"Dies irae, LWV 64/1: Oro supplex et acclinis" by Jean-Baptiste Lully, Millenium Orchestra, Cappella Mediterranea, Leonardo García-Alarcón, Alain Buet was released on August 16, 2019. With Dies irae, LWV 64/1: Oro supplex et acclinis being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The track order of this song in Jean-Baptiste Lully, Chœur De Chambre De Namur, Leonardo García-Alarcón, Millenium Orchestra's "Lully: Dies Irae, De Profundis, Te Deum" album is number 11 out of 26. On top of that, France appears to be the country where this track was created. The popularity of Dies irae, LWV 64/1: Oro supplex et acclinis is currently not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Dies irae, LWV 64/1: Oro supplex et acclinis by Jean-Baptiste Lully, Millenium Orchestra, Cappella Mediterranea, Leonardo García-Alarcón, Alain Buet to be Vivace (lively and fast) because the track has a tempo of 172 BPM, a half-time of 86BPM, and a double-time of 344 BPM. Based on that, the speed of the song's tempo is fast. The time signature for this track is 4/4.
This song is in the music key of B♭ Minor. Because this track belongs in the B♭ Minor key, the camelot key is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Violin Partita No. 3 in E Major, BWV 1006: I. Preludio | Johann Sebastian Bach, Hilary Hahn | A Major | 3 | 11B | 126 BPM | ||
Stabat Mater: 3. O quam tristis | Giovanni Battista Pergolesi, Margaret Marshall, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | G Minor | 1 | 6A | 80 BPM | ||
Le Bourgeois Gentilhomme: 1er et 2nd espagnols enjoues ensemble | Jean-Baptiste Lully, La Simphonie Du Marais, Hugo Reyne, Philippe Roche, Yves Coudray | A Major | 2 | 11B | 69 BPM | ||
Phaeton: Acte I, Scène 1, Heureuse une âme indifférente ! | Jean-Baptiste Lully, Christophe Rousset, Chœur De Chambre De Namur, Les Talens Lyriques, Gaëlle Arquez | B♭ Minor | 2 | 3A | 119 BPM | ||
Musiche sacre: No. 23, Canzon à 3 | Francesco Cavalli, London Baroque | A♭ Minor | 1 | 1A | 122 BPM | ||
Concerto Grosso In D Major, Op. 6, No. 1 : III. Largo | Arcangelo Corelli, Daniela Ruso, Anna Holbling, Ludovit Kanta, Quido Holbling, Capella Istropolitana | D Major | 1 | 10B | 78 BPM | ||
Prélude pour Mr. Vaquelin (Improvisation d'après le Prélude en Sol mineur de Mr. de Sainte Colombe le fils) | Monsieur de Sainte-Colombe, Jordi Savall | D♭ Minor | 0 | 12A | 49 BPM | ||
Symphony No.5 in D Major: 1. Allegro ma non troppo - Allegro assai | William Boyce, Academy of Ancient Music, Christopher Hogwood | D♭ Major | 2 | 3B | 131 BPM | ||
Orfeo Ed Euridice: Dance of the Blessed Spirits (Act II) | Christoph Willibald Gluck, Karlheinz Zoeller, Berliner Philharmoniker, Herbert von Karajan | C Major | 1 | 8B | 75 BPM | ||
Sonate No.4 (Six Sonates en symphonies op.3): 2. Aria: Andante gratioso | Jean-Joseph Cassanéa De Mondonville, Les Musiciens du Louvre, Marc Minkowski | B Minor | 0 | 10A | 102 BPM |
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