"Capriccio Espagnol: Scena e canto gitano" by Nikolai Rimsky-Korsakov, London Philharmonic Orchestra, Alexander Lazarev, Joakim Svenheden was released on February 1, 1999. With this song being about 5 minutes long, at 4:55, "Capriccio Espagnol: Scena e canto gitano" by Nikolai Rimsky-Korsakov, London Philharmonic Orchestra, Alexander Lazarev, Joakim Svenheden is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. There are a total of 18 in the song's album "Rimsky-Korsakov: Scheherezade". In this album, this song's track order is #17. Based on our statistics, Capriccio Espagnol: Scena e canto gitano's popularity is below average in popularity right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Capriccio Espagnol: Scena e canto gitano by Nikolai Rimsky-Korsakov, London Philharmonic Orchestra, Alexander Lazarev, Joakim Svenheden having a テンポ of 124 with a half-time of 62 テンポ and a double-time of 248 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 3/4.
This song has a musical key of D Minor. Which also means that the camelot key for this song is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphonie fantastique, Op. 14, H 48: 2. Un bal (Valse: Allegro non troppo) | Hector Berlioz, Chicago Symphony Orchestra, Claudio Abbado | A Major | 1 | 11B | 84 BPM | ||
Khovanshchina: Overture (Prelude) | Modest Mussorgsky, Mariinsky Orchestra, Valery Gergiev | D♭ Major | 0 | 3B | 90 BPM | ||
Turandot / Act 3: Principessa divina! | Giacomo Puccini, Tom Krause, Dame Joan Sutherland, Luciano Pavarotti, Montserrat Caballé, Nicolai Ghiaurov, London Philharmonic Orchestra, Zubin Mehta | F Major | 2 | 7B | 175 BPM | ||
Elgar: Chanson de Nuit et Chanson de Matin, Op. 15: II. Chanson de Matin (Orch. Elgar) | Edward Elgar, London Philharmonic Orchestra, Sir Adrian Boult | D♭ Major | 4 | 3B | 172 BPM | ||
Prokofiev: Symphony No. 1 in D Major, Op. 25, "Classical": II. Larghetto | Sergei Prokofiev, André Previn, London Symphony Orchestra | A Major | 0 | 11B | 104 BPM | ||
Impressioni brasiliane, P 153: II. Butantan | Ottorino Respighi, Alessandro Crudele, London Philharmonic Orchestra | C Minor | 4 | 5A | 67 BPM | ||
Vaughan Williams: Symphony No. 4 in F Minor: II. Andante moderato | Ralph Vaughan Williams, Bernard Haitink, London Philharmonic Orchestra | F Minor | 0 | 4A | 139 BPM | ||
Prince Igor, Act II: Polovtsian Dances, Dance I | Alexander Borodin, Paavo Järvi, Orchestre Philharmonique de Radio France | F Major | 1 | 7B | 97 BPM | ||
Fantasia on a Theme by Thomas Tallis (opening) | Sir Adrian Boult, London Philharmonic Orchestra | E♭ Major | 1 | 5B | 68 BPM | ||
Also Sprach Zarathustra Op.30: Der Genesende (The Convalescent) | Richard Strauss, London Philharmonic Orchestra, Klaus Tennstedt | C Major | 2 | 8B | 96 BPM |