"Tchaikovsky: Swan Lake, Op. 20, Act IV: No. 29, Finale" by Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra was released on 1976. Since Tchaikovsky: Swan Lake, Op. 20, Act IV: No. 29, Finale 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 31 in the song's album "Tchaikovsky: Swan Lake". In this album, this song's track order is #18. Furthermore, we believe that the track originated from United Kingdom. Based on our statistics, Tchaikovsky: Swan Lake, Op. 20, Act IV: No. 29, Finale's popularity is below average in popularity right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Tchaikovsky: Swan Lake, Op. 20, Act IV: No. 29, Finale by Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra having a BPM of 135 with a half-time of 68 BPM and a double-time of 270 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
This song has a musical key of B Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carmina Burana: X. Were diu werlt alle min | Carl Orff, London Symphony Chorus, London Symphony Orchestra, Richard Hickox | C Major | 2 | 8B | 143 BPM | ||
Introduction and Rondo capriccioso in A Minor | Camille Saint-Saëns, Dong-Suk Kang, Polish National Radio Symphony Orchestra, Antoni Wit | A Minor | 1 | 8A | 91 BPM | ||
Violin Concerto in D Major, Op. posth., No. 2: Adagio | Joseph Boulogne Chevalier de Saint-Georges, Zhou Qian, Toronto Chamber Orchestra, Kevin Mallon | D Major | 1 | 10B | 104 BPM | ||
Double Concerto in A Minor, Op. 102 for Violin, Cello and Orchestra: II. Andante | Johannes Brahms, Joshua Bell, Steven Isserlis, Academy of St. Martin in the Fields | G Major | 1 | 9B | 95 BPM | ||
Holberg Suite, Op. 40: 2. Sarabande (Andante) | Edvard Grieg, Gothenburg Symphony Orchestra, Neeme Järvi | G Major | 0 | 9B | 75 BPM | ||
Symphony No. 1 in C Minor, Op. 68: III. Un poco allegretto e grazioso | Johannes Brahms, London Symphony Orchestra, Valery Gergiev | A♭ Major | 1 | 4B | 133 BPM | ||
Symphony No. 7 in E Major, WAB 107 (Version 1881-83; Cohrs A07): III. Scherzo. Sehr schnell – Trio. Etwas langsamer – Scherzo da capo | Anton Bruckner, Sir Simon Rattle, London Symphony Orchestra | D Major | 0 | 10B | 84 BPM | ||
Symphony No. 3 in A Minor, Op. 56, MWV N 18 "Scottish": 4. Allegro vivacissimo - Allegro maestoso assai | Felix Mendelssohn, London Symphony Orchestra, Peter Maag | A Minor | 3 | 8A | 121 BPM | ||
Vienna Blood - Waltz Op. 354 | Johann Strauss II, Hallé, Bryden Thomson | C Major | 0 | 8B | 178 BPM | ||
ダッタン人の踊り (歌劇 イーゴリ公より) 6 娘たちの流麗な踊り | Alexander Borodin, Ken-Ichiro Kobayashi, Arnhem Philharmonic Orchestra | A Major | 2 | 11B | 176 BPM |
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