"Sitting Pretty: Act Two, Days Gone By" by Roberta Peters was released on January 1, 1990. The duration of Sitting Pretty: Act Two, Days Gone By is about two minutes long, specifically at 2:59. This song does not appear to have any foul language. Sitting Pretty: Act Two, Days Gone By's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 24 in the song's album "Sitting Pretty". In this album, this song's track order is #3. Sitting Pretty: Act Two, Days Gone By 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.
With Sitting Pretty: Act Two, Days Gone By by Roberta Peters having a テンポ of 75 with a half-time of 38 テンポ and a double-time of 150 テンポ, we would consider this track to have a Adagio (slowly with great expression) 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 has a musical key of E♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Missa Solemnis in D Major, Op. 123: I. Kyrie | Ludwig van Beethoven, Nikolaus Harnoncourt, Concentus Musicus Wien | D Major | 1 | 10B | 77 BPM | ||
Requiem, Op. 48: VII. Libera me | Gabriel Fauré, Harry Peeters, Netherlands Chamber Choir, Limburg Symphony Orchestra, Ed Spanjaard | G Minor | 1 | 6A | 134 BPM | ||
Verdi: Messa da Requiem: I. Introit - Kyrie | Giuseppe Verdi, Riccardo Muti, Cheryl Studer, Coro Del Teatro Alla Scala Di Milano, Dolora Zajic, Luciano Pavarotti, Samuel Ramey, Orchestra Del Teatro Alla Scala, Milano | C Major | 2 | 8B | 114 BPM | ||
Il barbiere di Siviglia, Act I: Act I: Finale I: Ehi, di casa! … buona gente! (Conte d'Almaviva, Bartolo, Rosina) | Gioachino Rossini, Cesare Valletti, Fernando Corena, Roberta Peters, Metropolitan Opera Orchestra, Max Rudolf | D Major | 3 | 10B | 95 BPM | ||
Symphony No. 5 in B-Flat Major, D. 485: 4. Allegro vivace | Franz Schubert, Wiener Philharmoniker, Claudio Abbado | B♭ Major | 2 | 6B | 78 BPM | ||
Symphony No. 1 in D Major "Titan": IIIb. A tempo. Ziemlich langsam | Gustav Mahler, Leonard Bernstein, New York Philharmonic | G Minor | 0 | 6A | 169 BPM | ||
Künstlerleben, Op.316 | Johann Strauss II, Berliner Philharmoniker, Herbert von Karajan | C Major | 0 | 8B | 181 BPM | ||
Samson et Dalila, Op. 47, R. 288 / Act 3: Bacchanale | Camille Saint-Saëns, Orchestre de Paris, Daniel Barenboim | B Major | 3 | 1B | 94 BPM | ||
Polovtsian Dances From Prince Igor: Dance Of The Polovtsian Maidens | Alexander Borodin, Berliner Philharmoniker, Herbert von Karajan | F Minor | 1 | 4A | 62 BPM | ||
Fidelio op.72 - Edited Helga Lühning & Robert Didio / Act 1: O welche Lust | Ludwig van Beethoven, Juan Sebastian Acosta, Levente Pall, Arnold Schoenberg Chor, Lucerne Festival Orchestra, Mahler Chamber Orchestra, Claudio Abbado | B♭ Major | 0 | 6B | 100 BPM |