Имре Кальман, Татьяна Шмыга, Юрий Савельев, Andrei Mironov, Вячеслав Богачёв, Александр Ширвиндт, Анатолий Пиневич, Людмила Белобрагина, Анатолий Моксяков's 'Баядера, действие III: "Ну поцелуй же меня, Филипп"' came out on January 1, 1973. With this song being around four minutes long, at 3:38, 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 is only one song in Имре Кальман: Баядера, so we believe that "Баядера, действие III: "Ну поцелуй же меня, Филипп"" is a single. Баядера, действие III: "Ну поцелуй же меня, Филипп" 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.
The tempo marking of Баядера, действие III: "Ну поцелуй же меня, Филипп" by Имре Кальман, Татьяна Шмыга, Юрий Савельев, Andrei Mironov, Вячеслав Богачёв, Александр Ширвиндт, Анатолий Пиневич, Людмила Белобрагина, Анатолий Моксяков is Andante (at a walking pace), since this song has a tempo of 86 テンポ. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 3/4.
E Major is the music key of this track. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Stabat Mater, Op. 58, B. 71: V. Tui nati vulnerati. Andante con moto quasi allegretto | Antonín Dvořák, Prague Symphony Orchestra, Prague Philharmonic Choir, Jiří Bělohlávek, Jaroslav Brych | G Major | 0 | 9B | 88 BPM | ||
Songs of Separation: II. Burning Hell | Carlos Simon, Gianandrea Noseda, J'nai Bridges, National Symphony Orchestra, Kennedy Center | A♭ Major | 3 | 4B | 87 BPM | ||
12 Gedichte, Op. 35: No. 5. Sehnsucht nach der Waldgegend | Robert Schumann, Margaret Price, James Lockhart | C Major | 1 | 8B | 104 BPM | ||
Te Deum: Sanctus | Johann Simon Mayr, Priska Eser-Streit, Merit Ostermann, Andreas Hirtreiter, Jorg Schneider, Robert Merwald, Simon Mayr Choir, Franz Hauk, Ingolstadt Georgian Chamber Orchestra | A♭ Minor | 2 | 1A | 125 BPM | ||
Armies of the Gods | Paul Edward-Francis | D Major | 0 | 10B | 91 BPM | ||
Suor Angelica: Laudata Maria! E sempre sia! | Giacomo Puccini, Elizabeth Gale, Hannah Francis, Della Jones, Dame Joan Sutherland, Isobel Buchanan, The London Opera Chorus, National Philharmonic Orchestra, Richard Bonynge | F Major | 2 | 7B | 114 BPM | ||
Haugtussa, Op. 67: II. Veslemøy | Charlotte Hoather, George Todica | E Minor | 2 | 9A | 88 BPM | ||
Petite messe solennelle: VIII. Gloria. Qui tollis | Gioachino Rossini, Giulio Prandi, Sandrine Piau, José Maria Lo Monaco, Francesco Corti, Deniel Perer | A Minor | 1 | 8A | 83 BPM | ||
12 Romances, Op. 14: No. 11, Spring Waters | Sergei Rachmaninoff, Hein Jung, Grigorios Zamparas | G Major | 0 | 9B | 79 BPM | ||
5 mélodies populaires grecques: No. 3, Quel galant m'est comparable | Radio Bratislava Symphony Orchestra, Paulina Stark, Dennis Burkh | G Major | 1 | 9B | 0 BPM |