Orchestra of Ekaterinburg State Academic Opera and Ballet Theatre of Russia, Evgeny Brazhnik made "Le Corsaire : Act II, No.21 Feminine Variation" available on January 1, 2003. With Le Corsaire : Act II, No.21 Feminine Variation being less than two minutes long, at 1:35, 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. The song is number 12 out of 30 in Ballet Highlights. Adam, Delibes by Orchestra of Ekaterinburg State Academic Opera and Ballet Theatre of Russia. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Le Corsaire : Act II, No.21 Feminine Variation is unknown right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
The tempo marking of Le Corsaire : Act II, No.21 Feminine Variation by Orchestra of Ekaterinburg State Academic Opera and Ballet Theatre of Russia, Evgeny Brazhnik is Andante (at a walking pace), since this song has a tempo of 81 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song has a musical key of F Major. 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 | ||
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Emeralds - Faure: Incidental music to Pelleas et Melisande, Op. 80 and Shylock, Op. 57; Shylock - Entr'acte: Andante moderato; Allegretto | Gabriel Fauré, NEW YORK CITY BALLET ORCHESTRA/ROBERT IRVING, CONDUCTOR | A Major | 1 | 11B | 114 BPM | ||
Manon Ballet - Arranged and orchestrated by Leighton Lucas with the collaboration of Hilda Gaunt / Act 3: Scene 2 - The Goaler's rooms in New Orleans | Jules Massenet, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | A♭ Major | 0 | 4B | 80 BPM | ||
Dolly Suite, Op. 56 (arr. H. Rabaud): IV. Kitty-Valse | Henri Rabaud, Gabriel Fauré, RTE Sinfonietta, John Georgiadis | E♭ Major | 0 | 5B | 92 BPM | ||
Die Puppenfee (The Fairy Doll): No. 10 Japanerin: Lento | Josef Bayer, Slovak Radio Symphony Orchestra, Andrew Mogrelia | B♭ Major | 0 | 6B | 93 BPM | ||
La Bayadere, Act III: 45. "Variation - 2nd Soloist Shade" | Evergreen Symphony Orchestra, Kevin Galiè | G Major | 0 | 9B | 175 BPM | ||
Delibes: Coppélia ou la fille aux yeux d'émail (Ballet), Act 1: No. 6, Thème slave varié (Allegretto non troppo - Variations Nos. 1-4 - Allegro non troppo) | Léo Delibes, Jean-Baptiste Mari, Orchestre de l'Opéra National de Paris | A Major | 2 | 11B | 136 BPM | ||
Prokofiev: Cinderella, Op. 87, Act 1: Cinderella's Departure for the Ball | Sergei Prokofiev, André Previn, London Symphony Orchestra | G Major | 2 | 9B | 184 BPM | ||
Gaîté Parisienne: Ouverture (d'après La vie parisienne) | Jacques Offenbach, Fabien Gabel, Orchestre Symphonique De Québec | E Major | 2 | 12B | 153 BPM | ||
Giselle: Act II: Allegro moderato: Coda | Adolphe Adam, Sofia National Opera Orchestra, Boris Spassov | A♭ Major | 1 | 4B | 134 BPM | ||
Etudes: XIII. Tarantel | Knudåge Riisager, Gennady Rozhdestvensky, Danish National Symphony Orchestra | A Major | 4 | 11B | 179 BPM |
Section: 0.6759090423583984
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