Rutland Boughton, Alan G. Melville, English Chamber Orchestra, Roderick Kennedy's 'The Immortal Hour, Act I Scene 1: No. 2, By Dim Moon-Glimmering Coasts and Sad Sea Wastes (Dalua)' had a release date set for 1984. With This song being less than two minutes long, at 1:30, 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 62 in the song's album "Rutland Boughton: The Immortal Hour". In this album, this song's track order is #2. Furthermore, we believe that the track originated from United Kingdom. The Immortal Hour, Act I Scene 1: No. 2, By Dim Moon-Glimmering Coasts and Sad Sea Wastes (Dalua) 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.
With The Immortal Hour, Act I Scene 1: No. 2, By Dim Moon-Glimmering Coasts and Sad Sea Wastes (Dalua) by Rutland Boughton, Alan G. Melville, English Chamber Orchestra, Roderick Kennedy having a BPM of 79 with a half-time of 40 BPM and a double-time of 158 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 1/4.
This song has a musical key of B Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Do Not Go Gentle Into That Good Night | John Cale | A♭ Major | 2 | 4B | 125 BPM | ||
and the swallow | Caroline Shaw, Ars Nova Copenhagen, Paul Hillier | B♭ Minor | 1 | 3A | 116 BPM | ||
In Re Don Giovanni | Michael Nyman, Michael Nyman Band | D♭ Major | 3 | 3B | 113 BPM | ||
Distant Hills | The Simon Park Orchestra | D Minor | 9 | 7A | 113 BPM | ||
Orchestral Suite No. 3 in D Major, BWV 1068: II. Air (Arr. for Theremin & Piano) | Johann Sebastian Bach, Clara Rockmore, Nadia Reisenberg | C Major | 0 | 8B | 97 BPM | ||
O vis eternitatis | Hildegard von Bingen, Sequentia, Barbara Thornton | A Minor | 1 | 8A | 62 BPM | ||
Plays John Cassavetes 2 | Ekkehard Ehlers | G Major | 5 | 9B | 69 BPM | ||
Das Rheingold: Vorspiel | Richard Wagner, Wiener Philharmoniker, Sir Georg Solti | D Major | 0 | 10B | 78 BPM | ||
The Immortal Hour, Act I Scene 1: No. 21, There Is No Backward Way for Such as I (Eochaidh/Dalua) | Rutland Boughton, Alan G. Melville, English Chamber Orchestra, David Wilson-Johnson, Roderick Kennedy | G Major | 1 | 9B | 65 BPM | ||
Requiem, Op. 48: Agnus Dei | Gabriel Fauré, The Sixteen, Harry Christophers, Academy of St. Martin in the Fields | D Minor | 1 | 7A | 78 BPM |