"Romeo et Juliette, Op. 64 (Excerpts): No. 1, Introduction à l'Acte I" by Sergei Prokofiev, Michael Tilson Thomas, San Francisco Symphony was released on December 27, 1994. The duration of Romeo et Juliette, Op. 64 (Excerpts): No. 1, Introduction à l'Acte I is about two minutes long, specifically at 2:46. This song does not appear to have any foul language. Romeo et Juliette, Op. 64 (Excerpts): No. 1, Introduction à l'Acte I's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 29 in the song's album "Prokofiev: Romeo & Juliet". In this album, this song's track order is #1. Furthermore, we believe that the track originated from United States. Romeo et Juliette, Op. 64 (Excerpts): No. 1, Introduction à l'Acte I is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Romeo et Juliette, Op. 64 (Excerpts): No. 1, Introduction à l'Acte I by Sergei Prokofiev, Michael Tilson Thomas, San Francisco Symphony having a BPM of 71 with a half-time of 36 BPM and a double-time of 142 BPM, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 3/4.
This song has a musical key of C Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Symphonic Studies, Op. 13 - Version 1852 with Etudes from 1837 version: Variation II. Marcato il canto | Robert Schumann, Mikhail Pletnev | D♭ Minor | 1 | 12A | 69 BPM | ||
Masquerade Suite: Maskarad (Masquerade): I. Waltz | St. Petersburg State Symphony Orchestra, Aram Khachaturian | C Major | 3 | 8B | 94 BPM | ||
Death of Usurer: Adagio | Valery Gergiev, London Symphony Orchestra | C Minor | 0 | 5A | 108 BPM | ||
Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction: Grave, Adagio cantabile | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 60 BPM | ||
Henry VIII: Danse de la gypsy | Camille Saint-Saëns, Razumovsky Symphony Orchestra, Andrew Mogrelia | D Minor | 1 | 7A | 82 BPM | ||
Symphony No. 7 in A Major, Op. 92: III. Presto. Trio I und II. Assai meno presto | Ludwig van Beethoven, Berliner Philharmoniker, Kirill Petrenko | D Major | 2 | 10B | 105 BPM | ||
The Lark | Evgeny Kissin | C Minor | 0 | 5A | 69 BPM | ||
Peer Gynt, Op. 23 - Incidental Music: No. 12a The Death of Ase | Edvard Grieg, Gothenburg Symphony Orchestra, Neeme Järvi | B Minor | 0 | 10A | 113 BPM | ||
Prélude à l'après-midi d'un faune | Claude Debussy, Berliner Philharmoniker, Claudio Abbado, Emmanuel Pahud | A♭ Minor | 0 | 1A | 84 BPM | ||
Printemps, L. 61: I. Très modéré | Claude Debussy, Vasily Petrenko, Royal Liverpool Philharmonic Orchestra | B Major | 0 | 1B | 88 BPM |
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