Robert Schumann, Andreas Staier's 'Aus Sieben Clavierstücke in Fughettenform, Op. 126: II. Mäßig' came out on November 18, 2008. With Aus Sieben Clavierstücke in Fughettenform, Op. 126: II. Mäßig being less than two minutes long, at 1:38, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 41 in the song's album "Schumann: A Tribute to Bach - Kinderszenen; Waldszenen; Album für die Jugend". In this album, this song's track order is #14. Furthermore, we believe that the track originated from France. Based on our statistics, Aus Sieben Clavierstücke in Fughettenform, Op. 126: II. Mäßig's popularity is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Aus Sieben Clavierstücke in Fughettenform, Op. 126: II. Mäßig by Robert Schumann, Andreas Staier having a BPM of 142 with a half-time of 71 BPM and a double-time of 284 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with jogging or cycling. The time signature for this track is 4/4.
This song has a musical key of D Minor. Which also means that the camelot key for this song is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Vocalise, Op. 34, No. 14 - Version For Cello And Piano | Sergei Rachmaninoff, Mischa Maisky, Pavel Gililov | E Minor | 8 | 9A | 128 BPM | ||
Schumann: Liederkreis, Op. 24: No. 2, Es treibt mich hin | Heinrich Heine, Robert Schumann, Ian Bostridge, Julius Drake | F♯ Major | 1 | 2B | 168 BPM | ||
6 Chorale Preludes, BV B 50: Herzlich tut mich verlangen, Op. 122/10 | Johannes Brahms, Ferruccio Busoni, Igor Levit | A Minor | 0 | 8A | 84 BPM | ||
Keyboard Sonata in E Major, K. 380: Andante commodo | Domenico Scarlatti, Ivo Pogorelich | B Major | 0 | 1B | 88 BPM | ||
Schumann: 12 Gedichte aus Liebesfrühling, Op. 37: No. 4: Liebst du um Schönheit | Clara Schumann, Anneleen Lenaerts, Dionysis Grammenos | D♭ Major | 0 | 3B | 91 BPM | ||
6 Studies in English Folksong (Version for Cello & Piano): No. 2, Andante sostenuto "Spurn Point" | Ralph Vaughan Williams, Gerald Peregrine, Antony Ingham | E♭ Major | 0 | 5B | 90 BPM | ||
Stille Musik: 3. Augenblicke der Serenade | Valentin Silvestrov | C Major | 0 | 8B | 86 BPM | ||
Mendelssohn: 6 Lieder ohne Worte, Book 6, Op. 67: II. Allegro leggiero | Felix Mendelssohn, Leif Ove Andsnes | F♯ Minor | 1 | 11A | 182 BPM | ||
Ständchen, S. 560 (Trans. from Schwanengesang No. 4, D. 957) | Franz Schubert, Franz Liszt, Khatia Buniatishvili | D Major | 0 | 10B | 67 BPM | ||
Cello Concerto No. 1 in C Major, Hob. VIIb:1: II. Adagio | Franz Joseph Haydn, Yo-Yo Ma, José-Luis Garcia, English Chamber Orchestra | F Major | 1 | 7B | 62 BPM |
Section: 0.7500514984130859
End: 0.7540574073791504