Gustav Holst, Timothy Reynish, Royal Northern College Of Music Wind Orchestra made "First Suite for Military Band, Op. 28 No. 1: III. March" available on January 1, 1999. The duration of First Suite for Military Band, Op. 28 No. 1: III. March is about 3 minutes long, at 3:05. Based on our data, "First Suite for Military Band, Op. 28 No. 1: III. March" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 3 out of 16 in British Wind Band Classics by Timothy Reynish, Royal Northern College Of Music Wind Orchestra. Based on our statistics, First Suite for Military Band, Op. 28 No. 1: III. March's popularity 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 First Suite for Military Band, Op. 28 No. 1: III. March by Gustav Holst, Timothy Reynish, Royal Northern College Of Music Wind Orchestra is Allegro (fast, quick, and bright), since this song has a tempo of 128 テンポ. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 4/4.
This song is in the music key of A♭ Major. This also means that this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Don Quixote, Op. 35, TrV 184: Theme | Richard Strauss, Oslo Philharmonic Orchestra, Vasily Petrenko, Louisa Tuck, Catherine Bullock | G Major | 0 | 9B | 129 BPM | ||
L'Arlésienne Suite No. 2: Menuet | Georges Bizet, Orchestre Symphonique de Montréal, Charles Dutoit | E♭ Major | 0 | 5B | 128 BPM | ||
Symphonie fantastique, Op. 14: II. Un bal | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | A Major | 1 | 11B | 107 BPM | ||
Symphony No. 5 in C Minor, Op. 67: 1. Allegro con brio | Ludwig van Beethoven, Berliner Philharmoniker, Herbert von Karajan | C Minor | 3 | 5A | 98 BPM | ||
Double Concerto for 2 Violins, Op. 49: III. Variations on a Ground: Allegro | Gustav Holst, Janice Graham, Sarah Ewins, English Sinfonia, Howard Griffiths | C Minor | 1 | 5A | 104 BPM | ||
Variations on an Original Theme, Op. 36, "Enigma": Enigma | Edward Elgar, Bournemouth Symphony Orchestra, George Hurst | C Major | 5 | 8B | 132 BPM | ||
Concerto for 2 Pianos and Orchestra (No.10) in E flat, K.365: 3. Rondeau (Allegro) | Wolfgang Amadeus Mozart, Alfred Brendel, Imogen Cooper, Academy of St. Martin in the Fields, Sir Neville Marriner | E♭ Major | 2 | 5B | 87 BPM | ||
Bach - 3 chorales, P. 167: No. 3. Andante (after J.S. Bach's Wachet auf ruft uns die Stimme, BWV 645) | Ottorino Respighi, Seattle Symphony Orchestra, Gerard Schwarz | E♭ Major | 0 | 5B | 110 BPM | ||
Serenade in E Minor, Op. 20: II. Larghetto | Edward Elgar, Mainz Chamber Orchestra, Gernot Schulz | C Major | 1 | 8B | 77 BPM | ||
Serenade in C Major, Op. 48: I. Pezzo in forma di Sonatina | Pyotr Ilyich Tchaikovsky, Vienna Chamber Orchestra, Philippe Entremont | C Major | 3 | 8B | 112 BPM |