"Trois Chansons de René Morax pour Chant et Piano (1926): No. 1, Chanson des Sirènes" by Arthur Honegger, Holger Falk, Steffen Schleiermacher was released on August 13, 2021. With Trois Chansons de René Morax pour Chant et Piano (1926): No. 1, Chanson des Sirènes being less than two minutes long, at 1:23, 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 Arthur Honegger, Holger Falk, Steffen Schleiermacher's "Honegger: Melodies et Chansons" album is number 7 out of 46. On top of that, Germany appears to be the country where this track was created. In terms of popularity, Trois Chansons de René Morax pour Chant et Piano (1926): No. 1, Chanson des Sirènes is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Trois Chansons de René Morax pour Chant et Piano (1926): No. 1, Chanson des Sirènes by Arthur Honegger, Holger Falk, Steffen Schleiermacher to be Andante (at a walking pace) because the track has a tempo of 106 BPM, a half-time of 53BPM, and a double-time of 212 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
E Minor is the music key of this track. Because this track belongs in the E Minor key, the camelot key is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Natko Devčić: Istrian Suite: II. Leaping Dance | Natko Devcic, Muenchner Rundfunkorchester, Ivan Repušić, Munich Radio Orchestra | F Minor | 2 | 4A | 80 BPM | ||
Shchedrin: Carmen Suite: I. Introduction (after Bizet's opera) | Rodion Shchedrin, Rachmaninoff International Orchestra, Mikhail Pletnev | D♭ Major | 4 | 3B | 154 BPM | ||
Trombone Concerto No. 12, Op. 52: Allegro moderato - | Vagn Holmboe, Jesper Juul Sorensen, Danish National Symphony Orchestra, Henrik Vagn Christensen | E Minor | 1 | 9A | 76 BPM | ||
Darkness | Christian Lindberg, Símon Bolívar Symphony Orchestra | B♭ Major | 8 | 6B | 133 BPM | ||
Pelleas et Melisande, Op. 80 (arr. C. Koechlin): I. Prelude - Andante molto moderato | Charles Koechlin, Gabriel Fauré, Sarah Wegener, Stuttgart Radio Symphony Orchestra, Heinz Holliger | E Major | 1 | 12B | 94 BPM | ||
Carmina | True LUFS Project | C Major | 2 | 8B | 90 BPM | ||
Katya Kabanova, JW I/8, Act II Scene 2: Introduction | Leoš Janáček, Sir Simon Rattle, London Symphony Orchestra | A♭ Major | 0 | 4B | 79 BPM | ||
Josephs-Legende, Op. 63, TrV 231: Allegro moderato - Eine mächtige Säulenhalle im Stil des Palladio | Richard Strauss, Staatskapelle Halle, Fabrice Bollon | G Major | 4 | 9B | 76 BPM | ||
Schoenberg: Verklärte Nacht, Op. 4: IV. Adagio | Arnold Schoenberg, Daniel Barenboim, Chicago Symphony Orchestra, Charles Pikler, John Sharp, Joseph Golan, Li-Kuo Chang, Ruben Gonzalez, Stephen Balderston | D Major | 1 | 10B | 82 BPM | ||
Symphony No. 3 in F Major, Op. 90: II. Andante (4) | Johannes Brahms, Netherlands Philharmonic Orchestra, Jaap Van Zweden | F Major | 0 | 7B | 67 BPM |
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