"Puts: The Hours, Act 2: "Did It Matter Then, She Asked Herself" (Laura, Virginia) [Live]" by Kevin Puts, Yannick Nézet-Séguin, Joyce DiDonato, Kelli O'Hara, Metropolitan Opera Orchestra was released on April 26, 2024. Since Puts: The Hours, Act 2: "Did It Matter Then, She Asked Herself" (Laura, Virginia) [Live] 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 26 in the song's album "Puts: The Hours (Live)". In this album, this song's track order is #17. Furthermore, we believe that the track originated from United States. Puts: The Hours, Act 2: "Did It Matter Then, She Asked Herself" (Laura, Virginia) [Live] 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 Puts: The Hours, Act 2: "Did It Matter Then, She Asked Herself" (Laura, Virginia) [Live] by Kevin Puts, Yannick Nézet-Séguin, Joyce DiDonato, Kelli O'Hara, Metropolitan Opera Orchestra having a BPM of 79 with a half-time of 40 BPM and a double-time of 158 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 4/4.
This song is in the music key of A Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Variations on an Original Theme, Op. 36, "Enigma": Var. XIII (***): Romanza | Edward Elgar, Bournemouth Symphony Orchestra, George Hurst | C Minor | 2 | 5A | 107 BPM | ||
6 Lieder, Op. 31: No. 1. Es muss was Wunderbares sein | Franz Ries, Oskar von Redwitz, Äneas Humm, Judit Polgar | E♭ Major | 0 | 5B | 82 BPM | ||
Proving the Existence of Folkloric Creatures | Milo Paulus | F♯ Major | 3 | 2B | 65 BPM | ||
The Bloody Man Steps into the Abyss | Nexhagus | E♭ Major | 0 | 5B | 59 BPM | ||
Manon, Act 2 Scene 4: Adieu notre petite table (Arr. for Countertenor & String Quartet by Eric Mouret) | Jules Massenet, Théophile Alexandre, Quatuor Zaïde | B Minor | 1 | 10A | 128 BPM | ||
A Child of our Time, Part III: I would know my shadow and my light (Soloists, Chorus) | Michael Tippett, Pumeza Matshikiza, Sarah Connolly, Joshua Stewart, Ashley Riches, BBC Symphony Chorus, BBC Symphony Orchestra, Andrew Davis | E Minor | 1 | 9A | 141 BPM | ||
Marimba Concerto: III. With Energy | Kevin Puts, Ji Su Jung, Baltimore Symphony Orchestra, Marin Alsop | F Minor | 3 | 4A | 106 BPM | ||
Fantasia for Cello & Orchestra, W454: II. Molto vivace | Heitor Villa-Lobos, Antonio Meneses, Isaac Karabtchevsky, Orquestra Sinfônica do Estado de São Paulo | G Minor | 1 | 6A | 105 BPM | ||
Pocket Poetry No. 2 "Hijo": III. Dolor y Recuerdos | Hugo Pinheiro, Amanda Aparicio, Edgar Gonsales | A♭ Minor | 1 | 1A | 144 BPM | ||
The Music Makers, Op. 69: III. With wonderful deathless ditties | Edward Elgar, Sarah Connolly, Greg Beardsell, Bournemouth Symphony Chorus, Bournemouth Symphony Orchestra, Simon Wright | G Major | 2 | 9B | 85 BPM |
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