Johann Strauss II, Tomislav Baynov, Baynov Piano Ensemble made "Tritsch-Tratsch-Polka, Op. 214 (arr. for piano 6 hands)" available on January 1, 1998. The duration of Tritsch-Tratsch-Polka, Op. 214 (arr. for piano 6 hands) is about 3 minutes long, at 3:06. Based on our data, "Tritsch-Tratsch-Polka, Op. 214 (arr. for piano 6 hands)" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 35 in the song's album "Piano Ensembles - Suppe, F. Von / Steiger, C. / Streabbog, L. / Alary, J. / Aladar, J. (Baynov Piano Ensemble) (6 Hands On 1 Piano, Vol. 2)". In this album, this song's track order is #35. Furthermore, we believe that the track originated from Germany. The popularity of Tritsch-Tratsch-Polka, Op. 214 (arr. for piano 6 hands) is currently not that popular right now. The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe.
With Tritsch-Tratsch-Polka, Op. 214 (arr. for piano 6 hands) by Johann Strauss II, Tomislav Baynov, Baynov Piano Ensemble having a BPM of 172 with a half-time of 86 BPM and a double-time of 344 BPM, we would consider this track to have a Vivace (lively and fast) tempo marking. Because of this, we believe that the song has an overall fast tempo. The time signature for this track is 4/4.
This song is in the music key of A♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Peter and the Wolf, Op. 67 (Without Narration): The Bird | Sergei Prokofiev, Slovak Radio Symphony Orchestra, Ondrej Lenard | C Major | 0 | 8B | 99 BPM | ||
Shéhérazade, Op. 35: I. The Sea and Sinbad's Ship | Nikolai Rimsky-Korsakov, Sergej Galaktionov, Gianandrea Noseda, Filarmonica Teatro Regio Torino | E Major | 1 | 12B | 136 BPM | ||
Hungarian Rhapsody No. 2 in C Sharp Minor, S. 244 | Franz Liszt, Roberto Szidon | D♭ Major | 3 | 3B | 102 BPM | ||
"Sophia Perovskaya", Op.132 - music from the film: Waltz | Dmitri Shostakovich, Concertgebouworkest, Riccardo Chailly | D♭ Major | 0 | 3B | 172 BPM | ||
The Barber of Seville: Overture | Gioachino Rossini, Leonard Bernstein, New York Philharmonic | E Major | 2 | 12B | 175 BPM | ||
Beethoven: Symphony No. 6 in F Major, Op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo | Ludwig van Beethoven, Philadelphia Orchestra, Riccardo Muti | F♯ Major | 0 | 2B | 88 BPM | ||
Jazz Suite No. 1: I. Waltz | Dmitri Shostakovich, Russian State Symphony Orchestra, Dmitry Yablonsky | E♭ Major | 1 | 5B | 173 BPM | ||
Carmen Ballet Suite (after Bizet): IX. Torero | Rodion Shchedrin, Slovenian Symphony Orchestra, Anton Nanut | F Major | 5 | 7B | 115 BPM | ||
Gopak from Sorochinsky Fair | Modest Mussorgsky, Philharmonia Orchestra, Geoffrey Simon | G Major | 2 | 9B | 157 BPM | ||
Prokofiev: Romeo and Juliet, Suite No. 2, Op. 64ter: I. The Montagues and Capulets (Excerpt) | Sergei Prokofiev, Philadelphia Orchestra, Riccardo Muti | A Minor | 3 | 8A | 108 BPM |
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