Johann Sebastian Bach, Carmel Kaine, Malcolm Latchem, Stephen Shingles, Neil Black, Tess Miller, Celia Nicklin, Cecil James, Kenneth Heath, John Gray, Academy of St. Martin in the Fields, Sir Neville Marriner made "The Art of Fugue, BWV 1080 - Edition prepared by Sir Neville Marriner & Andrew Davis: Contrapunctus 9 a 4 alla Duodecima" available on January 1, 1994. The duration of The Art of Fugue, BWV 1080 - Edition prepared by Sir Neville Marriner & Andrew Davis: Contrapunctus 9 a 4 alla Duodecima is about two minutes long, specifically at 2:55. This song does not appear to have any foul language. The Art of Fugue, BWV 1080 - Edition prepared by Sir Neville Marriner & Andrew Davis: Contrapunctus 9 a 4 alla Duodecima's duration is considered a little bit shorter than the average duration of a typical track. The song is number 12 out of 38 in Bach, J.S.: The Art of Fugue; A Musical Offering by Johann Sebastian Bach, Academy of St. Martin in the Fields, Sir Neville Marriner. In terms of popularity, The Art of Fugue, BWV 1080 - Edition prepared by Sir Neville Marriner & Andrew Davis: Contrapunctus 9 a 4 alla Duodecima is currently not that popular. The overall mood can be danceable to some, especially with it's high amount of postive energy.
The tempo marking of The Art of Fugue, BWV 1080 - Edition prepared by Sir Neville Marriner & Andrew Davis: Contrapunctus 9 a 4 alla Duodecima by Johann Sebastian Bach, Carmel Kaine, Malcolm Latchem, Stephen Shingles, Neil Black, Tess Miller, Celia Nicklin, Cecil James, Kenneth Heath, John Gray, Academy of St. Martin in the Fields, Sir Neville Marriner is Andante (at a walking pace), since this song has a tempo of 94 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 D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Dixit Dominus, HWV 232: Die Torrente in via bibet | George Frideric Handel, Angela Kazimierczuk, Katherine Fuge, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | B Minor | 0 | 10A | 68 BPM | ||
Concerto in C Minor: I. Introduzione - Larghetto | Domenico Cimarosa, John Anderson, Simon Wright, Philharmonia Orchestra | C Minor | 1 | 5A | 126 BPM | ||
Notebook for Anna Magdalena Bach (1725) [Excerpts]: No. 17, Polonaise in G Minor, H. 1 No. 2 [Attrib. J.S. Bach's BWV Anh. 123] | Carl Philipp Emanuel Bach, Giovanni Mazzocchin | E♭ Major | 1 | 5B | 113 BPM | ||
Goldberg Variations, BWV 988: Var. 1 | Johann Sebastian Bach, Murray Perahia | G Major | 3 | 9B | 106 BPM | ||
6 Album Leaves, Op. 2, JB 1:51: No. 2 in A Minor, Chanson. Moderato | Bedřich Smetana, Jitka Čechová | A Minor | 0 | 8A | 66 BPM | ||
Orfeo ed Euridice, Wq. 30 (Arranged by Sgambati): Melodie dell'Orfeo | Christoph Willibald Gluck, Yuja Wang | D Minor | 0 | 7A | 70 BPM | ||
Gavotte - Arr. for Cello and Piano | Jean-Baptiste Lully, Mischa Maisky, Pavel Gililov | D Minor | 0 | 7A | 85 BPM | ||
Sechs Klavierstücke, Op. 118: II. Intermezzo in A Major | Johannes Brahms, Arcadi Volodos | A Major | 0 | 11B | 69 BPM | ||
Nocturne No. 1 in E Flat Major, H.24 | John Field, Elizabeth Joy Roe | E♭ Major | 0 | 5B | 75 BPM | ||
Nocturne No. 1 in E-Flat Major | John Field, Benjamin Frith | E♭ Major | 0 | 5B | 73 BPM |
Section: 0.8982391357421875
End: 0.9019312858581543