Maurice Ravel, Jacques Février, Gabriel Tacchino's 'Ma mère l'Oye, M. 60 - For Piano Duet: 4. Les entretiens de la Belle et de la Bête' came out on January 1, 2000. With this song being around four minutes long, at 3:58, 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. There are a total of 18 in the song's album "Ravel - L'oeuvre pour piano, Vol. 1". In this album, this song's track order is #17. Furthermore, we believe that the track originated from France. Based on our statistics, Ma mère l'Oye, M. 60 - For Piano Duet: 4. Les entretiens de la Belle et de la Bête's popularity is unknown right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Ma mère l'Oye, M. 60 - For Piano Duet: 4. Les entretiens de la Belle et de la Bête by Maurice Ravel, Jacques Février, Gabriel Tacchino having a BPM of 139 with a half-time of 70 BPM and a double-time of 278 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
This song is in the music key of D♭ Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 12A. So, the perfect camelot match for 12A would be either 12A or 11B. While, a low energy boost can consist of either 12B or 1A. For moderate energy boost, you would use 9A and a high energy boost can either be 2A or 7A. However, if you are looking for a low energy drop, finding a song with a camelot key of 11A would be a great choice. Where 3A would give you a moderate drop, and 10A or 5A would be a high energy drop. Lastly, 3B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Choral-Vatiationen: Var. I. In canone all'Ottava | Igor Stravinsky, Philippe Herreweghe, Royal Flemish Philharmonic, Collegium Vocale Gent | C Major | 1 | 8B | 93 BPM | ||
Dvořák: From the Bohemian Forest, Op. 68, B. 182: No. 5, Silent Woods | Antonín Dvořák, Jacqueline du Pré, Daniel Barenboim, Chicago Symphony Orchestra | D♭ Major | 1 | 3B | 95 BPM | ||
VI. June. Barcarolle | Pyotr Ilyich Tchaikovsky, Mikhail Pletnev | G Minor | 0 | 6A | 69 BPM | ||
Ständchen (From Schwanengesang, D957) | Franz Liszt, Evgeny Kissin | D Major | 0 | 10B | 68 BPM | ||
Allegro molto in C Minor | Fanny Mendelssohn, Heather Schmidt | F Minor | 2 | 4A | 79 BPM | ||
Dolly, Op.56: 4. Kitty-Valse | Gabriel Fauré, Katia Labèque, Marielle Labèque | E♭ Major | 1 | 5B | 101 BPM | ||
Música callada, Book 1: No. 3, Placide | Federico Mompou, Lilit Grigoryan | B♭ Major | 1 | 6B | 70 BPM | ||
Franck: Prélude, fugue et variation, Op. 18, FWV 30: Prélude | César Franck, Aldo Ciccolini | B Minor | 0 | 10A | 127 BPM | ||
Schwanengesang, S. 560: Schubert - Schwanengesang, S. 560/R. 245: No. 7, Standchen (Leise flehen meine Lieder) [After F. Schubert] | Franz Liszt, Oxana Yablonskaya | D Major | 0 | 10B | 66 BPM | ||
Myrthen, Op. 25 - Version for Cello and Piano: XXIV. Du bist wie eine Blume | Robert Schumann, Kian Soltani, Aaron Pilsan | F Major | 0 | 7B | 116 BPM |
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