Kurt Weill, Julius Katona, Fritz Göllnitz, Ernst Poettgen, Sigmund Roth, Wilhelm Brückner-Rüggeberg's 'Die sieben Todsünden: Faulheit (Allegro vivace)' had a release date set for 1955. With this song being around four minutes long, at 4:28, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The track order of this song in Kurt Weill, Lotte Lenya's "Lotte Lenya Sings Kurt Weill - The Seven Deadly Sins / Berlin Theatre Songs" album is number 2 out of 21. Die sieben Todsünden: Faulheit (Allegro vivace) 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.
We consider the tempo marking of Die sieben Todsünden: Faulheit (Allegro vivace) by Kurt Weill, Julius Katona, Fritz Göllnitz, Ernst Poettgen, Sigmund Roth, Wilhelm Brückner-Rüggeberg to be Andante (at a walking pace) because the track has a tempo of 81 BPM, a half-time of 40BPM, and a double-time of 162 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of F Minor. Because this track belongs in the F Minor key, the camelot key is 4A. So, the perfect camelot match for 4A would be either 4A or 3B. While, a low energy boost can consist of either 4B or 5A. For moderate energy boost, you would use 1A and a high energy boost can either be 6A or 11A. However, if you are looking for a low energy drop, finding a song with a camelot key of 3A would be a great choice. Where 7A would give you a moderate drop, and 2A or 9A would be a high energy drop. Lastly, 7B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Concierto de Aranjuez: II. (b) Moderato | Joaquín Rodrigo, Alison Balsom, Scott Stroman, Britten Sinfonia | F Major | 0 | 7B | 173 BPM | ||
Dido and Aeneas: Dido's Lament | Jessye Norman | C Minor | 2 | 5A | 89 BPM | ||
Sogno d'or, SC 82 (Arr. for Voice & Orchestra by Johannes X. Schachtner) | Giacomo Puccini, Charles Castronovo, Munich Radio Orchestra, Ivan Repušić | G Major | 2 | 9B | 74 BPM | ||
Román népi táncok (Romanian Folk Dances), BB 76: No. 1. Jocul cu bata: Molto moderato | Béla Bartók, Hungarian National Philharmonic, Zoltán Kocsis | A Minor | 0 | 8A | 93 BPM | ||
Kindertotenlieder (Rückert) (1999 Digital Remaster): I: Nun will die Sonn' so hell aufgeh'n | Gustav Mahler, Dame Janet Baker, Hallé, Sir John Barbirolli | G Minor | 0 | 6A | 88 BPM | ||
American Song Suite: IV. Mack The Knife (Version for Violin and Chamber Orchestra) | Kurt Weill, Daniel Hope, Joscho Stephan, Alexander Ponet, Zürcher Kammerorchester | D Major | 1 | 10B | 177 BPM | ||
Serenade to Youth | Haydn Wood, Slovak Radio Symphony Orchestra, Adrian Leaper | D Major | 1 | 10B | 121 BPM | ||
Pavane pour une infante défunte, M. 19 (Version for Orchestra) | Maurice Ravel, Myron Bloom, Orchestre de Paris, Daniel Barenboim | G Major | 0 | 9B | 76 BPM | ||
Rusalka, Op. 114, B. 203, Act I: Lieblicher Mond (Song to the Moon) | Antonín Dvořák, Emalie Savoy, Brandenburg State Orchestra Frankfurt, Matthias Foremny | F♯ Major | 1 | 2B | 63 BPM | ||
Poulenc: Dialogues des Carmélites, FP 159, Act 3 Tableau 4: "Salve Regina" (La Foule, Les Carmélites) | Francis Poulenc, José van Dam, Kent Nagano, Orchestre De L'Opéra National De Lyon | G Minor | 1 | 6A | 89 BPM |