"歌曲集「陽気な唄」 II. 酒の唄" by F. プーランク, 村田健司(バリトン・レジェ), 上原ひろ子(ピアノ) had its release date on March 31, 1999. The duration of This song is about two minutes long, specifically at 2:05. This song does not appear to have any foul language. 歌曲集「陽気な唄」 II. 酒の唄's duration is considered a little bit shorter than the average duration of a typical track. There is only one song in プーランク歌曲集全101曲, so we believe that "歌曲集「陽気な唄」 II. 酒の唄" is a single. 歌曲集「陽気な唄」 II. 酒の唄 is unknown right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of 歌曲集「陽気な唄」 II. 酒の唄 by F. プーランク, 村田健司(バリトン・レジェ), 上原ひろ子(ピアノ) is Adagio (slowly with great expression), since this song has a tempo of 67 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
D♭ Major is the music key of this track. This also means that this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A 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 | ||
|---|---|---|---|---|---|---|---|
| Handel: Messiah, HWV 56, Pt. 1: No. 12, Pastoral Symphony "Pifa" | George Frideric Handel, Sir Neville Marriner, Academy of St. Martin in the Fields | E♭ Major | 1 | 5B | 108 BPM | ||
| Yesterday's Dreams | Helen Habershon, John Lenehan | F Major | 0 | 7B | 197 BPM | ||
| Suite for Flute and Piano Op. 34 No 1: II Scherzo | Charles-Marie Widor, Emmanuel Pahud, Eric Le Sage | C Major | 1 | 8B | 139 BPM | ||
| 6 Variations on 'Nel cor più non mi sento’, di G. Paisiello in G Major, Op. 42 (REINVENTED for Solo Flute by LUCA ASTOLFONI FOSSI): II. Variation 1 | Johann Baptist Vanhal, Claudio Ferrarini | E♭ Major | 1 | 5B | 108 BPM | ||
| 5 Stücke im Volkston, Op. 102 (Arr. for Oboe & Piano by Stephan Korody-Kreutzer): No. 2, Langsam | Robert Schumann, Nicholas Daniel, Julius Drake | F Major | 0 | 7B | 65 BPM | ||
| Sonatine pour basson et piano: I. Allegro con moto | Alexandre Tansman, Marc Trenel, Pascal Godart | C Major | 1 | 8B | 139 BPM | ||
| Symphony in 3 Movements, K073: II. Andante Interlude | Igor Stravinsky, Orchestre National Bordeaux Aquitaine, Bar Avni | E♭ Major | 1 | 5B | 108 BPM | ||
| Hindemith: Flute Sonata: I. Heiter bewegt | Paul Hindemith, Emmanuel Pahud, Eric Le Sage | F♯ Major | 0 | 2B | 71 BPM | ||
| Andante and Rondo Ungarese for Bassoon and Orchestra, Op.35 | Carl Maria von Weber, Klaus Thunemann, Academy of St. Martin in the Fields, Sir Neville Marriner | C Major | 1 | 8B | 174 BPM | ||
| Heut triumphieret Gottes Sohn, BWV 630 (Arr. for Orchestra by Sir Andrew Davis) | Johann Sebastian Bach, Martyn Brabbins, BBC Philharmonic | E♭ Major | 0 | 5B | 73 BPM | ||
| La cimarosiana: Larghetto | Gian Francesco Malipiero, Orchestra della Svizzera Italiana, Christian Benda | B♭ Major | 0 | 6B | 73 BPM | ||
| I. Adagio ma non troppo | Fanny Mendelssohn, Minguet Quartett | E♭ Major | 1 | 5B | 108 BPM | ||
| Alto Saxophone Sonata in C-Sharp Major (Version for Saxophone & Piano): I. Très modéré, expressif | Fernande Decruck, Asya Fateyeva, Valeria Myrosh | E Major | 1 | 12B | 102 BPM | ||
| 歌曲集「2つの詩」 I. アンナの庭 | F. プーランク, 村田健司(バリトン・レジェ), 上原ひろ子(ピアノ) | E Minor | 1 | 9A | 72 BPM | ||
| あなたはこんなふう | F. プーランク, 藤森亮一(チェロ), カール=アンドレアス・コリー(ピアノ) | A Minor | 0 | 8A | 65 BPM | ||
| Prelude a l'apres-midi d'un faune (feat. Andrew Davis) | Jeanne Baxtresser | A♭ Minor | 2 | 1A | 169 BPM | ||
| Sonata For Flute & Piano In C Major: Allegro cantabile | Otar Taktakishvili, Eva Kupiec, Marina Piccinini | C Major | 1 | 8B | 102 BPM | ||
| Gluck: Orphée et Eurydice, Wq. 41, Act 1 Scene 1: Pantomime des nymphes et des bergers | Christoph Willibald Gluck, Orchestre de l'Opéra National de Lyon/Sir John Eliot Gardiner, John Eliot Gardiner, Orchestre De L'Opéra National De Lyon | B Major | 2 | 1B | 110 BPM | ||
| Dukas: Villanelle | Paul Dukas, Dennis Brain, Gerald Moore | C Major | 0 | 8B | 69 BPM | ||
| Saint-Saëns: Clarinet Sonata in E-Flat Major, Op. 167: I. Allegretto | Camille Saint-Saëns, Sabine Meyer, Oleg Maisenberg | E♭ Major | 0 | 5B | 126 BPM | ||
| Grieg: The Mountain Maid, Op. 67: No. 3, Blueberry Slope (Transcr. for Trumpet and Piano) | Edvard Grieg, Tine Thing Helseth, Håvard Gimse | F Major | 1 | 7B | 106 BPM | ||
| Grand duo concertant, Op. 48: I. Allegro con fuoco | Carl Maria von Weber, Jean Johnson, Steven Osborne | E♭ Major | 1 | 5B | 108 BPM | ||
| Punto: Horn Concerto No. 6 in E-Flat Major: III. Rondo. Moderato | Giovanni Punto, Barry Tuckwell, Academy of St. Martin in the Fields, Sir Neville Marriner | E♭ Major | 1 | 5B | 132 BPM | ||
| Poulenc: Clarinet Sonata, FP 184: II. Romanza | Francis Poulenc, Sabine Meyer | G Minor | 0 | 6A | 67 BPM | ||
| Suita Concertante-Encounters IV for Viola Clarinet and Chamber Orchestra: II. Allegro | Menachem Wiesenberg, Yuval Gotlibovich, Chen Halevi, Thomas Rösner, Beethoven Philarmonie Orchestra | A Minor | 2 | 8A | 137 BPM |