Gabriel Fauré, Boston Symphony Orchestra, Seiji Ozawa's 'Dolly, Op. 56: 6. Le pas Espagnol' came out on January 1, 1987. The duration of Dolly, Op. 56: 6. Le pas Espagnol is about two minutes long, specifically at 2:44. This song does not appear to have any foul language. Dolly, Op. 56: 6. Le pas Espagnol's duration is considered a little bit shorter than the average duration of a typical track. The song is number 14 out of 14 in Faure: Pelléas et Mélisande by Gabriel Fauré, Lorraine Hunt, Jules Eskin, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. In terms of popularity, Dolly, Op. 56: 6. Le pas Espagnol 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.
The tempo marking of Dolly, Op. 56: 6. Le pas Espagnol by Gabriel Fauré, Boston Symphony Orchestra, Seiji Ozawa is Andante (at a walking pace), since this song has a tempo of 98 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 F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
La mer, L. 109: I. De l'aube à midi sur la mer | Claude Debussy, Cleveland Orchestra, Pierre Boulez | F♯ Major | 0 | 2B | 134 BPM | ||
Symphony No. 3 in C Minor, Op. 78 "Organ Symphony": 2b. Maestoso - Più allegro - Molto allegro | Camille Saint-Saëns, Peter Hurford, Orchestre Symphonique de Montréal, Charles Dutoit | G Major | 3 | 9B | 150 BPM | ||
Symphony No. 1 In D, Op. 25 "Classical Symphony": 3. Gavotta (Non troppo allegro) | Sergei Prokofiev, Berliner Philharmoniker, Herbert von Karajan | F Minor | 1 | 4A | 62 BPM | ||
Variations on a Rococo Theme, Op. 33, TH. 57: Variazione VII e Coda: Allegro vivo | Pyotr Ilyich Tchaikovsky, Mstislav Rostropovich, Berliner Philharmoniker, Herbert von Karajan | B♭ Major | 0 | 6B | 168 BPM | ||
Eine Alpensinfonie, Op. 64, TrV 233: XXI. Ausklang | Richard Strauss, David Bell, Berliner Philharmoniker, Herbert von Karajan | E♭ Major | 1 | 5B | 63 BPM | ||
Images: No. 2. Iberia: Par les rues et par les chemins - | Claude Debussy, Orchestre National De Lyon, Jun Markl | F Minor | 1 | 4A | 176 BPM | ||
Symphony No. 7 in D Minor, Op. 70, B. 141: IV. Finale. Allegro | Antonín Dvořák, Los Angeles Philharmonic, Gustavo Dudamel | C Major | 1 | 8B | 127 BPM | ||
Valses nobles et sentimentales, M. 61: IV. Assez animé | Maurice Ravel, Cleveland Orchestra, Pierre Boulez | E Major | 1 | 12B | 105 BPM | ||
Pictures At An Exhibition: The Catacombs (Sepulchrum romanum) | Modest Mussorgsky, Chicago Symphony Orchestra, Carlo Maria Giulini | B Minor | 0 | 10A | 67 BPM | ||
Symphony No.9 In D / 4. Satz: Tempo I. Molto adagio | Gustav Mahler, Berliner Philharmoniker, Herbert von Karajan | A Major | 1 | 11B | 88 BPM |