Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra's 'Tchaikovsky: The Sleeping Beauty, Op. 66, Act I "The Spell": No. 8d, Pas d'action, Coda' came out on January 1, 1974. The duration of Tchaikovsky: The Sleeping Beauty, Op. 66, Act I "The Spell": No. 8d, Pas d'action, Coda is about two minutes long, specifically at 2:30. This song does not appear to have any foul language. Tchaikovsky: The Sleeping Beauty, Op. 66, Act I "The Spell": No. 8d, Pas d'action, Coda's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 61 in the song's album "Tchaikovsky: The Sleeping Beauty, Op. 66". In this album, this song's track order is #20. Tchaikovsky: The Sleeping Beauty, Op. 66, Act I "The Spell": No. 8d, Pas d'action, Coda 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 Tchaikovsky: The Sleeping Beauty, Op. 66, Act I "The Spell": No. 8d, Pas d'action, Coda by Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra having a BPM of 73 with a half-time of 36 BPM and a double-time of 146 BPM, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
This song has a musical key of G Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Les Sylphides: 1. Prélude in A major, Op. 28, No. 7 | Frédéric Chopin, Berliner Philharmoniker, Herbert von Karajan | A♭ Major | 0 | 4B | 131 BPM | ||
Scènes de ballet, Op. 52: II. Marionnettes | Alexander Glazunov, Moscow Philharmonic Orchestra, Alexander Anissimov | D Major | 0 | 10B | 69 BPM | ||
Mother Goose: IV. Les entretiens de la belle et de la bête | Maurice Ravel, Barry Wordsworth, London Symphony Orchestra | C Major | 0 | 8B | 39 BPM | ||
Spartacus: Variation of Aegina and Bacchanalia | Aram Khachaturian, Bournemouth Symphony Orchestra, Kirill Karabits | D♭ Major | 3 | 3B | 132 BPM | ||
Jeux d'enfants, Op. 22: I. March | Georges Bizet, Barry Wordsworth, London Symphony Orchestra | C Major | 1 | 8B | 132 BPM | ||
Concerto for Violin and Orchestra no.1 in F sharp minor op.14: 2. Preghiera. Larghetto | Henryk Wieniawski, Gil Shaham, London Symphony Orchestra, Lawrence Foster | A Major | 0 | 11B | 60 BPM | ||
Adagio for Strings | Samuel Barber, HAUSER, Robert Ziegler, London Symphony Orchestra | B♭ Minor | 2 | 3A | 79 BPM | ||
Coppelia: Act III - L'Hymen (Noce villageoise) | Léo Delibes, Slovak Radio Symphony Orchestra, Andrew Mogrelia | B♭ Major | 0 | 6B | 100 BPM | ||
Don Quixote: Act I: Coda: Basilio and Quiteria make their escape | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | D Major | 2 | 10B | 167 BPM | ||
Bayadere Galop | Bedřich Smetana, Slovak Radio Symphony Orchestra, Robert Stankovsky | A Major | 1 | 11B | 134 BPM |
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