"Tom Sails Away" by Charles Ives, Michael Tilson Thomas, Thomas Hampson was released on 1985. The duration of Tom Sails Away is about two minutes long, specifically at 2:48. This song does not appear to have any foul language. Tom Sails Away's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Charles Ives, Michael Tilson Thomas, Chicago Symphony Orchestra, Concertgebouworkest's "Michael Tilson Thomas Conducts Ives" album is number 12 out of 46. Tom Sails Away is unknown 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 Tom Sails Away by Charles Ives, Michael Tilson Thomas, Thomas Hampson to be Larghissimo because the track has a tempo of 0 テンポ, a half-time of 0テンポ, and a double-time of 0 テンポ. Based on that, the speed of the song's tempo is slow.
G Major is the music key of this track. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Set No. 1 for Chamber Orchestra: III. The Ruined River (The New River) | Charles Ives, Orchestra New England, James Sinclair | N/A | N/A | N/A | 0 BPM | ||
Soliloquy, or a Study in 7ths and Other Things | Charles Ives, Victoria Villamil, Joel Sachs, Cheryl Seltzer, Continuum | D Minor | 0 | 7A | 39 BPM | ||
Symphony No. 2, Op. 132, "Mysterious Mountain": II. Double Fugue | Alan Hovhaness, Seattle Symphony Orchestra, Gerard Schwarz | A Minor | 2 | 8A | 73 BPM | ||
Symphonic Metamorphosis of Themes by Carl Maria von Weber: III. Andantino | Paul Hindemith, WDR Sinfonieorchester Köln, Marek Janowski | E Major | 1 | 12B | 95 BPM | ||
Sonate, Op. 71: II. Nocturne – Presque adagio | Charles Koechlin, Julien Hardy, Simon Zaoui | E♭ Major | 0 | 5B | 77 BPM | ||
Jeux vénitiens, Pt. 1 | Witold Lutosławski, Finnish Radio Symphony Orchestra, Hannu Lintu | F♯ Minor | 1 | 11A | 123 BPM | ||
Sinfonietta No. 2: I. Notturno: Adagio | Krzysztof Penderecki, Artur Pachlewski, Warsaw Philharmonic Chamber Orchestra, Antoni Wit | B♭ Minor | 0 | 3A | 76 BPM | ||
Set No. 1 for Chamber Orchestra: VI. Allegretto sombreoso (Incantation) | Charles Ives, Orchestra New England, James Sinclair | D Major | 3 | 10B | 118 BPM | ||
Variations on an Original Theme, Op. 36 "Enigma": Theme (Andante) | Edward Elgar, London Symphony Orchestra, Eugen Jochum | G Minor | 0 | 6A | 172 BPM | ||
Schoenberg: Verklärte Nacht, Op. 4: V. Adagio, molto tranquilo | Arnold Schoenberg, Daniel Barenboim, Chicago Symphony Orchestra, Charles Pikler, John Sharp, Joseph Golan, Li-Kuo Chang, Ruben Gonzalez, Stephen Balderston | E Minor | 1 | 9A | 125 BPM |