Jules Massenet, Laurent Naouri, Christian Helmer, Ensemble Aedes, Orchestre des Frivolités Parisiennes, Unknown Artist, Mathieu Romano's 'Don César de Bazan, Act II Scene 6 (1888 Version): À boire, amis' came out on June 12, 2020. Don César de Bazan, Act II Scene 6 (1888 Version): À boire, amis appears to be safe for all ages as it is not explicit. The track order of this song in Jules Massenet, Orchestre des Frivolités Parisiennes, Laurent Naouri, Mathieu Romano's "Massenet: Don César de Bazan (1888 Version)" album is number 11 out of 21. On top of that, Hong Kong appears to be the country where this track was created. Based on our statistics, Don César de Bazan, Act II Scene 6 (1888 Version): À boire, amis's popularity is unknown right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
We consider the tempo marking of Don César de Bazan, Act II Scene 6 (1888 Version): À boire, amis by Jules Massenet, Laurent Naouri, Christian Helmer, Ensemble Aedes, Orchestre des Frivolités Parisiennes, Unknown Artist, Mathieu Romano to be Allegro (fast, quick, and bright) because the track has a tempo of 127 テンポ, a half-time of 64テンポ, and a double-time of 254 テンポ. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 3/4.
This song is in the music key of E Major. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Shostakovich / Arr. Atovmyan: Suite from the Gadfly, Op. 97a: VIII. Romance | Dmitri Shostakovich, Tasmin Little, Piers Lane | C Major | 1 | 8B | 175 BPM | ||
Symphony No. 3 in C Minor: II. Andante ma non troppo | Florence Beatrice Price, Philadelphia Orchestra, Yannick Nézet-Séguin | A♭ Major | 0 | 4B | 88 BPM | ||
16 Waltzes, Op. 39 (1867 version): No. 15 in A-Flat Major | Johannes Brahms, Idil Biret | A♭ Minor | 3 | 1A | 111 BPM | ||
Petite suite, L. 65: I. En bateau (Orch. by Henri Busser) | Claude Debussy, Yoav Talmi, Orchestre Symphonique De Québec | B Minor | 0 | 10A | 75 BPM | ||
Massenet: Thaïs, Act 2 Tableau 2: Méditation (Andante religioso) | Jules Massenet, Nigel Kennedy, English Chamber Orchestra, Paul Barritt | E Minor | 1 | 9A | 80 BPM | ||
Thaïs / Acte Deux: Méditation religieuse - Symphonie | Jules Massenet, Renaud Capuçon, Orchestre National Bordeaux Aquitaine, Yves Abel | D Major | 2 | 10B | 94 BPM | ||
Chopin: Berceuse in D-Flat Major, Op. 57 | Frédéric Chopin, Dong Hyek Lim | D♭ Major | 0 | 3B | 67 BPM | ||
Young Birches, Op. 128, No. 2 | Amy Beach, Joanne Polk | F♯ Minor | 1 | 11A | 170 BPM | ||
Vocalise, Op. 34, No. 14 - Version For Cello And Piano | Sergei Rachmaninoff, Mischa Maisky, Pavel Gililov | E Minor | 8 | 9A | 128 BPM | ||
Puccini: Gianni Schicchi, Act 1: "O mio babbino caro" (Lauretta) | Giacomo Puccini, Renaud Capuçon | A♭ Major | 2 | 4B | 89 BPM |