Gerald Barry, Barbara Hannigan, Birmingham Contemporary Music Group, Thomas Adès's ' "The Importance of Being Earnest, Act III: Orchestral Introduction (Live)" was released on its scheduled release date, November 4, 2014. The duration of This song is about two minutes long, specifically at 2:34. This song does not appear to have any foul language. The Importance of Being Earnest, Act III: Orchestral Introduction (Live)'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Gerald Barry, Barbara Hannigan, Peter Tantsits, Katalin Károlyi, Joshua Bloom, Birmingham Contemporary Music Group, Thomas Adès's "Gerald Barry: The Importance of Being Earnest (Live)" album is number 24 out of 37. On top of that, United Kingdom appears to be the country where this track was created. The Importance of Being Earnest, Act III: Orchestral Introduction (Live) is unknown right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of The Importance of Being Earnest, Act III: Orchestral Introduction (Live) by Gerald Barry, Barbara Hannigan, Birmingham Contemporary Music Group, Thomas Adès to be Adagio (slowly with great expression) because the track has a tempo of 76 BPM, a half-time of 38BPM, and a double-time of 152 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 1/4.
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 | ||
---|---|---|---|---|---|---|---|
Schubert: Der Erlkönig | Johann Wolfgang von Goethe, Franz Schubert, Andreas Burkhart, Akemi Murakami | F Minor | 2 | 4A | 67 BPM | ||
Hungarian Rhapsody No. 2 in C Sharp Minor, S. 244 | Franz Liszt, Roberto Szidon | D♭ Major | 3 | 3B | 102 BPM | ||
Oh Lord, how vain | Gerald Barry, Sarah Busfield, Chamber Choir Ireland, Paul Hillier | G Minor | 0 | 6A | 114 BPM | ||
Symphonie fantastique, Op. 14, H 48: V. Songe d'une nuit de sabbat | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 60 BPM | ||
Symphony No. 40 in G Minor, K. 550: I. Molto allegro | Wolfgang Amadeus Mozart, Il Pomo D'oro, Maxim Emelyanychev | C Major | 1 | 8B | 163 BPM | ||
24 Préludes, Op. 28: No. 2 in A Minor (Featured in "Autumn Sonata") | Frédéric Chopin, Roland Pöntinen | E Minor | 0 | 9A | 69 BPM | ||
Symphony No. 1 in E Minor: III. Juba Dance | Florence Beatrice Price, Fort Smith Symphony, John Jeter | F Major | 2 | 7B | 111 BPM | ||
Debussy: Syrinx, L. 129 | Claude Debussy, Emmanuel Pahud | B Major | 0 | 1B | 165 BPM | ||
Le Rappel des Oiseaux | Jean-Philippe Rameau, Luc Beauséjour | F Minor | 3 | 4A | 118 BPM | ||
The Intelligence Park: Interlude | Gerald Barry, Vincent Deane, Almeida Ensemble, Robert Houlihan | C Major | 1 | 8B | 82 BPM |