Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov made "Don Quixote: Act IV: Quiteria's Variation" available on January 1, 1995. With Don Quixote: Act IV: Quiteria's Variation being less than two minutes long, at 1:18, 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. The track order of this song in Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov's "Minkus, L.: Don Quixote [Ballet]" album is number 20 out of 56. In terms of popularity, Don Quixote: Act IV: Quiteria's Variation is currently below average in popularity. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of Don Quixote: Act IV: Quiteria's Variation by Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov to be Andante (at a walking pace) because the track has a tempo of 106 BPM, a half-time of 53BPM, and a double-time of 212 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of E♭ Major. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Voices of Spring, Op. 410 (Frühlingsstimmen) | Johann Strauss II, Boston Pops Orchestra, Arthur Fiedler | B♭ Major | 2 | 6B | 70 BPM | ||
Hérold & Lanchbery: La fille mal gardée, Act 1: No. 4a, Solo de Colas | Ferdinand Hérold, John Lanchbery, Royal Liverpool Philharmonic Orchestra, Barry Wordsworth | E♭ Major | 4 | 5B | 130 BPM | ||
Swan Lake - Waltz | London Philharmonic Orchestra | A Major | 1 | 11B | 76 BPM | ||
The Two Pigeons Act 1 | André Messager, John Lanchbery, Royal Ballet Sinfonia, Barry Wordsworth | A Major | 1 | 11B | 136 BPM | ||
Babes in Toyland: Eccentric Dance (Gavotte) | Victor Herbert, Razumovsky Symphony Orchestra, Keith Brion | F Major | 1 | 7B | 84 BPM | ||
Giselle: Act I: Retour de la vendange et valse (The Grape-Pickers Return) | Adolphe Adam, Slovak Radio Symphony Orchestra, Andrew Mogrelia | D Major | 0 | 10B | 134 BPM | ||
Etudes: VIII. Relevés | Knudåge Riisager, Gennady Rozhdestvensky, Danish National Symphony Orchestra | F Major | 0 | 7B | 76 BPM | ||
Cinderella, Op. 87: Act I: No. 19. Cinderella's Departure for the Ball | Sergei Prokofiev, Gennady Rozhdestvensky, Moscow RTV Symphony Orchestra | D♭ Major | 0 | 3B | 60 BPM | ||
Ballet Suite No. 1 (Ed. Lev Atovmyan): V. Waltz - Joke (The Bolt) | Dmitri Shostakovich, Emin Khatchaturian, Moscow State Symphony Orchestra | C Major | 1 | 8B | 118 BPM | ||
Masquerade Suite: Mazurka | Aram Khachaturian, St. Petersburg State Symphony Orchestra, Andre Anichanov | A♭ Major | 3 | 4B | 178 BPM |
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