Sergei Prokofiev, André Previn, London Symphony Orchestra's 'Prokofiev: Cinderella, Op. 87, Act 1: No. 4, The Father (Andantino)' came out on January 10, 1995. The duration of Prokofiev: Cinderella, Op. 87, Act 1: No. 4, The Father (Andantino) is about two minutes long, specifically at 2:57. This song does not appear to have any foul language. Prokofiev: Cinderella, Op. 87, Act 1: No. 4, The Father (Andantino)'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 54 in the song's album "Prokofiev: Cinderella - Ballet/Symphony No. 1". In this album, this song's track order is #4. Based on our statistics, Prokofiev: Cinderella, Op. 87, Act 1: No. 4, The Father (Andantino)'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 Prokofiev: Cinderella, Op. 87, Act 1: No. 4, The Father (Andantino) by Sergei Prokofiev, André Previn, London Symphony Orchestra having a BPM of 147 with a half-time of 74 BPM and a double-time of 294 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 jogging or cycling. The time signature for this track is 3/4.
This song has a musical key of C Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
La Bayadère / Act 3: No.43 Moderato con moto | Ludwig Minkus, English Chamber Orchestra, Richard Bonynge | D Minor | 0 | 7A | 67 BPM | ||
Don Quixote: Prologue: Allegro | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | A Minor | 0 | 8A | 128 BPM | ||
Billy the Kid Suite: III. Mexican Dance and Finale | Aaron Copland, Leonard Bernstein, New York Philharmonic | C Major | 3 | 8B | 141 BPM | ||
L'Arlésienne Suite No.1, WD 40: 3. Adagietto | Georges Bizet, Orchestre de Paris, Semyon Bychkov | F Major | 0 | 7B | 92 BPM | ||
La Bayadère / Act 1: No.8 Moderato con moto | Ludwig Minkus, English Chamber Orchestra, Richard Bonynge | F Minor | 0 | 4A | 91 BPM | ||
Symphony No. 2 in B Minor: 1. Allegro | Alexander Borodin, London Symphony Orchestra, Jean Martinon | G Major | 3 | 9B | 90 BPM | ||
Minkus: Don Quixote, Act 3: II. Adage | Ludwig Minkus, Robert Irving, Royal Philharmonic Orchestra | E♭ Major | 1 | 5B | 57 BPM | ||
The Young Person's Guide to the Orchestra, Op. 34: I. Theme. Allegro maestoso e largamente | Benjamin Britten, Sir Simon Rattle, London Symphony Orchestra | G Minor | 2 | 6A | 86 BPM | ||
Symphony No. 2 in D Major, Op. 43: III. Vivacissimo | Jean Sibelius, Leonard Bernstein, New York Philharmonic | B♭ Major | 3 | 6B | 98 BPM | ||
Prokofiev: Cinderella, Op. 87, Act 2: Cinderella's Arrival at the Ball | Sergei Prokofiev, André Previn, London Symphony Orchestra | C Major | 0 | 8B | 71 BPM |
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