"Candide / Act I: 3a. Universal Good" by Leonard Bernstein, June Anderson, Della Jones, Jerry Hadley, Kurt Ollmann, London Symphony Orchestra was released on January 1, 1991. With Candide / Act I: 3a. Universal Good being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The song is number 5 out of 34 in Bernstein: Candide by Leonard Bernstein, London Symphony Orchestra. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. The popularity of Candide / Act I: 3a. Universal Good is currently 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.
The tempo marking of Candide / Act I: 3a. Universal Good by Leonard Bernstein, June Anderson, Della Jones, Jerry Hadley, Kurt Ollmann, London Symphony Orchestra is Vivace (lively and fast), since this song has a tempo of 161 テンポ. With that information, we can conclude that the song has a fast tempo. The time signature for this track is 3/4.
This song is in the music key of G Minor. Because this track belongs in the G Minor key, the camelot key is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Die Fledermaus / Act I: Nr. 1 Introduktion: "Täubchen, das entflattert ist" | Johann Strauss II, Lucia Popp, René Kollo, Bavarian State Orchestra, Carlos Kleiber | G Major | 1 | 9B | 50 BPM | ||
Die Fledermaus / Act II: Nr. 10 Csárdás: "Klänge der Heimat" | Johann Strauss II, Julia Varady, Bavarian State Orchestra, Carlos Kleiber | D Major | 2 | 10B | 82 BPM | ||
Tchaikovsky: Swan Lake, Op. 20, Act I: No. 6, Pas d'action. Andantino, quasi moderato - Allegro | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | E Major | 1 | 12B | 62 BPM | ||
Prokofiev: Romeo and Juliet (Complete Ballet), Op. 64, Act 1: No. 6, The Fight | Sergei Prokofiev, André Previn, London Symphony Orchestra | E Minor | 4 | 9A | 77 BPM | ||
Tchaikovsky: The Sleeping Beauty, Op. 66, Prologue "The Christening": No. 3b, Pas de six. Grand adage | Pyotr Ilyich Tchaikovsky, André Previn, London Symphony Orchestra | B♭ Major | 1 | 6B | 143 BPM | ||
Pelléas et Mélisande, L. 88 / Act I: "Hoé! Hisse hoé!" | Claude Debussy, Francois Le Roux, Maria Ewing, Christa Ludwig, Vienna State Opera Chorus, Helmut Froschauer, Wiener Philharmoniker, Claudio Abbado | C Major | 4 | 8B | 49 BPM | ||
Stabat Mater: 4. Quae moerabat | Giovanni Battista Pergolesi, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | E♭ Major | 1 | 5B | 75 BPM | ||
Parade of the Ewoks | John Williams, London Symphony Orchestra | F Major | 2 | 7B | 118 BPM | ||
Carmen / Act 2: Toreador Song: "Votre toast, je peux vous le rendre" (from Carmen / Act 2) | Georges Bizet, Barry Wordsworth, Bryn Terfel, London Symphony Orchestra | B♭ Minor | 4 | 3A | 112 BPM | ||
The Firebird Suite (1919 Version): VI. Lullaby | Igor Stravinsky, Leonard Bernstein, New York Philharmonic | A♭ Minor | 0 | 1A | 170 BPM |