Edward Elgar, London Philharmonic Orchestra, Sir Georg Solti's 'Pomp and Circumstance Marches, Op. 39: March No. 4 in G Major' came out on January 1, 1977. With this song being about 5 minutes long, at 4:51, "Pomp and Circumstance Marches, Op. 39: March No. 4 in G Major" by Edward Elgar, London Philharmonic Orchestra, Sir Georg Solti is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The song is number 4 out of 21 in Elgar: Enigma Variations; Pomp & Circumstance Marches; Cockaigne Overture by Edward Elgar, Chicago Symphony Orchestra, London Philharmonic Orchestra, Sir Georg Solti. In terms of popularity, Pomp and Circumstance Marches, Op. 39: March No. 4 in G Major is currently below average in popularity. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Pomp and Circumstance Marches, Op. 39: March No. 4 in G Major by Edward Elgar, London Philharmonic Orchestra, Sir Georg Solti is Moderato (at a moderate speed), since this song has a tempo of 118 BPM. With that information, we can conclude that the song has a moderate tempo. This song can go great with walking. The time signature for this track is 4/4.
G Major is the music key of this track. 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 | ||
---|---|---|---|---|---|---|---|
Beethoven: Symphony No. 6 in F Major, Op. 68 "Pastoral": IV. Gewitter. Sturm. Allegro - | Ludwig van Beethoven, Philadelphia Orchestra, Riccardo Muti | G Major | 0 | 9B | 127 BPM | ||
Billy the Kid Suite: I. Introduction. The Open Prairie | Aaron Copland, Leonard Bernstein, New York Philharmonic | C Minor | 2 | 5A | 58 BPM | ||
Orfeo ed Euridice (Viennese version, 1762) (1997 Digital Remaster), Scene 2: Dance of the Blessed Spirits | Christoph Willibald Gluck, Philharmonia Orchestra, Riccardo Muti | C Major | 0 | 8B | 65 BPM | ||
Viola Concerto in G Major, TWV 51:G9: I. Largo | Georg Philipp Telemann, Ladislav Kyselák, Capella Istropolitana, Richard Edlinger | G Major | 1 | 9B | 144 BPM | ||
Carmen Suite No. 1 (Arr. E. Guiraud): IV. Séguedille | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | D Major | 0 | 10B | 176 BPM | ||
St. Matthew Passion, BWV 244 - Part One: 1. Kommt, ihr Töchter, helft mir klagen | Johann Sebastian Bach, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | E Minor | 3 | 9A | 139 BPM | ||
Peer Gynt Suite No. 1, Op. 46: Morning Mood | London Philharmonic Orchestra | E Major | 1 | 12B | 132 BPM | ||
The Mountain Thrall, Op. 32 | Edvard Grieg, Carole Farley, London Philharmonic Orchestra, José Serebrier | A♭ Major | 1 | 4B | 72 BPM | ||
Radio 4 UK Theme | Fritz Spiegl, Manfred Arlan, David Parry, London Philharmonic Orchestra | G Major | 1 | 9B | 120 BPM | ||
Symphonie fantastique, Op. 14: Marche au supplice (Allegro non troppo) | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | B♭ Major | 2 | 6B | 147 BPM |
Section: 0.7467312812805176
End: 0.7694566249847412