"The Girl from Marseille, Op. 17: VI. Variation VI. (Andante)" by Steve Elcock, Tippett Quartet was released on April 7, 2023. With The Girl from Marseille, Op. 17: VI. Variation VI. (Andante) being less than two minutes long, at 1:59, 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 25 in the song's album "Steve Elcock: Chamber Music, Vol. 2: String Quartets". In this album, this song's track order is #11. Furthermore, we believe that the track originated from United Kingdom. The Girl from Marseille, Op. 17: VI. Variation VI. (Andante) 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 The Girl from Marseille, Op. 17: VI. Variation VI. (Andante) by Steve Elcock, Tippett Quartet having a BPM of 62 with a half-time of 31 BPM and a double-time of 124 BPM, we would consider this track to have a Larghetto (rather broadly) 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 E Minor. Which also means that the camelot key for this song is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Strauss, R: Also sprach Zarathustra, Op. 30: V. The Song of the Grave | Richard Strauss, Wolfgang Sawallisch, Philadelphia Orchestra | F♯ Minor | 1 | 11A | 61 BPM | ||
Debussy: Prélude à l'après-midi d'un faune, L. 86 | Claude Debussy, Bernard Haitink, Royal Concertgebouw Orchestra | A♭ Minor | 0 | 1A | 93 BPM | ||
Falstaff, Act III: Finale. "Tutto nel mondo è burla" (Arr. E. Kunzel & C. Beck) | Giuseppe Verdi, Cincinnati Pops Orchestra, Erich Kunzel | C Major | 2 | 8B | 118 BPM | ||
Fantasy in C Major, Op. 15, D. 760, "Wandererfantasie" (arr. C. Koechlin): II. Adagio | Franz Schubert, Charles Koechlin, Florian Hoelscher, Stuttgart Radio Symphony Orchestra, Heinz Holliger | D♭ Minor | 0 | 12A | 74 BPM | ||
Symphony No. 3 in F Major, Op. 90: II. Andante (1) | Johannes Brahms, Netherlands Philharmonic Orchestra, Jaap Van Zweden | F Major | 0 | 7B | 67 BPM | ||
Chants d'Auvergne, Vol. 1: No. 3a. L'aio De Rotso (Spring Water) | Joseph Canteloube, Véronique Gens, Orchestre National de Lille, Jean-Claude Casadesus | G Major | 1 | 9B | 186 BPM | ||
Massenet: Don Quichotte, Act 2: Interlude | Jules Massenet, Michel Plasson, Orchestre National Du Capitole De Toulouse | G Minor | 0 | 6A | 78 BPM | ||
Night after Night, Op. 27: II. Pavor Nocturnus | Steve Elcock, Tippett Quartet | D Minor | 3 | 7A | 116 BPM | ||
Nostalgia | José Siqueira, Guilherme Andreas, Gianne Ge Zhu | A♭ Minor | 2 | 1A | 74 BPM | ||
Pelléas et Mélisande, Op. 80: II. Fileuse. Andantino quasi Allegretto | Gabriel Fauré, Frankfurt Radio Symphony Orchestra, Paavo Järvi | G Major | 0 | 9B | 129 BPM |
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