"Symphony No. 7 in E Minor: III. Scherzo: Schattenhaft" by Gustav Mahler, Polish National Radio Symphony Orchestra, Michael Halasz was released on May 5, 1995. Since Symphony No. 7 in E Minor: III. Scherzo: Schattenhaft is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The track order of this song in Gustav Mahler, Michael Halasz's "Mahler, G.: Symphony No. 7" album is number 3 out of 5. On top of that, Hong Kong appears to be the country where this track was created. Symphony No. 7 in E Minor: III. Scherzo: Schattenhaft is 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 Symphony No. 7 in E Minor: III. Scherzo: Schattenhaft by Gustav Mahler, Polish National Radio Symphony Orchestra, Michael Halasz to be Andante (at a walking pace) because the track has a tempo of 80 BPM, a half-time of 40BPM, and a double-time of 160 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of D Minor. Because this track belongs in the D Minor key, the camelot key 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 | ||
---|---|---|---|---|---|---|---|
Symphony No. 7 in A Major, Op. 92: III. Presto, assai meno presto | Ludwig van Beethoven, Bavarian Radio Symphony Orchestra, Mariss Jansons | D Major | 1 | 10B | 97 BPM | ||
Eine Alpensinfonie, Op. 64, TrV 233: XIII. Auf dem Gipfel | Richard Strauss, David Bell, Berliner Philharmoniker, Herbert von Karajan | C Major | 3 | 8B | 79 BPM | ||
Variations On A Theme By Haydn, Op.56a: Variation VI: Vivace | Johannes Brahms, Berliner Philharmoniker, Herbert von Karajan | B♭ Major | 3 | 6B | 93 BPM | ||
Capriccio Espagnol, Op. 34: III. Alborada | Nikolai Rimsky-Korsakov, George Szell, Cleveland Orchestra | B♭ Major | 4 | 6B | 126 BPM | ||
Concerto for 2 Pianos, FP 61: III. Finale: Allegro molto | Francis Poulenc, Leonard Bernstein, New York Philharmonic | B Minor | 3 | 10A | 100 BPM | ||
Le Sacre du Printemps - Revised version for Orchestra (published 1947) / Part 2: The Sacrifice: Glorification of the Chosen One | Igor Stravinsky, Berliner Philharmoniker, Herbert von Karajan | B♭ Major | 4 | 6B | 134 BPM | ||
Rimsky-Korsakov : Capriccio espagnol Op.34 : II Variazioni | Nikolai Rimsky-Korsakov, Kurt Masur, New York Philharmonic | F Major | 0 | 7B | 163 BPM | ||
La fanciulla del West: Ch'ella mi creda | Giacomo Puccini, Thomas Harper, Slovak Radio Symphony Orchestra, Michael Halasz | F Major | 6 | 7B | 103 BPM | ||
Romeo and Juliet, Op.64 - Act 3: At Friar Laurence's Cell - Interlude | Sergei Prokofiev, Cleveland Orchestra, Lorin Maazel | F Major | 0 | 7B | 101 BPM | ||
Peer Gynt Suite No. 2, Op. 55: III. Peer Gynt's Return | Edvard Grieg, Berliner Philharmoniker, Herbert von Karajan | F♯ Minor | 2 | 11A | 150 BPM |
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