Edvard Grieg, Esa-Pekka Salonen's 'Peer Gynt, Op. 23: Act II, 7, In the Hall of the Mountain King' came out on 1989. The duration of Peer Gynt, Op. 23: Act II, 7, In the Hall of the Mountain King is about two minutes long, specifically at 2:33. This song does not appear to have any foul language. Peer Gynt, Op. 23: Act II, 7, In the Hall of the Mountain King's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Edvard Grieg, Esa-Pekka Salonen's "Grieg: Peer Gynt, Op. 23 (Excerpts) - Sony Classical Masters" album is number 6 out of 20. On top of that, United States appears to be the country where this track was created. In terms of popularity, Peer Gynt, Op. 23: Act II, 7, In the Hall of the Mountain King is currently average in popularity. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
We consider the tempo marking of Peer Gynt, Op. 23: Act II, 7, In the Hall of the Mountain King by Edvard Grieg, Esa-Pekka Salonen to be Andante (at a walking pace) because the track has a tempo of 104 テンポ, a half-time of 52テンポ, and a double-time of 208 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
B Minor is the music key of this track. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carmen, Opera Suite No. 2: II. Habanera (Act 1) | London Festival Orchestra Alfred Scholz | D Major | 0 | 10B | 123 BPM | ||
Serenade in B-Flat Major, K. 361 "Gran Partita": III. Adagio | Wolfgang Amadeus Mozart, Orpheus Chamber Orchestra | E♭ Major | 0 | 5B | 68 BPM | ||
Nonet in E-Flat Major, Op. 38: III. Scherzo. Vivace | Louise Farrenc, Consortium Classicum | C Major | 0 | 8B | 79 BPM | ||
6 Chants polonais, S. 480: No. 2, Frühling (Wiosna, Spring) [After Chopin's Op. 74] | Franz Liszt, Joseph Banowetz | G Minor | 0 | 6A | 96 BPM | ||
Cello Suite No. 1 in G Major, BWV 1007: I. Prélude | Johann Sebastian Bach, Yo-Yo Ma | G Major | 2 | 9B | 73 BPM | ||
L'Apprenti sorcier | Paul Dukas, Yan Pascal Tortelier, Ulster Orchestra | F Minor | 4 | 4A | 117 BPM | ||
Waltz in A flat major, Op.39 No. 15 | Johannes Brahms, Radio Symphony Orchestra | A Major | 1 | 11B | 89 BPM | ||
Lohengrin: Prelude | Richard Wagner, Slovak Philharmonic, Michael Halasz | A Major | 0 | 11B | 75 BPM | ||
String Quintet in E Major, G. 275: III. Menuetto | Luigi Boccherini, Orpheus Chamber Orchestra | A Major | 0 | 11B | 112 BPM | ||
Symphonie fantastique Op. 14, H. 48: IV. Marche au supplice. Allegretto non troppo | Hector Berlioz, Cleveland Orchestra, Lorin Maazel | B♭ Major | 3 | 6B | 91 BPM |