"A Midsummer Night's Dream / Act 2: "Puppet? Why So?"" by Benjamin Britten, Josephine Veasey, Heather Harper, Sir Peter Pears, Thomas Hemsley, Stephen Terry, London Symphony Orchestra was released on January 1, 1967. The duration of A Midsummer Night's Dream / Act 2: "Puppet? Why So?" is about 3 minutes long, at 3:05. Based on our data, "A Midsummer Night's Dream / Act 2: "Puppet? Why So?"" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 2 out of 41 in Britten: A Midsummer Night's Dream by Benjamin Britten, Alfred Deller, Elizabeth Harwood, Choirs Of Downside And Emanuel Schools, London Symphony Orchestra. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. A Midsummer Night's Dream / Act 2: "Puppet? Why So?" 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.
The tempo marking of A Midsummer Night's Dream / Act 2: "Puppet? Why So?" by Benjamin Britten, Josephine Veasey, Heather Harper, Sir Peter Pears, Thomas Hemsley, Stephen Terry, London Symphony Orchestra is Andante (at a walking pace), since this song has a tempo of 87 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 5/4.
G Major is the music key of this track. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Smyth: The Wreckers: Overture | Ethel Smyth, Scottish National Orchestra/Sir Alexander Gibson | D Major | 1 | 10B | 132 BPM | ||
Capriccio, Op. 85, TrV 279: Mondscheinmusik | Richard Strauss, Wiener Philharmoniker, André Previn | A Major | 1 | 11B | 100 BPM | ||
Nocturnes, L. 91: 1. Nuages | Claude Debussy, Berliner Philharmoniker, Claudio Abbado | C Major | 0 | 8B | 83 BPM | ||
Symphony No. 7 in A Major, Op. 92: III. Presto. Trio I und II. Assai meno presto | Ludwig van Beethoven, Berliner Philharmoniker, Kirill Petrenko | D Major | 2 | 10B | 105 BPM | ||
Nocturne, Op. 60: IV. Midnight's Bell Goes Ting, Ting, Ting... | Benjamin Britten, Adrian Thompson, Michael Thompson, Bournemouth Sinfonietta, David Lloyd-Jones | F Major | 1 | 7B | 69 BPM | ||
Romeo and Juliet, Op. 64 - Act 1: Romeo | Sergei Prokofiev, Cleveland Orchestra, Lorin Maazel | C Major | 0 | 8B | 132 BPM | ||
The Sword in the Stone Suite (Arr. O. Knussen & C. Matthews): I. Introduction and Boys' Tunes | Oliver Knussen, Colin Matthews, Benjamin Britten, Ohio State University Wind Symphony, Russel C. Mikkelson | E Minor | 2 | 9A | 112 BPM | ||
Symphony No. 1, Op. 25 in D "Classical": Allegro con brio | Sergei Prokofiev, Yuri Temirkanov | E Minor | 0 | 9A | 99 BPM | ||
War Requiem, Op. 66 / Dies irae: IIa. Dies irae | Benjamin Britten, London Symphony Chorus, The Bach Choir, London Symphony Orchestra | G Major | 1 | 9B | 81 BPM | ||
Shéhérazade, Op. 35: III. The Young Prince and the Young Princess | Nikolai Rimsky-Korsakov, Sergej Galaktionov, Gianandrea Noseda, Filarmonica Teatro Regio Torino | G Major | 0 | 9B | 103 BPM |
Section: 0.8112955093383789
End: 0.8186361789703369