Albert Roussel, Wilhelm Schwegler, Helga Storck, Endres Quartet's 'Serenade, Op. 30: I. Allegro' came out on January 1, 1992. With this song being around four minutes long, at 4:11, 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 song is number 8 out of 10 in Dittersdorf, Ravel & Others: Works for Harp by Helga Storck. Going off of the ISRC code of this track, we detected that the origin of this track is from Hong Kong. In terms of popularity, Serenade, Op. 30: I. Allegro is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Serenade, Op. 30: I. Allegro by Albert Roussel, Wilhelm Schwegler, Helga Storck, Endres Quartet is Andante (at a walking pace), since this song has a tempo of 90 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
C Major is the music key of this track. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Le testament de la tante Caroline, L. 59, Pt. 1 Scene 1 (1964 Version): Avez-vous vu ces trois gredines qui se prétendent héritières ? [Live] | Albert Roussel, Marie Lenormand, Orchestre des Frivolités Parisiennes, Dylan Corlay, Marion Gomar, Lucile Komitès, Aurélien Gasse, Charles Mesrine, Marie Perbost, Fabien Hyon, Till Fechner, Romain Dayez | C Major | 1 | 8B | 99 BPM | ||
Lyric Suite, Op. 54: II. Gangar (Norwegian March): Allegretto marciale | Edvard Grieg, Bergen Philharmonic Orchestra, Ole Kristian Ruud | D Major | 0 | 10B | 83 BPM | ||
Copland: Suite from Appalachian Spring: V. Solo Dance of the Bride. Allegro (1945 Version) | Aaron Copland, Minnesota Orchestra, Sir Neville Marriner | C Major | 0 | 8B | 87 BPM | ||
Abbey Road concerto for Violin and Orchestra: II. Come together | Guy Braunstein, Orchestre Philharmonique Royal de Liège, Alondra de la Parra | A Minor | 2 | 8A | 104 BPM | ||
Serenade in C Major, Op. 10: II. Romanza: Adagio non troppo, quasi andante | Ernst von Dohnányi, Laszlo Barsony, Dénes Kovács, Karoly Botvay | F Major | 0 | 7B | 76 BPM | ||
Phantasiestücke, Op. 88: No. 3, Duett (Arr. for Horn by Martin Owen) | Robert Schumann, Martin Owen, Francesca Dego, Alessandro Taverna | D Major | 0 | 10B | 95 BPM | ||
Brahms: Double Concerto for Violin and Cello in A Minor, Op. 102: II. Andante | Johannes Brahms, Frank Peter Zimmermann, Heinrich Schiff, London Philharmonic Orchestra, Wolfgang Sawallisch | A Major | 4 | 11B | 80 BPM | ||
Prokofiev: Suite No. 2 from Romeo and Juliet, Op. 64ter: I. The Montagues and Capulets | Sergei Prokofiev, Aziz Shokhakimov, Orchestre Philharmonique De Strasbourg | C Major | 1 | 8B | 101 BPM | ||
Strength of My Music | Paolo MIllon, Neon Lilith, Francine La Bouvette | E Minor | 3 | 9A | 132 BPM | ||
Zigeunerweisen, Op. 20: III. Un peu plus lent | Pablo de Sarasate, Anne-Sophie Mutter, Wiener Philharmoniker, James Levine | C Minor | 0 | 5A | 88 BPM |
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