"Magnificat & Nunc dimittis in F Major, Op. 36: II. Nunc dimittis" by Sir Charles Villiers Stanford, Hereford Cathedral Choir, Huw Williams, Roy Massey was released on November 17, 1995. The duration of Magnificat & Nunc dimittis in F Major, Op. 36: II. Nunc dimittis is about 3 minutes long, at 3:08. Based on our data, "Magnificat & Nunc dimittis in F Major, Op. 36: II. Nunc dimittis" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The track order of this song in Hereford Cathedral Choir, Huw Williams, Roy Massey's "Magnificat & Nunc dimittis, Vol. 7" album is number 18 out of 18. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, Magnificat & Nunc dimittis in F Major, Op. 36: II. Nunc dimittis is currently unknown. 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 Magnificat & Nunc dimittis in F Major, Op. 36: II. Nunc dimittis by Sir Charles Villiers Stanford, Hereford Cathedral Choir, Huw Williams, Roy Massey to be Andante (at a walking pace) because the track has a tempo of 106 BPM, a half-time of 53BPM, and a double-time of 212 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
This song has a musical key of F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sacred Concerto No. 15, "Priidite, vospoim lyudiye" (Come, let us praise in song, O people): II. Adagio | Dmitry Bortniansky, Ensemble Cherubim, Marika Kuzma | E♭ Minor | 0 | 2A | 94 BPM | ||
Magnificat in E Major | Herbert Murrill, Rochester Cathedral Choir, William Whitehead, Roger Sayer | A Minor | 1 | 8A | 105 BPM | ||
Brahms : 7 Lieder Op.62 : III Waldesnacht | Johannes Brahms, Arnold Schoenberg Chor | D Minor | 2 | 7A | 76 BPM | ||
A Hymn to the Virgin | Benjamin Britten, Phoenix Chorale, Charles Bruffy, Kira Rugen, Amy Perciballi, Robert Comeaux, David Topping | E Major | 0 | 12B | 81 BPM | ||
Lord, for Thy Tender Mercy's Sake | Richard Farrant, Westminster Kantorei, Amanda Quist | A♭ Major | 1 | 4B | 77 BPM | ||
Vier Lieder aus dem Jungbrunnen, Op. 44: IV. Und gehst du über den Kirchhof | Johannes Brahms, Paul Heyse, Kvindelige Studenters Sangforening, Marit Tøndel Bodsberg | D♭ Major | 4 | 3B | 81 BPM | ||
Requiem Novum: VII. Eternal Rest | Mårten Jansson, Anna Dennis, Barnaby Smith, Philharmonia Orchestra | F Major | 3 | 7B | 69 BPM | ||
Izhe Kheruvimi (Cherubic Hymn): No. 7. — | Dmitry Bortniansky, Ensemble Cherubim, Marika Kuzma | D Major | 0 | 10B | 57 BPM | ||
Warum ist das Licht gegeben dem Mühseligen? Op. 74 No. 1: II. Lasset uns. Wenig bewegter | Johannes Brahms, Cappella Amsterdam, Daniel Reuss | D♭ Major | 2 | 3B | 176 BPM | ||
All'imperio d'Amore: 3. Ineffabile ardore a 6 "Il rapimento di Cefalo" | Giulio Caccini, Ensemble Pygmalion, Raphael Pichon | F Major | 2 | 7B | 62 BPM |
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