"Adagio for Strings, Op. 11" by Samuel Barber, Academy of St. Martin in the Fields, Sir Neville Marriner was released on October 1, 1987. Since Adagio for Strings, Op. 11 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. This song is part of Villa-Lobos: Cantilena From Bachianas Brasileiras No. 5 / Barber: Adagio / Vaughan Williams: Fantasia On Greensleeves etc by Sir Neville Marriner, Academy of St. Martin in the Fields. The song's track number on the album is #10 out of 12 tracks. Based on our data, Netherlands was the country where this track was produced or recorded. Adagio for Strings, Op. 11 is below average in popularity right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
Since Adagio for Strings, Op. 11 by Samuel Barber, Academy of St. Martin in the Fields, Sir Neville Marriner has a tempo of 83 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Adagio for Strings, Op. 11 being at 83 テンポ, the half-time would be 42 テンポ with a double-time of 166 テンポ.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 5/4.
This song has a musical key of B♭ Minor. Which also means that the camelot key for this song is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio | Max Bruch, Fabrizio von Arx, Christian Benda | E♭ Major | 1 | 5B | 133 BPM | ||
Thaïs / Act 2: Méditation | Jules Massenet, Joshua Bell, Royal Philharmonic Orchestra, Andrew Litton | E Minor | 1 | 9A | 77 BPM | ||
Vanessa, Op. 32: Act III: Scene 1: Intermezzo | Samuel Barber, Ray Bauwens, Ellen Chickering, Richard Conrad, Marion Dry, Philip Lima, Andrea Matthews, Ukrainian National Capella "Dumka", Gil Rose | D Major | 0 | 10B | 178 BPM | ||
Canon and Gigue in D Major, P. 37: I. Canon (Arr. Karl Münchinger) | Johann Pachelbel, Stuttgarter Kammerorchester, Karl Münchinger | D Major | 3 | 10B | 95 BPM | ||
Messiah, HWV 56, Part I: Pastoral Symphony, "Pifa" (arr. L. Stokowski) | George Frideric Handel, Leopold Stokowski, Bournemouth Symphony Orchestra, José Serebrier | C Major | 0 | 8B | 92 BPM | ||
Holberg Suite, opus 40: Prelude (Allegro vivace) | Academy of St. Martin in the Fields | G Major | 1 | 9B | 76 BPM | ||
By The Sleepy Lagoon | Eric Coates, East of England Orchestra, Malcolm Nabarro | A Minor | 1 | 8A | 73 BPM | ||
Violin Sonata in F Minor, Op. 5: I. Allegro appassionato | Ignatz Waghalter, Irmina Trynkos, Giorgi Latsabidze | F Minor | 1 | 4A | 78 BPM | ||
Giselle: Act II: Apparition de Giselle (Apparition of Giselle) | Adolphe Adam, Academy of St. Martin in the Fields, Sir Neville Marriner | B Major | 0 | 1B | 96 BPM | ||
Medea Suite, Op. 23: III. The Young Princess. Jason | Samuel Barber, Royal Scottish National Orchestra, Marin Alsop | D♭ Major | 0 | 3B | 111 BPM |