"Romeo And Juliet, Ballet Suite No. 1 - Op. 64a:5: Masks" by Sergei Prokofiev, Royal Concertgebouw Orchestra, Myung-Whun Chung was released on January 1, 1994. With Romeo And Juliet, Ballet Suite No. 1 - Op. 64a:5: Masks being less than two minutes long, at 1:55, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 15 in the song's album "Prokofiev: Romeo and Juliet - Excerpts from Suites No.1-3". In this album, this song's track order is #7. Furthermore, we believe that the track originated from Germany. Romeo And Juliet, Ballet Suite No. 1 - Op. 64a:5: Masks is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Romeo And Juliet, Ballet Suite No. 1 - Op. 64a:5: Masks by Sergei Prokofiev, Royal Concertgebouw Orchestra, Myung-Whun Chung having a BPM of 68 with a half-time of 34 BPM and a double-time of 136 BPM, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 3/4.
This song has a musical key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
La Bayadere, Act III: 42. "Entrance - Nikiya; Pas De Deux - Nikiya and Solor" | Evergreen Symphony Orchestra, Kevin Galiè | A Major | 0 | 11B | 178 BPM | ||
Violin Concerto No. 1 in G Minor, Op. 26: III. Allegro energico | Max Bruch, Itzhak Perlman, Bernard Haitink, Concertgebouworkest | G Major | 3 | 9B | 97 BPM | ||
Variations on a Theme by Haydn, Op. 56a, "St. Anthony Variations": Thema, "Chorale St. Antoni": Andante | Johannes Brahms, London Philharmonic Orchestra, Marin Alsop | F♯ Major | 3 | 2B | 125 BPM | ||
Brahms: Double Concerto for Violin and Cello in A Minor, Op. 102: I. Allegro | Johannes Brahms, Itzhak Perlman, Bernard Haitink, Concertgebouworkest | A Minor | 2 | 8A | 116 BPM | ||
Paquita: Polonaise and Mazurka | Ludwig Minkus, Anna Takova-Baynova, Valentina Raicheva, Sofia National Opera Orchestra, Boris Spassov | C Major | 2 | 8B | 176 BPM | ||
Pelléas et Mélisande, Op.80: 2. Fileuse. Andantino quasi Allegretto | Gabriel Fauré, Boston Symphony Orchestra, Seiji Ozawa | G Major | 1 | 9B | 88 BPM | ||
Adam: Giselle, Act 1: No. 5 Variation I | Adolphe Adam, Terence Kern, London Festival Ballet Orchestra | A Major | 2 | 11B | 77 BPM | ||
Ruslan and Lyudmila, Op. 5: Overture | Mikhail Glinka, Taras Shtonda, Ekaterina Morozova, Vadim Lynkovsky, Aleksandra Durseneva, Panfilov, Maria Gavrilova, Valery Gilmanov, Maksim Paster, Irina Dolzhenko, Bolshoi Theatre Orchestra, Alexander Vedernikov | E Minor | 1 | 9A | 154 BPM | ||
From Holberg's Time, Op. 40: III. Gavotte: Allegretto - Musette: Un poco mosso - Gavotte | Edvard Grieg, Moscow Soloists, Yuri Bashmet | E♭ Major | 2 | 5B | 74 BPM | ||
Don Quixote: Act III: Finale: Spanish Dance | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | G Major | 2 | 9B | 144 BPM |
Section: 0.5661232471466064
End: 0.5700473785400391