Cesare Siepi's 'You´d be so nice to come home to' came out on August 5, 2010. The duration of You´d be so nice to come home to is about 3 minutes long, at 3:26. Based on our data, "You´d be so nice to come home to" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The track order of this song in Cesare Siepi's "Lebendige Vergangenheit - Cesare Siepi III" album is number 4 out of 20. On top of that, Austria appears to be the country where this track was created. You´d be so nice to come home to 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.
We consider the tempo marking of You´d be so nice to come home to by Cesare Siepi to be Andante (at a walking pace) because the track has a tempo of 78 BPM, a half-time of 39BPM, and a double-time of 156 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
B♭ Major is the music key of this track. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Norma / Act 2 Scene 1: "Mira, O Norma" | Vincenzo Bellini, Sumi Jo, Cecilia Bartoli, Orchestra La Scintilla, Giovanni Antonini | F Major | 2 | 7B | 74 BPM | ||
Fidelio op.72 - Edited Helga Lühning & Robert Didio / Act 2: O namenlose Freude! | Ludwig van Beethoven, Nina Stemme, Jonas Kaufmann, Lucerne Festival Orchestra, Mahler Chamber Orchestra, Claudio Abbado | E Minor | 7 | 9A | 98 BPM | ||
L'elisir d'amore / Act 2: "Ei corregge ogni difetto" | Gaetano Donizetti, Spiro Malas, Dame Joan Sutherland, Luciano Pavarotti, Dominic Cossa, Ambrosian Opera Chorus, English Chamber Orchestra, Richard Bonynge | B♭ Major | 3 | 6B | 126 BPM | ||
Messa di Gloria: XVII. Benedictus | Giacomo Puccini, Ludovic Tezier, Gustavo Gimeno, Orchestre Philharmonique Du Luxembourg, Pablo Larraz, Orfeó Català | B♭ Major | 1 | 6B | 73 BPM | ||
Cherubini: Medea, Act 1: "O Armore, vieni a me!" (Glauce) | Luigi Cherubini, Renata Scotto, Orchestra Del Teatro Alla Scala, Milano, Tullio Serafin | G Major | 1 | 9B | 115 BPM | ||
Don Pasquale, Act III Quinta Scena: Aspetta, aspetta, cara sposina (Pasquale/Malatesta) | Gaetano Donizetti, Sesto Bruscantini, Riccardo Muti, Philharmonia Orchestra | F Major | 3 | 7B | 84 BPM | ||
Il Barbiere di Siviglia, Act I, Scene One: Ehi, Fiorelli?...Mio signore (Conte/Fiorello/Coro) | Gioachino Rossini, Alceo Galliera, Philharmonia Orchestra & Chorus, Luigi Alva, Mario Carlin | D Major | 0 | 10B | 115 BPM | ||
Orphée aux enfers, ACT 2, Quatrième tableau: les Enfers: Ne regarde pas en arrière! (finale) (L'Opinion Publique/Jupiter/Les Diuex/Orphee/Eurydice) | Jacques Offenbach, Laurent Naouri/Jean-Paul Fouchécourt/Yann Beuron/Eva Podles/Choeurs de l'Opéra National de Lyon/Orchestre de l'Opéra National de Lyon/Orchestre de Chambre de Grenoble/Marc Minkowski, Marc Minkowski, Sébastien Rouland, Choeur & Orchestre De L'Opéra National De Lyon, Orchestre de Chambre de Grenoble, Orchestre De L'Opéra National De Lyon | A Major | 3 | 11B | 108 BPM | ||
Der Freischütz, J. 277 / Act 3: "Einst träumte meiner sel'gen Base" - "Trübe Augen, Liebchen, taugen" | Carl Maria von Weber, Edith Mathis, Staatskapelle Dresden, Carlos Kleiber | G Minor | 2 | 6A | 79 BPM | ||
Amadis: Amadis, Act II: Bois epais | Jean-Baptiste Lully, Cesare Siepi, Artist Unknown | B♭ Minor | 1 | 3A | 75 BPM |
Section: 0.6086974143981934
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