Ned Rorem, Emerson String Quartet's 'Streichquartett Nr. 4: Acrobat On A Ball' had a release date set for January 1, 1998. The duration of This song is about two minutes long, specifically at 2:15. This song does not appear to have any foul language. Streichquartett Nr. 4: Acrobat On A Ball's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Emerson String Quartet, Edgar Meyer's "Meyer: Quintet . Rorem: Quartet No.4 - Emerson String Quartet" album is number 7 out of 14. On top of that, Germany appears to be the country where this track was created. The popularity of Streichquartett Nr. 4: Acrobat On A Ball is currently unknown 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 Streichquartett Nr. 4: Acrobat On A Ball by Ned Rorem, Emerson String Quartet to be Vivace (lively and fast) because the track has a tempo of 173 BPM, a half-time of 86BPM, and a double-time of 346 BPM. Based on that, the speed of the song's tempo is fast. The time signature for this track is 3/4.
This song has a musical key of A Major. This also means that this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A 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 | ||
|---|---|---|---|---|---|---|---|
| 3 Romances, Op. 22: 2. Allegretto | Clara Schumann, Elena Urioste, Isata Kanneh-Mason | G Major | 0 | 9B | 116 BPM | ||
| Franck: Violin Sonata in A Major, FWV 8: I. Allegretto ben moderato (Transcr. Delsart for Cello and Piano) | César Franck, Daniel Müller-Schott, Robert Kulek | F♯ Minor | 0 | 11A | 63 BPM | ||
| 24 Preludes & Fugues, Op. 87: Prelude no.1 in C major. Moderato | Dmitri Shostakovich, Alexander Melnikov | B♭ Major | 0 | 6B | 82 BPM | ||
| Walton: Henry V: Passacaglia "The Death of Falstaff" | William Walton, Douglas Boyd, Chamber Orchestra of Europe | E Minor | 0 | 9A | 86 BPM | ||
| The House of Life: Silent Noon | Ralph Vaughan Williams, Roderick Williams, Iain Burnside | E♭ Major | 0 | 5B | 169 BPM | ||
| Poulenc: Sextet for Piano and Winds, FP 100: II. Divertissement. Andantino | Francis Poulenc, Les Vents Français | A♭ Major | 1 | 4B | 64 BPM | ||
| Damase: Berceuse pour cor et piano, Op. 19 | Jean-Michel Damase, David Pyatt, Martin Jones | B♭ Major | 0 | 6B | 69 BPM | ||
| Piano Quartet in E-Flat Major, Op. 47: III. Andante cantabile | Robert Schumann, Alexander Melnikov, Jerusalem Quartet | B♭ Major | 0 | 6B | 74 BPM | ||
| Our Town, Act I: "Why, Hello, George Gibbs" | Ned Rorem, Glorivy Arroyo, Margot Rood, Brendan Buckley, Stefan Barner, Jonas Budris, Jason Connell, Angela Gooch, Matthew DiBattista, Gil Rose | C Major | 3 | 8B | 93 BPM | ||
| Cadenza für Violine und Klavier | Sophia Jani, Clarissa Bevilacqua, Martina Consonni | E Minor | 1 | 9A | 64 BPM | ||
| 3 Mélodies (1916) - orchestrated by Robert Carby: 1. Daphénéo | Erik Satie, Measha Brueggergosman, BBC Symphony Orchestra, David Robertson | F Minor | 0 | 4A | 133 BPM | ||
| Our Town, Act III: "Look! There's the Church Where I Got Married!" | Ned Rorem, Margot Rood, Matthew DiBattista, Angela Gooch, David Kravitz, Gil Rose | G Major | 2 | 9B | 100 BPM | ||
| Les Sirènes | Lili Boulanger, Antonii Baryshevskyi, Orpheus Vokalensemble, Michael Alber | F♯ Major | 0 | 2B | 132 BPM | ||
| Das alte Lied (Arr. Hough) | Henry Love, Stephen Hough | E♭ Major | 0 | 5B | 63 BPM | ||
| String Quartet No. 2, Op. 147: VII. Hymn | Alan Hovhaness, Shanghai Quartet | C Major | 0 | 8B | 95 BPM | ||
| Concerto for English Horn and Orchestra: II. Love Letter | Ned Rorem, Thomas Stacy, Michael Palmer, Rochester Philharmonic Orchestra | B♭ Major | 0 | 6B | 108 BPM | ||
| Violin Sonata in E Minor, P. 85: IV. Giga. Vivace assai (After J.S. Bach's BWV 1023) | Ottorino Respighi, Ilkka Talvi, Seattle Symphony Orchestra, Gerard Schwarz | E Minor | 0 | 9A | 121 BPM | ||
| Dances: No. 4, Sarabande | Tõnu Kõrvits, Ksenija Sidorova, Estonian Festival Orchestra, Paavo Järvi | E Minor | 1 | 9A | 64 BPM | ||
| Piano Sonata No. 2: III. Nocturne. Moderato | Ned Rorem, Thomas Lanners | E Minor | 0 | 9A | 60 BPM | ||
| Dona nobis pacem: Agnus Dei | Ralph Vaughan Williams, Christina Pier, Matthew Brook, The Bach Choir, Bournemouth Symphony Orchestra, David Hill | G Minor | 1 | 6A | 83 BPM | ||
| Nocturne | Lili Boulanger, Juliette Hurel, Hélène Couvert | F Major | 0 | 7B | 62 BPM | ||
| Hahn: Le rossignol éperdu: No. 52, Hivernale (Version for Piano) | Reynaldo Hahn, Shani Diluka | F♯ Minor | 0 | 11A | 137 BPM | ||
| Symphony No. 2: Allegro | Bournemouth Symphony Orchestra, Ned Rorem | G Major | 2 | 9B | 136 BPM | ||
| Serenade After Plato's "Symposium": IV. Agathon. Adagio | Leonard Bernstein, Esther Yoo, Royal Philharmonic Orchestra, Long Yu | E Minor | 1 | 9A | 64 BPM | ||
| Symphony No. 1: Allegro | Bournemouth Symphony Orchestra, Ned Rorem | A Minor | 2 | 8A | 139 BPM |