Kurt Weill, London Sinfonietta, David Atherton's 'Mahagonny Songspiel / Part 2 - Life In Mahagonny: 3a. Vivace' came out on January 1, 1976. With Mahagonny Songspiel / Part 2 - Life In Mahagonny: 3a. Vivace being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. This song is part of Weill: Kleine Dreigroschenmusik; Mahagonny Songspiel; Happy End; Berliner Requiem; Violin Concerto by Kurt Weill, London Sinfonietta, David Atherton. The song's track number on the album is #11 out of 42 tracks. Based on our statistics, Mahagonny Songspiel / Part 2 - Life In Mahagonny: 3a. Vivace's popularity is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
Since Mahagonny Songspiel / Part 2 - Life In Mahagonny: 3a. Vivace by Kurt Weill, London Sinfonietta, David Atherton has a tempo of 129 beats per a minute, the tempo markings of this song would be Allegro (fast, quick, and bright). With Mahagonny Songspiel / Part 2 - Life In Mahagonny: 3a. Vivace being at 129 BPM, the half-time would be 64 BPM with a double-time of 258 BPM.In addition, we consider the tempo speed to be pretty fast for this song. This makes this song perfect for activities such as, walking. The time signature for this track is 3/4.
This song is in the music key of A Minor. Which also means that the camelot key for this song is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Tale of Tsar Saltan, Op. 57, Flight of the Bumble-bee: Tale of Tsar Saltan, Op. 57: III. Flight of the Bumblebee (Arr. R. Pontinen, M. Frost and M. Ernman) | Nikolai Rimsky-Korsakov, Martin Fröst, Malena Ernman, Roland Pöntinen | G Minor | 4 | 6A | 97 BPM | ||
Requiem, Op. 48: VIII. In Paradisum | Gabriel Fauré, Laurence Equilbey, Accentus, Orchestre National De France, La Maîtrise de Paris | D Major | 1 | 10B | 74 BPM | ||
Adams: Nixon in China: Act I, Scene 1 - (Beginning) | John Adams, Edo de Waart, Orchestra of St. Luke's | A Minor | 0 | 8A | 105 BPM | ||
Der Morgenchoral des Peachum (1.Akt) (Jonathan Jer | Bertolt Brecht, Kurt Weill | G Minor | 2 | 6A | 76 BPM | ||
Scaramouche, Op. 165: III. Brazileira | Darius Milhaud, Ludmila Peterková, Irina Kondratenko | C Major | 2 | 8B | 175 BPM | ||
Youkali Tango from Marie Galante | Kurt Weill, Teresa Stratas | D Minor | 1 | 7A | 107 BPM | ||
Cantus arcticus, Op. 61, "Concerto for Birds and Orchestra": I. Suo (The Marsh) | Einojuhani Rautavaara, Royal Scottish National Orchestra, Hannu Lintu | F♯ Major | 1 | 2B | 119 BPM | ||
Les Pecheurs de Perles, Act 1: Romance: Mi par d'udir ancora [Je crois entendre encore] | Georges Bizet, Orchestra, Eugene Goossens, Beniamino Gigli | C Major | 4 | 8B | 120 BPM | ||
Life and Works: Rusalka (Act I: Song to the Moon) | Sean Barrett | F♯ Major | 0 | 2B | 126 BPM | ||
I'm a Stranger Here Myself | Kurt Weill, Dagmar Peckova, Epoque Quartet, Epoque Orchestra, Miroslav Hloucal Jazz Band, Jan Kučera | E♭ Minor | 3 | 2A | 112 BPM |
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