"Minkus / Arr. Lanchbery: Don Quixote: No. 12, Variation. Dryad's Mistresses - Remembrance of the Ball" by Ludwig Minkus, John Lanchbery, Elizabethan Trust Melbourne Orchestra had its release date on November 9, 2009. With This song being less than two minutes long, at 1:56, 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 20 out of 51 in Delibes: Coppélia by Jean-Baptiste Mari, Orchestre de l'Opéra National de Paris. Minkus / Arr. Lanchbery: Don Quixote: No. 12, Variation. Dryad's Mistresses - Remembrance of the Ball 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.
The tempo marking of Minkus / Arr. Lanchbery: Don Quixote: No. 12, Variation. Dryad's Mistresses - Remembrance of the Ball by Ludwig Minkus, John Lanchbery, Elizabethan Trust Melbourne Orchestra is Andante (at a walking pace), since this song has a tempo of 89 BPM. 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 4/4.
This song is in the music key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Want to find the BPM and music key for other songs? Check out our BPM and Key Finder page!
| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
| Swan Lake, Op. 20 (Mariinsky Version), Act I: No. 4, Pas de trois: Var. 1. Allegro semplice | Pyotr Ilyich Tchaikovsky, Mariinsky Orchestra, Valery Gergiev | E♭ Major | 2 | 5B | 97 BPM | ||
| La Bayadere, Act III: 39. "Entrance of the Shades" | Evergreen Symphony Orchestra, Kevin Galiè | D Major | 0 | 10B | 76 BPM | ||
| Giselle, Act 2: No. 11 Myrtha’s First Variation, Myrtha summons the Wilis | Adolphe Adam, Tasmanian Symphony Orchestra, Nicolette Fraillon | E♭ Major | 1 | 5B | 88 BPM | ||
| Romeo and Juliet, Op. 64 (Excerpts): Dance of the Knights | Sergei Prokofiev, Esa-Pekka Salonen | C Major | 1 | 8B | 97 BPM | ||
| Carnival of the Animals, R. 125: Tortoises | Camille Saint-Saëns, Philippe Entremont, Gaby Casadesus, Yo-Yo Ma, Michel Cerruti, Michel Cals, Régis Pasquier, Yan Pascal Tortelier, Gabin Lauridon, Gerard Causse, Alain Marion, Michel Arrignon | B♭ Major | 0 | 6B | 138 BPM | ||
| El amor brujo: Danza ritual del fuego, para ahuyentar los malos espíritus | Manuel de Falla, Orchestre Symphonique de Montréal, Charles Dutoit | G Major | 1 | 9B | 141 BPM | ||
| Don Quixote: Act II: Carmencita | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | C Major | 0 | 8B | 109 BPM | ||
| Ballet Suite No. 1 (Arr. Lev Atovmyan): V. Waltz-Joke from "The Bolt" | Dmitri Shostakovich, Neeme Järvi, Royal Scottish National Orchestra | E♭ Major | 0 | 5B | 191 BPM | ||
| Don Quixote: Act I: Don Quixote invites Quiteria to a Minuet | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | D Major | 0 | 10B | 168 BPM | ||
| Don Quixote: Prologue: Entrance of Don Quixote | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | C Major | 0 | 8B | 124 BPM | ||
| The Sleeping Beauty, Ballet Suite, op. 66a: Waltz | New Philharmonia Orchestra London, Lawrence Siegel | B♭ Major | 1 | 6B | 108 BPM | ||
| Sylvia: Balletmusic: Pizzikato | Moscow RTV Symphony Orchestra, Fuat Mansurov | E♭ Major | 2 | 5B | 154 BPM | ||
| Don Quixote, Act II: Gypsy Dance I | Valery Zhelobinsky, Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov | D Major | 2 | 10B | 176 BPM | ||
| Piqué Turns (from Don Quixote) | Douglas Schultz, Ludwig Minkus | B Minor | 1 | 10A | 126 BPM | ||
| Hérold & Lanchbery: La fille mal gardée, Act 1: No. 16c, Pas de deux de Fanny Elssler. Adage | Ferdinand Hérold, John Lanchbery, Royal Liverpool Philharmonic Orchestra, Barry Wordsworth | E♭ Major | 0 | 5B | 142 BPM | ||
| Il lago dei cigni : Suite Balletto, Op. 20: Scene finale | Radio Symphony Orchestra | A♭ Major | 2 | 4B | 65 BPM | ||
| Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Jemima Puddle-Duck | John Lanchbery, Orchestra of the Royal Opera House, Covent Garden | A♭ Major | 2 | 4B | 128 BPM | ||
| Polovetsian Dances from Prince Igor: Introduzione | Alexander Borodin, George Szell, The Cleveland Orchestra | A Major | 1 | 11B | 83 BPM | ||
| Don Quixote: Act II: Giga | Ludwig Minkus, Sofia National Opera Orchestra, Nayden Todorov | F Major | 3 | 7B | 109 BPM | ||
| La Fille Mal Gardee, Pas de, Act II: Moderato: Women's variation (Arr. March) | Peter Ludwig Hertel, Sofia National Opera Orchestra, Boris Spassov | G Major | 3 | 9B | 126 BPM | ||
| Degage 1st: Barre Technique | David Howard, Alla Reznik | C Major | 3 | 8B | 136 BPM | ||
| Carmen Suite: VIII. Bolero (after G. Bizet): Carmen's Entrance and Habanera | Rodion Shchedrin, Ukrainian State Symphony Orchestra, Theodore Kuchar | D Major | 0 | 10B | 115 BPM | ||
| Don Quixote, Act 3: Coda (Arr. John Lanchbery) | John Lanchbery, Ludwig Minkus, State Orchestra Of Victoria | A Major | 4 | 11B | 146 BPM | ||
| Perpetuum mobile - Musical Joke Op. 257 | Johann Strauss II, Hallé, Bramwell Tovey | E♭ Major | 1 | 5B | 149 BPM | ||
| La Bayadere, Act III: 46. "Variation - 3rd Soloist Shade" | Evergreen Symphony Orchestra, Kevin Galiè | D Major | 0 | 10B | 170 BPM |