George Frideric Handel, Katherine Ciesinski, Judith Blegen, Richard Westenburg's 'Messiah, HWV 56: Part I: He shall feed His flock like a shepherd; Come unto Him (Airs)' came out on 1982. With this song being about 5 minutes long, at 5:09, "Messiah, HWV 56: Part I: He shall feed His flock like a shepherd; Come unto Him (Airs)" by George Frideric Handel, Katherine Ciesinski, Judith Blegen, Richard Westenburg is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The track order of this song in George Frideric Handel, Richard Westenburg's "Handel: Messiah" album is number 20 out of 53. On top of that, United States appears to be the country where this track was created. In terms of popularity, Messiah, HWV 56: Part I: He shall feed His flock like a shepherd; Come unto Him (Airs) is currently not that popular. Although the overall vibe is very danceable, it does project more negative sounds.
We consider the tempo marking of Messiah, HWV 56: Part I: He shall feed His flock like a shepherd; Come unto Him (Airs) by George Frideric Handel, Katherine Ciesinski, Judith Blegen, Richard Westenburg to be Moderato (at a moderate speed) because the track has a tempo of 119 BPM, a half-time of 60BPM, and a double-time of 238 BPM. Based on that, the speed of the song's tempo is moderate. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
This song is in the music 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 | ||
---|---|---|---|---|---|---|---|
Gianni Schicchi: "Oh! mio babbino caro" | Giacomo Puccini, Renata Tebaldi, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli | A♭ Major | 2 | 4B | 178 BPM | ||
Norma - Critical Edition by Maurizio Biondi and Riccardo Minasi / Act 1 Scene 1: "Casta Diva" | Vincenzo Bellini, Cecilia Bartoli, International Chamber Vocalists, Orchestra La Scintilla, Giovanni Antonini | F Major | 1 | 7B | 176 BPM | ||
Il giardino di rose: "Mentre io godo" | Alessandro Scarlatti, Cecilia Bartoli, Les Musiciens du Louvre, Marc Minkowski | B Minor | 0 | 10A | 111 BPM | ||
Stabat Mater | Andreas Scholl | F Major | 1 | 7B | 85 BPM | ||
Il Parnaso confuso: Di questa cetra in seno | Christoph Willibald Gluck, Cecilia Bartoli, Akademie für Alte Musik Berlin, Bernhard Forck | F♯ Major | 0 | 2B | 82 BPM | ||
Vier letzte Lieder, TrV 296: 4. Im Abendrot | Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur | B♭ Major | 1 | 6B | 78 BPM | ||
Dido and Aeneas / Act 3: "Thy Hand, Belinda...When I Am Laid In Earth" | Henry Purcell, Barbara Bonney, Academy of Ancient Music, Christopher Hogwood | F♯ Minor | 0 | 11A | 164 BPM | ||
L'elisir d'amore: L'Elisir d'amore: Una furtiva lagrima | Gaetano Donizetti, Enrico Caruso, Salvatore Cottone | A♭ Major | 5 | 4B | 111 BPM | ||
Officium defunctorum: Parce mihi Domine: Parce mihi Domine | Cristobal de Morales, The Monteverdi Choir, John Eliot Gardiner | B♭ Major | 0 | 6B | 66 BPM | ||
Purcell: Trumpet Sonata in D Major, Z. 850: II. Adagio | Henry Purcell, John Eliot Gardiner, David Blackadder, English Baroque Soloists | D♭ Minor | 0 | 12A | 103 BPM |
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