Johann Strauss II, Vienna Boys' Choir, Gerald Wirth, Salonorchester Alt Wien made "Tritsch-Tratsch-Polka, Op. 214 (Arr. Gerald Wirth)" available on August 31, 2018. The duration of Tritsch-Tratsch-Polka, Op. 214 (Arr. Gerald Wirth) is about two minutes long, specifically at 2:42. This song does not appear to have any foul language. Tritsch-Tratsch-Polka, Op. 214 (Arr. Gerald Wirth)'s duration is considered a little bit shorter than the average duration of a typical track. Because this song is the only song in J. Strauss II: Tritsch-Tratsch-Polka, Op.214 and no other songs are present in the album, we classify this track as a single. On top of that, Austria appears to be the country where this track was created. The popularity of Tritsch-Tratsch-Polka, Op. 214 (Arr. Gerald Wirth) is currently below average in popularity right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
We consider the tempo marking of Tritsch-Tratsch-Polka, Op. 214 (Arr. Gerald Wirth) by Johann Strauss II, Vienna Boys' Choir, Gerald Wirth, Salonorchester Alt Wien to be Vivace (lively and fast) because the track has a tempo of 160 テンポ, a half-time of 80テンポ, and a double-time of 320 テンポ. Based on that, the speed of the song's tempo is fast. Activities such as, running, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of A Major. This also means that this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Lakmé: Blumenduett (Lara Croft Tomb Raider): Lakme, Act I: Dome epais, "Flower Duet" | Léo Delibes, Adriana Kohútková, Denisa Šlepkovská, Slovak Radio Symphony Orchestra, Johannes Wildner | B Major | 0 | 1B | 83 BPM | ||
Suite No. 1 for Variety Orchestra, Op. Posth.: VII. Waltz No. 2 | Dmitri Shostakovich, Ukraine National Symphony Orchestra, Theodore Kuchar | C Minor | 2 | 5A | 194 BPM | ||
La Gioconda, Op. 9 / Act 3: Dance of the Hours | Amilcare Ponchielli, Staatskapelle Dresden, Silvio Varviso | E Major | 0 | 12B | 137 BPM | ||
Zorba Greek Dance | Ork. Emmetron | B♭ Minor | 7 | 3A | 110 BPM | ||
Offenbach: Can-Can (Orpheus in the Underworld): Can-Can - Produced | Offenbach, José Serebrier | D Major | 4 | 10B | 80 BPM | ||
Paganini: "Gern hab ich die Frau'n geküsst" | Franz Lehár, Jonas Kaufmann, Jochen Rieder, Berlin Radio Symphony Orchestra | E♭ Major | 1 | 5B | 77 BPM | ||
Tango Pasión | Daryl Griffith | A Minor | 1 | 8A | 114 BPM | ||
Bach, JS: Matthäus-Passion, BWV 244, Pt. 2: No. 68, Chor. "Wir setzen uns mit Tränen nieder" | Johann Sebastian Bach, Nikolaus Harnoncourt, Arnold Schönberg Choir, Vienna Boys' Choir, Concentus Musicus Wien | G Major | 1 | 9B | 91 BPM | ||
Solfetietto, En Ut Mineur | The Swingle Singers | D Major | 5 | 10B | 154 BPM | ||
Peer Gynt Suite No. 1, Op. 46: IV. I Dovregubbens hall (In the Hall of the Mountain King) | Edvard Grieg, Malmö Symphony Orchestra, Bjarte Engeset | D Major | 1 | 10B | 67 BPM |