"Love Scene and Finale (From "The Lost Weekend")" by Miklós Rózsa, Charles Gerhardt, National Philharmonic Orchestra had its release date on 1975. The duration of This song is about two minutes long, specifically at 2:32. This song does not appear to have any foul language. Love Scene and Finale (From "The Lost Weekend")'s duration is considered a little bit shorter than the average duration of a typical track. The song is number 9 out of 15 in Classic Film Scores: Spellbound by Miklós Rózsa, Charles Gerhardt. 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, Love Scene and Finale (From "The Lost Weekend") 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 Love Scene and Finale (From "The Lost Weekend") by Miklós Rózsa, Charles Gerhardt, National Philharmonic Orchestra is Andante (at a walking pace), since this song has a tempo of 92 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A 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 | ||
|---|---|---|---|---|---|---|---|
| Cannibalize The Future | Danke Timi Briggs | B♭ Major | 3 | 6B | 80 BPM | ||
| Respect of a New Day | Ernesto Vallini, Neon Lilith, Belinda J Crossward | D♭ Minor | 4 | 12A | 88 BPM | ||
| Metropolis, Op. 29, Act I "Auftakt": Maschinen | Gottfried Huppertz, Deutsches Symphonie-Orchester Berlin, Frank Strobel | B Major | 1 | 1B | 132 BPM | ||
| Magical Mountains | Shelly | B Minor | 1 | 10A | 140 BPM | ||
| Sand Between Stars | Joseph R Dolan, Ghibli | A Major | 3 | 11B | 142 BPM | ||
| Aftermath, No.1 - Extended Version | Miklós Rózsa | C Minor | 4 | 5A | 133 BPM | ||
| Brideshead Revisited Theme | Geoffrey Burgon | F Major | 1 | 7B | 147 BPM | ||
| Ritmos Crecientes | Las Guerreras | E Major | 1 | 12B | 77 BPM | ||
| Plains of Ashford | Jeremy Soule | G Minor | 2 | 6A | 67 BPM | ||
| Almost As Beautiful As His Mother | Debbie Wiseman | F Major | 1 | 7B | 92 BPM | ||
| Main Title: Love Theme From "The Winds of War" | Bob Cobert | D Minor | 4 | 7A | 110 BPM | ||
| MI VALLE | Alex Conrado | E Major | 2 | 12B | 107 BPM | ||
| El Alcance del Tiempo | Sirenas Celestiales | F Minor | 0 | 4A | 108 BPM | ||
| In the Air | Aleksey Voron | E♭ Major | 1 | 5B | 70 BPM | ||
| Harry Potter and the Philosopher's Stone: Hedwig's Theme | Royal Philharmonic Orchestra | D Minor | 2 | 7A | 146 BPM | ||
| Fire | Terry Davies, Betty O'Barley, Harry O'Hay | E Major | 1 | 12B | 102 BPM | ||
| The Grand Ball | Jan A.P. Kaczmarek | A Minor | 3 | 8A | 126 BPM | ||
| Friendship | Miklós Rózsa | E Minor | 1 | 9A | 81 BPM | ||
| Zonas de Paso | Las Eternas | E♭ Major | 3 | 5B | 81 BPM | ||
| Crash-Whale Fugue | Leonard Rosenman | G Major | 2 | 9B | 81 BPM | ||
| Canadian Wilderness & Stillness for Orchestra, Pt. 2, (Live) | Maya Badian, National Symphony Orchestra of Teleradio-Moldova | G Minor | 5 | 6A | 124 BPM | ||
| Not Bad, Right? | Kris Bowers | G Minor | 2 | 6A | 67 BPM | ||
| Clear All Moorings - Star Trek VI/Soundtrack Version | Cliff Eidelman | D Major | 1 | 10B | 71 BPM | ||
| Cantos para Sordos | Las Eternas | E♭ Major | 3 | 5B | 81 BPM | ||
| Atmosphere Apollonia 1 | Jan Valta, Adam Sporka | G Minor | 2 | 6A | 67 BPM |