Benjamin Britten, Sir Neville Marriner, Minnesota Orchestra's 'Britten: Four Sea Interludes from Peter Grimes, Op. 33a: No. 2, Sunday Morning' came out on January 1, 1998. With this song being around four minutes long, at 3:34, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The song is number 3 out of 10 in Britten: The Young Person's Guide to the Orchestra & Four Sea Interludes by Benjamin Britten, Sir Neville Marriner, Minnesota Orchestra. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. Britten: Four Sea Interludes from Peter Grimes, Op. 33a: No. 2, Sunday Morning is unknown right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of Britten: Four Sea Interludes from Peter Grimes, Op. 33a: No. 2, Sunday Morning by Benjamin Britten, Sir Neville Marriner, Minnesota Orchestra is Andante (at a walking pace), since this song has a tempo of 82 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
G Major is the music key of this track. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Pulcinella, Ballet in One Act After Pergolesi for Soprano, Tenor, Bass, Soloists and Orchestra: XVII. Gavotta with Two Variations | Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra | G Minor | 0 | 6A | 140 BPM | ||
Symphony No. 3 in F Major, Op. 90: IV. Allegro - Un poco sostenuto (2) | Johannes Brahms, Netherlands Philharmonic Orchestra, Jaap Van Zweden | F Major | 0 | 7B | 67 BPM | ||
Prélude à l’après-midi d’un faune, 900846: Debussy: Prélude à l’après-midi d’un faune | Claude Debussy, Mariss Jansons, Bavarian Radio Symphony Orchestra | E♭ Major | 0 | 5B | 82 BPM | ||
King Kristian II, Op. 27: II. Elegie: III. Musette | Jean Sibelius, New Zealand Symphony Orchestra, Pietari Inkinen | A♭ Major | 0 | 4B | 104 BPM | ||
William Tell: Overture | Gioachino Rossini, Academy of St. Martin in the Fields, Sir Neville Marriner | E Major | 1 | 12B | 88 BPM | ||
Natko Devčić: Istrian Suite: II. Leaping Dance | Natko Devcic, Muenchner Rundfunkorchester, Ivan Repušić, Munich Radio Orchestra | F Minor | 2 | 4A | 80 BPM | ||
Girls of the Golden West: Lola Montez Does the Spider Dance | John Adams, ORF Vienna Radio Symphony Orchestra, Marin Alsop | B♭ Major | 0 | 6B | 82 BPM | ||
Bach, JS: Orchestral Suite No. 3 in D Major, BWV 1068: II. Air | Johann Sebastian Bach, Sir Neville Marriner, Academy of St. Martin in the Fields | A Major | 1 | 11B | 56 BPM | ||
Concerto for Marimba and Vibraphone, "Mircea's Song Will Live in Yours": II. Aria | Maya Badian, Ludmila Amelina, Moldova Tele-Radio National Symphony Orchestra, Gheorghe Mustea | F Minor | 0 | 4A | 68 BPM | ||
Bach, JS: Weichet nur, betrübte Schatten, BWV 202 "Wedding Cantata": No. 3, Aria. "Phoebus eilt mit schnellen Pferden" | Johann Sebastian Bach, Sir Neville Marriner, Elly Ameling, Academy of St. Martin in the Fields | D Major | 3 | 10B | 99 BPM |
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