Ataúlfo Argenta, Coros Cantores De Madrid, José Perera, Orquesta de Cámara de Madrid, Teresa Berganza, Toñy Rosado, Jacinto Guerrero made "Los gavilanes, Acto II: No importa que al amor mio" available on August 16, 2019. The duration of Los gavilanes, Acto II: No importa que al amor mio is about two minutes long, specifically at 2:13. This song does not appear to have any foul language. Los gavilanes, Acto II: No importa que al amor mio's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Ataúlfo Argenta, José Perera, Orquesta de Cámara de Madrid, Coros Cantores de Madrid, Toñy Rosad's "Los gavilanes (Zarzuela en tres actos)" album is number 9 out of 13. The popularity of Los gavilanes, Acto II: No importa que al amor mio is currently not that popular right now. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
We consider the tempo marking of Los gavilanes, Acto II: No importa que al amor mio by Ataúlfo Argenta, Coros Cantores De Madrid, José Perera, Orquesta de Cámara de Madrid, Teresa Berganza, Toñy Rosado, Jacinto Guerrero to be Vivace (lively and fast) because the track has a tempo of 168 テンポ, a half-time of 84テンポ, and a double-time of 336 テンポ. Based on that, the speed of the song's tempo is fast. The time signature for this track is 3/4.
D♭ Minor is the music key of this track. This also means that this song has a camelot key of 12A. So, the perfect camelot match for 12A would be either 12A or 11B. While, a low energy boost can consist of either 12B or 1A. For moderate energy boost, you would use 9A and a high energy boost can either be 2A or 7A. However, if you are looking for a low energy drop, finding a song with a camelot key of 11A would be a great choice. Where 3A would give you a moderate drop, and 10A or 5A would be a high energy drop. Lastly, 3B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Fandango y Escena de Carnaval | Lamberto Gardelli | E♭ Major | 2 | 5B | 77 BPM | ||
Luisa Fernanda, Acto ii: Por el amor de una mujer | Estrella Alsina, José Perera, Orquesta de Conciertos de Madrid, Pedro Lavirgen, Teresa Tourné | F Major | 3 | 7B | 95 BPM | ||
Gigantes y Cabezudos | Orquesta de Conciertos de Madrid, Tomás Palomino, Victorino Echevarría | E Major | 4 | 12B | 111 BPM | ||
Luisa Fernanda, Acto ii: Mazurka de las sombrillas | Estrella Alsina, José Perera, Orquesta de Conciertos de Madrid, Pedro Lavirgen, Teresa Tourné | B♭ Major | 2 | 6B | 81 BPM | ||
Madonna fiorentina | Leo Nucci, Salotto Ottocento Ensemble | D♭ Major | 2 | 3B | 175 BPM | ||
El Arte de Cuchares | Banda de Musica de la Guardia Real | G Major | 3 | 9B | 113 BPM | ||
La Vestale (1997 Digital Remaster): O nome tutelar | Tullio Serafin, Maria Callas, Orchestra Del Teatro Alla Scala, Milano | D Major | 1 | 10B | 86 BPM | ||
Triniá (Pasodoble) | Real Orquesta Sinfónica de Sevilla, Spanish Folklore | A Minor | 2 | 8A | 115 BPM | ||
Gallito | Banda de Musica de la Guardia Real | C Minor | 3 | 5A | 115 BPM | ||
Los maestros cantores de Nuremberg, WWV 96: Obertura | Orquesta Filarmónica de Linz, Hermann Schmidt | C Major | 4 | 8B | 105 BPM |