"Shylock, Op. 57: V. Nocturne" by Gabriel Fauré, London Festival Orchestra, Ross Pople had its release date on May 1, 1999. The duration of This song is about two minutes long, specifically at 2:22. This song does not appear to have any foul language. Shylock, Op. 57: V. Nocturne's duration is considered a little bit shorter than the average duration of a typical track. The song is number 2 out of 15 in Favourite Classics for Small Orchestra by London Festival Orchestra, George Frideric Handel, Ross Pople, Gabriel Fauré, Luigi Boccherini, Pyotr Ilyich Tchaikovsky, Johann Sebastian Bach, Christoph Willibald Gluck, Edward Elgar, Johann Pachelbel, Alexander Borodin, Charles Gounod, Jules Massenet, Wolfgang Amadeus Mozart, Antonín Dvořák, Jeremiah Clarke. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. Shylock, Op. 57: V. Nocturne is unknown 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 Shylock, Op. 57: V. Nocturne by Gabriel Fauré, London Festival Orchestra, Ross Pople is Andante (at a walking pace), since this song has a tempo of 82 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 G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Piano Hush | Sonic Piano Music | F Minor | 0 | 4A | 71 BPM | ||
Requiem, Op. 48: VIII. In Paradisum | Gabriel Fauré, Laurence Equilbey, Accentus, Orchestre National De France, La Maîtrise de Paris | D Major | 1 | 10B | 74 BPM | ||
String of Pearls | The Royal Wind Music | E♭ Minor | 0 | 2A | 96 BPM | ||
Symphony No. 9 in D Major: III. Rondo Burleske: No. 3, Sempre l’istesso tempo | Gustav Mahler, Mahler Academy Orchestra, Philipp von Steinaecker | D♭ Major | 0 | 3B | 86 BPM | ||
Symphony No. 3 in C Minor, Op. 78 "Organ" (Remastered): I. Poco adagio | Camille Saint-Saëns, Eugene Ormandy, E. Power Biggs, Philadelphia Orchestra | C Major | 4 | 8B | 105 BPM | ||
Symphony No. 9 in D Major: IV. Adagio: No. 5, Stets sehr gehalten | Gustav Mahler, Mahler Academy Orchestra, Philipp von Steinaecker | D♭ Major | 0 | 3B | 86 BPM | ||
25 Études faciles et progressives, Op. 100: No. 19, Ave Maria | Franz Burgmüller, The Gerst Ensemble | C Major | 0 | 8B | 124 BPM | ||
Carmina | True LUFS Project | C Major | 2 | 8B | 90 BPM | ||
Cinderella: 1. Cinderella, alone by the fire, dreaming | Eric Coates, BBC Philharmonic Orchestra, John Wilson | E Minor | 0 | 9A | 42 BPM | ||
Fantasia for Cello & Orchestra, W454: III. Allegro expressivo | Heitor Villa-Lobos, Antonio Meneses, Isaac Karabtchevsky, Orquestra Sinfônica do Estado de São Paulo | E♭ Major | 1 | 5B | 133 BPM |