"Bliss, Act I, Scene 1, "Death and Transfiguration": Interlude I, "The Descent into Hell"" by Brett Dean, Amanda Holden, Opera Australia Orchestra, Elgar Howarth was released on June 12, 2015. With Bliss, Act I, Scene 1, "Death and Transfiguration": Interlude I, "The Descent into Hell" being less than two minutes long, at 1:10, 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. The song is number 3 out of 44 in Bliss by Amanda Holden, Brett Dean, Opera Australia. Bliss, Act I, Scene 1, "Death and Transfiguration": Interlude I, "The Descent into Hell" 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.
The tempo marking of Bliss, Act I, Scene 1, "Death and Transfiguration": Interlude I, "The Descent into Hell" by Brett Dean, Amanda Holden, Opera Australia Orchestra, Elgar Howarth is Andante (at a walking pace), since this song has a tempo of 88 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 3/4.
A Minor is the music key of this track. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Estampes: No. 1. Pagodes (arr. A. Caplet): Pagodes | Andre Caplet, Claude Debussy, Rheinland-Pfalz State Philharmonic Orchestra, Leif Segerstam | D♭ Minor | 1 | 12A | 95 BPM | ||
Valses nobles et sentimentales, M. 61 (1912 Version for Orchestra): No. 3, Modéré | Maurice Ravel, Basque National Orchestra, Robert Trevino | C Major | 0 | 8B | 82 BPM | ||
Serenade for Clarinet, Violin and Cello, Op. 93: III. Intermezzo. Andantino | Hans Gál, Kilian Herold, Florian Donderer, Tanja Tetzlaff | F♯ Minor | 0 | 11A | 99 BPM | ||
Symphony No. 3, Op. 27, FS 60 "Sinfonia espansiva": II. Andante pastorale | Carl Nielsen, Lina Johnson, Yngve Søberg, Bergen Philharmonic Orchestra, Edward Gardner | F♯ Major | 1 | 2B | 81 BPM | ||
Taktakishvili: Sonata: Aria: Moderato con moto | Otar Taktakishvili, Brian Luce, Rex Woods | D Minor | 1 | 7A | 95 BPM | ||
Coastal Command Suite: The Hebrides | RTE Concert Orchestra, Ralph Vaughan Williams | D Minor | 0 | 7A | 65 BPM | ||
Broken | Frederike Neubacher | G Minor | 0 | 6A | 65 BPM | ||
5 Preludes: No. 4. Andante con moto | William Alwyn, Royal Liverpool Philharmonic Orchestra, David Lloyd-Jones | E Major | 0 | 12B | 0 BPM | ||
Clarinet Quartet: I. Notturno. Adagio | Krzysztof Penderecki, Kilian Herold, Florian Donderer, Barbara Buntrock, Tanja Tetzlaff | G Minor | 0 | 6A | 76 BPM | ||
Suite, Op. 56: IV. Rondo. Presto | Rudolf Moser, Sinfonietta Riga, Philippe Bach | D Major | 0 | 10B | 101 BPM |
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