Gabriel Fauré, Boston Symphony Orchestra, Seiji Ozawa's 'Dolly, Op. 56: 2. Mi-A-Ou' came out on January 1, 1987. The duration of Dolly, Op. 56: 2. Mi-A-Ou is about two minutes long, specifically at 2:17. This song does not appear to have any foul language. Dolly, Op. 56: 2. Mi-A-Ou's duration is considered a little bit shorter than the average duration of a typical track. The song is number 10 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: 2. Mi-A-Ou 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: 2. Mi-A-Ou 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 | ||
---|---|---|---|---|---|---|---|
4 Norwegian Dances, Op. 35: No. 3 in G-Major: Allegro moderato alla Marcia | Edvard Grieg, Gothenburg Symphony Orchestra, Neeme Järvi | A Major | 0 | 11B | 136 BPM | ||
The Rite of Spring: Introduction | Igor Stravinsky, Seiji Ozawa | E Minor | 6 | 9A | 81 BPM | ||
Schumann: Symphony No. 1 in B-Flat Major, Op. 38, Spring: II. Larghetto | Robert Schumann, San Francisco Symphony, Michael Tilson Thomas | E♭ Major | 1 | 5B | 57 BPM | ||
Pelleas et Melisande, Op. 80 (arr. C. Koechlin): IV. Fileuse - Allegretto moderato | Charles Koechlin, Gabriel Fauré, Sarah Wegener, Stuttgart Radio Symphony Orchestra, Heinz Holliger | G Major | 0 | 9B | 90 BPM | ||
Symphony No.3 In C Minor, Op.78 "Organ Symphony": 2. Allegro moderato - Presto - Allegro moderato - Maestoso - Più allegro - Molto allegro | Camille Saint-Saëns, Simon Preston, Berliner Philharmoniker, James Levine | F Minor | 2 | 4A | 117 BPM | ||
Menuet antique (version for orchestra) | Maurice Ravel, Orchestre National De Lyon, Leonard Slatkin | F♯ Major | 0 | 2B | 65 BPM | ||
Violin Concerto No. 1 in F Sharp Minor, Op.14 (1985 - Remaster): III. Rondo (Allegro giocoso) | Henryk Wieniawski, Itzhak Perlman, Seiji Ozawa, Boston Symphony Orchestra | F♯ Minor | 1 | 11A | 105 BPM | ||
Concerto for 2 Pianos and Orchestra, Op. 88a: III. Adagio ma non troppo | Max Bruch, Oliver Schnyder, Julia Kociuban, ORF Vienna Radio Symphony Orchestra, Howard Griffiths | B Major | 2 | 1B | 66 BPM | ||
Ancient Airs and Dances, Suite No. 1: 1. Balletto detto "Il Conte Orlando" | Ottorino Respighi, London Philharmonic Orchestra, Jesús López-Cobos | D Major | 1 | 10B | 55 BPM | ||
Carmina Burana: Ave formosissima | Carl Orff, Seiji Ozawa, Lorna Cooke de Varon | E Minor | 2 | 9A | 128 BPM |