"Daphnis et Chloé, Suite No. 2, M. 57b: I. Lever du jour" by Maurice Ravel, Sir Simon Rattle, London Symphony Orchestra was released on March 24, 2023. Since Daphnis et Chloé, Suite No. 2, M. 57b: I. Lever du jour is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. There are a total of 3 in the song's album "Ravel: Daphnis et Chloé, Suite No. 2". In this album, this song's track order is #1. Furthermore, we believe that the track originated from United Kingdom. Daphnis et Chloé, Suite No. 2, M. 57b: I. Lever du jour is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Daphnis et Chloé, Suite No. 2, M. 57b: I. Lever du jour by Maurice Ravel, Sir Simon Rattle, London Symphony Orchestra having a テンポ of 78 with a half-time of 39 テンポ and a double-time of 156 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.
This song is in the music key of E Minor. Which also means that the camelot key for this song is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Prélude à l'après-midi d'un faune, CD 87a | Claude Debussy, Orchestre de Paris, Klaus Mäkelä | A♭ Minor | 1 | 1A | 62 BPM | ||
St. Paul's Suite, Op. 29, No. 2: II. Ostinato | Gustav Holst, Budapest Strings, Karoly Botvay | C Major | 0 | 8B | 121 BPM | ||
Violin Concerto: I. Dark | Christopher Schmitz, Amy Schwartz Moretti, London Symphony Orchestra, Stefan Sanderling | D Minor | 1 | 7A | 89 BPM | ||
La Tragédie de Salomé, Op. 50: I. Prélude | Florent Schmitt, Frankfurt Radio Symphony Orchestra, Alain Altinoglu | F Major | 1 | 7B | 82 BPM | ||
Las 4 Estaciones Porteñas (Arr. for Violin & String Orchestra by Leonid Desyatnikov): IV. Primavera Porteño | Astor Piazzolla, Tomás Cotik, Martingale Ensemble, Ken Selden | F Major | 3 | 7B | 141 BPM | ||
Violin Concerto: I. Prelude | Maya Badian, Florin Paul, Romanian National Orchestra, Ludovic Bacs | F Minor | 2 | 4A | 152 BPM | ||
Estampes: No. 1. Pagodes (arr. A. Caplet): Pagodes | Andre Caplet, Claude Debussy, Rheinland-Pfalz State Philharmonic Orchestra, Leif Segerstam | D♭ Minor | 1 | 12A | 95 BPM | ||
4 Short Pieces, Op. 6: No. 1, Prelude. Non troppo allegro | Howard Ferguson, John Finucane, Elisaveta Blumina | A Minor | 0 | 8A | 51 BPM | ||
Pulcinella, Ballet in One Act After Pergolesi for Soprano, Tenor, Bass, Soloists and Orchestra: VI. Allegro assai | Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra | G Minor | 0 | 6A | 140 BPM | ||
Pulcinella, Ballet in One Act After Pergolesi for Soprano, Tenor, Bass, Soloists and Orchestra: XIV. Tarantella (Allegro moderato) | Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra | G Minor | 0 | 6A | 140 BPM |