"Symphony No. 10 in F-Sharp Minor: Ie. Measure No. 194" by Gustav Mahler, Leonard Bernstein, New York Philharmonic was released on 1967. With Symphony No. 10 in F-Sharp Minor: Ie. Measure No. 194 being less than two minutes long, at 1:39, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The track order of this song in Benjamin Britten, André Previn, London Symphony Orchestra, Jaco Pastorius, Herbie Hancock, Gustav Mahler, Leonard Bernstein's "Mahler: Symphony No. 1 in D Major "Titan" & Adagio from Symphony No. 10 in F-Sharp Minor" album is number 21 out of 22. On top of that, United States appears to be the country where this track was created. Symphony No. 10 in F-Sharp Minor: Ie. Measure No. 194 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.
We consider the tempo marking of Symphony No. 10 in F-Sharp Minor: Ie. Measure No. 194 by Gustav Mahler, Leonard Bernstein, New York Philharmonic to be Andante (at a walking pace) because the track has a tempo of 83 テンポ, a half-time of 42テンポ, and a double-time of 166 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 5/4.
This song is in the music key of F♯ Major. This also means that this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No. 9 in E Minor, Op. 95 "From the New World": III. Scherzo. Molto vivace | Antonín Dvořák, New York Philharmonic, Alan Gilbert | C Major | 1 | 8B | 121 BPM | ||
Polovetsian Dances from Prince Igor: Moderato alla breve | Alexander Borodin, George Szell, Cleveland Orchestra | A Major | 2 | 11B | 108 BPM | ||
Appalachian Spring: VII. Doppio movimento | Aaron Copland, Leonard Bernstein, New York Philharmonic | D♭ Major | 1 | 3B | 78 BPM | ||
Violin Concerto No. 2 In G Minor, Op. 63: 2. Andante assai | Sergei Prokofiev, Gil Shaham, André Previn, London Symphony Orchestra | G Major | 1 | 9B | 64 BPM | ||
Violin Concerto No. 1 in D Major, Op. 19: II. Scherzo: Vivacissimo | Sergei Prokofiev, Hilary Hahn, Orchestre Philharmonique de Radio France, Mikko Franck | C Major | 3 | 8B | 150 BPM | ||
L’arlésienne Suite No. 1, Op. 23bis, WD 40: III. Adagietto | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | F Major | 0 | 7B | 86 BPM | ||
Ravel: Ma mère l'oye, M. 60: III. Laideronnette, impératrice des pagodes | Maurice Ravel, Yannick Nézet-Séguin, Rotterdam Philharmonic Orchestra | A♭ Minor | 0 | 1A | 122 BPM | ||
Romance for Viola & Orchestra in F Major, Op. 85 | Max Bruch, Yuri Bashmet, Neeme Järvi | F Major | 0 | 7B | 105 BPM | ||
Piano Concerto No. 5 in G Major, Op. 55: IV. Larghetto | Sergei Prokofiev, Francesco Tristano, Russian National Orchestra, Mikhail Pletnev | E♭ Major | 0 | 5B | 64 BPM | ||
Symphonie fantastique, Op. 14: Marche au supplice (Allegro non troppo) | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | B♭ Major | 2 | 6B | 147 BPM |