | Kurt Weill, Lucienne Renaudin Vary, Bill Elliott, BBC Concert Orchestra | F Major | 1 | 7B | 97 BPM | ||
Schoenberg: Verklärte Nacht, Op. 4: I. Grave | Arnold Schoenberg, Daniel Barenboim, Chicago Symphony Orchestra, Charles Pikler, John Sharp, Joseph Golan, Li-Kuo Chang, Ruben Gonzalez, Stephen Balderston | D Minor | 1 | 7A | 174 BPM | ||
Brahms: Symphony No. 3 in F Major, Op. 90: III. Poco allegretto (Excerpt) | Johannes Brahms, Nikolaus Harnoncourt, Berliner Philharmoniker | C Minor | 0 | 5A | 175 BPM | ||
The Rite of Spring: Part One: Adoration of the Earth: The Augurs of Spring - Dance of the Young Girls | Igor Stravinsky, Teodor Currentzis, musicAeterna | B♭ Major | 3 | 6B | 120 BPM | ||
Les Contes d'Hoffmann (1989 Digital Remaster), Act III: Entr'acte et Barcarolle: Belle nuit, ô nuit d'amour (Une voix/Giulietta/Choeurs) | Jacques Offenbach, Nicolai Gedda, Elisabeth Schwarzkopf, Victoria de los Ángeles, Gianna D'Angelo, Christiane Gayraud, Robert Geay, Jean-Pierre Laffage, Jean Christophe Benoit, Michel Sénéchal, Ernest Blanc, George London, Nicola Ghiuselev, André Mallabrera, Renée Faure, Jacques Pruvost, André Cluytens, Orchestre De La Société Des Concerts Du Conservatoire | D Major | 1 | 10B | 90 BPM | ||
Spesso vibra per suo gioco | Alessandro Scarlatti, Cecilia Bartoli, György Fischer | G Major | 1 | 9B | 135 BPM | ||
Scaramouche, Suite for 2 Pianos: 3. Brazileira (Mouvement de samba) | Darius Milhaud, Katia Labèque, Marielle Labèque | F Major | 2 | 7B | 99 BPM | ||
The Boulevardier | Frederic Curzon, Slovak Radio Symphony Orchestra, Adrian Leaper | B♭ Major | 1 | 6B | 98 BPM | ||
Histoire du Soldat, Pt. 1: Marche du soldat | Igor Stravinsky, Sergio Azzolini, Daniel Breszynski, Michel Cerutti, Shlomo Mintz, Vincent Pasquier, Pascal Moraguès, Marc Bauer | F♯ Major | 4 | 2B | 155 BPM | ||
Hungarian Dance No. 1 | Philharmonix | G Minor | 2 | 6A | 166 BPM |