"A Charm (Arr. C. Matthews for voice and orchestra)" by Benjamin Britten, Catherine Wyn-Rogers, Royal Northern Sinfonia, Steuart Bedford was released on January 2, 2005. The duration of A Charm (Arr. C. Matthews for voice and orchestra) is about two minutes long, specifically at 2:02. This song does not appear to have any foul language. A Charm (Arr. C. Matthews for voice and orchestra)'s duration is considered a little bit shorter than the average duration of a typical track. The song is number 17 out of 34 in Britten: Simple Symphony / Temporal Variations / Suite On English Folk Tunes by Benjamin Britten, Steuart Bedford. Going off of the ISRC code of this track, we detected that the origin of this track is from Hong Kong. In terms of popularity, A Charm (Arr. C. Matthews for voice and orchestra) is currently unknown. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of A Charm (Arr. C. Matthews for voice and orchestra) by Benjamin Britten, Catherine Wyn-Rogers, Royal Northern Sinfonia, Steuart Bedford is Andante (at a walking pace), since this song has a tempo of 92 テンポ. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
A Major is the music key of this track. 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 | ||
---|---|---|---|---|---|---|---|
Ein deutsches Requiem, Op.45: 5. Solo (Sopran) und Chor: "Ihr habt nun Traurigkeit" | Johannes Brahms, Barbara Hendricks, Rudolf Scholz, Wiener Philharmoniker, Herbert von Karajan, Wiener Singverein | G Major | 0 | 9B | 92 BPM | ||
Brandenburg Concerto No. 3 in G, BWV 1048: 3. Allegro | Johann Sebastian Bach, English Chamber Orchestra, Benjamin Britten | B♭ Major | 1 | 6B | 109 BPM | ||
Carnival Overture, Op. 92 | Antonín Dvořák, Leonard Bernstein, New York Philharmonic | D Major | 3 | 10B | 145 BPM | ||
The Firebird: Scene 1: The Firebird's Lullaby | Igor Stravinsky, City Of Birmingham Symphony Orchestra, Andris Nelsons | B Major | 0 | 1B | 117 BPM | ||
Suite No. 2, Op. 80: V. Ciaccona. Allegro | Benjamin Britten, Jean-Guihen Queyras | G Major | 1 | 9B | 87 BPM | ||
Oboe Concerto: II. Minuet and Musette. Allegro moderato | Ralph Vaughan Williams, Peter Oundjian, Toronto Symphony Orchestra, Sarah Jeffrey | C Major | 1 | 8B | 138 BPM | ||
Petrushka: Danse Russe | Igor Stravinsky, Robert Groslot, Belgian Radio and Television Philharmonic Orchestra, Alexander Rahbari | A Minor | 3 | 8A | 121 BPM | ||
Wesendonck Lieder, WWV 91: Schmerzen | Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 132 BPM | ||
Peter Grimes, Op. 13: Act III Scene I: Embroidery in childhood was (Ellen, Balstrode) | Benjamin Britten, Giselle Allen, David Kempster, Steuart Bedford, Britten-Pears Orchestra | B Minor | 1 | 10A | 89 BPM | ||
Symphonie fantastique, Op. 14, H 48: II. Un Bal | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | A Major | 1 | 11B | 113 BPM |