"Tchaikovsky: Swan Lake, Op. 20, Act 4: No. 26, Scene. Allegro ma non troppo" by Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra was released on January 1, 1976. The duration of Tchaikovsky: Swan Lake, Op. 20, Act 4: No. 26, Scene. Allegro ma non troppo is about two minutes long, specifically at 2:23. This song does not appear to have any foul language. Tchaikovsky: Swan Lake, Op. 20, Act 4: No. 26, Scene. Allegro ma non troppo's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 31 in the song's album "Tchaikovsky: Swan Lake". In this album, this song's track order is #15. Furthermore, we believe that the track originated from United Kingdom. In terms of popularity, Tchaikovsky: Swan Lake, Op. 20, Act 4: No. 26, Scene. Allegro ma non troppo is currently below 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.
With Tchaikovsky: Swan Lake, Op. 20, Act 4: No. 26, Scene. Allegro ma non troppo by Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra having a テンポ of 111 with a half-time of 56 テンポ and a double-time of 222 テンポ, we would consider this track to have a Moderato (at a moderate speed) tempo marking. Because of this, we believe that the song has an overall moderate tempo. The time signature for this track is 4/4.
This song has a musical key of B Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Tchaikovsky: Swan Lake, Op. 20, Act II: No. 14, Scene. Moderato | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | E Minor | 2 | 9A | 78 BPM | ||
Suite from Carmen: I. Prélude, Act I | Georges Bizet, London Symphony Orchestra, Rafael Frühbeck de Burgos | D Minor | 1 | 7A | 144 BPM | ||
A Midsummer Night's Dream, Incidental Music, Op. 61: No. 7, Nocturne. Con moto tranquillo | Felix Mendelssohn, John Eliot Gardiner, London Symphony Orchestra | E Major | 0 | 12B | 69 BPM | ||
Symphony No. 4 in A Major, Op. 90, MWV N 16, "Italian": III. Con moto moderato | Felix Mendelssohn, London Symphony Orchestra, Claudio Abbado | A Major | 0 | 11B | 69 BPM | ||
Holberg Suite, Op. 40: 2. Sarabande (Andante) | Edvard Grieg, Gothenburg Symphony Orchestra, Neeme Järvi | G Major | 0 | 9B | 75 BPM | ||
Symphonic Studies, Op. 13 - Version 1852 with Etudes from 1837 version: Variation II. Marcato il canto | Robert Schumann, Mikhail Pletnev | D♭ Minor | 1 | 12A | 69 BPM | ||
Symphonie fantastique, Op. 14, H 48: II. Un Bal | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | A Major | 1 | 11B | 113 BPM | ||
Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28) | Pyotr Ilyich Tchaikovsky, Sydney Symphony Orchestra, John Lanchbery | B♭ Minor | 1 | 3A | 94 BPM | ||
Elgar: Variations on an Original Theme, Op. 36, "Enigma": Theme (Andante) | Edward Elgar, London Symphony Orchestra, Sir Adrian Boult | G Minor | 1 | 6A | 178 BPM | ||
Prokofiev: Romeo and Juliet (Complete Ballet), Op. 64, Act 1: No. 4, Morning Dance | Sergei Prokofiev, André Previn, London Symphony Orchestra | F Major | 3 | 7B | 83 BPM |