"24 Preludes for Cello and Piano, Op. 47: Prelude No. 6 (Andante tragico)" by Lera Auerbach, Camille Thomas, Beatrice Berrut was released on June 3, 2013. The duration of 24 Preludes for Cello and Piano, Op. 47: Prelude No. 6 (Andante tragico) is about two minutes long, specifically at 2:35. This song does not appear to have any foul language. 24 Preludes for Cello and Piano, Op. 47: Prelude No. 6 (Andante tragico)'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 "Rachmaninoff, Kabalevsky & Auerbach: A Century of Russian Colours". In this album, this song's track order is #10. Furthermore, we believe that the track originated from Belgium. 24 Preludes for Cello and Piano, Op. 47: Prelude No. 6 (Andante tragico) 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.
With 24 Preludes for Cello and Piano, Op. 47: Prelude No. 6 (Andante tragico) by Lera Auerbach, Camille Thomas, Beatrice Berrut having a BPM of 78 with a half-time of 39 BPM and a double-time of 156 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 is in the music key of B♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Piano Concerto in G Major, M. 83: II. Adagio assai | Maurice Ravel, Yuja Wang, Tonhalle Orchester Zürich, Lionel Bringuier | D♭ Minor | 0 | 12A | 85 BPM | ||
Rêverie, L. 68 | Claude Debussy, Alice Sara Ott | G Minor | 0 | 6A | 68 BPM | ||
Nisi Dominus, RV 608: 4. Cum dederit dilectis suis (Arr. Cello) | Antonio Vivaldi, Harriet Krijgh, Amsterdam Sinfonietta, Candida Thompson | G Minor | 0 | 6A | 106 BPM | ||
Lieder ohne Worte, Book 2, Op. 30: No. 6 in F-Sharp Minor, MWV U110 "Venetianisches Gondelleid" | Felix Mendelssohn, Denis Kozhukhin | F♯ Minor | 0 | 11A | 67 BPM | ||
Couperin: Les Baricades mistérieuses | François Couperin, Aurora Orchestra, Nicholas Collon | B♭ Major | 0 | 6B | 65 BPM | ||
Do you remember, Maria? | Sergei Diaghilev, Lera Auerbach, Chiyuki Urano | D♭ Major | 1 | 3B | 93 BPM | ||
4 Lieder, Op. 27: 4. Morgen! | Richard Strauss, Harriet Krijgh, Magda Amara | G Major | 0 | 9B | 175 BPM | ||
24 Preludes for Piano, Op. 41: No. 18 in F Minor | Lera Auerbach, Eli Kalman | F Major | 1 | 7B | 106 BPM | ||
Suite for Two Pianos, Op. 6: II. Andantino con moto | Charles Koechlin, Tal & Groethuysen | F Minor | 0 | 4A | 192 BPM | ||
Vocalise, Op. 34, No. 14 (Arr. for Cello and Piano) | Sergei Rachmaninoff, Lynn Harrell, Vladimir Ashkenazy | D♭ Minor | 0 | 12A | 93 BPM |
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