"Spaghetti Western: Assalto All' Oro - Gold Rush" by Michael Daugherty, University of Michigan Symphony Orchestra, Smoliar, Harold, William Campbell, Kenneth Kiesler was released on 2003. Spaghetti Western: Assalto All' Oro - Gold Rush is about six minutes long, preciously at 6:20, making this song fairly long compared to other songs. The song is number 6 out of 8 in Concertos: Bassett, Bolcom, Daugherty by University of Michigan Symphony Orchestra, Kenneth Kiesler. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. Based on our statistics, Spaghetti Western: Assalto All' Oro - Gold Rush's popularity 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 Spaghetti Western: Assalto All' Oro - Gold Rush by Michael Daugherty, University of Michigan Symphony Orchestra, Smoliar, Harold, William Campbell, Kenneth Kiesler is Allegro (fast, quick, and bright), since this song has a tempo of 129 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 3/4.
This song is in the music key of F♯ Major. This also means that this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Festivo | Edward Gregson, Royal Northern College Of Music Wind Orchestra, Timothy Reynish | F Minor | 6 | 4A | 148 BPM | ||
Pulcinella, Ballet in One Act After Pergolesi for Soprano, Tenor, Bass, Soloists and Orchestra: XVIII. Vivo | Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra | G Minor | 0 | 6A | 140 BPM | ||
Prélude à l’après-midi d’un faune, 900846: Debussy: Prélude à l’après-midi d’un faune | Claude Debussy, Mariss Jansons, Bavarian Radio Symphony Orchestra | E♭ Major | 0 | 5B | 82 BPM | ||
Bass Tuba Concerto in F Minor: II. Romanza. Andante sostenuto | Øystein Baadsvik, Singapore Symphony Orchestra, Anne Manson | E Minor | 1 | 9A | 84 BPM | ||
Intend | Orion King | D♭ Major | 2 | 3B | 151 BPM | ||
Tableaux De Provence: II. Cansoun Per Ma Mio | Paule Maurice, Saarländisches Staatsorchester, Asya Fateyeva, Sébastien Rouland | G Major | 0 | 9B | 73 BPM | ||
Satiric Dances: III. Allegro spumante | Norman Dello Joio, Rutgers Wind Ensemble, William Berz | C Minor | 4 | 5A | 150 BPM | ||
Elsa's Procession to the Cathedral | Richard Wagner, Northwestern University Symphonic Wind Ensemble, Mallory Thompson | E♭ Major | 1 | 5B | 69 BPM | ||
The Rite of Spring (Scenes of Pagan Russia in Two Parts): Part One - The Augurs of Spring (1921 Version) | Igor Stravinsky, Leonard Bernstein, London Symphony Orchestra | F Minor | 4 | 4A | 109 BPM | ||
Exultate | Samuel R. Hazo, North Texas Wind Symphony, Eugene Migliaro Corporon | B♭ Major | 2 | 6B | 78 BPM |
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