"Rachmaninov / Transcr. Balsom: 14 Romances, Op. 34: No. 14, Vocalise" by Sergei Rachmaninoff, Alison Balsom, Edward Gardner, Göteborg Symfoniker was released on October 16, 2020. With this song being about 5 minutes long, at 5:02, "Rachmaninov / Transcr. Balsom: 14 Romances, Op. 34: No. 14, Vocalise" by Sergei Rachmaninoff, Alison Balsom, Edward Gardner, Göteborg Symfoniker is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The track order of this song in Alison Balsom's "Magic Trumpet" album is number 19 out of 20. Rachmaninov / Transcr. Balsom: 14 Romances, Op. 34: No. 14, Vocalise is below average in popularity 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 Rachmaninov / Transcr. Balsom: 14 Romances, Op. 34: No. 14, Vocalise by Sergei Rachmaninoff, Alison Balsom, Edward Gardner, Göteborg Symfoniker to be Andante (at a walking pace) because the track has a tempo of 87 テンポ, a half-time of 44テンポ, and a double-time of 174 テンポ. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 3/4.
This song has a musical key of D♭ Minor. This also means that this song has a camelot key of 12A. So, the perfect camelot match for 12A would be either 12A or 11B. While, a low energy boost can consist of either 12B or 1A. For moderate energy boost, you would use 9A and a high energy boost can either be 2A or 7A. However, if you are looking for a low energy drop, finding a song with a camelot key of 11A would be a great choice. Where 3A would give you a moderate drop, and 10A or 5A would be a high energy drop. Lastly, 3B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Capriol Suite: 5. Pied-en- l'air | Peter Warlock, Academy of St. Martin in the Fields, Nicholas Kraemer, Sir Neville Marriner | G Major | 1 | 9B | 113 BPM | ||
Impromptus, D 899, Op. 90: III. Andante | Franz Schubert, Rudolf Buchbinder | F♯ Major | 0 | 2B | 64 BPM | ||
Wiegenlied, Op. 49, No. 4 | Johannes Brahms, Leonidas Kavakos, Yuja Wang | E♭ Major | 0 | 5B | 74 BPM | ||
Beau Soir, L.6 | Mischa Maisky, Claude Debussy, Daria Hovora | F♯ Minor | 1 | 11A | 71 BPM | ||
Slavonic Dances, Op. 72, B. 147: No. 2, Dumka | Antonín Dvořák, George Szell, Cleveland Orchestra | C Major | 2 | 8B | 101 BPM | ||
Pavane pour une infante défunte, M. 19 | Maurice Ravel, Anna Vinnitskaya | E Minor | 0 | 9A | 67 BPM | ||
Le Carnaval des Animaux, R. 125: 13. The Swan (Arr. Hodge for Cello, Harp & Ensemble) | Camille Saint-Saëns, Sheku Kanneh-Mason, Katherine Thomas, CBSO Cellos | G Major | 1 | 9B | 69 BPM | ||
Bruch: Violin Concerto No. 1 in G Minor, Op. 26: I. Prelude. Allegro moderato | Max Bruch, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | E♭ Major | 1 | 5B | 113 BPM | ||
Les Boréades, RCT 31, Acte IV, Scène IV: Entrée pour les Muses, les Zéphyres, les Saisons, les Heures et les Arts | Jean-Philippe Rameau, Teodor Currentzis | D♭ Major | 1 | 3B | 130 BPM | ||
Variations on an Original Theme, Op. 36 "Enigma": 9. Nimrod (Adagio) | Edward Elgar, Los Angeles Philharmonic, Zubin Mehta | E♭ Major | 1 | 5B | 142 BPM |