"Giselle: No. 7a - Moderato; Allegro moderato; Viva" by Adolphe Adam, Michael Tilson Thomas, London Symphony Orchestra had its release date on 1987. The duration of This song is about two minutes long, specifically at 2:14. This song does not appear to have any foul language. Giselle: No. 7a - Moderato; Allegro moderato; Viva's duration is considered a little bit shorter than the average duration of a typical track. The song is number 11 out of 33 in Adam: Giselle by Adolphe Adam, Michael Tilson Thomas. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. In terms of popularity, Giselle: No. 7a - Moderato; Allegro moderato; Viva 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.
The tempo marking of Giselle: No. 7a - Moderato; Allegro moderato; Viva by Adolphe Adam, Michael Tilson Thomas, London Symphony Orchestra is Moderato (at a moderate speed), since this song has a tempo of 119 BPM. With that information, we can conclude that the song has a moderate tempo. This song can go great with walking. The time signature for this track is 3/4.
E Major is the music key of this track. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A 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 | ||
|---|---|---|---|---|---|---|---|
| Capriccio espagnol, Op. 34: V. Fandango asturiano | Nikolai Rimsky-Korsakov, Seattle Symphony Orchestra, Gerard Schwarz | A Minor | 1 | 8A | 78 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 | ||
| Sophia Perovskaya, Op. 132: Waltz - Music from the Film | Dmitri Shostakovich, Royal Concertgebouw Orchestra, Riccardo Chailly | D♭ Major | 0 | 3B | 172 BPM | ||
| Giselle, Act II: Entree de Loys - Pas de deux | Adolphe Adam, Academy of St. Martin in the Fields, Sir Neville Marriner | B♭ Major | 0 | 6B | 144 BPM | ||
| Anakin vs. Obi-Wan | John Williams, London Symphony Orchestra | C Major | 4 | 8B | 93 BPM | ||
| " Faust " , Ballettmusik: Nr. 5 Moderato con moto | Philharmonische Vereinigung Arte Sinfonica, Heribert Brandt | A Major | 0 | 11B | 80 BPM | ||
| Dance of the Hours from Act III of "La Gioconda" | Amilcare Ponchielli, Philadelphia Orchestra, Eugene Ormandy | E Major | 1 | 12B | 130 BPM | ||
| Giselle, Act 1: No. 4 Peasants return from grape harvest, Giselle’s waltz and group dance | Adolphe Adam, Tasmanian Symphony Orchestra, Nicolette Fraillon | E♭ Major | 1 | 5B | 88 BPM | ||
| La Bayadere, Act I, Scene 2: 14. "Ankle Scarf Dance and Coda" | Evergreen Symphony Orchestra, Kevin Galiè | A Major | 1 | 11B | 101 BPM | ||
| Giselle: Act II: Entree d'Hilarion, scene et fugue des Wilis - Grand pas de duex | Adolphe Adam, Slovak Radio Symphony Orchestra, Andrew Mogrelia | G Major | 1 | 9B | 122 BPM | ||
| Babes in Toyland: Eccentric Dance (Gavotte) | Victor Herbert, Razumovsky Symphony Orchestra, Keith Brion | F Major | 1 | 7B | 84 BPM | ||
| Gounod: Faust, CG 4, Act 2 Scene 5: Waltz | Charles Gounod, Willi Boskovsky/Wiener Symphoniker, Willi Boskovsky, Wiener Philharmoniker, Wiener Symphoniker | D Major | 2 | 10B | 92 BPM | ||
| Die Flamme von Paris (Flames of Paris), Act IV: Moderato: Men's Variation [arr. March] | Boris Vladimirovich Asafiev, Sofia National Opera Orchestra, Boris Spassov | B♭ Major | 3 | 6B | 137 BPM | ||
| Overture "The Fair Melusine", Op. 32: Allegro con moto | Felix Mendelssohn, London Symphony Orchestra, Claudio Abbado | D Major | 1 | 10B | 126 BPM | ||
| Perpetuum mobile - Musical Joke Op. 257 | Johann Strauss II, Hallé, Bramwell Tovey | E♭ Major | 1 | 5B | 149 BPM | ||
| Gayaneh, Ballet Suite: Gayaneh's Adagio | Aram Khachaturian, Bolshoi Theatre Orchestra, Yevgeny Svetlanov | A Major | 1 | 11B | 105 BPM | ||
| Le Cygne | Camille Saint-Saëns, Stéphane Tétreault, Fabien Gabel, Orchestre Symphonique De Québec | G Major | 1 | 9B | 94 BPM | ||
| Giselle, Act II: Variation de Giselle | Adolphe Adam, Academy of St. Martin in the Fields, Sir Neville Marriner | E♭ Major | 2 | 5B | 80 BPM | ||
| Mendelssohn: A Midsummer Night's Dream, Op. 61, MWV M13: No. 3, Song with Chorus. "You Spotted Snakes" | Felix Mendelssohn, André Previn, Delia Wallis, Finchley Children's Music Group, Lillian Watson, London Symphony Orchestra | A Major | 1 | 11B | 88 BPM | ||
| Giselle, Act 2: No. 15 Wilis exit, Albrecht at Giselle’s grave, Giselle appears to Albrecht - No. 16 Pas de Deux Giselle and Albrecht | Adolphe Adam, Tasmanian Symphony Orchestra, Nicolette Fraillon | E♭ Major | 1 | 5B | 88 BPM | ||
| Prokofiev: Cinderella, Op. 87, Act 1: Cinderella's Departure for the Ball | Sergei Prokofiev, André Previn, London Symphony Orchestra | G Major | 2 | 9B | 184 BPM | ||
| Samson et Dalila: Bacchanale | Camille Saint-Saëns, Slovak Radio Symphony Orchestra, Stephen Gunzenhauser | A Minor | 1 | 8A | 109 BPM | ||
| Ivan Susanin: Waltz | Mikhail Glinka, USSR Symphony Orchestra, Yevgeny Svetlanov | A Major | 0 | 11B | 185 BPM | ||
| La Bayadere, Act II: 33. "Wedding Variation - Gamzatti" | Evergreen Symphony Orchestra, Kevin Galiè | A♭ Major | 1 | 4B | 78 BPM | ||
| La Sylphide: Act II: Sylph Scene: Divertissement | Herman Severin Løvenskiold, Kim Sjøgren, Royal Danish Orchestra, David Garforth | D Major | 0 | 10B | 78 BPM |