"Shanghai Reminiscences, Pt. II, Cultural Revolution, Awakening: Part II: Cultural Revolution - Awakening: IV. Fantasia" by Gan-Ru Ge, Maya Iwabuchi, Royal Scottish National Orchestra, Tsung Yeh was released on January 6, 2015. With this song being around four minutes long, at 3:59, 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 track order of this song in Gan-Ru Ge, Royal Scottish National Orchestra, Tsung Yeh's "Ge Gan-Ru: Shanghai Reminiscences & Butterfly Overture" album is number 13 out of 16. On top of that, Hong Kong appears to be the country where this track was created. Shanghai Reminiscences, Pt. II, Cultural Revolution, Awakening: Part II: Cultural Revolution - Awakening: IV. Fantasia is unknown right now. 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 Shanghai Reminiscences, Pt. II, Cultural Revolution, Awakening: Part II: Cultural Revolution - Awakening: IV. Fantasia by Gan-Ru Ge, Maya Iwabuchi, Royal Scottish National Orchestra, Tsung Yeh to be Larghetto (rather broadly) because the track has a tempo of 66 BPM, a half-time of 33BPM, and a double-time of 132 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of B♭ Major. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Waxman: The Bride of Frankenstein | Erich Kunzel, Cincinnati Pops Orchestra | G Major | 1 | 9B | 175 BPM | ||
Strauss, R: Ein Heldenleben, Op. 40: II. Des Helden Widersacher | Richard Strauss, Sir Simon Rattle, Berliner Philharmoniker, Guy Braunstein | E♭ Major | 0 | 5B | 83 BPM | ||
Symphony No. 5 in B-Flat Major, Op. 100: IV. Allegro giocoso | Sergei Prokofiev, Gianandrea Noseda, London Symphony Orchestra | F Major | 2 | 7B | 81 BPM | ||
Raymonda, Act III: Coda | Alexander Glazunov, English National Ballet Philharmonic, Gavin Sutherland | G Major | 1 | 9B | 104 BPM | ||
Shanghai Reminiscences, Pt. I, My Childhood: Part I: My Childhood: I. Jing An Temple | Gan-Ru Ge, Royal Scottish National Orchestra, Tsung Yeh | C Major | 4 | 8B | 49 BPM | ||
Petrushka, K12 (1947 Version): IVd. The Jovial Merchant with 2 Gypsy Girls | Igor Stravinsky, Orchestre de Paris, Klaus Mäkelä | B Major | 1 | 1B | 173 BPM | ||
Raymonda, Op. 57: Act I - Scene II | Alexander Glazunov, Moscow Symphony Orchestra, Alexander Anissimov | B♭ Major | 0 | 6B | 70 BPM | ||
12 Preludes: No. 7, Grave | Gan-Ru Ge, Yiming Zhang | D♭ Major | 2 | 3B | 77 BPM | ||
Verdi: Rigoletto, Act 3: "La donna è mobile" (Instrumental Version, Arr. Pryce Jackman) | Giuseppe Verdi, Sir Neville Marriner, Academy of St. Martin in the Fields | A Minor | 0 | 8A | 80 BPM | ||
Jess Danger | Bev Saunders | E♭ Minor | 0 | 2A | 75 BPM |
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