"Aniara: Act I Scene 3: Do-Doris, Doris, Do-Doris …" by Karl-Birger Blomdahl, Lena Hoel, Viveca Anderberg, Erik Saeden, Jerker Arvidson, Bjorn Haugan, Stefan Parkman, Mikael Samuelson, Thomas Sunnegardh, Radio Chorus, Swedish Radio Symphony Orchestra, Stig Westerberg was released on January 1, 2002. With Aniara: Act I Scene 3: Do-Doris, Doris, Do-Doris … being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The song is number 19 out of 42 in Aniara by Karl-Birger Blomdahl, Stig Westerberg. Based on our statistics, Aniara: Act I Scene 3: Do-Doris, Doris, Do-Doris …'s popularity 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.
The tempo marking of Aniara: Act I Scene 3: Do-Doris, Doris, Do-Doris … by Karl-Birger Blomdahl, Lena Hoel, Viveca Anderberg, Erik Saeden, Jerker Arvidson, Bjorn Haugan, Stefan Parkman, Mikael Samuelson, Thomas Sunnegardh, Radio Chorus, Swedish Radio Symphony Orchestra, Stig Westerberg is Allegro (fast, quick, and bright), since this song has a tempo of 133 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 5/4.
This song is in the music key of F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No. 5 In B-Flat, Op. 100: 2. Allegro marcato | Sergei Prokofiev, Berliner Philharmoniker, Herbert von Karajan | E♭ Minor | 0 | 2A | 75 BPM | ||
Pelléas et Mélisande, (Suite), Op. 46: VII. Mélisande At The Spinning Wheel | Jean Sibelius, Berliner Philharmoniker, Herbert von Karajan | C Minor | 0 | 5A | 140 BPM | ||
Aus Italien, Op. 16: 4. Neapolitanisches Volksleben | Richard Strauss, Berliner Philharmoniker, Riccardo Muti | B♭ Major | 3 | 6B | 93 BPM | ||
Jenufa / Act 1: Prelude | Leoš Janáček, Wiener Philharmoniker, Sir Charles Mackerras | A Major | 1 | 11B | 70 BPM | ||
Pelléas et Mélisande, Op. 80: 1. Prélude. Quasi Adagio | Gabriel Fauré, Boston Symphony Orchestra, Seiji Ozawa | F Major | 2 | 7B | 98 BPM | ||
Stabat Mater, Op. 58: II. Quis est homo, qui non fleret (Andante sostenuto) | Antonín Dvořák, Philippe Herreweghe, Royal Flemish Philharmonic, Ilse Eerens, Michaela Selinger, Maximilian Schmitt, Florian Boesch | A Major | 1 | 11B | 133 BPM | ||
Wesendonck Lieder, WWV 91: Schmerzen | Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 132 BPM | ||
Symphony No. 5: IV. Passacaglia. Moderato | Ralph Vaughan Williams, Richard Hickox, London Symphony Orchestra | C Minor | 1 | 5A | 123 BPM | ||
Le Sacre du Printemps - Revised version for Orchestra (published 1947) / Part 2: The Sacrifice: Sacrificial Dance (The Chosen One) | Igor Stravinsky, Berliner Philharmoniker, Herbert von Karajan | A Minor | 5 | 8A | 127 BPM | ||
Pictures At An Exhibition (Orch. Ravel): 6. Samuel Goldenberg und Schmuÿle | Modest Mussorgsky, Wiener Philharmoniker, Gustavo Dudamel | F♯ Minor | 1 | 11A | 114 BPM |
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