Seattle Symphony Orchestra, Johannes Brahms, Gerard Schwarz's '21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in F-Sharp Minor' came out on September 4, 2012. The duration of 21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in F-Sharp Minor is about two minutes long, specifically at 2:53. This song does not appear to have any foul language. 21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in F-Sharp Minor's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 14 in the song's album "Pfitzner: Symphony in C major - Schumann: Koncertstück for Four Horns". In this album, this song's track order is #7. Furthermore, we believe that the track originated from Hong Kong. 21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in F-Sharp Minor is average in popularity right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With 21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in F-Sharp Minor by Seattle Symphony Orchestra, Johannes Brahms, Gerard Schwarz having a BPM of 83 with a half-time of 42 BPM and a double-time of 166 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 4/4.
This song has a musical key of G Minor. Which also means that the camelot key for this song 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 | ||
---|---|---|---|---|---|---|---|
Giselle: Act I: Variation de Giselle | Adolphe Adam, Academy of St. Martin in the Fields, Sir Neville Marriner | E Major | 1 | 12B | 85 BPM | ||
Bach - Violin Sonata in E Minor, P. 85 (after J.S. Bach's BWV 1023): I. Allegro | Ottorino Respighi, Ilkka Talvi, Seattle Symphony Orchestra, Gerard Schwarz | D Major | 2 | 10B | 126 BPM | ||
13 Pieces for Piano, Op. 76: Elegiaco, No. 10 | Jean Sibelius, Leif Ove Andsnes | E Major | 0 | 12B | 169 BPM | ||
Orpheus in the Underworld: Cancan | Jacques Offenbach, Semyon Bychkov, Wiener Philharmoniker | D Major | 6 | 10B | 152 BPM | ||
Symphony No. 8 in G Major, Op. 88, B. 163 (Arr. P. Breiner for Piano): III. Allegretto grazioso | Antonín Dvořák, Peter Breiner | G Major | 1 | 9B | 179 BPM | ||
Orphee aux enfers (Orpheus in the Underworld): Orpheus in the Underworld: Can-Can (Peter's Friend) | Jacques Offenbach, Razumovsky Symphony Orchestra, Long Yu | D Major | 3 | 10B | 151 BPM | ||
Capriol Suite: 5. Pied-en- l'air | Peter Warlock, Academy of St. Martin in the Fields, Nicholas Kraemer, Sir Neville Marriner | G Major | 1 | 9B | 113 BPM | ||
Le bourgeois gentilhomme: Chaconne des Scaramouches, Frivelins et Arlequins | Jean-Baptiste Lully, Mary Enid Haines, Sharla Nafziger, Aradia Ensemble, Kevin Mallon | F♯ Major | 0 | 2B | 0 BPM | ||
Verdi: Aïda, Act 2: Triumphal march | Giuseppe Verdi, Antonio Pappano, Orchestra dell'Accademia Nazionale di Santa Cecilia | E♭ Major | 0 | 5B | 93 BPM | ||
Cello Concerto No. 1 in A Minor, Op. 33: I. Allegro non troppo | Camille Saint-Saëns, Mischa Maisky, Orpheus Chamber Orchestra | F Major | 2 | 7B | 131 BPM |
Section: 0.6452891826629639
End: 0.6489903926849365