"Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28)" by Pyotr Ilyich Tchaikovsky, Sydney Symphony Orchestra, John Lanchbery had its release date on November 5, 2010. Since This song 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. There are a total of 31 in the song's album "Tchaikovsky: Onegin, Theme and Variations, Ballet Imperial". In this album, this song's track order is #11. Furthermore, we believe that the track originated from Australia. In terms of popularity, Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28) is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Final Scene - Tatiana Rejects Onegin (Onegin Ballet Suite No 28) by Pyotr Ilyich Tchaikovsky, Sydney Symphony Orchestra, John Lanchbery having a BPM of 94 with a half-time of 47 BPM and a double-time of 188 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 3/4.
This song has a musical key of B♭ Minor. Which also means that the camelot key for this song is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B 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 | ||
|---|---|---|---|---|---|---|---|
| Coppelia: Act III - Danse de fete | Léo Delibes, Slovak Radio Symphony Orchestra, Andrew Mogrelia | D Major | 0 | 10B | 72 BPM | ||
| Harold en Italie, Op. 16, H 68: II. Marche des pélerins chantant la prière du soir | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis, Tabea Zimmermann | E Major | 0 | 12B | 87 BPM | ||
| Le Lac des Cygnes, Op.20: Acte I, Valse | L'Orchestre National du Bolchoï, Algys Juraitis | B♭ Major | 1 | 6B | 105 BPM | ||
| Prokofiev: Cinderella, Op. 87, Act 2: No. 29, Cinderella's Arrival at the Ball | Sergei Prokofiev, André Previn, London Symphony Orchestra | C Major | 0 | 8B | 71 BPM | ||
| Le Corsaire: Pas de Trois - Adagio | Riccardo Drigo, English National Ballet Philharmonic, Gavin Sutherland | A♭ Major | 0 | 4B | 95 BPM | ||
| Gayaneh, Ballet Suite: Gayaneh's Adagio | Aram Khachaturian, Bolshoi Theatre Orchestra, Yevgeny Svetlanov | A Major | 1 | 11B | 105 BPM | ||
| Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Squirrel Nutkin | John Lanchbery, Orch.Of Royal Opera House Covent Garden, Orchestra of the Royal Opera House, Covent Garden | G Major | 2 | 9B | 131 BPM | ||
| Tales of Beatrix Potter - Music from the Royal Ballet film: The Tale of Jeremy Fisher (extract) | John Lanchbery, Orch.Of Royal Opera House Covent Garden, Orchestra of the Royal Opera House, Covent Garden | C Major | 2 | 8B | 103 BPM | ||
| Giselle: Act I: Introduction | Adolphe Adam, Slovak Radio Symphony Orchestra, Andrew Mogrelia | G Major | 0 | 9B | 82 BPM | ||
| Hérold & Lanchbery: La fille mal gardée, Act 1: No. 16d, Pas de deux de Fanny Elssler. Man's Solo | Ferdinand Hérold, John Lanchbery, Royal Liverpool Philharmonic Orchestra, Barry Wordsworth | B♭ Major | 2 | 6B | 128 BPM | ||
| The Sleeping Beauty, Op. 66 : (B) Adagio | Pyotr Ilyich Tchaikovsky, Slovak State Philharmonic Orchestra, Kosice | C Major | 1 | 8B | 115 BPM | ||
| Nina's Dream | Clint Mansell | B Minor | 1 | 10A | 137 BPM | ||
| Moskva, Cheryomushki (Moscow, Cheryomushki) Suite, Op. 105: II. Waltz [arr. A. Cornall for orchestra] | Dmitri Shostakovich, Rundfunk-Sinfonieorchester Berlin, Steven Sloane | F Major | 4 | 7B | 145 BPM | ||
| The Red Shoes: Ballet Music - 1948 Recording | Royal Philharmonic Orchestra | D♭ Major | 2 | 3B | 82 BPM | ||
| Mendelssohn: A Midsummer Night's Dream, Op. 61, MWV M13: Overture, Op. 21, MWV P3 | Felix Mendelssohn, André Previn, London Symphony Orchestra | D Minor | 2 | 7A | 64 BPM | ||
| Eugen Onegin: Polonaise | Rundfunkorchester Berlin, Heinz Fricke | G Major | 5 | 9B | 95 BPM | ||
| Etudes: XIV. Broad leaps | Knudåge Riisager, Gennady Rozhdestvensky, Danish National Symphony Orchestra | A Major | 4 | 11B | 143 BPM | ||
| L’arlésienne Suite No. 2 (Arr. E. Guiraud): I. Pastorale | Georges Bizet, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Pablo González | G Major | 0 | 9B | 111 BPM | ||
| Serenade, Op. 2: II. Romance. Andante con moto | Mieczysław Karłowicz, Warsaw Philharmonic Orchestra, Antoni Wit | A♭ Major | 1 | 4B | 86 BPM | ||
| Sophia Perovskaya, Op. 132: Waltz - Music from the Film | Dmitri Shostakovich, Royal Concertgebouw Orchestra, Riccardo Chailly | D♭ Major | 0 | 3B | 172 BPM | ||
| Piano Concerto No. 1 In B Flat Minor, Op. 23: II. Andantino Semplice - Prestissimo - Tempo I | Polish National Radio Symphony Orchestra, Bernd Glemser, Pyotr Ilyich Tchaikovsky | D♭ Major | 0 | 3B | 128 BPM | ||
| Flight, Concerto for Violin & Strings: I | Oliver Davis, Kerenza Peacock, Paul Bateman, London Symphony Orchestra | F♯ Minor | 3 | 11A | 102 BPM | ||
| La source, ou Naila: Suite No. 3: Suite No. 3: Finale | Léo Delibes, Slovak Radio Symphony Orchestra, Andrew Mogrelia | E♭ Major | 0 | 5B | 66 BPM | ||
| Carmen Suite No. 1: I. Aragonaise | Georges Bizet, Slovak Philharmonic, Anthony Bramall | D Minor | 1 | 7A | 112 BPM | ||
| Le Corsaire, Pas de deux: IV. Coda (Arr. J. Lanchberry) | Riccardo Drigo, Ludwig Minkus, Sofia National Opera Orchestra, Boris Spassov | B♭ Major | 3 | 6B | 137 BPM |