Gustav Holst, Royal Liverpool Philharmonic Orchestra, Sir Charles Mackerras's 'Holst: The Planets, Op. 32: IV. Jupiter, the Bringer of Jollity' came out on December 31, 1999. Since Holst: The Planets, Op. 32: IV. Jupiter, the Bringer of Jollity 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. There are a total of 33 in the song's album "Orff: Carmina Burana - Holst: The Planets". In this album, this song's track order is #4. Furthermore, we believe that the track originated from United Kingdom. Based on our statistics, Holst: The Planets, Op. 32: IV. Jupiter, the Bringer of Jollity'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 Holst: The Planets, Op. 32: IV. Jupiter, the Bringer of Jollity by Gustav Holst, Royal Liverpool Philharmonic Orchestra, Sir Charles Mackerras having a テンポ of 146 with a half-time of 73 テンポ and a double-time of 292 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 jogging or cycling. The time signature for this track is 4/4.
This song is in the music key of G Minor. Which also means that the camelot key for this song is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Zadok the Priest (Coronation Anthem No.1, HWV 258) | George Frideric Handel, Carl Davis, Royal Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra, The King's Division Normandy Band | D Major | 1 | 10B | 99 BPM | ||
Saint-Saëns: Le Carnaval des Animaux, R. 125: VII. Aquarium (Andantino) | Camille Saint-Saëns, Nash Ensemble | A Minor | 0 | 8A | 163 BPM | ||
L’arlésienne Suite No. 2 (Arr. E. Guiraud): IV. Farandole | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | D Major | 3 | 10B | 91 BPM | ||
Saint-Saëns: Introduction and Rondo capriccioso for Violin and Orchestra in A Minor, Op. 28 | Camille Saint-Saëns, Maxim Vengerov, Zubin Mehta, Israel Philharmonic Orchestra | A Minor | 1 | 8A | 147 BPM | ||
Carissima | Edward Elgar, New Zealand Symphony Orchestra, James Judd | E Minor | 2 | 9A | 87 BPM | ||
Symphony No. 4 In A Major, Op. 90, MWV N 16 - "Italian": 1. Allegro vivace | Felix Mendelssohn, Chicago Symphony Orchestra, Sir Georg Solti | A Major | 2 | 11B | 77 BPM | ||
Cavalleria Rusticana: Intermezzo | Pietro Mascagni, Royal Liverpool Philharmonic Orchestra, Libor Pešek | F Major | 1 | 7B | 87 BPM | ||
Madama Butterfly / Act 2: "Coro a bocca chiusa" (Humming Chorus) | Giacomo Puccini, Coro dell'Accademia Nazionale Di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Tullio Serafin | G Major | 2 | 9B | 139 BPM | ||
Salut d'amour, Op. 12 (version for orchestra) | Edward Elgar, Slovak Radio Symphony Orchestra, Adrian Leaper | B♭ Major | 1 | 6B | 82 BPM | ||
Rodeo: 4 Dance Episodes: No. 4. Hoe-Down | Aaron Copland, Buffalo Philharmonic Orchestra | G Major | 3 | 9B | 125 BPM |