"Massenet: Don Quichotte, Act 3: "C'est ici le chemin que prennent les bandits" (Don Quichotte, Sancho)" by Jules Massenet, Alain Fondary - Orchestre Du Capitole De Toulouse - Michel Plasson - José Van Dam, Alain Fondary, José van Dam, Michel Plasson, Orchestre National Du Capitole De Toulouse was released on 1993. Massenet: Don Quichotte, Act 3: "C'est ici le chemin que prennent les bandits" (Don Quichotte, Sancho) is about six minutes long, preciously at 6:09, making this song fairly long compared to other songs. The track order of this song in Jules Massenet, Michel Plasson's "Massenet: Don Quichotte" album is number 14 out of 29. On top of that, France appears to be the country where this track was created. Massenet: Don Quichotte, Act 3: "C'est ici le chemin que prennent les bandits" (Don Quichotte, Sancho) 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 Massenet: Don Quichotte, Act 3: "C'est ici le chemin que prennent les bandits" (Don Quichotte, Sancho) by Jules Massenet, Alain Fondary - Orchestre Du Capitole De Toulouse - Michel Plasson - José Van Dam, Alain Fondary, José van Dam, Michel Plasson, Orchestre National Du Capitole De Toulouse to be Andante (at a walking pace) because the track has a tempo of 78 BPM, a half-time of 39BPM, and a double-time of 156 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 G Minor. Because this track belongs in the G Minor key, the camelot key is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Orfeo ed Euridice, Act II Scene 2: Ballet Music, "Reigen der seligen Geister" (arr. W. Kempff): Orpheus and Eurydice: Ballet Music - Reigen der seligen Geister (trans. W. Kempff) | Wilhelm Kempff, Christoph Willibald Gluck, Idil Biret | F Major | 0 | 7B | 81 BPM | ||
Romance in F Major, Op. 50 | Ludwig van Beethoven, Charlie Siem, Philharmonia Orchestra, Oleg Caetani | F Major | 1 | 7B | 114 BPM | ||
Memories of a Promenade II | Olga Scheps, Flying Steps | C Minor | 0 | 5A | 74 BPM | ||
II. Adagio cantabile from Piano Sonata No. 8 in C minor, Op. 13 "Pathetique" - Instrumental | Ludwig van Beethoven, Murray Perahia | A♭ Major | 0 | 4B | 62 BPM | ||
Waltz No. 19 in A Minor, KK IVb (Version for Harp in A Flat Minor) | Frédéric Chopin, Magdalena Hoffmann | A♭ Minor | 1 | 1A | 127 BPM | ||
Morceaux de Fantaisie, Op. 3: 1. Elégie | Sergei Rachmaninoff, Sheku Kanneh-Mason, Isata Kanneh-Mason | E♭ Minor | 1 | 2A | 89 BPM | ||
Massenet: Thaïs, Act 2: Méditation. Andante religioso | Jules Massenet, Renaud Capuçon, Daniel Harding, Deutsche Kammerphilharmonie Bremen | E Minor | 1 | 9A | 94 BPM | ||
12 Romances, Op. 21: No. 7, How Fair This Spot (Arr. Sheku Kanneh-Mason for Cello and Piano) | Sergei Rachmaninoff, Sheku Kanneh-Mason, Isata Kanneh-Mason | A Major | 1 | 11B | 89 BPM | ||
Nocturne No. 2 in C Minor | John Field, Benjamin Frith | C Minor | 0 | 5A | 67 BPM | ||
Young Birches, Op. 128, No. 2 | Amy Beach, Joanne Polk | F♯ Minor | 1 | 11A | 170 BPM |
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