"Bachianas brasileiras No. 5, W. 389: 1. Aria (Cantilena)" by Heitor Villa-Lobos, Patricia Petibon, Orquesta Nacional De España, Josep Pons was released on January 1, 2011. Bachianas brasileiras No. 5, W. 389: 1. Aria (Cantilena) is about six minutes long, preciously at 5:37, making this song fairly long compared to other songs. The track order of this song in Patricia Petibon, Orquesta Nacional De España, Josep Pons's "Melancolía - Spanish Arias and Songs" album is number 5 out of 17. On top of that, Germany appears to be the country where this track was created. Bachianas brasileiras No. 5, W. 389: 1. Aria (Cantilena) is below average in popularity right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Bachianas brasileiras No. 5, W. 389: 1. Aria (Cantilena) by Heitor Villa-Lobos, Patricia Petibon, Orquesta Nacional De España, Josep Pons to be Larghetto (rather broadly) because the track has a tempo of 62 BPM, a half-time of 31BPM, and a double-time of 124 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
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 | ||
---|---|---|---|---|---|---|---|
Prelude No. 1 in E Minor (Andantino expressivo) | John C. Williams, Heitor Villa-Lobos | E Minor | 1 | 9A | 117 BPM | ||
Wagner: Tristan und Isolde, Act III: Liebestod. "Mild und leise wie er lächelt" (Isolde) | Richard Wagner, Jessye Norman, Klaus Tennstedt, London Philharmonic Orchestra | B Major | 2 | 1B | 82 BPM | ||
Au bord de l'eau | Patricia Petibon | C Minor | 1 | 5A | 66 BPM | ||
Selve amiche | Antonio Caldara, Cecilia Bartoli, György Fischer | A Minor | 0 | 8A | 136 BPM | ||
Les Boréades, RCT 31, Acte IV, Scène IV: Entrée pour les Muses, les Zéphyres, les Saisons, les Heures et les Arts | Jean-Philippe Rameau, Teodor Currentzis | D♭ Major | 1 | 3B | 130 BPM | ||
Ludus pro Patria, La Nuit et l'Amour: La Nuit et l'Amour: Interlude de l'ode symphonique - Ludus pro Patria | Augusta Holmès, Staatsphilharmonie Rheinland-Pfalz, Patrick Davin | B♭ Major | 0 | 6B | 78 BPM | ||
Tristan und Isolde / Act 3: "Mild und leise wie er lächelt" | Richard Wagner, Margaret Price, Staatskapelle Dresden, Carlos Kleiber | B Major | 2 | 1B | 90 BPM | ||
Extrait "Casta Diva" | Maria Callas, Tullio Serafin, Choeur et orchestre du Théâtre de la Scala de Milan | F Major | 1 | 7B | 87 BPM | ||
Giulio Cesare in Egitto, HWV 17, Act II: Se pietà di me non senti | George Frideric Handel, Patricia Petibon, Andrea Marcon, Cetra Barockorchester Basel | B♭ Major | 0 | 6B | 105 BPM | ||
Salve Regina (Motetti a una, due vocie con sinfonie d'istromenti, Libro primo, 1621, A. Vincenti, Venezia) | Philippe Jaroussky, Ensemble Artaserse | G Minor | 1 | 6A | 75 BPM |
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