John Lanchbery, Orchestra of the Royal Opera House, Covent Garden's 'Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Jemima Puddle-Duck' came out on 1971. Since Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Jemima Puddle-Duck 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 track order of this song in John Lanchbery, Orchestra of the Royal Opera House, Covent Garden's "Lanchbery: Tales of Beatrix Potter" album is number 4 out of 8. On top of that, United Kingdom appears to be the country where this track was created. Based on our statistics, Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Jemima Puddle-Duck's popularity 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.
We consider the tempo marking of Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Jemima Puddle-Duck by John Lanchbery, Orchestra of the Royal Opera House, Covent Garden to be Allegro (fast, quick, and bright) because the track has a tempo of 128 BPM, a half-time of 64BPM, and a double-time of 256 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of A♭ Major. This also means that this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Orphée aux enfers: Can-can (Featured in "Peter's Friends") | Jacques Offenbach, Slovak State Philharmonic Orchestra, Johannes Wildner | D Major | 4 | 10B | 146 BPM | ||
Babes in Toyland: Eccentric Dance (Gavotte) | Victor Herbert, Razumovsky Symphony Orchestra, Keith Brion | F Major | 1 | 7B | 84 BPM | ||
La Sylphide: Act II: Sylph Scene: Divertissement | Herman Severin Løvenskiold, Kim Sjøgren, Royal Danish Orchestra, David Garforth | D Major | 0 | 10B | 78 BPM | ||
Polovetsian Dances from Prince Igor: Moderato alla breve | Alexander Borodin, George Szell, Cleveland Orchestra | A Major | 2 | 11B | 108 BPM | ||
Giselle / Act 2: Pas des premières Wilis | Adolphe Adam, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | E♭ Major | 1 | 5B | 80 BPM | ||
Le Corsaire: Pas de Trois - Conrad Variation | Riccardo Drigo, English National Ballet Philharmonic, Gavin Sutherland | E♭ Major | 1 | 5B | 175 BPM | ||
Matinées musicales, Op. 24: 2. Nocturne | Benjamin Britten, National Philharmonic Orchestra, Richard Bonynge | A♭ Major | 0 | 4B | 77 BPM | ||
Cipollino, Act II Scene 3: Scene with Flowers | Karen Khachaturian, Alexander Kopylov, Bolshoi Theatre Orchestra | A Major | 1 | 11B | 103 BPM | ||
Carnival of the Animals, R. 125: The Swan | Camille Saint-Saëns, Arthur Fiedler | G Major | 0 | 9B | 90 BPM | ||
Faust: Waltz | Charles Gounod, Slovak Radio Symphony Orchestra, Richard Hayman | A♭ Major | 1 | 4B | 118 BPM |
Section: 0.663088321685791
End: 0.6667623519897461