"The Nutcracker, Op. 71, TH 14: Arabian Dance (Arr. E. Smedvig)" by Pyotr Ilyich Tchaikovsky, Empire Brass was released on November 1, 1989. The duration of The Nutcracker, Op. 71, TH 14: Arabian Dance (Arr. E. Smedvig) is about 3 minutes long, at 3:18. Based on our data, "The Nutcracker, Op. 71, TH 14: Arabian Dance (Arr. E. Smedvig)" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 9 out of 18 in Class Brass: Orchestral Favorites Arranged for Brass by Empire Brass. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. The Nutcracker, Op. 71, TH 14: Arabian Dance (Arr. E. Smedvig) 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 The Nutcracker, Op. 71, TH 14: Arabian Dance (Arr. E. Smedvig) by Pyotr Ilyich Tchaikovsky, Empire Brass is Adagio (slowly with great expression), since this song has a tempo of 71 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 has a musical key of E Minor. Because this track belongs in the E Minor key, the camelot key is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Slovak Suite, Op. 32: III. The Lovers. Andante quasi allegretto | Vítězslav Novák, Prague Philharmonia, Jiří Bělohlávek | E♭ Major | 0 | 5B | 76 BPM | ||
Mendelssohn: 6 Lieder, Op. 1: No. 3 Warum sind denn die Rosen so blass | Fanny Mendelssohn, Emmanuel Pahud, Eric Le Sage | A Minor | 1 | 8A | 93 BPM | ||
Pulcinella (Concert Suite), K34: IV. Tarantella (Transcr. for Solo Violin and Chamber Orchestra) | Igor Stravinsky, Daniel Hope, Zürcher Kammerorchester | C Minor | 0 | 5A | 96 BPM | ||
Chant Sans Paroles (Op.2) | Pyotr Ilyich Tchaikovsky, Harry Standing, Moscow Symphony Orchestra | E Major | 4 | 12B | 109 BPM | ||
Tales of a Small Flute for Piccolo & Piano: I. Volne (Andante) | Vítězslava Kaprálová, Haika Lübcke, Hendrik Heilmann | E Major | 0 | 12B | 96 BPM | ||
3 American Pieces (Version for Violin & Orchestra): No. 1, Early Song | Lukas Foss, Nikki Chooi, Buffalo Philharmonic Orchestra, Joann Falletta | A Minor | 1 | 8A | 147 BPM | ||
6 Studien in kanonischer Form, Op. 56: II. Mit innigem Ausdruck | Robert Schumann, Céline Moinet, Florian Uhlig, Norbert Anger | D Minor | 0 | 7A | 166 BPM | ||
Gil Blas: Theme. Allegro vivo | Jules Strens, Matty Cilissen, Royal Band of the Belgian Air Force | F Minor | 0 | 4A | 176 BPM | ||
Variations on an Original Theme, Op. 36, "Enigma": Var. I (C.A.E.) | Edward Elgar, Bournemouth Symphony Orchestra, George Hurst | C Minor | 2 | 5A | 107 BPM | ||
Symphony No. 1, Op. 11: II. Andante | Felix Mendelssohn, Tonhalle-Orchester Zürich, Paavo Järvi | E Major | 1 | 12B | 72 BPM |
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