Michel Richard Delalande, Orchestre de Chambre Paul Kuentz, Paul Kuentz made "Symphonies pour les soupers du roy / Quatrième Suitte: Simphonie du Te Deum" available on January 1, 1996. With Symphonies pour les soupers du roy / Quatrième Suitte: Simphonie du Te Deum being less than two minutes long, at 1:54, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The track order of this song in Adolf Scherbaum, Orchestre de Chambre Paul Kuentz, Paul Kuentz's "Lalande / Mouret: Simphonies & Fanfares" album is number 12 out of 41. On top of that, Germany appears to be the country where this track was created. Based on our statistics, Symphonies pour les soupers du roy / Quatrième Suitte: Simphonie du Te Deum's popularity is unknown right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of Symphonies pour les soupers du roy / Quatrième Suitte: Simphonie du Te Deum by Michel Richard Delalande, Orchestre de Chambre Paul Kuentz, Paul Kuentz to be Allegro (fast, quick, and bright) because the track has a tempo of 137 BPM, a half-time of 68BPM, and a double-time of 274 BPM. Based on that, the speed of the song's tempo is fast. 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 D Major. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony in A Major, H. 660, Wq. 182/4: III. Allegro assai | Carl Philipp Emanuel Bach, Akademie für Alte Musik Berlin, Mayumi Hirasaki | D♭ Major | 1 | 3B | 140 BPM | ||
Te Deum: VII. Tu ad dexteram Dei sedes | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Academy of Ancient Music | B Minor | 2 | 10A | 71 BPM | ||
Missa pro Defunctis in E-Flat Major, HocJ A1.3: V. Sanctus, 1. Sanctus, Dominus Deus | Niccolò Jommelli, Gudrun Sidonie Otto, Il Gardellino, Helen Charlston, Daniel Johannsen, Peter Van Heyghen | B♭ Minor | 2 | 3A | 77 BPM | ||
Trio Sonata No. 5 in D Major, Op. 2, Trio Sonata No. 1 in E Minor: I. Adagio | Jean-Joseph Cassanéa De Mondonville, Ensemble Diderot, Johannes Pramsohler | C Major | 1 | 8B | 97 BPM | ||
Missa Charitatis, ZWV 10: Gloria in excelsis Deo | Jan Dismas Zelenka, Ensemble Inégal, Adam Viktora | A♭ Major | 3 | 4B | 101 BPM | ||
Missa pro Defunctis in E-Flat Major, HocJ A1.3: VI. Benedictus, 1. Benedictus qui venit in nomine Domini | Niccolò Jommelli, Gudrun Sidonie Otto, Il Gardellino, Peter Van Heyghen | B Minor | 1 | 10A | 142 BPM | ||
XII sonate a tre o quattro strumenti e basso: Sonata X a 3 | Antonio Bertali, Ars Antiqua Austria, Gunar Letzbor | F♯ Major | 2 | 2B | 88 BPM | ||
Missa Paschalis, ZWV 7: Credo. Amen come nel gloria | Jan Dismas Zelenka, Inégal Ensemble, Adam Viktora, Gabriela Eibenová, Marian Krejcik, Terry Wey, Cyril Auvity | D♭ Major | 3 | 3B | 178 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 | ||
Purcell: The Fairy Queen, Z. 629: First Music. Prelude | Henry Purcell, Amsterdam Baroque Orchestra, Ton Koopman | B Minor | 0 | 10A | 78 BPM |
Section: 0.594369649887085
End: 0.6047875881195068