Benjamin Britten, Mary Carewe, Adam Green, City of Birmingham Symphony Chorus, Birmingham Contemporary Music Group, Martyn Brabbins's 'Andante con molto moto. Still at Their Accustomed Hour (From "Negroes")' came out on April 1, 2012. The duration of Andante con molto moto. Still at Their Accustomed Hour (From "Negroes") is about 3 minutes long, at 3:26. Based on our data, "Andante con molto moto. Still at Their Accustomed Hour (From "Negroes")" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 25 out of 55 in Britten on Film by Benjamin Britten, Various Artists, Martyn Brabbins. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. In terms of popularity, Andante con molto moto. Still at Their Accustomed Hour (From "Negroes") is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Andante con molto moto. Still at Their Accustomed Hour (From "Negroes") by Benjamin Britten, Mary Carewe, Adam Green, City of Birmingham Symphony Chorus, Birmingham Contemporary Music Group, Martyn Brabbins is Andante (at a walking pace), since this song has a tempo of 99 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
A Major is the music key of this track. This also means that this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Gurrelieder / Pt. 1: I. Orchestral Prelude | Arnold Schoenberg, Wiener Philharmoniker, Claudio Abbado | E♭ Major | 0 | 5B | 83 BPM | ||
Fünf Lieder: Ich Wandle Unter Blumen | Alma Mahler, Barbara Hannigan, Reinbert de Leeuw | F♯ Major | 0 | 2B | 75 BPM | ||
Gloria, FP 144: 2. Laudamus te | Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver | F Major | 2 | 7B | 139 BPM | ||
Funeral Blues | Wystan Hugh Auden, Benjamin Britten, Sarah Walker, Roger Vignoles | C Minor | 1 | 5A | 63 BPM | ||
Academic Festival Overture, Op. 80 | Johannes Brahms, Gewandhausorchester Leipzig, Riccardo Chailly | C Major | 2 | 8B | 77 BPM | ||
Peter and the Wolf, Op. 67 (Without Narration): The Bird | Sergei Prokofiev, Slovak Radio Symphony Orchestra, Ondrej Lenard | C Major | 0 | 8B | 99 BPM | ||
Le Sacre du Printemps - Revised version for Orchestra (published 1947) / Part 1: The Adoration of the Earth: The Augurs of Spring: Dances of the Young Girls | Igor Stravinsky, Berliner Philharmoniker, Herbert von Karajan | A♭ Minor | 3 | 1A | 104 BPM | ||
Symphony No. 8 in G Minor, Op. 88, B. 163: I. Allegro con brio | Antonín Dvořák, London Symphony Orchestra, Sir Colin Davis | G Major | 1 | 9B | 139 BPM | ||
Prokofiev: Romeo and Juliet, Op. 64, Act 1, Scene 1: Introduction | Sergei Prokofiev, André Previn, London Symphony Orchestra | B Major | 0 | 1B | 105 BPM | ||
Ma mère l'oye, ballet, M. 62: 3. Les Entretiens de la Belle et de la Bête.Mouvement de Valse modéré | Maurice Ravel, Berliner Philharmoniker, Pierre Boulez | G Minor | 0 | 6A | 89 BPM |