Pyotr Ilyich Tchaikovsky, Leonard Bernstein, New York Philharmonic's 'Marche slave, Op. 31, TH 45' came out on 1958. Since Marche slave, Op. 31, TH 45 is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. There are a total of 5 in the song's album "Tchaikovsky: 1812 Overture; Marche Slave; Romeo and Juliet; Capriccio Italien; Hamlet [Expanded Edition]". In this album, this song's track order is #2. Furthermore, we believe that the track originated from United States. In terms of popularity, Marche slave, Op. 31, TH 45 is currently below average in popularity. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Marche slave, Op. 31, TH 45 by Pyotr Ilyich Tchaikovsky, Leonard Bernstein, New York Philharmonic having a BPM of 109 with a half-time of 54 BPM and a double-time of 218 BPM, we would consider this track to have a Moderato (at a moderate speed) tempo marking. Because of this, we believe that the song has an overall moderate tempo. The time signature for this track is 4/4.
This song has a musical key of B♭ Minor. Which also means that the camelot key for this song is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Farandole | Georges Bizet, Arthur Fiedler, Boston Pops Orchestra | D Major | 6 | 10B | 101 BPM | ||
March to the Scaffold | Hector Berlioz, Georges Prêtre | B♭ Major | 3 | 6B | 148 BPM | ||
Pomp and Circumstance March No. 1 in D Major, Op .39, No. 1 | Edward Elgar, David Parry, London Philharmonic Orchestra | D Major | 3 | 10B | 89 BPM | ||
Mendelssohn: Violin Concerto No. 2 in E Minor, Op. 64: II. Andante | Felix Mendelssohn, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | C Major | 1 | 8B | 96 BPM | ||
Sarasate: Zigeunerweisen, Op. 20 | Pablo de Sarasate, Itzhak Perlman, Abbey Road Ensemble | C Minor | 1 | 5A | 83 BPM | ||
Masquerade Suite: Gallop | Aram Khachaturian, St. Petersburg State Symphony Orchestra, Andre Anichanov | G Major | 1 | 9B | 104 BPM | ||
The Sorcerer's Apprentice | Philharmonia Orchestra | D♭ Major | 2 | 3B | 130 BPM | ||
Serenade for strings in E Minor, Op. 20 | Edward Elgar, Academy of St. Martin in the Fields, Sir Neville Marriner | E Minor | 1 | 9A | 81 BPM | ||
Dukas: L'apprenti sorcier (Excerpt) | Paul Dukas, Oslo Philharmonic Orchestra, Mariss Jansons | D♭ Major | 5 | 3B | 117 BPM | ||
Polovetsian Dances from Prince Igor: Moderato alla breve | Alexander Borodin, George Szell, Cleveland Orchestra | A Major | 2 | 11B | 108 BPM |
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