"Giselle Ballet, Act II: Apparition et Scene de Myrtha" by Adam Giselle, Paris Conservatoire Orchestra, Jean Martinon was released on January 1, 2000. The duration of Giselle Ballet, Act II: Apparition et Scene de Myrtha is about two minutes long, specifically at 2:42. This song does not appear to have any foul language. Giselle Ballet, Act II: Apparition et Scene de Myrtha's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Adam Giselle, Paris Conservatoire Orchestra, Jean Martinon's "Giselle Ballet" album is number 10 out of 16. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, Giselle Ballet, Act II: Apparition et Scene de Myrtha is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Giselle Ballet, Act II: Apparition et Scene de Myrtha by Adam Giselle, Paris Conservatoire Orchestra, Jean Martinon to be Andante (at a walking pace) because the track has a tempo of 107 テンポ, a half-time of 54テンポ, and a double-time of 214 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
E♭ Major is the music key of this track. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Peer Gynt Opp.46 & 55, Excerpts, Suite No. 2, Op.55: Arab Dance | Paavo Berglund | E Minor | 1 | 9A | 124 BPM | ||
Symphonie fantastique, Op. 14, H. 48: II. Un bal - Live | Hector Berlioz, Bavarian Radio Symphony Orchestra, Sir Colin Davis | A Major | 1 | 11B | 88 BPM | ||
Emma, ou la promesse imprudente, S. 6 (Excerpts): Entr'acte to Act II | Daniel Auber, Czech Philharmonic Chamber Orchestra, Dario Salvi | D Major | 1 | 10B | 160 BPM | ||
Moonlight Sonata, Op. 27 No. 2 (Ludwig Van Beethoven) | The Gerst Ensemble | D Major | 0 | 10B | 85 BPM | ||
Swan Lake Suite, Op. 20a, TH 219, Act II: No. 10, Scene | Pyotr Ilyich Tchaikovsky, Royal Philharmonic Orchestra, Sir Charles Mackerras | E Minor | 1 | 9A | 106 BPM | ||
Symphony No. 5 in F Major, Op. 76, B. 54: III. Allegro scherzando | Antonín Dvořák, Karlovy Vary Symphony Orchestra, Radomil Eliška | B♭ Major | 1 | 6B | 123 BPM | ||
Gymnopédie No. 2 (Orch. Corp) | Erik Satie, Ronald Corp, New London Orchestra | D Major | 1 | 10B | 159 BPM | ||
Concerto for Clarinet No. 2 in E-Flat Major, Op. 74: I. Allegro | Carl Maria von Weber, Alberto Lizzio, North German Philharmonic Orchestra, Alexander Ivanov | A Major | 2 | 11B | 80 BPM | ||
Variations on a Theme by Haydn, Op.56: Orchestra Setting, Op.56a: 5. Variation IV. Andante con moto | Wilhelm Furtwängler | E♭ Minor | 2 | 2A | 168 BPM | ||
Giselle Ballet, Act I: Retour des Vendangeurs | Adam Giselle, Paris Conservatoire Orchestra, Jean Martinon | A Major | 0 | 11B | 173 BPM |