On August 3, 2007, the song "Can-Can From Orpheus In The Underworld" was released by Jacques Offenbach, Royal Philharmonic Orchestra, Philip Ellis. The duration of Can-Can From Orpheus In The Underworld is about two minutes long, specifically at 2:13. This song does not appear to have any foul language. Can-Can From Orpheus In The Underworld's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Royal Philharmonic Orchestra's "Last Night of the Proms" album is number 4 out of 17. On top of that, United Kingdom appears to be the country where this track was created. The popularity of Can-Can From Orpheus In The Underworld is currently average in popularity right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
We consider the tempo marking of Can-Can From Orpheus In The Underworld by Jacques Offenbach, Royal Philharmonic Orchestra, Philip Ellis to be Vivace (lively and fast) because the track has a tempo of 165 BPM, a half-time of 82BPM, and a double-time of 330 BPM. Based on that, the speed of the song's tempo is fast. The time signature for this track is 4/4.
This song is in the music key of D Major. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Brandenburg Concerto No. 3 in G Major, BWV 1048: I. [Allegro] | Johann Sebastian Bach, Trevor Pinnock, European Brandenburg Ensemble | F♯ Major | 4 | 2B | 101 BPM | ||
Les Contes d'Hoffmann / Act III: Barcarolle (Arr. for Violin, Cello, Piano and String Ensemble by Aleksandar Sedlar) | Jacques Offenbach, Nemanja Radulović, Camille Thomas, Double Sens | D Major | 0 | 10B | 73 BPM | ||
Flight of The Bumble Bee | Nikolai Rimsky-Korsakov, Hanspeter Gmür, Camerata Rhenania, Various Artists | A Minor | 1 | 8A | 76 BPM | ||
Grieg: Peer Gynt, Op. 23, Act II: No. 7, In the Hall of the Mountain King | Edvard Grieg, Sir Thomas Beecham, Beecham Choral Society, Royal Philharmonic Orchestra | B Minor | 3 | 10A | 87 BPM | ||
Rigoletto, Act IV: La donna e mobile (arr. for orchestra) | Anonymous , Giuseppe Verdi, Sofia Philharmonic Orchestra, Emil Tabakov | B♭ Major | 1 | 6B | 155 BPM | ||
Rondò alla turca | Orchestra Italiana | A Major | 1 | 11B | 126 BPM | ||
Orpheus In The Underworld (Orphée aux enfers): Can-Can - Live | Jacques Offenbach, Wiener Philharmoniker, Lorin Maazel | D Major | 6 | 10B | 172 BPM | ||
Reflection - From "Mulan" (Feat. Guo Gan) | Lang Lang, Guo Gan, Royal Philharmonic Orchestra, Robert Ziegler | C Major | 1 | 8B | 106 BPM | ||
Violin Concerto No. 2 in B Minor, Op. 7, "La campanella": III. Rondo | Niccolò Paganini, Netherlands Symphony Orchestra, Rudolf Koelman, Jan Willem de Vriend | B Minor | 2 | 10A | 105 BPM | ||
Fantasia On British Sea Songs | Sir Henry Wood, Joseph Henry Wood, Royal Philharmonic Orchestra, Robin Stapleton | C Major | 1 | 8B | 80 BPM |
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