Arthur Sullivan, John Reed, The New Symphony Orchestra Of London, Isidore Godfrey's '22. Love unrequited' came out on January 1, 1960. 22. Love unrequited is about six minutes long, preciously at 5:35, making this song fairly long compared to other songs. The track order of this song in Arthur Sullivan, The D'Oyly Carte Opera Company, The New Symphony Orchestra Of London, Isidore Godfrey's "Gilbert & Sullivan: Iolanthe" album is number 7 out of 28. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, 22. Love unrequited is currently not that popular. 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 22. Love unrequited by Arthur Sullivan, John Reed, The New Symphony Orchestra Of London, Isidore Godfrey to be Andante (at a walking pace) because the track has a tempo of 107 BPM, a half-time of 54BPM, and a double-time of 214 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
F Major is the music key of this track. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Cendrillon: Ah! Douce enfant | Jules Massenet, Philharmonia Orchestra, Julius Rudel | B Major | 0 | 1B | 91 BPM | ||
Le nozze di Figaro, K.492 - Original version, Vienna 1786 - Act 4: Le Nozze di Figaro, K. 492 - "Contessa, perdona...Ah tutti contenti" | Wolfgang Amadeus Mozart, Academy of St. Martin in the Fields, Ambrosian Opera Chorus, Lucia Popp, Barbara Hendricks, José van Dam, Agnes Baltsa, Felicity Palmer, Aldo Baldin, Neil Jenkins, Robert Lloyd, Donald Maxwell, Cathryn Pope, Catherine Denly, John Constable, Ruggero Raimondi | C Major | 3 | 8B | 125 BPM | ||
Bizet: Carmen, WD 31, Act 3, Scene 1: "Je dis que rien ne m'épouvante" (Micaëla) | Georges Bizet, Giuseppe Sinopoli, Angela Gheorghiu, Bavarian State Orchestra | E♭ Major | 0 | 5B | 135 BPM | ||
HMS Pinafore: My Gallant Crew / I Am the Captain of the Pinafore | New D'Oyly Carte Opera, Tom McVeigh | E Major | 4 | 12B | 105 BPM | ||
The Yeomen of the Guard (or, The Merryman and his Maid) (1987 - Remaster), Act I: I have a song to sing, O! (Elsie, Point, Crowd) | Arthur Sullivan, Sir Geraint Evans/Elsie Morison/Glyndebourne Chorus/Pro Arte Orchestra/Sir Malcolm Sargent, Sir Malcolm Sargent, Pro Arte Orchestra | A♭ Major | 1 | 4B | 89 BPM | ||
Verdi: Otello: Atto Secondo: Dove guardi splendono | Giuseppe Verdi, Jonas Kaufmann, Antonio Pappano, Orchestra dell'Accademia Nazionale di Santa Cecilia | E Minor | 0 | 9A | 82 BPM | ||
Vedrai, carino | Wolfgang Amadeus Mozart, Vesselina Kasarova, Sir Colin Davis | E♭ Major | 0 | 5B | 135 BPM | ||
3. For the merriest fellows are we | Arthur Sullivan, Michael Wakeham, The D'Oyly Carte Opera Chorus, The New Symphony Orchestra Of London, Isidore Godfrey | C Major | 1 | 8B | 88 BPM | ||
Hidden Faces | Karl Jenkins, Kathryn Rudge, World Orchestra For Peace | D♭ Major | 2 | 3B | 93 BPM | ||
Gianni Schicchi: "Povero Buoso!" | Giacomo Puccini, Eva Podles, Enrico Fissore, Roberto Alagna, Nicoletta Curiel, Orazio Mori, Giorgio Giorgetti, Riccardo Cassinelli, Barbara Frittoli, Barbara Guerrini, Coro Di Voci Bianchi "Guido Monaco" Di Prato, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Bruno Bartoletti | B♭ Minor | 1 | 3A | 66 BPM |
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