"Prokofiev: Cinderella, Op. 87, Act 1: No. 6, Dressing for the Ball (Vivo)" by Sergei Prokofiev, André Previn, London Symphony Orchestra was released on January 10, 1995. The duration of Prokofiev: Cinderella, Op. 87, Act 1: No. 6, Dressing for the Ball (Vivo) is about two minutes long, specifically at 2:07. This song does not appear to have any foul language. Prokofiev: Cinderella, Op. 87, Act 1: No. 6, Dressing for the Ball (Vivo)'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 54 in the song's album "Prokofiev: Cinderella - Ballet/Symphony No. 1". In this album, this song's track order is #6. Based on our statistics, Prokofiev: Cinderella, Op. 87, Act 1: No. 6, Dressing for the Ball (Vivo)'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.
With Prokofiev: Cinderella, Op. 87, Act 1: No. 6, Dressing for the Ball (Vivo) by Sergei Prokofiev, André Previn, London Symphony Orchestra having a テンポ of 145 with a half-time of 72 テンポ and a double-time of 290 テンポ, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the テンポ of this song, this song might go great with jogging or cycling. The time signature for this track is 4/4.
This song has a musical key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Giselle: No. 11 - Allegro; Andantino | Adolphe Adam, London Symphony Orchestra, Michael Tilson Thomas | A♭ Major | 0 | 4B | 147 BPM | ||
The Rite of Spring (Scenes of Pagan Russia in Two Parts): Part Two - Summoning of the Ancestors | Igor Stravinsky, Leonard Bernstein, London Symphony Orchestra | G Minor | 0 | 6A | 174 BPM | ||
Hamlet Suite, Op. 116a: Hamlet's Parting from Ophelia | Dmitri Shostakovich, Russian Philharmonic Orchestra, Dmitry Yablonsky | F Major | 0 | 7B | 71 BPM | ||
Giselle: No. 18 - Allegro | Adolphe Adam, London Symphony Orchestra, Michael Tilson Thomas | D Minor | 0 | 7A | 95 BPM | ||
Wallace Courts Murron | James Horner, London Symphony Orchestra | A Minor | 0 | 8A | 94 BPM | ||
Prokofiev: Cinderella, Op. 87, Act 1: No. 10, Gavotte (Allegretto) | Sergei Prokofiev, André Previn, London Symphony Orchestra | E♭ Major | 0 | 5B | 130 BPM | ||
Spanish Capriccio in A Major, Op. 34: III. Alborada. Vivo e strepitoso | Nikolai Rimsky-Korsakov, Czech Philharmonic Orchestra, Vladimír Válek | B♭ Major | 2 | 6B | 133 BPM | ||
Scheherazade: Storm at Sea | Nikolai Rimsky-Korsakov, Joakim Svenheden | C Major | 4 | 8B | 91 BPM | ||
The Rite of Spring (Scenes of Pagan Russia in Two Parts): Part Two - Glorification of the Chosen Victim (1921 Version) | Igor Stravinsky, Leonard Bernstein, London Symphony Orchestra | B♭ Minor | 6 | 3A | 133 BPM | ||
Elgar: Variations on an Original Theme, Op. 36, "Enigma": XI. G.R.S. (George Robertson Sinclair). Allegro di molto | Edward Elgar, London Symphony Orchestra, Sir Adrian Boult | D Major | 5 | 10B | 88 BPM |