"Rachmaninov: 14 Romances, Op. 34: No. 14, Vocalise (Orchestral Version)" by Sergei Rachmaninoff, Mariss Jansons, St. Petersburg Philharmonic Orchestra was released on 1994. Since Rachmaninov: 14 Romances, Op. 34: No. 14, Vocalise (Orchestral Version) is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. There are a total of 7 in the song's album "Rachmaninov: Orchestral Works". In this album, this song's track order is #7. Rachmaninov: 14 Romances, Op. 34: No. 14, Vocalise (Orchestral Version) is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Rachmaninov: 14 Romances, Op. 34: No. 14, Vocalise (Orchestral Version) by Sergei Rachmaninoff, Mariss Jansons, St. Petersburg Philharmonic Orchestra having a テンポ of 84 with a half-time of 42 テンポ and a double-time of 168 テンポ, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
This song has a musical key of E Minor. Which also means that the camelot key for this song is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Schwanengesang, S. 560: Schubert - Schwanengesang, S. 560/R. 245: No. 7, Standchen (Leise flehen meine Lieder) [After F. Schubert] | Franz Liszt, Oxana Yablonskaya | D Major | 0 | 10B | 66 BPM | ||
Piano Concerto No. 6: II. Larghetto | John Field, Matthias Bamert, London Mozart Players, Miceal O'Rourke | E Major | 0 | 12B | 79 BPM | ||
2 Mélodies, Op. 3: 1. Moderato assai | Anton Rubinstein, Shura Cherkassky | C Minor | 1 | 5A | 98 BPM | ||
No. 1, Der Engel (Arr. for Cello and Orchestra) | Richard Wagner, Jan Vogler, Helmut Branny | A Major | 1 | 11B | 92 BPM | ||
Oboe Concerto in C: 1. Introduzione (Larghetto) | Domenico Cimarosa, Heinz Holliger, I Musici | C Minor | 1 | 5A | 172 BPM | ||
Orchestral Suite No. 3 in D Major, BWV 1068: II. Air | Johann Sebastian Bach, Academy of St. Martin in the Fields, Sir Neville Marriner | D Major | 2 | 10B | 115 BPM | ||
Violin Concerto No.1 in G minor, Op.26: 3. Finale (Allegro energico) | Max Bruch, Julia Fischer, Tonhalle Orchester Zürich, David Zinman | G Major | 2 | 9B | 93 BPM | ||
Spartacus, Act III: Adagio of Spartacus and Phrygia (arr. Y. Grigorovich) [1968 Bolshoi Version] | Aram Khachaturian, RIAS Kammerchor, Deutsches Symphonie-Orchester Berlin, Michail Jurowski | E Major | 2 | 12B | 123 BPM | ||
Les danses polovtsiennes (Extraits de l'opéra Le Prince Igor): V. Danse finale | Alexander Borodin, Anima Eterna, Jos Van Immerseel | D Major | 2 | 10B | 104 BPM | ||
Scenes historiques II, Op. 66: II. The Love Song | Jean Sibelius, New Zealand Symphony Orchestra, Pietari Inkinen | F♯ Major | 0 | 2B | 137 BPM |