Alexander Borodin, Sir Thomas Beecham, Royal Philharmonic Orchestra made "Borodin: Prince Igor, Act II, Polovtsian Dances: Pt. 2, Wild Dance of the Men" available on February 1, 1999. With Borodin: Prince Igor, Act II, Polovtsian Dances: Pt. 2, Wild Dance of the Men being less than two minutes long, at 1:16, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 11 in the song's album "Rimsky-Korsakov: Scheherazade - Borodin: Polovstian Dances ('Prince Igor')". In this album, this song's track order is #6. Furthermore, we believe that the track originated from United Kingdom. Based on our statistics, Borodin: Prince Igor, Act II, Polovtsian Dances: Pt. 2, Wild Dance of the Men's popularity is not that popular right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
With Borodin: Prince Igor, Act II, Polovtsian Dances: Pt. 2, Wild Dance of the Men by Alexander Borodin, Sir Thomas Beecham, Royal Philharmonic Orchestra having a テンポ of 125 with a half-time of 62 テンポ and a double-time of 250 テンポ, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the テンポ of this song, this song might go great with walking. The time signature for this track is 4/4.
F♯ Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Variation 6: Sostenuto (quasi adagietto) | Max Reger, New Zealand Symphony Orchestra, Franz-Paul Decker | D Major | 1 | 10B | 74 BPM | ||
21 Hungarian Dances, WoO 1: Hungarian Dance No. 6 in D-Flat Major | Seattle Symphony Orchestra, Johannes Brahms, Gerard Schwarz | D Major | 1 | 10B | 81 BPM | ||
My Lord, a Suppliant at Your Feet from "Iolanthe" | James Walker, Jean Allister, Royal Philharmonic Orchestra | F Major | 2 | 7B | 74 BPM | ||
irreplaceable | Chad Lawson, Royal Philharmonic Orchestra, James Southall | E Minor | 0 | 9A | 65 BPM | ||
Reflection - From "Mulan" | Royal Philharmonic Orchestra | B♭ Major | 2 | 6B | 86 BPM | ||
Brahms: Symphony No. 1 in C minor Op. 68: Andante sostenuto | Johannes Brahms, Herbert von Karajan, Wiener Philharmoniker | E Major | 1 | 12B | 76 BPM | ||
Marche slave, Op. 31, TH 45 | Pyotr Ilyich Tchaikovsky, Royal Philharmonic Orchestra, Adrian Leaper | B♭ Minor | 4 | 3A | 111 BPM | ||
Libuse: Overture | Bedřich Smetana, Slovak State Philharmonic Orchestra, Kosice | C Major | 1 | 8B | 82 BPM | ||
The Bartered Bride: Overture | Bedřich Smetana, BBC Symphony Orchestra, Jiří Bělohlávek | F Major | 2 | 7B | 145 BPM | ||
Eine Alpensinfonie, Op. 64, TrV 233: III. Der Anstieg | Richard Strauss, David Bell, Berliner Philharmoniker, Herbert von Karajan | E♭ Major | 4 | 5B | 69 BPM |