"The Tempest Suite No. 1, Op. 109, No. 2: I. The Oak Tree" by Jean Sibelius, Lahti Symphony Orchestra, Okko Kamu was released on August 2, 2011. The duration of The Tempest Suite No. 1, Op. 109, No. 2: I. The Oak Tree is about 3 minutes long, at 3:06. Based on our data, "The Tempest Suite No. 1, Op. 109, No. 2: I. The Oak Tree" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 21 in the song's album "Sibelius: The Tempest - The Bard - Tapiola". In this album, this song's track order is #2. Furthermore, we believe that the track originated from Sweden. The Tempest Suite No. 1, Op. 109, No. 2: I. The Oak Tree is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With The Tempest Suite No. 1, Op. 109, No. 2: I. The Oak Tree by Jean Sibelius, Lahti Symphony Orchestra, Okko Kamu having a BPM of 86 with a half-time of 43 BPM and a double-time of 172 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of B♭ Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Lutoslawski : Concerto for Orchestra : II Cappricio notturno e Arioso (Vivace) | Witold Lutosławski, Daniel Barenboim, Chicago Symphony Orchestra | B♭ Minor | 1 | 3A | 158 BPM | ||
The Incredible Flutist Suite: IX. Spanish Waltz | Walter Piston, National Orchestral Institute Philharmonic, Joann Falletta | B Major | 5 | 1B | 77 BPM | ||
Symphony No. 7 in D Minor, Op. 70, B. 141: IV. Finale. Allegro | Antonín Dvořák, London Symphony Orchestra, Sir Colin Davis | A Major | 2 | 11B | 94 BPM | ||
Lord Peter's Stable-Boy | Percy Grainger, Slovak Radio Symphony Orchestra | D Major | 1 | 10B | 78 BPM | ||
Hary Janos Suite: Háry János Suite: VI. Entrance of the Emperor and His Court | Zoltán Kodály, Neeme Järvi, Chicago Symphony Orchestra, Laurence Kaptain | A♭ Major | 4 | 4B | 130 BPM | ||
Proving the Existence of Folkloric Creatures | Milo Paulus | F♯ Major | 3 | 2B | 65 BPM | ||
Symphony in F Major, Op. 8, "The Cotswolds": I. Allegro con brio | Gustav Holst, Ulster Orchestra, Joann Falletta | F Major | 1 | 7B | 104 BPM | ||
Peer Gynt Opp.46 & 55, Excerpts, Suite No. 2, Op.55: Prelude (Abduction and Ingrid's Lament) | Paavo Berglund | G Minor | 1 | 6A | 84 BPM | ||
Respighi: Gli uccelli, P. 154: II. La Colomba | Ottorino Respighi, Sir Neville Marriner, Academy of St. Martin in the Fields | F♯ Minor | 0 | 11A | 170 BPM | ||
Elioghia 3 | Federico Longo | C Major | 1 | 8B | 161 BPM |
Section: 0.6893346309661865
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