"A Midsummer Night's Dream, Op.64 / Act 3: "Now, Fair Hippolyta"" by Benjamin Britten, John Shirley-Quirk, Helen Watts, Sir Peter Pears, Thomas Hemsley, Heather Harper, Josephine Veasey, London Symphony Orchestra was released on January 1, 1967. Since A Midsummer Night's Dream, Op.64 / Act 3: "Now, Fair Hippolyta" is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The song is number 10 out of 41 in Britten: A Midsummer Night's Dream by Benjamin Britten, Alfred Deller, Elizabeth Harwood, Choirs Of Downside And Emanuel Schools, London Symphony Orchestra. In terms of popularity, A Midsummer Night's Dream, Op.64 / Act 3: "Now, Fair Hippolyta" 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.
The tempo marking of A Midsummer Night's Dream, Op.64 / Act 3: "Now, Fair Hippolyta" by Benjamin Britten, John Shirley-Quirk, Helen Watts, Sir Peter Pears, Thomas Hemsley, Heather Harper, Josephine Veasey, London Symphony Orchestra is Moderato (at a moderate speed), since this song has a tempo of 114 BPM. With that information, we can conclude that the song has a moderate tempo. 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 | ||
---|---|---|---|---|---|---|---|
Rejoice in the Lamb, Op. 30: Hallelujah from the heart of God | Benjamin Britten, Benedict Giles, Malcolm Green, Simon Wall, Thomas Williams, Iain Farrington, Choir of St. John's College, Cambridge, Christopher Robinson | F Major | 0 | 7B | 111 BPM | ||
La Mer, L.109: 3. Dialogue Of The Wind And The Sea | Claude Debussy, Orchestre Symphonique de Montréal, Charles Dutoit | D♭ Major | 2 | 3B | 83 BPM | ||
Brandenburg Concerto No. 3 in G, BWV 1048: 1. (Allegro) | Johann Sebastian Bach, English Chamber Orchestra, Benjamin Britten | B♭ Major | 1 | 6B | 109 BPM | ||
Requiem: I. Requiem Aeternam | Giuseppe Verdi, Sir Colin Davis, Christine Brewer, Karen Cargill, London Symphony Orchestra, Stuart Neill, John Relyea | A Minor | 0 | 8A | 85 BPM | ||
Symphonie fantastique, Op. 14, H 48: II. Un Bal | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | A Major | 1 | 11B | 113 BPM | ||
L'Arlésienne Suite No.1: Adagietto | Georges Bizet, Berliner Philharmoniker, Herbert von Karajan | F Major | 0 | 7B | 112 BPM | ||
Dona Nobis Pacem: Agnus Dei | Ralph Vaughan Williams, Christina Pier, Matthew Brook, The Bach Choir, Bournemouth Symphony Orchestra, David Hill | G Minor | 1 | 6A | 85 BPM | ||
Spring Symphony, Op. 44, Part I: Introduction. Shine out (chorus) | Benjamin Britten, Sir Simon Rattle, London Symphony Orchestra, London Symphony Chorus | D♭ Major | 0 | 3B | 98 BPM | ||
The Sword in the Stone Suite (Arr. O. Knussen & C. Matthews): I. Introduction and Boys' Tunes | Oliver Knussen, Colin Matthews, Benjamin Britten, Ohio State University Wind Symphony, Russel C. Mikkelson | E Minor | 2 | 9A | 112 BPM | ||
Holberg Suite, Op. 40: 2. Sarabande (Andante) | Edvard Grieg, Gothenburg Symphony Orchestra, Neeme Järvi | G Major | 0 | 9B | 75 BPM |
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