Kurt Weill, Erich Schellow, Wolfgang Neuss, Wilhelm Brückner-Rüggeberg made "Die Dreigroschenoper: Akt III, Ruf aus der Gruft ("Nun hört die Stimme, die um Mitleid ruft")" available on 1958. With Die Dreigroschenoper: Akt III, Ruf aus der Gruft ("Nun hört die Stimme, die um Mitleid ruft") being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. This song is part of Weill: Die Dreigroschenoper by Kurt Weill, Lotte Lenya. The song's track number on the album is #22 out of 26 tracks. Die Dreigroschenoper: Akt III, Ruf aus der Gruft ("Nun hört die Stimme, die um Mitleid ruft") is not that popular right now. The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe.
Since Die Dreigroschenoper: Akt III, Ruf aus der Gruft ("Nun hört die Stimme, die um Mitleid ruft") by Kurt Weill, Erich Schellow, Wolfgang Neuss, Wilhelm Brückner-Rüggeberg has a tempo of 89 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Die Dreigroschenoper: Akt III, Ruf aus der Gruft ("Nun hört die Stimme, die um Mitleid ruft") being at 89 BPM, the half-time would be 44 BPM with a double-time of 178 BPM.In addition, we consider the tempo speed to be pretty slow for this song. This makes this song perfect for activities such as, yoga or pilates. The time signature for this track is 3/4.
This song is in the music key of D Minor. Which also means that the camelot key for this song is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Samson et Dalila, Op. 47, R. 288 / Act 3: Bacchanale | Camille Saint-Saëns, Orchestre de Paris, Daniel Barenboim | B Major | 3 | 1B | 94 BPM | ||
Farewell to Stromness | Peter Maxwell Davies, Rory Macdonald, Royal Scottish National Orchestra | C Minor | 5 | 5A | 92 BPM | ||
Winterreise, Op. 89, D. 911: No. 24, Der Leiermann | Franz Schubert, Dietrich Fischer-Dieskau, Klaus Billing | E Minor | 0 | 9A | 74 BPM | ||
Barbarasong | Kurt Weill, Dagmar Peckova, Epoque Quartet, Epoque Orchestra, Miroslav Hloucal Jazz Band, Jan Kučera | B♭ Minor | 5 | 3A | 115 BPM | ||
Adriana Lecouvreur (1986 Digital Remaster): Ecco: respiro appena...Io son l'umile ancella | Maria Callas, Tullio Serafin | A♭ Major | 1 | 4B | 92 BPM | ||
Mahagonny Songspiel / Part 1 - Prologue: 2. Alabama Song: Moderato | Kurt Weill, Mary Thomas, Meriel Dickinson, London Sinfonietta, David Atherton | G Major | 2 | 9B | 144 BPM | ||
Bizet: Carmen, WD 31, Act 1 Scene 10: No. 10, Séguedille et Duo, "Près des remparts de Séville" (Carmen, Don José) | Georges Bizet, Maria Callas, Nicolai Gedda, Orchestre de l'Opéra National de Paris, Georges Prêtre, Orchestre du Théâtre National de l'Opéra Paris, Paris Opera Orchestra | D Major | 1 | 10B | 83 BPM | ||
Pequeña Czarda (Arr. Harle) | Pedro Iturralde, Jess Gillam, Tippett Quartet, Andee Birkett, Zeynep Özsuca | C Minor | 4 | 5A | 170 BPM | ||
7 Chansons grises: No. 5, L'heure exquise | Reynaldo Hahn, Anne Sofie von Otter, Bengt Forsberg | B♭ Major | 0 | 6B | 67 BPM | ||
Flow, my tears | John Dowland, Andreas Martin, Andreas Scholl | F♯ Minor | 1 | 11A | 74 BPM |
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