John Lanchbery, Orchestra of the Royal Opera House, Covent Garden's 'Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Jemima Puddle-Duck' came out on 1971. Since Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Jemima Puddle-Duck is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The track order of this song in John Lanchbery, Orchestra of the Royal Opera House, Covent Garden's "Lanchbery: Tales of Beatrix Potter" album is number 4 out of 8. On top of that, United Kingdom appears to be the country where this track was created. Based on our statistics, Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Jemima Puddle-Duck's popularity is not that popular right now. 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 Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Jemima Puddle-Duck by John Lanchbery, Orchestra of the Royal Opera House, Covent Garden to be Allegro (fast, quick, and bright) because the track has a tempo of 128 テンポ, a half-time of 64テンポ, and a double-time of 256 テンポ. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. 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 | ||
---|---|---|---|---|---|---|---|
The Red Pony Suite: IV. Walk To The Bunkhouse | Aaron Copland, Buffalo Philharmonic Orchestra | F Major | 0 | 7B | 75 BPM | ||
Spartacus, Act III: Adagio of Spartacus and Phrygia (arr. Y. Grigorovich) [1968 Bolshoi Version] | Aram Khachaturian, RIAS Kammerchor, Deutsches Symphonie-Orchester Berlin, Michail Jurowski | E Major | 2 | 12B | 123 BPM | ||
Minkus: La BayadŠre (Suite after the Ballet arranged by John Lanchbery): No. 13, Finale | Ludwig Minkus, Sydney Symphony Orchestra, John Lanchbery | A Major | 4 | 11B | 107 BPM | ||
Ballet Suite No. 1 (arr. L. Atovmyan): IV. Polka | Lev Atovmyan, Dmitri Shostakovich, Vancouver Symphony Orchestra, Bramwell Tovey | C Major | 2 | 8B | 114 BPM | ||
Die Flamme von Paris (Flames of Paris) (arr. March): Act IV: Moderato: Men's Variation | Boris Vladimirovich Asafiev, March, Sofia National Opera Orchestra, Boris Spassov | A♭ Major | 1 | 4B | 95 BPM | ||
Smyth: The Wreckers: Overture | Ethel Smyth, Scottish National Orchestra/Sir Alexander Gibson | D Major | 1 | 10B | 132 BPM | ||
Chopin / Arr. Douglas: Les sylphides: Waltz, Op. 64 No. 2 | Frédéric Chopin, Philharmonia Orchestra, Robert Irving | D♭ Minor | 1 | 12A | 74 BPM | ||
Phantom Fantasia: Wishing You Were Somehow Here Again | Andrew Lloyd Webber, Anthony Inglis | B♭ Major | 1 | 6B | 74 BPM | ||
Verdi: Aïda, Act 2: Triumphal march | Giuseppe Verdi, Antonio Pappano, Orchestra dell'Accademia Nazionale di Santa Cecilia | E♭ Major | 0 | 5B | 93 BPM | ||
Holst: The Planets, Op. 32: IV. Jupiter, the Bringer of Jollity (Excerpt) | Gustav Holst, Philharmonia Orchestra, Sir Simon Rattle | C Minor | 3 | 5A | 127 BPM |