"7 Songs for mixed choir, Op. 15: VII. Bön" by Ludvig Norman, Junges Vokalensemble Hannover, Klaus-Jurgen Etzold was released on December 1, 1999. The duration of 7 Songs for mixed choir, Op. 15: VII. Bön is about two minutes long, specifically at 2:05. This song does not appear to have any foul language. 7 Songs for mixed choir, Op. 15: VII. Bön's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 26 in the song's album "Skandinavische Chormusik". In this album, this song's track order is #19. Furthermore, we believe that the track originated from Germany. 7 Songs for mixed choir, Op. 15: VII. Bön is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With 7 Songs for mixed choir, Op. 15: VII. Bön by Ludvig Norman, Junges Vokalensemble Hannover, Klaus-Jurgen Etzold having a BPM of 77 with a half-time of 38 BPM and a double-time of 154 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. The time signature for this track is 4/4.
This song is in the music key of C Major. Or for those who are familiar with the camelot wheel, 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.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
The Tempest: Suite No. 2, Op. 109: II. Intermezzo | Jean Sibelius, Iceland Symphony Orchestra, Petri Sakari | A♭ Minor | 0 | 1A | 57 BPM | ||
Brook Green Suite: Prelude | Gustav Holst, Royal Ballet Sinfonia, David Lloyd-Jones | C Major | 2 | 8B | 137 BPM | ||
Pavane, Op. 50 (Version for Orchestra) | Gabriel Fauré, Orchestre de Chambre de Lausanne, Renaud Capuçon | F♯ Minor | 0 | 11A | 70 BPM | ||
Ave Maria, WAB 6 | Anton Bruckner, Bavarian Radio Chorus, Peter Dijkstra | F Major | 0 | 7B | 132 BPM | ||
Symphony No. 1 in F Major, Op. 22: I. Allegro vivace | Ludvig Norman, National Symphony Orchestra South Africa, Mika Eichenholz | F Major | 1 | 7B | 83 BPM | ||
Evening Songs, Op. 3: No. 4, Když Bůh byl nejvíc rozkochán | Antonín Dvořák, Magdalena Kozená, Czech Philharmonic, Sir Simon Rattle | E Major | 1 | 12B | 86 BPM | ||
Songs from "Des Knaben Wunderhorn": XI. Urlicht (Transcr. Gottwald for Choir) | Gustav Mahler, SWR Vokalensemble Stuttgart, Marcus Creed | D♭ Major | 1 | 3B | 134 BPM | ||
Requiem in C Minor: VI. Pie Jesu | Luigi Cherubini, Filharmonie Brno, Czech Philharmonic Chorus Brno, Petr Fiala | F Minor | 0 | 4A | 76 BPM | ||
Symphony No. 3 in D Minor, Op. 58: III. Allegretto molto commodo | Ludvig Norman, National Symphony Orchestra South Africa, Mika Eichenholz | E♭ Major | 0 | 5B | 129 BPM | ||
Liebeslieder-Walzer, Op. 52: No. 7, Wohl schön bewandt | Johannes Brahms, RIAS Kammerchor, Justin Doyle, Angela Gassenhuber, Philip Mayers | A♭ Major | 0 | 4B | 72 BPM |
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