London Philharmonic Orchestra made "Hungarian Dance No. 5 in G Minor" available on September 15, 2005. The duration of Hungarian Dance No. 5 in G Minor is about two minutes long, specifically at 2:38. This song does not appear to have any foul language. Hungarian Dance No. 5 in G Minor's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 99 in the song's album "The 99 Most Essential Classics of the Romantic Era". In this album, this song's track order is #35. Furthermore, we believe that the track originated from Sweden. Based on our statistics, Hungarian Dance No. 5 in G Minor's popularity is below average in popularity right now. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
With Hungarian Dance No. 5 in G Minor by London Philharmonic Orchestra having a BPM of 139 with a half-time of 70 BPM and a double-time of 278 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 walking. The time signature for this track is 4/4.
This song is in the music key of G Minor. Which also means that the camelot key for this song is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Schwanensee, Op. 20: Act II No. 10: Scene | Pyotr Ilyich Tchaikovsky, Russian State Symphony Orchestra, Dmitry Yablonsky | E Minor | 2 | 9A | 87 BPM | ||
Roméo et Juliette, CG 9 / Act 1: "Ah, je veux vivre" | Charles Gounod, Renée Fleming, London Philharmonic Orchestra, Sir Charles Mackerras | C Major | 2 | 8B | 77 BPM | ||
Jazz Suite No. 2: 4. Waltz I | Dmitri Shostakovich, Concertgebouworkest, Riccardo Chailly | B♭ Major | 2 | 6B | 178 BPM | ||
L’arlésienne Suite No. 2 (Arr. E. Guiraud): IV. Farandole | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | D Major | 3 | 10B | 91 BPM | ||
Suite No. 2 for Jazz Orchestra: VII. Waltz II | Dmitri Shostakovich, Dmitri Kitayenko, Hr-sinfonieorchester | G Major | 1 | 9B | 104 BPM | ||
Humoresque No. 7 in G-flat Major, Op. 101 | Boston Symphony Orchestra, Yo-Yo Ma, Seiji Ozawa, Itzhak Perlman | F♯ Major | 1 | 2B | 83 BPM | ||
Entry Of The Gladiators | Julius Fučík, Gothenburg Symphony Orchestra, Neeme Järvi | C Major | 6 | 8B | 117 BPM | ||
Les Contes d'Hoffmann / Act 4: Entr'acte (Barcarolle) | Jacques Offenbach, Staatskapelle Dresden, Silvio Varviso | D Major | 0 | 10B | 121 BPM | ||
Bach, JS: Orchestral Suite No. 2 in B Minor, BWV 1067: VII. Badinerie | Johann Sebastian Bach, Emmanuel Pahud, Berliner Barock Solisten, Rainer Kussmaul | B Minor | 2 | 10A | 121 BPM | ||
La Traviata / Act 1: Libiamo ne'lieti calici | Giuseppe Verdi, Ileana Cotrubas, Plácido Domingo, Chor der Bayerischen Staatsoper München, Bavarian State Orchestra, Carlos Kleiber | B♭ Major | 2 | 6B | 113 BPM |
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