"Arabella, Op. 79 / Act 3: Sehr gut. Jetzt habe ich mein richtiges Vis-à-vis" by Richard Strauss, Ernst Gutstein, Franz Grundheber, Orchestra of the Royal Opera House, Covent Garden, Jeffrey Tate was released on January 1, 1987. The duration of Arabella, Op. 79 / Act 3: Sehr gut. Jetzt habe ich mein richtiges Vis-à-vis is about two minutes long, specifically at 2:07. This song does not appear to have any foul language. Arabella, Op. 79 / Act 3: Sehr gut. Jetzt habe ich mein richtiges Vis-à-vis's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 40 in the song's album "Strauss, R.: Arabella". In this album, this song's track order is #8. Furthermore, we believe that the track originated from United Kingdom. Arabella, Op. 79 / Act 3: Sehr gut. Jetzt habe ich mein richtiges Vis-à-vis is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Arabella, Op. 79 / Act 3: Sehr gut. Jetzt habe ich mein richtiges Vis-à-vis by Richard Strauss, Ernst Gutstein, Franz Grundheber, Orchestra of the Royal Opera House, Covent Garden, Jeffrey Tate having a BPM of 81 with a half-time of 40 BPM and a double-time of 162 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 5/4.
This song has a musical key of B♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphonie Espagnole In D Minor, Op.21: 1. Allegro non troppo | Édouard Lalo, Itzhak Perlman, Orchestre de Paris, Daniel Barenboim | D Minor | 1 | 7A | 75 BPM | ||
Kinderszenen, Op.15: 4. Bittendes Kind | Robert Schumann, Martha Argerich | D Major | 0 | 10B | 113 BPM | ||
Das Liebesverbot: Overture | Richard Wagner, Staatskapelle Dresden, Giuseppe Sinopoli | G Major | 6 | 9B | 120 BPM | ||
Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio | Max Bruch, Itzhak Perlman, Bernard Haitink, Royal Concertgebouw Orchestra | E♭ Major | 1 | 5B | 87 BPM | ||
La Mer, L.109: 3. Dialogue Of The Wind And The Sea | Claude Debussy, Orchestre Symphonique de Montréal, Charles Dutoit | D♭ Major | 2 | 3B | 83 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 | ||
Elektra: Xi. Was bluten muss? | Hugo von Hofmannsthal, Richard Strauss, Laila Andersson-palme, Royal Swedish Opera Orchestra, Siegfried Köhler | A♭ Major | 2 | 4B | 106 BPM | ||
Khachaturian: Spartacus (Highlights from the Ballet): Adagio of Spartacus and Phrygia | Aram Khachaturian, London Symphony Orchestra | A♭ Major | 1 | 4B | 88 BPM | ||
A Walk To The Paradise Garden | Frederick Delius, Barry Wordsworth, London Symphony Orchestra | E Major | 0 | 12B | 103 BPM | ||
Piano Concerto No. 2 in F Major, Op. 102: III. Allegro | Dmitri Shostakovich, I Musici de Montréal, Maxim Shostakovich | F Major | 3 | 7B | 164 BPM |
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