Henri Desmarets, Michel Léonard, Les Violons du Roy, Studio De Musique Ancienne De Montréal, Christopher Jackson made "Lauda Jerusalem Dominum: I. Lauda Jerusalem" available on January 6, 2017. The duration of Lauda Jerusalem Dominum: I. Lauda Jerusalem is about 3 minutes long, at 3:04. Based on our data, "Lauda Jerusalem Dominum: I. Lauda Jerusalem" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 11 out of 36 in Desmarest: Quatre, Motets & Lorrains by Henri Desmarets, Studio De Musique Ancienne De Montréal, Les Violons du Roy, Christopher Jackson. 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, Lauda Jerusalem Dominum: I. Lauda Jerusalem is currently unknown. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
The tempo marking of Lauda Jerusalem Dominum: I. Lauda Jerusalem by Henri Desmarets, Michel Léonard, Les Violons du Roy, Studio De Musique Ancienne De Montréal, Christopher Jackson is Andante (at a walking pace), since this song has a tempo of 100 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of A Minor. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Laudate Pueri: V. Sucitans a terra | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Rowan Pierce, Academy of Ancient Music | B Minor | 2 | 10A | 71 BPM | ||
Membra Jesu Nostri, BuxWV 75, Ad genua: Aria "Quid sum tibi responsurus" | Dietrich Buxtehude, Ricercar Consort, Philippe Pierlot, Carlos Mena | C Minor | 2 | 5A | 90 BPM | ||
Céphale et Procris, Prologue: Marche pour Nérée et les Dieux Marins | Élisabeth Jacquet de La Guerre, Reinoud Van Mechelen, A Nocte Temporis | F Minor | 1 | 4A | 75 BPM | ||
Missa Paschalis, ZWV7: Agnus Dei | Jan Dismas Zelenka, Inégal Ensemble, Adam Viktora, Gabriela Eibenová, Marian Krejcik, Terry Wey, Cyril Auvity | D♭ Major | 1 | 3B | 79 BPM | ||
De profundis: Recitative: Quia apud te propitiatio sat (Tenor) | Henri Desmarets, Hanna Bayodi, Stephanie Revidat, Francois-Nicolas Geslot, Sebastien Droy, Le Concert Spirituel, Herve Niquet | E♭ Minor | 1 | 2A | 83 BPM | ||
Violin Sonata No. 2 in Dorian Mode, C. 139: IV. Adagio | Heinrich Ignaz Franz von Biber, Ars Antiqua Austria, Gunar Letzbor | A♭ Major | 1 | 4B | 66 BPM | ||
Desmarest : Lauda Jerusalem : VIII "Non fecit taliter" | Henry Desmaret, Henri Desmarets, William Christie | A Minor | 3 | 8A | 109 BPM | ||
Missa pro Defunctis in E-Flat Major, HocJ A1.3: II. Kyrie, 3. Kyrie eleison | Niccolò Jommelli, Il Gardellino, Peter Van Heyghen | D Major | 2 | 10B | 111 BPM | ||
Circé, Act IV Scene 1: Ritournelle. Enfin, il est donc vrai qu'Elphénor ne vit plus (Circé, Ulysse) | Henri Desmarets, Les Nouveaux Caractères, Sébastien d'Hérin, Véronique Gens, Mathias Vidal | D Minor | 3 | 7A | 173 BPM | ||
Missa pro Defunctis in E-Flat Major, HocJ A1.3: II. Kyrie, 1. Kyrie eleison | Niccolò Jommelli, Il Gardellino, Peter Van Heyghen | B Minor | 3 | 10A | 110 BPM |
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