Aaron Copland, London Symphony Orchestra made "Billy the Kid: VI. Celebration. After Billy's Capture - Orchestral Suite Excerpts" available on 1960. The duration of Billy the Kid: VI. Celebration. After Billy's Capture - Orchestral Suite Excerpts is about two minutes long, specifically at 2:15. This song does not appear to have any foul language. Billy the Kid: VI. Celebration. After Billy's Capture - Orchestral Suite Excerpts's duration is considered a little bit shorter than the average duration of a typical track. The song is number 3 out of 8 in Copland: Super Hits by Aaron Copland, Aaron Copland, Leonard Bernstein, Henry Fonda. The popularity of Billy the Kid: VI. Celebration. After Billy's Capture - Orchestral Suite Excerpts is currently not that popular right now. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
The tempo marking of Billy the Kid: VI. Celebration. After Billy's Capture - Orchestral Suite Excerpts by Aaron Copland, London Symphony Orchestra is Presto (very, very fast), since this song has a tempo of 180 テンポ. With that information, we can conclude that the song has a fast tempo. The time signature for this track is 4/4.
C Major is the music key of this track. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No. 1 in E Minor, Op. 39: I. Andante, ma non troppo - Allegro energico | Jean Sibelius, Sir Colin Davis, London Symphony Orchestra | E♭ Minor | 1 | 2A | 106 BPM | ||
Eine Alpensinfonie: II. Der Anstieg - Eintritt in den Wald | Richard Strauss, Bernard Haitink, London Symphony Orchestra | E♭ Major | 0 | 5B | 80 BPM | ||
Spanish Capriccio in A Major, Op. 34: III. Alborada. Vivo e strepitoso | Nikolai Rimsky-Korsakov, Czech Philharmonic Orchestra, Vladimír Válek | B♭ Major | 2 | 6B | 133 BPM | ||
Also sprach Zarathustra, Op. 30, TrV 176: Von der großen Sehnsucht | Richard Strauss, Berliner Philharmoniker, Herbert von Karajan | G Major | 1 | 9B | 105 BPM | ||
Symphony No. 1 in D, Op. 25 "Classical Symphony": 4. Finale (Vivace) | Sergei Prokofiev, London Symphony Orchestra, Valery Gergiev | D Major | 1 | 10B | 100 BPM | ||
Pictures at an Exhibition (Orch. Ravel): I. Gnomus | Modest Mussorgsky, Wiener Philharmoniker, Gustavo Dudamel | E Major | 1 | 12B | 60 BPM | ||
Mendelssohn: A Midsummer Night's Dream, Op. 61, MWV M13: Overture, Op. 21, MWV P3 | Felix Mendelssohn, André Previn, London Symphony Orchestra | D Minor | 2 | 7A | 64 BPM | ||
Polka from The Bartered Bride | London Symphony Orchestra | E♭ Major | 3 | 5B | 125 BPM | ||
Piano Concerto in F Major: II. Adagio | George Gershwin, Orion Weiss, Buffalo Philharmonic Orchestra, Joann Falletta | F♯ Major | 0 | 2B | 86 BPM | ||
Ein Heldenleben, Op. 40, TrV 190: Des Helden Walstatt (The Hero's Field of Battle) - | Richard Strauss, Chicago Symphony Orchestra, Bernard Haitink | E♭ Major | 4 | 5B | 133 BPM |