Mario Castelnuovo-Tedesco, Kazuhito Yamashita's 'Escarraman (after Cervantes), Op. 177 : II. El Canario' came out on 2001. The duration of Escarraman (after Cervantes), Op. 177 : II. El Canario is about 3 minutes long, at 3:02. Based on our data, "Escarraman (after Cervantes), Op. 177 : II. El Canario" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The track order of this song in Kazuhito Yamashita's "Mario Castelnuovo-Tedesco / Works for Guitar Solo Vol.1" album is number 4 out of 8. Based on our statistics, Escarraman (after Cervantes), Op. 177 : II. El Canario's popularity 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.
We consider the tempo marking of Escarraman (after Cervantes), Op. 177 : II. El Canario by Mario Castelnuovo-Tedesco, Kazuhito Yamashita to be Allegro (fast, quick, and bright) because the track has a tempo of 134 BPM, a half-time of 67BPM, and a double-time of 268 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Les guitares bien temperees (The Well-Tempered Guitars): Preludes and Fugues, Op. 199: Prelude No. 10 in B-Flat Major | Mario Castelnuovo-Tedesco, Brasil Guitar Duo | B♭ Major | 1 | 6B | 156 BPM | ||
Suite Buenos Aires: No. 3, San Telmo | Maximo Diego Pujol, Csaba Szabo, Accord Quartet | E Minor | 2 | 9A | 99 BPM | ||
Otoño Porteño | Stephanie Jones | C Major | 1 | 8B | 117 BPM | ||
Capriccio, Op. 195, No. 18, "El sueno de la razon produce monstruos": No. 17. De que mal morira? (Of what ill will he die?) | Mario Castelnuovo-Tedesco, Zoran Dukic | G Minor | 0 | 6A | 95 BPM | ||
Standchen (Serenade) | Johann Kaspar Mertz, Johannes Möller, Laura Fraticelli | C Major | 0 | 8B | 132 BPM | ||
Estudio No. 19 In B Flat Major | Fernando Sor, Christopher Parkening | B♭ Major | 1 | 6B | 140 BPM | ||
Sonata del Portico: I. Allegro | Antón García Abril, Francisco Bernier | E Minor | 2 | 9A | 89 BPM | ||
Danza Mora | Philip Hemmo | B Major | 2 | 1B | 90 BPM | ||
Milonga del Viento | Jorge Morel, Celil Refik Kaya | F Major | 0 | 7B | 112 BPM | ||
Aquarelle: II. Valseana | Sergio Assad, Graham Anthony Devine | D Major | 0 | 10B | 102 BPM |
Section: 0.639883279800415
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