Pyotr Ilyich Tchaikovsky, Mariinsky Orchestra, Valery Gergiev's 'Swan Lake, Op. 20 - Mariinsky Version / Act 1: Scene 1: Finale (Andante)' came out on January 1, 2007. With Swan Lake, Op. 20 - Mariinsky Version / Act 1: Scene 1: Finale (Andante) being less than two minutes long, at 1:48, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 30 in the song's album "Tchaikovsky: Swan Lake (highlights)". In this album, this song's track order is #11. Furthermore, we believe that the track originated from United Kingdom. Swan Lake, Op. 20 - Mariinsky Version / Act 1: Scene 1: Finale (Andante) 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.
With Swan Lake, Op. 20 - Mariinsky Version / Act 1: Scene 1: Finale (Andante) by Pyotr Ilyich Tchaikovsky, Mariinsky Orchestra, Valery Gergiev having a BPM of 86 with a half-time of 43 BPM and a double-time of 172 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
This song has a musical key of D Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Bruch: Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio | Max Bruch, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | E♭ Major | 1 | 5B | 110 BPM | ||
Paquita: Variation 4: Allegro | Ludwig Minkus, Anna Takova-Baynova, Valentina Raicheva, Sofia National Opera Orchestra, Boris Spassov | D Major | 1 | 10B | 112 BPM | ||
Le carnaval des animaux, R. 125: I. Introduction - II. Poules et Coqs - III. Hémiones | Camille Saint-Saëns, Alfons Kontarsky, Aloys Kontarsky, Wiener Philharmoniker, Karl Böhm | C Major | 2 | 8B | 96 BPM | ||
Don Quixote: Act III: Quiteria's Variation | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | C Major | 1 | 8B | 167 BPM | ||
Coppelia: Act I - Czardas-Danse hongroise | Léo Delibes, Slovak Radio Symphony Orchestra, Andrew Mogrelia | A Major | 1 | 11B | 139 BPM | ||
Grieg: Suite No. 2 from Peer Gynt, Op. 55: II. Arabian Dance | Edvard Grieg, Sakari Oramo, City Of Birmingham Symphony Orchestra | F Major | 2 | 7B | 129 BPM | ||
Carmen Suite No. 1: 1. Prélude | Georges Bizet, Orchestre de Paris, Semyon Bychkov | A Minor | 1 | 8A | 96 BPM | ||
Raymonda, Op. 57: Act III - Variation IV | Alexander Glazunov, Moscow Symphony Orchestra, Alexander Anissimov | D Minor | 0 | 7A | 90 BPM | ||
Don Quixote: Act III: Coda | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | G Major | 3 | 9B | 75 BPM | ||
The Sleeping Beauty, Op. 66, TH 13: Introduction | Pyotr Ilyich Tchaikovsky, Slovak State Philharmonic Orchestra, Andrew Mogrelia | G Major | 1 | 9B | 92 BPM |
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