"Harold en Italie, Op. 16: II. Marche de pélerins chantant la pière du soir" by Hector Berlioz, London Symphony Orchestra, Valery Gergiev, Antoine Tamestit was released on November 18, 2014. Since Harold en Italie, Op. 16: II. Marche de pélerins chantant la pière du soir 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 song is number 2 out of 7 in Berlioz: Harold en Italie, La mort de Cléopâtre by Hector Berlioz, London Symphony Orchestra, Valery Gergiev. Harold en Italie, Op. 16: II. Marche de pélerins chantant la pière du soir 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.
The tempo marking of Harold en Italie, Op. 16: II. Marche de pélerins chantant la pière du soir by Hector Berlioz, London Symphony Orchestra, Valery Gergiev, Antoine Tamestit is Andante (at a walking pace), since this song has a tempo of 81 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of E Major. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Romeo and Juliet, Op. 64: Introduction | Sergei Prokofiev, Cleveland Orchestra, Lorin Maazel | E Major | 1 | 12B | 112 BPM | ||
Gayane Suite No. 1: II. Gayane and Giko | Aram Khachaturian, St. Petersburg State Symphony Orchestra, Andre Anichanov | C Minor | 2 | 5A | 78 BPM | ||
Symphonie Espagnole In D Minor, Op.21: 3. Intermezzo (Allegretto non troppo) | Édouard Lalo, Itzhak Perlman, Orchestre de Paris, Daniel Barenboim | A Minor | 1 | 8A | 115 BPM | ||
L’arlésienne Suite No. 2 (Arr. E. Guiraud): I. Pastorale | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | A Major | 0 | 11B | 117 BPM | ||
Les Contes d'Hoffmann / Act 1: Entr'acte | Jacques Offenbach, Orchestre de la Suisse Romande, Richard Bonynge | E Major | 2 | 12B | 100 BPM | ||
Lohengrin, WWV 75 / Act III: "Treulich geführt ziehet dahin" | Richard Wagner, Renate Hasler, Gretchen Eder, Ulrike Erfurt, Marianne Sattmann, Vienna State Opera Chorus, Wiener Philharmoniker, Claudio Abbado | C Major | 1 | 8B | 75 BPM | ||
Symphony in F Major, Op. 8, "The Cotswolds": I. Allegro con brio | Gustav Holst, Ulster Orchestra, Joann Falletta | F Major | 1 | 7B | 104 BPM | ||
La Damnation de Faust, Op. 24, H 111 / Pt. 2: Choeur de gnomes et de sylphes "Dors! Dors! heureux" | Hector Berlioz, Kenneth Riegel, José van Dam, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | D Major | 1 | 10B | 94 BPM | ||
Prince Igor, Act II: Polovtsian Dances, Dance I | Alexander Borodin, Paavo Järvi, Orchestre Philharmonique de Radio France | F Major | 1 | 7B | 97 BPM | ||
Piano Concerto No. 2 in F Major, Op. 102: I. Allegro | Dmitri Shostakovich, I Musici de Montréal, Maxim Shostakovich | B♭ Major | 3 | 6B | 160 BPM |