Giovanni Bononcini, Marco Ceccato, Accademia Ottoboni made "Sinfonia per violoncello solo in D Major: I. Largo - Allegro - Grave" available on April 15, 2022. The duration of Sinfonia per violoncello solo in D Major: I. Largo - Allegro - Grave is about two minutes long, specifically at 2:23. This song does not appear to have any foul language. Sinfonia per violoncello solo in D Major: I. Largo - Allegro - Grave's duration is considered a little bit shorter than the average duration of a typical track. The song is number 12 out of 25 in Bononcini: Cello Sonatas by Marco Ceccato, Accademia Ottoboni. Going off of the ISRC code of this track, we detected that the origin of this track is from France. Sinfonia per violoncello solo in D Major: I. Largo - Allegro - Grave is not that popular right now. 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 Sinfonia per violoncello solo in D Major: I. Largo - Allegro - Grave by Giovanni Bononcini, Marco Ceccato, Accademia Ottoboni is Andante (at a walking pace), since this song has a tempo of 86 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 B Minor. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Concerts royaux, Concerto No. 2 in D Major: V. Échos | François Couperin, Emanuel Abbühl, David Tomàs, Carla Sanfelix, Miklós Spányi, Benoît Fallai | E Major | 1 | 12B | 82 BPM | ||
Il diluvio universale, Act I "In Cielo": O Giustizia Divina | Michelangelo Falvetti, Leonardo García-Alarcón, Chœur De Chambre De Namur, Cappella Mediterranea | A♭ Minor | 0 | 1A | 124 BPM | ||
Symphoniae sacrae II, Op. 10: No. 7, Ich danke dir, Herr, von ganzem Herzen, SWV 347 | Heinrich Schütz, David de Winter, The Brook Street Band | D Minor | 1 | 7A | 67 BPM | ||
La flora: Trombe d'Ausonia | Marc'Antonio Ziani, Maria Keohane, Niklas Eklund, Wasa Baroque Ensemble, Edward H. Tarr | A Major | 3 | 11B | 123 BPM | ||
Missa Paschalis, ZWV 7: Credo. Crucifixus | Jan Dismas Zelenka, Inégal Ensemble, Adam Viktora, Gabriela Eibenová, Marian Krejcik, Terry Wey, Cyril Auvity | A♭ Minor | 2 | 1A | 119 BPM | ||
Polifemo: Che barbaro destin (Recitativo) | Giovanni Bononcini, Dorothee Oberlinger | A Major | 1 | 11B | 79 BPM | ||
Céphale et Procris, Prologue: Chœur. Chantons, chantons sa valeur immortelle | Élisabeth Jacquet de La Guerre, Reinoud Van Mechelen, A Nocte Temporis, Chœur De Chambre De Namur | F Minor | 1 | 4A | 75 BPM | ||
Confitebor tibi I | Claudio Monteverdi, Krijn Koetsveld, Le Nuove Músiche | G Major | 3 | 9B | 75 BPM | ||
Christ lag in Todesbanden: IVa. Aria "Wir leben nun mit Jesu Christ" | Johann Kuhnau, Paul Agnew, Les Arts Florissants, Miriam Allan | E Major | 1 | 12B | 79 BPM | ||
Psyche, Act I Scene 1: Dance for Ambition, Power, Plenty and Peace | Matthew Locke, Ensemble Correspondances, Sébastien Daucé | D♭ Major | 1 | 3B | 122 BPM |
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