"Bohemios: No. 3, Duo de Cossette et Pelagia" by Amadeo Vives, Orquesta Sinfonica De Tenerife, Antoni Ros Marbá, Maria Bayo, Rosa Maria Ysas was released on January 1, 1997. With this song being around four minutes long, at 3:44, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. There are a total of 14 in the song's album "Plácido Domingo, María Bayo: Romanzas". In this album, this song's track order is #7. Furthermore, we believe that the track originated from France. Bohemios: No. 3, Duo de Cossette et Pelagia 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.
With Bohemios: No. 3, Duo de Cossette et Pelagia by Amadeo Vives, Orquesta Sinfonica De Tenerife, Antoni Ros Marbá, Maria Bayo, Rosa Maria Ysas having a テンポ of 84 with a half-time of 42 テンポ and a double-time of 168 テンポ, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
D Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
The Snow Maiden / Prologue: "S podruzhami po yagoda khodit" (The Snow Maiden's Aria) | Nikolai Rimsky-Korsakov, Aida Garifullina, Vienna Radio Symphony Orchestra, Cornelius Meister | E Major | 2 | 12B | 129 BPM | ||
Questa o quella | Mario del Monaco | D♭ Major | 3 | 3B | 98 BPM | ||
Faust, CG 4, Act IV Scene 4: We seek the soldier's immortal prize (Chorus) | Charles Gounod, David Parry, Philharmonic Orchestra, Geoffrey Mitchell Choir | D♭ Minor | 4 | 12A | 146 BPM | ||
Don Pasquale, Act III Quinta Scena: Aspetta, aspetta, cara sposina (Pasquale/Malatesta) | Gaetano Donizetti, Sesto Bruscantini, Riccardo Muti, Philharmonia Orchestra | F Major | 3 | 7B | 84 BPM | ||
La Verbena de la Paloma, Act I: Rita y Julián (Rita, Julián, Guardia 1, Guardia 2, Casta, Susana, Antonia, Hilarión) | Tomás Bretón, Rafael Castejon, Antoni Ros Marbá, Orquesta Sinfónica de Madrid | C Major | 2 | 8B | 96 BPM | ||
La Boda de Luis Alonso | Orquesta Sinfónica Española | A Major | 3 | 11B | 112 BPM | ||
6 Cancons: No. 4. Joc d'infant | Amadeo Vives, Ana Ibarra, Ruben Fernandez | D Major | 1 | 10B | 175 BPM | ||
Orff: Carmina Burana, Introduction, Fortuna Imperatrix Mundi: Fortune plango vulnera | Carl Orff, Agnes Giebel/Paul Kuen/Marcel Cordes/Chor des Westdeutschen Rundfunks/Children's Choir/Kölner Rundfunk-Sinfonie-Orchester/Wolfgang Sawallisch, Chor des Westdeutschen Rundfunks, Wolfgang Sawallisch, Kölner Rundfunk-Sinfonie-Orchester | D Minor | 3 | 7A | 127 BPM | ||
Les Pêcheurs de perles, WD 13, Act I: Sois la bienvenu | Georges Bizet, Alexandre Bloch, Orchestre National de Lille, Les Cris De Paris | A Major | 0 | 11B | 173 BPM | ||
Danses Polovtiennes | Les Chœurs De L'armée Rouge | A Major | 2 | 11B | 44 BPM |