Berlin Radio Symphony Orchestra, Mirjam Sohar, Ensemble Zeitklänge Berlin's 'The Horatians and the Curiatians: No. 10, The Battle of the Archers' came out on August 8, 2013. With The Horatians and the Curiatians: No. 10, The Battle of the Archers 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. The track order of this song in Berlin Radio Symphony Orchestra, Mirjam Sohar, Ensemble Zeitklänge Berlin's "Kurt Schwaen: The Horatians and the Curiatians" album is number 10 out of 31. On top of that, Germany appears to be the country where this track was created. The Horatians and the Curiatians: No. 10, The Battle of the Archers is unknown right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
We consider the tempo marking of The Horatians and the Curiatians: No. 10, The Battle of the Archers by Berlin Radio Symphony Orchestra, Mirjam Sohar, Ensemble Zeitklänge Berlin to be Andante (at a walking pace) because the track has a tempo of 82 BPM, a half-time of 41BPM, and a double-time of 164 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
B♭ Major is the music key of this track. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Dido and Aeneas, Z. 626: Overture | Henry Purcell, Kym Amps, David van Asch, Anna Crookes, The Scholars Baroque Ensemble | B Minor | 2 | 10A | 91 BPM | ||
Carmen Suite No. 1 (Arr. E. Guiraud): II. Aragonaise | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | D Minor | 0 | 7A | 117 BPM | ||
Metropolis: II. Zwischenspiel: Der Tanz | Gottfried Huppertz, Berlin Radio Symphony Orchestra, Frank Strobel | F♯ Major | 4 | 2B | 114 BPM | ||
Gourmet Valse Tartare | Klaus Badelt, Libera, The Lyndhurst Orchestra, Gavin Greenaway | C Major | 2 | 8B | 73 BPM | ||
Ethiopia's Shadow in America: II. His Resignation and Faith | Florence Beatrice Price, ORF Vienna Radio Symphony Orchestra, John Jeter | A Major | 0 | 11B | 64 BPM | ||
The Bartered Bride, JB 1:100 (Excerpts): Dance of the Comedians | Bedřich Smetana, Berlin Radio Symphony Orchestra, Darrell Ang | C Major | 2 | 8B | 145 BPM | ||
Peer Gynt, Op. 23: Act III, 11, Solvejg's Song | Edvard Grieg, Esa-Pekka Salonen | A Minor | 0 | 8A | 168 BPM | ||
Der Karneval der Tiere, R. 125: IV. Der Schwan | Camille Saint-Saëns, Ferhan & Ferzan Önder, Raphaela Gromes, Berlin Radio Symphony Orchestra, Johannes Zurl | G Major | 0 | 9B | 129 BPM | ||
Swan Lake, Op. 20: Op. 20: Act IV No. 29, Scène Finale | Pyotr Ilyich Tchaikovsky, Orchestra of the Royal Opera House, Covent Garden, Mark Ermler | B Major | 4 | 1B | 113 BPM | ||
Pskovityanka (The Maid of Pskov): Entr'acte to Act II: The Assembly | Nikolai Rimsky-Korsakov, Berlin Radio Symphony Orchestra, Michail Jurowski | B♭ Minor | 2 | 3A | 153 BPM |
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