Ernst Krenek, Glenn Gould made "Piano Sonata No. 3, Op. 92 No. 4: III. Scherzo. Vivace ma non troppo" available on 1959. With Piano Sonata No. 3, Op. 92 No. 4: III. Scherzo. Vivace ma non troppo being less than two minutes long, at 1:31, 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 4 out of 13 in Berg/Krenek/Webern/Ravel/Debussy by Glenn Gould. Piano Sonata No. 3, Op. 92 No. 4: III. Scherzo. Vivace ma non troppo is 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 Piano Sonata No. 3, Op. 92 No. 4: III. Scherzo. Vivace ma non troppo by Ernst Krenek, Glenn Gould is Andante (at a walking pace), since this song has a tempo of 88 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 1/4.
F♯ Major is the music key of this track. This also means that this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Pulcinella, Ballet in One Act After Pergolesi for Soprano, Tenor, Bass, Soloists and Orchestra: XVII. Gavotta with Two Variations | Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra | G Minor | 0 | 6A | 140 BPM | ||
Pelleas und Melisande, Op. 5: Die ? ein wenig bewegt | Arnold Schoenberg, Edward Gardner, Bergen Philharmonic Orchestra | C Major | 1 | 8B | 83 BPM | ||
Proving the Existence of Folkloric Creatures | Milo Paulus | F♯ Major | 3 | 2B | 65 BPM | ||
Septet in E-Flat Major, Op. 65: I. Préambule. Allegro moderato – Più allegro | Camille Saint-Saëns, Nash Ensemble | F Minor | 0 | 4A | 96 BPM | ||
Alcazaba II | Christian Lindberg, Pacho Flores, Swedish Chamber Orchestra | D Minor | 0 | 7A | 75 BPM | ||
Prokofiev: Violin Concerto No. 1 in D Major, Op. 19: I. Andantino | Sergei Prokofiev, Sarah Chang, Sir Simon Rattle, Berliner Philharmoniker | G Minor | 1 | 6A | 85 BPM | ||
Violin Concerto: III. Electric | Christopher Alan Schmitz, Amy Schwartz Moretti, London Symphony Orchestra, Stefan Sanderling | F Major | 2 | 7B | 129 BPM | ||
Ode, Elegiac Chant in 3 parts: I. Eulogy | Igor Stravinsky, Vladimir Jurowski, London Philharmonic Orchestra | G Minor | 0 | 6A | 140 BPM | ||
R. CARPIO: Suite Hospital Prelude (Chuquisengo, Piano) | ROBERTO CARPIO, Juan José Chuquisengo | D♭ Major | 3 | 3B | 121 BPM | ||
Sonate Für Klarinette Und Klavier In B (1939): II. Lebhaft (Hindemith) | Massimiliano Damerini & Michele Carulli | F Major | 0 | 7B | 106 BPM |