Carl Orff, Eduardo Mata, London Symphony Orchestra's 'Carmina Burana: Fortuna imperatrix mundi: O Fortuna' came out on 1981. The duration of Carmina Burana: Fortuna imperatrix mundi: O Fortuna is about two minutes long, specifically at 2:48. This song does not appear to have any foul language. Carmina Burana: Fortuna imperatrix mundi: O Fortuna's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 25 in the song's album "Orff: Carmina Burana". In this album, this song's track order is #1. Furthermore, we believe that the track originated from United States. Based on our statistics, Carmina Burana: Fortuna imperatrix mundi: O Fortuna's popularity 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 Carmina Burana: Fortuna imperatrix mundi: O Fortuna by Carl Orff, Eduardo Mata, London Symphony Orchestra having a BPM of 121 with a half-time of 60 BPM and a double-time of 242 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
D Minor is the music key of this track. Which also means that the camelot key for this song is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Bizet: Carmen, Act II: No.14 Couplets: Votre toast, je peux vous le rendre...Toréador, en garde! (Escamillo/Carmen/Frasquita/Mercédès/Moralès/Zuniga/Amis d'Escamillo) | Georges Bizet, Thomas Hampson, Michel Plasson, Orchestre National Du Capitole De Toulouse | F Major | 3 | 7B | 175 BPM | ||
Gayane Suite No. 2: VI. Sabre Dance | Aram Khachaturian, St. Petersburg State Symphony Orchestra, Andre Anichanov | E♭ Major | 8 | 5B | 91 BPM | ||
L'Arlésienne Suite No. 2: Farandole | Georges Bizet, London Symphony Orchestra, Sir Neville Marriner | D♭ Minor | 2 | 12A | 93 BPM | ||
Tchaikovsky: Swan Lake, Op. 20, Act I: Introduction - No. 1, Scene. Allegro giusto | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | D Major | 3 | 10B | 75 BPM | ||
Danse macabre, Op. 40 | Camille Saint-Saëns, Lorin Maazel, Orchestre National De France | E♭ Major | 2 | 5B | 126 BPM | ||
Carmina Burana: O Fortuna | Carl Orff, London Philharmonic Choir, David Parry, London Philharmonic Orchestra | D Minor | 3 | 7A | 137 BPM | ||
Sorochintsi Fair, Act I: Gopak (Hopak) | Modest Mussorgsky, Slovak Philharmonic, Kenneth Jean | G Major | 2 | 9B | 127 BPM | ||
Orchestral Suite No.2 in B minor, BWV1067 - Badinerie | CHA Medical Center | B Minor | 2 | 10A | 116 BPM | ||
Toccata And Fugue In D Minor, BWV 565: I. Toccata | Johann Sebastian Bach, Wolfgang Rübsam | D Minor | 2 | 7A | 129 BPM | ||
Io sono docile | Gioachino Rossini, Roberta Peters, Erich Leinsdorf, Metropolitan Opera Orchestra | F Major | 3 | 7B | 83 BPM |
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