"Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: Did she?...Of course she did (Rubberneckers)" by Thomas Adès was released on 1998. The duration of Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: Did she?...Of course she did (Rubberneckers) is about 3 minutes long, at 3:09. Based on our data, "Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: Did she?...Of course she did (Rubberneckers)" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 1 out of 31 in Adès: Powder Her Face by Thomas Adès, Jill Gomez/Thomas Adès. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: Did she?...Of course she did (Rubberneckers) is unknown 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 Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: Did she?...Of course she did (Rubberneckers) by Thomas Adès is Andante (at a walking pace), since this song has a tempo of 77 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 1/4.
This song has a musical key of A Major. 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 | ||
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Préludes Book 1, L. 117: III. La Cathedrale Engloutie | Claude Debussy, Martin Jones | D Minor | 0 | 7A | 67 BPM | ||
On an Overgrown Path, Series I: They Chattered like Swallows | Leoš Janáček, Thomas Adès | A♭ Minor | 1 | 1A | 112 BPM | ||
Divertimento from "Le baiser de la fée", K49 (Arr. Stravinsky & Dushkin for Violin & Piano): IVa. Pas de deux. Adagio | Igor Stravinsky, Anthony Marwood, Thomas Adès | D Minor | 2 | 7A | 100 BPM | ||
Suite for Violin and Piano from Pulcinella, K34 (1925 Version): IV. Gavotta con due variazioni | Igor Stravinsky, Anthony Marwood, Thomas Adès | D Minor | 2 | 7A | 100 BPM | ||
Sospiri, Op. 70 (Arr. Violin and Piano) | Edward Elgar, Nicola Benedetti, Petr Limonov | D Minor | 0 | 7A | 93 BPM | ||
Suite for Viola & Small Orchestra: I. Prelude | Ralph Vaughan Williams, Helen Callus, New Zealand Symphony Orchestra, Marc Decio Taddei | C Major | 0 | 8B | 91 BPM | ||
Schluss | Fanny Mendelssohn, Heather Schmidt | C Major | 0 | 8B | 118 BPM | ||
Beau soir, L. 6 (L. 84) (Arr. Heifetz for Violin and Piano) | Claude Debussy, Lisa Batiashvili, Yannick Nézet-Séguin | F Minor | 1 | 4A | 79 BPM | ||
Musette en rondeau | Jean-Philippe Rameau, Víkingur Ólafsson | E Major | 1 | 12B | 68 BPM | ||
Nocturnes n°4 en ut mineur | Francis Poulenc, Alexandre Tharaud | C Major | 0 | 8B | 73 BPM |