Gerald Barry, Joshua Bloom, Benjamin Bevan, Peter Tantsits, Hilary Summers, Alan Ewing, Matt Durkan, Rob Jenkins, Birmingham Contemporary Music Group, Thomas Adès's ' "The Importance of Being Earnest, Act I: Did You Hear What I Was Playing? (Live)" was released on its scheduled release date, November 4, 2014. With this song being about 5 minutes long, at This song is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The track order of this song in Gerald Barry, Barbara Hannigan, Peter Tantsits, Katalin Károlyi, Joshua Bloom, Birmingham Contemporary Music Group, Thomas Adès's "Gerald Barry: The Importance of Being Earnest (Live)" album is number 2 out of 37. On top of that, United Kingdom appears to be the country where this track was created. The Importance of Being Earnest, Act I: Did You Hear What I Was Playing? (Live) is unknown right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of The Importance of Being Earnest, Act I: Did You Hear What I Was Playing? (Live) by Gerald Barry, Joshua Bloom, Benjamin Bevan, Peter Tantsits, Hilary Summers, Alan Ewing, Matt Durkan, Rob Jenkins, Birmingham Contemporary Music Group, Thomas Adès to be Adagio (slowly with great expression) because the track has a tempo of 76 BPM, a half-time of 38BPM, and a double-time of 152 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 1/4.
This song is in the music key of C Major. 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 | ||
---|---|---|---|---|---|---|---|
Symphony No. 2 in C minor - "Resurrection" / 5th Movement: Mit Aufschwung, aber nicht eilen (Duet: "O Schmerz") | Gustav Mahler, Latonia Moore, Nadja Michael, Wiener Philharmoniker, Gilbert Kaplan, Wiener Singverein, Johannes Prinz | E♭ Major | 3 | 5B | 87 BPM | ||
Harpsichord Concerto No. 1 in D Minor, BWV 1052: III. Allegro | Johann Sebastian Bach, Fabio Bonizzoni | D♭ Minor | 4 | 12A | 117 BPM | ||
Adagio for Glass Harmonica, K. 617a | Wolfgang Amadeus Mozart, Vienna Glass Armonica Duo | E♭ Minor | 0 | 2A | 67 BPM | ||
Piano Trio No. 2 in E Minor, Op. 67: IV. Allegretto | Dmitri Shostakovich, Yo-Yo Ma, Emanuel Ax, Isaac Stern | A Major | 1 | 11B | 161 BPM | ||
The Rite of Spring, Part 1: I. Adoration of the Earth | Igor Stravinsky, Public Domain, Vasily Petrenko, Royal Liverpool Philharmonic Orchestra | D Major | 0 | 10B | 79 BPM | ||
St. Paul's Suite Op. 29/2: Jig | Gustav Holst, Ross Pople | G Major | 1 | 9B | 74 BPM | ||
Pushkin's Garland: Reveille | Georgy Sviridov, Vladimir Minin, Moscow Chamber Choir | D♭ Major | 0 | 3B | 103 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 | ||
Don Giovanni, K.527: Overture | Wolfgang Amadeus Mozart, Academy of St. Martin in the Fields, Sir Neville Marriner | D Major | 1 | 10B | 129 BPM | ||
Symphony No. 2: II. Allegro molto | Sergei Rachmaninoff, Valery Gergiev, London Symphony Orchestra | F Major | 1 | 7B | 146 BPM |