"Our Town, Act II: "Hello There, George. Howdy, Emily"" by Ned Rorem, Matthew DiBattista, Brendan Buckley, Margot Rood, Glorivy Arroyo, Gil Rose had its release date on June 9, 2017. The duration of This song is about two minutes long, specifically at 2:05. This song does not appear to have any foul language. Our Town, Act II: "Hello There, George. Howdy, Emily"'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 29 in the song's album "Ned Rorem: Our Town". In this album, this song's track order is #3. In terms of popularity, Our Town, Act II: "Hello There, George. Howdy, Emily" is currently unknown. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Our Town, Act II: "Hello There, George. Howdy, Emily" by Ned Rorem, Matthew DiBattista, Brendan Buckley, Margot Rood, Glorivy Arroyo, Gil Rose having a BPM of 95 with a half-time of 48 BPM and a double-time of 190 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 4/4.
This song has a musical key of C Major. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A 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 | ||
|---|---|---|---|---|---|---|---|
| 4 Lieder, Op. 27: No. 4, Morgen! | Richard Strauss, Samuel Mariño, Jonathan Ware | G Major | 0 | 9B | 102 BPM | ||
| Symphony No. 3: Passacaglia | Bournemouth Symphony Orchestra, Ned Rorem | D Minor | 1 | 7A | 111 BPM | ||
| Gloria, FP 177: VI. Qui sedes ad dexteram Patris | Francis Poulenc, Britten Sinfonia, Polyphony, The Choir Of Trinity College, Cambridge, Susan Gritton, Stephen Layton | G Major | 2 | 9B | 81 BPM | ||
| Suite in the Old Style (excerpts, Arr. for Cello and Piano by J. Sévilla-Fraysse): I. Pastorale | Alfred Schnittke, Julie Sévilla-Fraysse, Anastasia Calmus | C Major | 0 | 8B | 173 BPM | ||
| Sonata Santera: II. Ofrenda | Iván Enrique Rodríguez, Han Chen, Eric Schultz | A Minor | 1 | 8A | 88 BPM | ||
| I. Thème. Modéré | Olivier Messiaen, Benjamin Frith, Lucy Gould | C Minor | 0 | 5A | 84 BPM | ||
| Emily — No Prisoner Be: No. 11, A little Snow | Kevin Puts, Time For Three, Joyce DiDonato | C Major | 0 | 8B | 173 BPM | ||
| Jolivet: Poèmes intimes: No. 4, Tu dors | André Jolivet, Alain Lombard, Colette Herzog, Orchestre Philharmonique De Strasbourg | D Major | 5 | 10B | 170 BPM | ||
| Romanze F Minor: Romanze F Minor | Sergei Rachmaninoff, Reiner Ginzel, Gitti Pirner | F Minor | 0 | 4A | 166 BPM | ||
| Var. 6, Adagio | Pyotr Ilyich Tchaikovsky, Li-wei Qin, Czech Philharmonic Chamber Orchestra, Michael Halasz | D Minor | 0 | 7A | 80 BPM | ||
| Woodland Suite: I. At Evening Bell | George Dyson, BBC Symphony Orchestra, Richard Hickox | D Major | 0 | 10B | 96 BPM | ||
| Piesn Roksany - Transcription for violin and Piano: Paul Kochanski | Karol Szymanowski, Kaja Danczowska, Krystian Zimerman | A Minor | 0 | 8A | 75 BPM | ||
| Youth: III. Frankenthaler | Edmund Finnis, Clare Hammond | B♭ Minor | 0 | 3A | 133 BPM | ||
| The Lordly Hudson (Paul Goodman) | Ned Rorem, Nathan Gunn, Kevin Murphy | A♭ Major | 1 | 4B | 75 BPM | ||
| Mendelssohn: Songs Without Words, Book IV, Op. 53: No. 4, Adagio, MWV U114 | Felix Mendelssohn, Daniel Adni | F Major | 0 | 7B | 77 BPM | ||
| Air à danser, Op. 164 | Cécile Chaminade, Eric Parkin | D♭ Major | 1 | 3B | 67 BPM | ||
| Love's Labour's Lost, Op.28: 3. Soliloquy 3: On a day, alack the day - Instrumental | Gerald Finzi, Aurora Orchestra, Nicholas Collon | B♭ Major | 1 | 6B | 103 BPM | ||
| Goldberg Variations, BWV 988: Var. XIX. (Arr. for String Orchestra by Dana Anka) [Excerpt] | Johann Sebastian Bach, The Stradivari Orchestra | G Major | 0 | 9B | 141 BPM | ||
| Phantasy Quintet: III. Alla Sarabanda | Ralph Vaughan Williams, Piatti Quartet, Zahra Benyounes | C Major | 0 | 8B | 173 BPM | ||
| Kinderszenen, Op. 15: XIII. Der Dichter spricht | Robert Schumann, Angela Hewitt | E♭ Major | 1 | 5B | 81 BPM | ||
| Música callada I: No. 6, Lento | Federico Mompou, Stephen Hough | G Major | 0 | 9B | 70 BPM | ||
| Choralgesänge: No. 91, Es ist genug; so nimm, Herr, meinen Geist (O Ewigkeit, du Donnerwort), BWV 60 | Johann Sebastian Bach, Alessandro Simonetto | A Major | 0 | 11B | 50 BPM | ||
| Improvisations on Themes of Clara Schumann | Stewart Goodyear, Alexander Shelley, Canada's National Arts Centre Orchestra | E Minor | 1 | 9A | 106 BPM | ||
| Preludes: Instants defunts (Dead Instants) | Olivier Messiaen, Håkon Austbø | D Major | 0 | 10B | 73 BPM | ||
| Les Danses de Ravel (After Le Tombeau de Couperin): I. Prélude | Franck Tortiller, Quatuor Debussy | E Minor | 2 | 9A | 75 BPM |