Marco Uccellini, Nicholas McGegan, The Arcadian Academy's 'Sonate, correnti et arie, Op. 4: No. 2, La Luciminia contenta' came out on November 10, 1993. The duration of Sonate, correnti et arie, Op. 4: No. 2, La Luciminia contenta is about 3 minutes long, at 3:20. Based on our data, "Sonate, correnti et arie, Op. 4: No. 2, La Luciminia contenta" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 18 in the song's album "Uccellini: "La bergamasca"". In this album, this song's track order is #7. Furthermore, we believe that the track originated from United States. In terms of popularity, Sonate, correnti et arie, Op. 4: No. 2, La Luciminia contenta is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Sonate, correnti et arie, Op. 4: No. 2, La Luciminia contenta by Marco Uccellini, Nicholas McGegan, The Arcadian Academy having a BPM of 118 with a half-time of 59 BPM and a double-time of 236 BPM, we would consider this track to have a Moderato (at a moderate speed) tempo marking. Because of this, we believe that the song has an overall moderate tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 3/4.
This song is in the music key of F♯ Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 11A. So, the perfect camelot match for 11A would be either 11A or 10B. While, a low energy boost can consist of either 11B or 12A. For moderate energy boost, you would use 8A and a high energy boost can either be 1A or 6A. However, if you are looking for a low energy drop, finding a song with a camelot key of 10A would be a great choice. Where 2A would give you a moderate drop, and 9A or 4A would be a high energy drop. Lastly, 2B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Céphale et Procris, Act III Scene 3: Passacaille | Élisabeth Jacquet de La Guerre, Reinoud Van Mechelen, A Nocte Temporis | C Major | 2 | 8B | 78 BPM | ||
Partite sopra diverse sonate: Passa Galli | Giovanni Battista Vitali, Ensemble 1700 | E Minor | 0 | 9A | 99 BPM | ||
Mystery (Rosary) Sonata No. 5, "The 12-Year-Old Jesus in the Temple": III. Gigue | Heinrich Ignaz Franz von Biber, Sirkka-Liisa Kaakinen, Battalia | A♭ Major | 2 | 4B | 76 BPM | ||
Aria sopra la Bergamasca, Op. 3 Aria 5 | Marco Uccellini, Concerto Copenhagen, Ida Lorenzen, Jesenka Balic Zunic, Megan Adie, Fredrik Bock | E♭ Minor | 2 | 2A | 78 BPM | ||
Violin Concerto in G Minor, Op. 12, No. 1/RV 317: II. Largo (Arr. for Baroque Ensemble by Martin Ripper) | Antonio Vivaldi, Lautten Compagney, Wolfgang Katschner | G Minor | 4 | 6A | 151 BPM | ||
Sonate, arie et correnti, Op. 3: Aria quinta sopra la bergamasca | Marco Uccellini, Ai Vis Lo Lop, Lo Rainard, La Levre, Lorenza Maio, Ai Vis Lo Lop, Lo Rainard, La Levre | F Minor | 2 | 4A | 130 BPM | ||
Sonata Quinta in E Minor: III. Largo | Henry Eccles, Théotime Langlois de Swarte, Thomas Dunford | B♭ Minor | 0 | 3A | 121 BPM | ||
Le bourgeois gentilhomme: Chaconne | Jean-Baptiste Lully, Emanuela Galli, Yetzabel Arias Fernandez, La Risonanza, Fabio Bonizzoni | C Major | 2 | 8B | 90 BPM | ||
Sonata in C Minor, Jung III.2.B: I. Largo | Johann Georg Pisendel, Concerto Köln, Mayumi Hirasaki | B Minor | 1 | 10A | 96 BPM | ||
Concerto Grosso No. 5 in D Minor (after D. Scarlatti): II. Allegro | Charles Avison, The Avison Ensemble, Pavlo Beznosiuk | D♭ Minor | 2 | 12A | 132 BPM |
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