"Prokofiev: Romeo and Juliet (Complete Ballet), Op. 64, Act 1: No. 12, Masks" by Sergei Prokofiev, André Previn, London Symphony Orchestra was released on 1973. The duration of Prokofiev: Romeo and Juliet (Complete Ballet), Op. 64, Act 1: No. 12, Masks is about two minutes long, specifically at 2:41. This song does not appear to have any foul language. Prokofiev: Romeo and Juliet (Complete Ballet), Op. 64, Act 1: No. 12, Masks's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 52 in the song's album "Prokofiev: Romeo and Juliet". In this album, this song's track order is #12. The popularity of Prokofiev: Romeo and Juliet (Complete Ballet), Op. 64, Act 1: No. 12, Masks is currently 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 Prokofiev: Romeo and Juliet (Complete Ballet), Op. 64, Act 1: No. 12, Masks by Sergei Prokofiev, André Previn, London Symphony Orchestra having a テンポ of 163 with a half-time of 82 テンポ and a double-time of 326 テンポ, we would consider this track to have a Vivace (lively and fast) tempo marking. Because of this, we believe that the song has an overall fast tempo. The time signature for this track is 4/4.
This song has a musical key of B♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Also sprach Zarathustra, Op. 30, TrV 176: Das Tanzlied - Das Nachtlied | Richard Strauss, Michel Schwalbé, Berliner Philharmoniker, Herbert von Karajan | C Major | 2 | 8B | 100 BPM | ||
Suite for Violin and Orchestra in A Minor, Op.10 (Suite im alten Stil): II. Adagio | Christian Sinding, Itzhak Perlman, André Previn, Pittsburgh Symphony Orchestra | A Minor | 2 | 8A | 108 BPM | ||
Symphony No. 5 in C Minor, Op. 67: III. Allegro | Ludwig van Beethoven, Wiener Philharmoniker, Carlos Kleiber | A♭ Major | 1 | 4B | 82 BPM | ||
Requiem: XI. Domine Jesu Christe | Giuseppe Verdi, Sir Colin Davis, London Symphony Orchestra, Karen Cargill, Stuart Neill, John Relyea, Christine Brewer | A♭ Major | 0 | 4B | 125 BPM | ||
Carmen Fantasy, Op. 25: II. Lento assai | Pablo de Sarasate, Anne-Sophie Mutter, Wiener Philharmoniker, James Levine | A Minor | 1 | 8A | 82 BPM | ||
Prokofiev: Romeo and Juliet (Complete Ballet), Op. 64, Act 3: No. 50, At Juliet's Bedside (Epilogue) | Sergei Prokofiev, André Previn, London Symphony Orchestra | E Minor | 0 | 9A | 130 BPM | ||
Quirk: I. Snap | Karl Jenkins, London Symphony Orchestra, Gareth Davies, John Alley, Neil Percy | G Minor | 4 | 6A | 128 BPM | ||
Symphony No. 2: IV. Allegro Vivace | Sergei Rachmaninoff, Valery Gergiev, London Symphony Orchestra | A Major | 1 | 11B | 94 BPM | ||
La boîte à joujoux, L. 128: III. La bergerie à vendre | Claude Debussy, London Symphony Orchestra, Michael Tilson Thomas | F Minor | 0 | 4A | 72 BPM | ||
Sylvia: Act I: Faunes et Dryades (Scherzo) | Léo Delibes, Razumovsky Symphony Orchestra, Andrew Mogrelia | G Major | 0 | 9B | 81 BPM |