"Roméo et Juliette, Op. 17, H 79, Pt. 2: No. 3a, Ohé, Capulets!" by Hector Berlioz, Spirito, Chœurs et solistes de Lyon-Bernard Tétu, Orchestre National De Lyon, Leonard Slatkin was released on April 12, 2019. The duration of Roméo et Juliette, Op. 17, H 79, Pt. 2: No. 3a, Ohé, Capulets! is about two minutes long, specifically at 2:59. This song does not appear to have any foul language. Roméo et Juliette, Op. 17, H 79, Pt. 2: No. 3a, Ohé, Capulets!'s duration is considered a little bit shorter than the average duration of a typical track. The song is number 8 out of 20 in Berlioz: Roméo et Juliette, Op. 17, H 79 by Hector Berlioz, Orchestre National De Lyon, Leonard Slatkin. Going off of the ISRC code of this track, we detected that the origin of this track is from Hong Kong. Roméo et Juliette, Op. 17, H 79, Pt. 2: No. 3a, Ohé, Capulets! 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.
The tempo marking of Roméo et Juliette, Op. 17, H 79, Pt. 2: No. 3a, Ohé, Capulets! by Hector Berlioz, Spirito, Chœurs et solistes de Lyon-Bernard Tétu, Orchestre National De Lyon, Leonard Slatkin is Andante (at a walking pace), since this song has a tempo of 83 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of A Major. This also means that this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Pelléas et Mélisande, L.88 / Act 3: "Mes longs cheveux descendent" | Claude Debussy, Francois Le Roux, Maria Ewing, Wiener Philharmoniker, Claudio Abbado | A Minor | 1 | 8A | 123 BPM | ||
Piano Concerto in C-Sharp Minor, FP 146: I. Allegretto commodo - Live | Francis Poulenc, Yannick Nézet-Séguin, London Philharmonic Orchestra, Alexandre Tharaud | A♭ Major | 1 | 4B | 135 BPM | ||
Symphony No. 8 in G Minor, Op. 88, B. 163: II. Adagio | Antonín Dvořák, London Symphony Orchestra, Sir Colin Davis | C Major | 0 | 8B | 54 BPM | ||
Symphony No. 2 in B-Flat major, D. 125: II. Andante | Franz Schubert, Günter Wand | A Minor | 3 | 8A | 168 BPM | ||
Symphonie fantastique, Op. 14, H. 48: II. Un bal. Valse. Allegro non troppo | Hector Berlioz, Daniel Barenboim, Berliner Philharmoniker | A Major | 1 | 11B | 167 BPM | ||
La Damnation de Faust, Op. 24, H 111 / Pt. 3: Trio & Chorus: "Allons, il est trop tard!...Je connais donc enfin" | Hector Berlioz, Frederica von Stade, Kenneth Riegel, José van Dam, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | F Major | 4 | 7B | 110 BPM | ||
La Cenerentola: Overture (Sinfonia) | Gioachino Rossini, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | A Minor | 1 | 8A | 116 BPM | ||
Die Meistersinger von Nürnberg, WWV 96: Prelude | Richard Wagner, Wiener Philharmoniker, Sir Georg Solti | C Major | 4 | 8B | 99 BPM | ||
Variations On An Original Theme, Op.36 "Enigma": 1. C.A.E. (L'istesso tempo) | Edward Elgar, BBC Symphony Orchestra, Leonard Bernstein | G Minor | 0 | 6A | 81 BPM | ||
Symphony No. 1 in D Major: 2. Kräftig bewegt - Live | Gustav Mahler, Berliner Philharmoniker, Claudio Abbado | A Major | 1 | 11B | 96 BPM |
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