"La Tempestad, Acto II: Llegad, Llegad, Venid, Venid (Introducción y Coro) - Remastered" by Ruperto Chapí, Miguel Ramos Carrión, Gregorio Gil, Ataúlfo Argenta, Jose Perera, Orquesta De Camara De Madrid was released on January 15, 1954. With this song being around four minutes long, at 3:55, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The track order of this song in Ruperto Chapí, Miguel Ramos Carrión, Various Artists, Ataúlfo Argenta, Jose Perera, Orquesta De Camara De Madrid's "La Zarzuela: La Tempestad" album is number 1 out of 19. In terms of popularity, La Tempestad, Acto II: Llegad, Llegad, Venid, Venid (Introducción y Coro) - Remastered is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of La Tempestad, Acto II: Llegad, Llegad, Venid, Venid (Introducción y Coro) - Remastered by Ruperto Chapí, Miguel Ramos Carrión, Gregorio Gil, Ataúlfo Argenta, Jose Perera, Orquesta De Camara De Madrid 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.
This song has a musical 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 | ||
---|---|---|---|---|---|---|---|
Parlami d'amore, Mariu (orch. L. Logi) | Cesare Andrea Bixio, L. Logi, Dmitri Hvorostovsky, Russian Philharmonia, Constantine Orbelian | F Major | 1 | 7B | 67 BPM | ||
El Huesped del Sevillano, Acto I: Fiel Espada Triunfadora (Canto a la Espada Toledana) - Remastered | Enrique Reoyo, Juan Ignacio Luca de Tena, Jacinto Guerrero, Marcos Redondo | F Major | 2 | 7B | 163 BPM | ||
Y Detrás de Ti Besé / Yo Conozco a una Mocita | José Oto, Rondalla | C Major | 4 | 8B | 93 BPM | ||
Rossini: Messa di Gloria: IX. Qui sedes ad dexteram Patris | Gioacchino Rossini, Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano, Coro dell'Accademia Nazionale Di Santa Cecilia, Michael Spyres | F Major | 3 | 7B | 140 BPM | ||
El Amor Brujo: Canción del fuego fátuo | Manuel de Falla, Grace Bumbry, Deutsches Symphonie-Orchester Berlin, Lorin Maazel | E Major | 1 | 12B | 0 BPM | ||
Siempre Que Te Ahogue una Pena / Tantos Desprecios Me Das - Remastered | Jesús Gracia, Rondalla Santamaría, Florencio Santamaría | E Major | 4 | 12B | 87 BPM | ||
Deutschland Lied | Musikkorps der SS Leibstandarte ''Adolf Hitler'' | E♭ Major | 4 | 5B | 94 BPM | ||
La Verbena de la Paloma, Act I: Rita y Julián (Rita, Julián, Guardia 1, Guardia 2, Casta, Susana, Antonia, Hilarión) | Tomás Bretón, Rafael Castejon, Antoni Ros Marbá, Orquesta Sinfónica de Madrid | C Major | 2 | 8B | 96 BPM | ||
Agua, azucarillos y aguardiente - Preludio | Pablo Sorozábal | E♭ Major | 4 | 5B | 143 BPM | ||
La Bruja: "Al Fin de Qué, No Hay Nadie" | Ramos Carrion, Ruperto Chapí, Orquesta Sinfonica | E♭ Major | 3 | 5B | 167 BPM |