"Where Are We Now: I. We Have Come a Long Way" by Elizabeth Ogonek, Oberlin Contemporary Music Ensemble, Timothy Weiss, Joseph Schlesinger, Jedidiah Rellihan, Ben Martin, Alex Smith, Thomas Litchev, Evan Tiapula was released on September 17, 2021. The duration of Where Are We Now: I. We Have Come a Long Way is about two minutes long, specifically at 2:14. This song does not appear to have any foul language. Where Are We Now: I. We Have Come a Long Way's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 14 in the song's album "The Oberlin Concertos". In this album, this song's track order is #5. Furthermore, we believe that the track originated from United States. Based on our statistics, Where Are We Now: I. We Have Come a Long Way'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.
With Where Are We Now: I. We Have Come a Long Way by Elizabeth Ogonek, Oberlin Contemporary Music Ensemble, Timothy Weiss, Joseph Schlesinger, Jedidiah Rellihan, Ben Martin, Alex Smith, Thomas Litchev, Evan Tiapula having a テンポ of 135 with a half-time of 68 テンポ and a double-time of 270 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 walking. The time signature for this track is 4/4.
D Minor is the music key of this track. Which also means that the camelot key for this song is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Murder Ballades for Chamber Ensemble 7 Tears for Sister Polly | Bryce Dessner, Joe Hisaishi, ミュージック・フューチャー・バンド | F Major | 2 | 7B | 149 BPM | ||
Cura Emocional | Sinta Positivo | B♭ Major | 0 | 6B | 73 BPM | ||
Turangalîla-Symphony: V. Joie du sang des étoiles. Vif, passionné, avec joie | Olivier Messiaen, Toronto Symphony Orchestra, Gustavo Gimeno, Marc-André Hamelin, Nathalie Forget | D♭ Major | 5 | 3B | 85 BPM | ||
Pelleas et Melisande, Op. 80 (arr. C. Koechlin): IV. Fileuse - Allegretto moderato | Charles Koechlin, Gabriel Fauré, Sarah Wegener, Stuttgart Radio Symphony Orchestra, Heinz Holliger | G Major | 0 | 9B | 90 BPM | ||
Túria (Agua salvaje) | Gabriel Andrés Gallegos, Budapest Art Orchestra | D Minor | 0 | 7A | 144 BPM | ||
All These Lighted Things: III. Buoyant | Elizabeth Ogonek, Antwerp Symphony Orchestra, Elim Chan | D Major | 3 | 10B | 82 BPM | ||
Symphony No. 3 in F Major, Op. 90: II. Andante (4) | Johannes Brahms, Netherlands Philharmonic Orchestra, Jaap Van Zweden | F Major | 0 | 7B | 67 BPM | ||
Seven Disobediences for piano and ensemble: No. 1, Seek | Rolf Wallin, Cikada, Kenneth Karlsson, Christian Eggen | G Major | 1 | 9B | 186 BPM | ||
Tre pezzi (1956): for trombone solo II | Giacinto Scelsi, Giancarlo Schiaffini, Joëlle Léandre | E♭ Major | 0 | 5B | 74 BPM | ||
Anyone There? (From “the London Ripper”) | Swen Fettermann | B♭ Major | 1 | 6B | 66 BPM |