"Carmina Burana: Act II: 10. Scène: Moderato; Piu mosso" by London Symphony Orchestra, Michael Tilson Thomas was released on 1991. The duration of Carmina Burana: Act II: 10. Scène: Moderato; Piu mosso is about 3 minutes long, at 3:12. Based on our data, "Carmina Burana: Act II: 10. Scène: Moderato; Piu mosso" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 18 in the song's album "Rendezvous der Sinne Vol. 1". In this album, this song's track order is #17. Carmina Burana: Act II: 10. Scène: Moderato; Piu mosso 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.
With Carmina Burana: Act II: 10. Scène: Moderato; Piu mosso by London Symphony Orchestra, Michael Tilson Thomas having a BPM of 75 with a half-time of 38 BPM and a double-time of 150 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 4/4.
This song is in the music key of E Minor. Which also means that the camelot key for this song is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Danse macabre in G Minor, Op. 40 | Camille Saint-Saëns, Slovak Radio Symphony Orchestra, Keith Clark | G Minor | 2 | 6A | 116 BPM | ||
The Planets, Op. 32: II. Venus, the Bringer of Peace | Gustav Holst, London Symphony Orchestra, Sir Colin Davis | A♭ Major | 0 | 4B | 83 BPM | ||
Fanfare for the Common Man | Aaron Copland, London Symphony Orchestra | B♭ Major | 2 | 6B | 55 BPM | ||
Fantasia on a Theme by Thomas Tallis (excerpt) (Master and Commander: The Far Side of the World) | Ralph Vaughan Williams, New Zealand Symphony Orchestra, James Judd | C Minor | 0 | 5A | 80 BPM | ||
Symphony No. 2: III. Adagio | Sergei Rachmaninoff, Valery Gergiev, London Symphony Orchestra | A Major | 0 | 11B | 70 BPM | ||
Piano Concerto No. 2 in C Minor, Op. 18: 3. Allegro scherzando | Sergei Rachmaninoff, Valentina Lisitsa, London Symphony Orchestra, Michael Francis | C Minor | 1 | 5A | 135 BPM | ||
Egmont Overture, Op. 84 - Remastered | Ludwig van Beethoven, George Szell, Cleveland Orchestra | F Minor | 1 | 4A | 83 BPM | ||
Symphony No. 5: IV. Adagietto. Sehr langsam | Gustav Mahler, Valery Gergiev, London Symphony Orchestra | F Major | 0 | 7B | 66 BPM | ||
Piano Concerto No. 2 in F Major, Op. 102: II. Andante | Dmitri Shostakovich, I Musici de Montréal, Maxim Shostakovich | C Minor | 0 | 5A | 177 BPM | ||
Prokofiev: Romeo and Juliet, Op. 64, Act 3, Epilogue: Death of Juliet | Sergei Prokofiev, André Previn, London Symphony Orchestra | F Major | 0 | 7B | 84 BPM |
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