Coro del Gran Teatro Lírico de Bacelona, Fidela Campiña's 'Las Golondrinas: "Canción de Lina"' came out on May 15, 1999. The duration of Las Golondrinas: "Canción de Lina" is about two minutes long, specifically at 2:45. This song does not appear to have any foul language. Las Golondrinas: "Canción de Lina"'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Various Artists's "Las Golondrinas" album is number 6 out of 20. On top of that, Spain appears to be the country where this track was created. Based on our statistics, Las Golondrinas: "Canción de Lina"'s popularity 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 Las Golondrinas: "Canción de Lina" by Coro del Gran Teatro Lírico de Bacelona, Fidela Campiña to be Allegro (fast, quick, and bright) because the track has a tempo of 129 テンポ, a half-time of 64テンポ, and a double-time of 258 テンポ. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 3/4.
E♭ Major is the music key of this track. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Orff: Carmina Burana, Pt. 2, In Taberna: Estuans interius | Carl Orff, Agnes Giebel/Paul Kuen/Marcel Cordes/Chor des Westdeutschen Rundfunks/Children's Choir/Kölner Rundfunk-Sinfonie-Orchester/Wolfgang Sawallisch, Marcel Cordes, Wolfgang Sawallisch, Kölner Rundfunk-Sinfonie-Orchester | G Minor | 1 | 6A | 77 BPM | ||
La vestale, Act II: Prayer: O des infortunes | Gaspare Spontini, Renata Scotto, Budapest Symphony Orchestra, Charles Rosekrans | B Minor | 1 | 10A | 68 BPM | ||
Otello: Assisa a’ piè d’un salice | Gioachino Rossini, Hera Hyesang Park, Orchestra del Teatro Carlo Felice, Jochen Rieder | F♯ Minor | 2 | 11A | 80 BPM | ||
Ave, Verum Corpus | Franco Corelli | A Major | 1 | 11B | 66 BPM | ||
La Bohème (2003 Digital Remaster), ATTO SECONDO/ACT 2/ZWEITER AKT/DEUXIÈME ACTE: Quando me'n vo | Maria Callas, Georges Prêtre, Orchestre National de la RTF | D♭ Major | 2 | 3B | 80 BPM | ||
Les Pêcheurs de perles, WD 13, Act III: Sombres divinités | Georges Bizet, Alexandre Bloch, Orchestre National de Lille, Cyrille Dubois, Julie Fuchs, Luc Bertin-Hugault | G Major | 1 | 9B | 176 BPM | ||
L'italiana in Algeri: Atto I. Cavatina. Cruda sorte! | Gioachino Rossini, Vasilisa Berzhanskaya, La Cetra Vokalensemble Basel, Orchestra Of The 18th Century, Giancarlo Andretta | F Major | 2 | 7B | 131 BPM | ||
Cavalleria rusticana: Ave Maria | Pietro Mascagni, Vittorio Grigolo, Pier Giorgio Morandi, Czech National Symphony Orchestra | F Major | 1 | 7B | 170 BPM | ||
Andrea Chénier / Act 2: Ecco laggiù Gérard ... La donna che mi ha chiesto | Umberto Giordano, Giorgio Tadeo, Piero de Palma, Luciano Pavarotti, Leo Nucci, Tom Krause, Chorus of the Welsh National Opera, National Philharmonic Orchestra, Riccardo Chailly | B♭ Major | 3 | 6B | 92 BPM | ||
Suor Angelica: Ah, son dannata! | Giacomo Puccini, Dame Joan Sutherland, The London Opera Chorus, National Philharmonic Orchestra, Richard Bonynge | A Major | 1 | 11B | 109 BPM |