"Rachmaninoff: 14 Romances, Op. 34: No. 14, Vocalise" by Sergei Rachmaninoff, Natalie Dessay, Michael Schønwandt, Berliner Sinfonieorchester was released on March 15, 1998. With this song being about 5 minutes long, at 5:20, "Rachmaninoff: 14 Romances, Op. 34: No. 14, Vocalise" by Sergei Rachmaninoff, Natalie Dessay, Michael Schønwandt, Berliner Sinfonieorchester is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. This song is part of Vocalises by Natalie Dessay, Michael Schønwandt, Berliner Sinfonieorchester. The song's track number on the album is #1 out of 11 tracks. Based on our data, France was the country where this track was produced or recorded. Rachmaninoff: 14 Romances, Op. 34: No. 14, Vocalise is below average in popularity right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
Since Rachmaninoff: 14 Romances, Op. 34: No. 14, Vocalise by Sergei Rachmaninoff, Natalie Dessay, Michael Schønwandt, Berliner Sinfonieorchester has a tempo of 85 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Rachmaninoff: 14 Romances, Op. 34: No. 14, Vocalise being at 85 BPM, the half-time would be 42 BPM with a double-time of 170 BPM.In addition, we consider the tempo speed to be pretty slow for this song. This makes this song perfect for activities such as, yoga or pilates. The time signature for this track is 4/4.
This song has a musical key of F♯ Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 11A. So, the perfect camelot match for 11A would be either 11A or 10B. While, a low energy boost can consist of either 11B or 12A. For moderate energy boost, you would use 8A and a high energy boost can either be 1A or 6A. However, if you are looking for a low energy drop, finding a song with a camelot key of 10A would be a great choice. Where 2A would give you a moderate drop, and 9A or 4A would be a high energy drop. Lastly, 2B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Bruch: Violin Concerto No. 1 in G Minor, Op. 26: I. Prelude. Allegro moderato | Max Bruch, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | E♭ Major | 1 | 5B | 113 BPM | ||
Scriabin: 24 Preludes, Op. 11: No. 1 in C Major | Alexander Scriabin, Mikhail Pletnev | C Major | 1 | 8B | 63 BPM | ||
Fantasia in C minor, K.475: Andantino | Wolfgang Amadeus Mozart, András Schiff | C Minor | 0 | 5A | 142 BPM | ||
Concerto en ré mineur, BWV 974: II. Adagio | Johann Sebastian Bach, Alexandre Tharaud | D Minor | 2 | 7A | 85 BPM | ||
Prélude In G-Sharp Minor, Op.32, No.12 - Live | Sergei Rachmaninoff, Vladimir Horowitz | E Major | 0 | 12B | 68 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 | ||
4 Short Pieces for Violin & Piano, H. 104: No. 2, Spring Song (Version for Cello & Piano) | Frank Bridge, Gerald Peregrine, Antony Ingham | G Major | 0 | 9B | 87 BPM | ||
Japanese Suite, Op. 33: III. Dance of the Marionette | Gustav Holst, Ulster Orchestra, Joann Falletta | C Minor | 0 | 5A | 177 BPM | ||
Ständchen in D Minor (After Schubert), S. 560 | Franz Liszt, Lise de la Salle | D Major | 0 | 10B | 76 BPM | ||
Mazurka in C Minor | Mikhail Glinka, Evgeny Soifertis | C Minor | 0 | 5A | 103 BPM |
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