"Azulão" by Renzo Massarani, Claudia Marie-Thérèse Hasslinger, Gregorio Nardi, Manuel Bandeira, Cleómenes Campos, Giuseppe Valentini was released on March 19, 2021. The duration of Azulão is about two minutes long, specifically at 2:32. This song does not appear to have any foul language. Azulão's duration is considered a little bit shorter than the average duration of a typical track. There is only one song in 3 Songs by Renzo Massarani, so we believe that "Azulão" is a single. Azulão 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.
The tempo marking of Azulão by Renzo Massarani, Claudia Marie-Thérèse Hasslinger, Gregorio Nardi, Manuel Bandeira, Cleómenes Campos, Giuseppe Valentini is Adagio (slowly with great expression), since this song has a tempo of 74 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 1/4.
This song has a musical key of E♭ Minor. Because this track belongs in the E♭ Minor key, the camelot key is 2A. So, the perfect camelot match for 2A would be either 2A or 1B. While, a low energy boost can consist of either 2B or 3A. For moderate energy boost, you would use 11A and a high energy boost can either be 4A or 9A. However, if you are looking for a low energy drop, finding a song with a camelot key of 1A would be a great choice. Where 5A would give you a moderate drop, and 12A or 7A would be a high energy drop. Lastly, 5B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
The Kiss (Hubicka) - Opera in 2 Acts: Lullaby | Bedřich Smetana, Renée Fleming, Philharmonia Orchestra, Sebastian Lang-Lessing | A Major | 1 | 11B | 75 BPM | ||
Samson et Dalila: Mon coeur s’ouvre à ta voix | Camille Saint-Saëns, Marie-Nicole Lemieux, Orchestre National De France, Fabien Gabel | A♭ Major | 1 | 4B | 70 BPM | ||
Peer Gynt, Op.23 - Incidental Music: No.19. Solveig's song | Edvard Grieg, Mary-Anne Haeggander, San Francisco Symphony, Herbert Blomstedt | A Minor | 0 | 8A | 77 BPM | ||
La Verbena de la Paloma, Act I: Soledad (Cantaora, Guardia 1, Guardia 2, Antonia, Casta, Susana, Vecina, Vecino) | Tomás Bretón, Milagros Martin, Juan Jesùs Rodriguez, Alberto Rios, Ana M. Amengual, Silvia Tro, Maria Bayo, Carmen Campos Ros, Alfredo Garcia Huerga, Antoni Ros Marbá, Orquesta Sinfónica de Madrid | A Minor | 2 | 8A | 150 BPM | ||
Requiem, Op. 9: V. Pie Jesu (1961 Version) | Maurice Duruflé, Orchestra of the Age of Enlightenment, Stephen Cleobury, Patricia Bardon | A♭ Major | 0 | 4B | 79 BPM | ||
Britten: Serenade, Op. 31: II. Pastoral | Benjamin Britten, Ian Bostridge, Sir Simon Rattle, Berliner Philharmoniker | D♭ Major | 0 | 3B | 178 BPM | ||
Stabat Mater, FP 148: 6. Vidit suum | Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver | C Major | 1 | 8B | 103 BPM | ||
Bachianas brasileiras No. 5: II. Danza: Martelo | Heitor Villa-Lobos, Rosana Lamosa, Nashville Symphony Orchestra Cellos, Kenneth Schermerhorn | C Major | 2 | 8B | 90 BPM | ||
Trois mélodies, Op. 8: No. 3, Ici-bas! | Dilyana Georgieva, Galina Apostolova | C Minor | 3 | 5A | 168 BPM | ||
Die gute Nacht, die ich dir sage | Clara Schumann, Lan Rao | E♭ Major | 1 | 5B | 86 BPM |