Robert Schumann, Martha Argerich's 'Schumann: Kinderszenen, Op. 15: No. 11, Fürchtenmachen' came out on June 2, 2010. With Schumann: Kinderszenen, Op. 15: No. 11, Fürchtenmachen being less than two minutes long, at 1:43, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 16 in the song's album "Schumann Scènes D'enfants". In this album, this song's track order is #11. Furthermore, we believe that the track originated from United Kingdom. Based on our statistics, Schumann: Kinderszenen, Op. 15: No. 11, Fürchtenmachen's popularity 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 Schumann: Kinderszenen, Op. 15: No. 11, Fürchtenmachen by Robert Schumann, Martha Argerich having a テンポ of 135 with a half-time of 68 テンポ and a double-time of 270 テンポ, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the テンポ of this song, this song might go great with walking. The time signature for this track is 4/4.
This song has a musical key of G Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Satie: 3 Morceaux en forme de poire for Piano 4 Hands: II. Prolongation du même | Erik Satie, Anne Queffélec | B♭ Major | 4 | 6B | 97 BPM | ||
Waldszenen, Op. 82: No. 8 Jagdlied | Robert Schumann, Maria João Pires | G Major | 1 | 9B | 74 BPM | ||
3 Polkas de salon, Op. 7, JB 1:60: No. 1 in F-Sharp Major, Allegro commodo | Bedřich Smetana, Jitka Čechová | F♯ Major | 0 | 2B | 73 BPM | ||
48 Esquisses, Op. 63, Book 4: No. 37, Scherzettino | Charles-Valentin Alkan, Steven Osborne | C Major | 0 | 8B | 73 BPM | ||
Nocturne No. 8 in A Major | John Field, Benjamin Frith | A Major | 0 | 11B | 64 BPM | ||
Six German Dances, D.820: No. 2 | Franz Schubert, András Schiff | F♯ Major | 0 | 2B | 132 BPM | ||
12 Monferrinas, Op. 49: VIII. Vivace assai | Muzio Clementi, Howard Shelley | B♭ Major | 2 | 6B | 103 BPM | ||
7 Canciones populares españolas: No. 7, Polo (Arr. Halffter) | Manuel de Falla, Angela Hewitt | A Major | 2 | 11B | 143 BPM | ||
Beethoven: Triple Concerto for Violin, Cello and Piano in C Major, Op. 56: II. Largo (Live) | Ludwig van Beethoven, Martha Argerich, Renaud Capuçon, Mischa Maisky, Orchestra della Svizzera Italiana, Alexandre Rabinovitch-Barakovsky | D Major | 2 | 10B | 143 BPM | ||
Carnaval, Op. 9: No. 5 Eusebius | Robert Schumann, Wilhelm Kempff | D♭ Minor | 2 | 12A | 179 BPM |