"Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28)" by Pyotr Ilyich Tchaikovsky, Sydney Symphony Orchestra, John Lanchbery was released on November 5, 2010. Since Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28) 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. There are a total of 31 in the song's album "Tchaikovsky: Onegin, Theme and Variations, Ballet Imperial". In this album, this song's track order is #11. Furthermore, we believe that the track originated from Australia. In terms of popularity, Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28) is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28) by Pyotr Ilyich Tchaikovsky, Sydney Symphony Orchestra, John Lanchbery having a テンポ of 94 with a half-time of 47 テンポ and a double-time of 188 テンポ, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the テンポ of this song, this song might go great with yoga or pilates. The time signature for this track is 3/4.
This song has a musical key of B♭ Minor. Which also means that the camelot key for this song is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No. 1 in E-Flat Major: 3. Andante | Alexander Borodin, Royal Philharmonic Orchestra, Vladimir Ashkenazy | D Major | 0 | 10B | 82 BPM | ||
Concerto for Violin and Orchestra no.1 in F sharp minor op.14: 3. Rondo. Allegro giocoso | Henryk Wieniawski, Gil Shaham, London Symphony Orchestra, Lawrence Foster | F♯ Major | 1 | 2B | 101 BPM | ||
Tatiana's Bedroom: Apparition of Onegin - Pas De Deux (Onegin Ballet Suite No 11 & 12) | Pyotr Ilyich Tchaikovsky, Sydney Symphony Orchestra, John Lanchbery | B Minor | 0 | 10A | 85 BPM | ||
Violin Concerto No. 2 in D Minor, Op. 44: I. Adagio ma non troppo | Max Bruch, Maxim Fedotov, Russian Philharmonic Orchestra, Dmitry Yablonsky | D Major | 3 | 10B | 116 BPM | ||
Coppelia: Act III - Le priere | Léo Delibes, Slovak Radio Symphony Orchestra, Andrew Mogrelia | E♭ Major | 0 | 5B | 92 BPM | ||
La mer, L. 109: 1. De l'aube à midi sur la mer | Claude Debussy, Orchestre de Paris, Daniel Barenboim | F♯ Major | 1 | 2B | 56 BPM | ||
Peer Gynt Suite No. 1, Op. 46: IV. In the Hall of the Mountain King. Alla marcia e molto marcato | Edvard Grieg, Leonard Bernstein, New York Philharmonic | G Major | 3 | 9B | 119 BPM | ||
Symphony No. 4 In D Minor, Op. 120: 3. Scherzo | Robert Schumann, Wiener Philharmoniker, Herbert von Karajan | F♯ Major | 0 | 2B | 95 BPM | ||
Cello Concerto No. 1 in A Minor, Op. 33: I. Allegro non troppo | Camille Saint-Saëns, Mischa Maisky, Orpheus Chamber Orchestra | F Major | 2 | 7B | 131 BPM | ||
Scheherazade: The Young Prince | Nikolai Rimsky-Korsakov, Joakim Svenheden | G Major | 1 | 9B | 91 BPM |