"Sonatas and Interludes for Prepared Piano: Sonata No. 5" by John Cage, Boris Berman was released on June 29, 1999. With Sonatas and Interludes for Prepared Piano: Sonata No. 5 being less than two minutes long, at 1:51, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The song is number 6 out of 19 in Cage: Sonatas and Interludes for Prepared Piano by John Cage, Boris Berman. Going off of the ISRC code of this track, we detected that the origin of this track is from Hong Kong. In terms of popularity, Sonatas and Interludes for Prepared Piano: Sonata No. 5 is currently below average in popularity. 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 Sonatas and Interludes for Prepared Piano: Sonata No. 5 by John Cage, Boris Berman is Andante (at a walking pace), since this song has a tempo of 92 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 5/4.
This song is in the music key of B Minor. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Quartet for the End of Time | Olivier Messiaen, The Fibonacci Sequence, Jack Liebeck, Julian Farrell, Benjamin Hughes, Kathron Sturrock | E Major | 0 | 12B | 86 BPM | ||
From the Invisible to the Visible | Shara Worden, Nadia Sirota, James McVinnie, Daníel Bjarnason, Frank Aarnink, Valgeir Sigurðsson, Paul Evans, Missy Mazzoli, Paul Corley | C Minor | 1 | 5A | 73 BPM | ||
Preludes in Quarter-Tone System: I | Ivan Wyschnegradsky, Josef Christof, Steffen Schleiermacher | B♭ Minor | 1 | 3A | 137 BPM | ||
Melody | Joseph Moiseyevich Schillinger, Lydia Kavina, Joshua Pierce | B♭ Minor | 1 | 3A | 0 BPM | ||
Romance | Toru Takemitsu, Kotaro Fukuma | G Minor | 0 | 6A | 164 BPM | ||
4 Pieces for Violin and Piano, Op. 7: No. 1, Sehr Langsam | Anton Webern, Diamanda La Berge Dramm, Helena Basilova | F♯ Minor | 0 | 11A | 133 BPM | ||
In the Light of Air: III. Existence | Anna Thorvaldsdottir, International Contemporary Ensemble | C Major | 0 | 8B | 139 BPM | ||
Music for 18 Musicians: Section IIIB | Steve Reich | E Major | 2 | 12B | 111 BPM | ||
7 Papillons: No. 5. — | Kaija Saariaho, Anssi Karttunen | D Major | 2 | 10B | 61 BPM | ||
Three Piano Pieces, Op. 11: Massig | Arnold Schoenberg, Paul Jacobs | A Major | 0 | 11B | 144 BPM |