George Gershwin, Michael Tilson Thomas, Brian Stokes Mitchell, San Francisco Symphony's 'Catfish Row Suite with Scenes from Porgy and Bess: There's a Boat Dat's Leavin' Soon' came out on 1976. The duration of Catfish Row Suite with Scenes from Porgy and Bess: There's a Boat Dat's Leavin' Soon is about two minutes long, specifically at 2:10. This song does not appear to have any foul language. Catfish Row Suite with Scenes from Porgy and Bess: There's a Boat Dat's Leavin' Soon's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in George Gershwin, Michael Tilson Thomas's "Michael Tilson Thomas Conducts Gershwin" album is number 7 out of 90. Based on our statistics, Catfish Row Suite with Scenes from Porgy and Bess: There's a Boat Dat's Leavin' Soon's popularity is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Catfish Row Suite with Scenes from Porgy and Bess: There's a Boat Dat's Leavin' Soon by George Gershwin, Michael Tilson Thomas, Brian Stokes Mitchell, San Francisco Symphony to be Moderato (at a moderate speed) because the track has a tempo of 120 BPM, a half-time of 60BPM, and a double-time of 240 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 3/4.
This song is in the music key of B♭ Major. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Polovetsian Dances from Prince Igor: Introduzione | Alexander Borodin, George Szell, Cleveland Orchestra | A Major | 1 | 11B | 83 BPM | ||
Solo de concours, Op. 10 | Henri Rabaud, Michael Collins, Michael McHale | F Major | 0 | 7B | 83 BPM | ||
Romeo and Juliet, Op. 64: Introduction | Sergei Prokofiev, Cleveland Orchestra, Lorin Maazel | E Major | 1 | 12B | 112 BPM | ||
Symphony No. 3 in C Minor, Op. 78 "Organ": I. Adagio | Camille Saint-Saëns, Eugene Ormandy, Philadelphia Orchestra | F Minor | 0 | 4A | 84 BPM | ||
Pini di Roma, P. 141: I. I pini di Villa Borghese | Ottorino Respighi, Buffalo Philharmonic Orchestra, Joann Falletta | D♭ Minor | 1 | 12A | 130 BPM | ||
Piano Sonata No. 2 ("Concord, Mass., 1840-1860"): III. The Alcotts | Charles Ives, Marc-André Hamelin | E♭ Major | 0 | 5B | 72 BPM | ||
Danzas Argentinas, Op. 2: 2. Danza de la moza donosa | Alberto Ginastera, Lang Lang | A Minor | 0 | 8A | 134 BPM | ||
St. Matthew Passion, BWV 244 / Part Two: "Erbarme dich" | Johann Sebastian Bach, Anne Sofie von Otter, Chicago Symphony Orchestra, Sir Georg Solti | B Minor | 1 | 10A | 93 BPM | ||
Shostakovich: Suite for Jazz Orchestra No. 1, Op. 38a: I. Waltz | Dmitri Shostakovich, Philadelphia Orchestra, Mariss Jansons | E♭ Major | 0 | 5B | 81 BPM | ||
Quiet City | Aaron Copland, Paula Engerer, Scott Moore, Nashville Chamber Orchestra, Paul Gambill | F Major | 0 | 7B | 72 BPM |
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