"Les berceaux, Op.23, No.1" by Gabriel Fauré, Dalton Baldwin, Gérard Souzay was released on January 1, 2001. The duration of Les berceaux, Op.23, No.1 is about two minutes long, specifically at 2:53. This song does not appear to have any foul language. Les berceaux, Op.23, No.1's duration is considered a little bit shorter than the average duration of a typical track. The song is number 8 out of 35 in Fauré by Gabriel Fauré, Various Artists. Going off of the ISRC code of this track, we detected that the origin of this track is from Netherlands. Les berceaux, Op.23, No.1 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.
The tempo marking of Les berceaux, Op.23, No.1 by Gabriel Fauré, Dalton Baldwin, Gérard Souzay is Andante (at a walking pace), since this song has a tempo of 80 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
This song is in the music key of B♭ Minor. Because this track belongs in the B♭ Minor key, the camelot key is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Fauré: 3 Songs, Op. 7: No. 1, Après un rêve | Gabriel Fauré, Sabine Devieilhe, Alexandre Tharaud | G Minor | 1 | 6A | 166 BPM | ||
Six Lieder, Op.13: 4. Der Mond kommt still gegangen | Clara Schumann, Barbara Bonney, Vladimir Ashkenazy | D♭ Major | 0 | 3B | 127 BPM | ||
Fedora / Act 2: "Amor ti vieta" | Umberto Giordano, Jonas Kaufmann, Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano | C Major | 3 | 8B | 93 BPM | ||
Atalanta, HWV 35, Act I: Care selve | George Frideric Handel, Pretty Yende, Coronation Orchestra, Antonio Pappano, Matthew Jorysz | A Major | 2 | 11B | 119 BPM | ||
La Pastorella delle Alpi | June Anderson, Raul Gimenez, Kathryn Bouleyn, Alessandro Corbelli, Nina Walker | C Major | 0 | 8B | 65 BPM | ||
Samson et Dalila, Op.47, R. 288 / Act 1: "Printemps qui commence" | Camille Saint-Saëns, Olga Borodina, Orchestra of the Welsh National Opera, Carlo Rizzi | E Major | 0 | 12B | 83 BPM | ||
Nacht und Träume, D. 827 | Franz Schubert, Elly Ameling, Dalton Baldwin | F♯ Major | 0 | 2B | 69 BPM | ||
Fauré: 2 Mélodies, Op. 1: No. 1, Le papillon et la fleur | Gabriel Fauré, Véronique Gens, Roger Vignoles | E♭ Minor | 1 | 2A | 123 BPM | ||
Zigeunermelodien, Op. 55, B. 104 (Sung in German): No. 2. Ei, wie mein Triangel wunderherrlich lautet (Hark, how my triangle) | Antonín Dvořák, Martina Arroyo, Leonard Hokanson | F♯ Minor | 1 | 11A | 86 BPM | ||
Haugtussa, Op. 67: VII. Vond dag | Charlotte Hoather, George Todica | B♭ Minor | 1 | 3A | 58 BPM |
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