Ruggero Leoncavallo, José Carreras, Philharmonia Orchestra, Riccardo Muti's 'Pagliacci, Atto Secondo, La Commedia/The Play/Die Komödie/La comédie: Di fare il segno convenuto (Colombina/Tonio[Taddeo]/Coro/Arlecchino)' came out on 1979. With this song being around four minutes long, at 4:00, 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 Riccardo Muti, Philharmonia Orchestra's "Mascagni: Cavalleria Rusticana/Leoncavallo: I Pagliacci" album is number 20 out of 44. The popularity of Pagliacci, Atto Secondo, La Commedia/The Play/Die Komödie/La comédie: Di fare il segno convenuto (Colombina/Tonio[Taddeo]/Coro/Arlecchino) is currently 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 Pagliacci, Atto Secondo, La Commedia/The Play/Die Komödie/La comédie: Di fare il segno convenuto (Colombina/Tonio[Taddeo]/Coro/Arlecchino) by Ruggero Leoncavallo, José Carreras, Philharmonia Orchestra, Riccardo Muti to be Vivace (lively and fast) because the track has a tempo of 176 BPM, a half-time of 88BPM, and a double-time of 352 BPM. Based on that, the speed of the song's tempo is fast. 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 | ||
---|---|---|---|---|---|---|---|
La Boheme | Dustin Henze | D Major | 1 | 10B | 74 BPM | ||
Pavana para una infanta difunta | Hamburg Symphony Orchestra | G Major | 0 | 9B | 136 BPM | ||
La Wally/Ebben, Ne Andrò Lontana | Montserrat Caballé, Orquesta Sinfónica de Barcelona | E Minor | 1 | 9A | 79 BPM | ||
I Puritani / Act 2: Qui la voce sua soave - Live At Metropolitan Opera House, New York / 2011 | Vincenzo Bellini, Anna Netrebko, Metropolitan Opera Orchestra, Patrick Summers | E♭ Major | 0 | 5B | 79 BPM | ||
Die Fledermaus: Overture | Johann Strauss II, Wiener Philharmoniker, André Previn | A Major | 2 | 11B | 90 BPM | ||
Pagliacci / Act I: Sei lá! Credea che te ne fossi andato | Ruggero Leoncavallo, Joan Carlyle, Giuseppe Taddei, Orchestra Del Teatro Alla Scala, Milano, Herbert von Karajan | F Major | 0 | 7B | 108 BPM | ||
Die tote Stadt (The Dead City), Op. 12: Act I Scene 5: Gluck, das mir verblieb (Marietta, Paul) | Erich Wolfgang Korngold, Klaus Florian Vogt, Tatiana Pavlovskaya, Michael Nagy, Hedwig Fassbender, Anna Ryberg, Jenny Carlstedt, Julian Prégardien, Hans-Jurgen Lazar, Frankfurt Opera Chorus, Frankfurt Opera Children's Chorus, Frankfurt Opera and Museum Orchestra, Sebastian Weigle | B♭ Major | 1 | 6B | 83 BPM | ||
Barcarola veneziana for Piano | Ruggero Leoncavallo, 西澤安澄 | G Major | 1 | 9B | 68 BPM | ||
Sogno | Francesco Paolo Tosti, Andrea Bocelli, London Symphony Orchestra, Lorin Maazel | A♭ Major | 3 | 4B | 73 BPM | ||
L'elisir d'amore: Act II: Una furtiva lagrima | Gaetano Donizetti, Lawrence Brownlee, Kaunas City Symphony Orchestra, Constantine Orbelian | G Major | 1 | 9B | 112 BPM |
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