"Don Quixote: Prologue: Sancho Panza, saved from his pursuers, is appointed Don Quixote's squire" by Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov was released on January 1, 1995. With this song being around four minutes long, at 4:09, 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 Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov's "Minkus, L.: Don Quixote [Ballet]" album is number 5 out of 56. Based on our statistics, Don Quixote: Prologue: Sancho Panza, saved from his pursuers, is appointed Don Quixote's squire's popularity 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.
We consider the tempo marking of Don Quixote: Prologue: Sancho Panza, saved from his pursuers, is appointed Don Quixote's squire by Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov to be Allegro (fast, quick, and bright) because the track has a tempo of 128 BPM, a half-time of 64BPM, and a double-time of 256 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
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 | ||
---|---|---|---|---|---|---|---|
Act I: Entree Of Kitri (Minkus) | Mariinsky Orchestra | G Major | 1 | 9B | 172 BPM | ||
Voices of Spring, Op. 410 (Frühlingsstimmen) | Johann Strauss II, Boston Pops Orchestra, Arthur Fiedler | B♭ Major | 2 | 6B | 70 BPM | ||
Carmen Fantasy, Op. 25: I. Moderato | Pablo de Sarasate, Hilary Hahn, Frankfurt Radio Symphony Orchestra, Andrés Orozco-Estrada | D Major | 1 | 10B | 89 BPM | ||
Caprice Russe (Russian Capriccio), Op. 102 | Anton Rubinstein, USSR State Symphony Orchestra, Yevgeny Svetlanov | E♭ Major | 3 | 5B | 109 BPM | ||
Paquita: Coda: Allegro moderato | Ludwig Minkus, Anna Takova-Baynova, Valentina Raicheva, Sofia National Opera Orchestra, Boris Spassov | D Major | 1 | 10B | 201 BPM | ||
Raymonda, Act I: La Romanesca (Danse pour deux dames et deux pages) | Alexander Glazunov, Kivov Orchestra, Viktor Fedotov | E Minor | 1 | 9A | 106 BPM | ||
Don Quixote: Act III: Dryads' Variation | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | A♭ Major | 3 | 4B | 161 BPM | ||
Serenade No. 2 in A Major, Op. 16: 2. Scherzo. Vivace | Johannes Brahms, Royal Concertgebouw Orchestra, Bernard Haitink | A Major | 1 | 11B | 179 BPM | ||
Cello Concerto No. 1 in A Minor, Op. 33: I. Allegro non troppo | Camille Saint-Saëns, Mischa Maisky, Orpheus Chamber Orchestra | F Major | 2 | 7B | 131 BPM | ||
Jazz Suite No. 1: II. Polka | Dmitri Shostakovich, Russian State Symphony Orchestra, Dmitry Yablonsky | C Major | 2 | 8B | 134 BPM |
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