Carl Orff, Bernd Weikl, Chicago Symphony Orchestra, James Levine, Chicago Symphony Chorus made "Carmina Burana / 2. In Taberna: "Ego sum abbas"" available on January 1, 1985. With Carmina Burana / 2. In Taberna: "Ego sum abbas" being less than two minutes long, at 1:39, 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. There are a total of 25 in the song's album "Orff: Carmina Burana". In this album, this song's track order is #13. Furthermore, we believe that the track originated from Germany. Based on our statistics, Carmina Burana / 2. In Taberna: "Ego sum abbas"'s popularity is not that popular right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
With Carmina Burana / 2. In Taberna: "Ego sum abbas" by Carl Orff, Bernd Weikl, Chicago Symphony Orchestra, James Levine, Chicago Symphony Chorus having a BPM of 135 with a half-time of 68 BPM and a double-time of 270 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 3/4.
D Minor is the music key of this track. Which also means that the camelot key for this song 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 | ||
---|---|---|---|---|---|---|---|
Farandole | Georges Bizet, Arthur Fiedler, Boston Pops Orchestra | D Major | 6 | 10B | 101 BPM | ||
L'Arlésienne Suite No. 1, WD 40: 1. Prélude | Georges Bizet, Orchestre de Paris, Semyon Bychkov | C Minor | 0 | 5A | 71 BPM | ||
5 Military Marches, Op. 39, "Pomp and Circumstance": No. 1 in D Major | Edward Elgar, New Zealand Symphony Orchestra, James Judd | D Major | 3 | 10B | 127 BPM | ||
Dies Irae | Giuseppe Verdi, Carmen Giannattasio, Veronica Simeoni, Alxander Timchenko, Carlo Colombara, Yuri Temirkanov, St. Petersburg Philharmonic Orchestra | C Minor | 3 | 5A | 80 BPM | ||
Carmina Burana / I. Primo vere: "Ecce gratum" - Live from the Forbidden City | Carl Orff, Wiener Singakademie, Heinz Ferlesch, Shanghai Symphony Orchestra, Long Yu | F Major | 4 | 7B | 149 BPM | ||
Aida / Act 2: Marcia | Giuseppe Verdi, Orchestra Del Teatro Dell'Opera Di Roma, Sir Georg Solti | F Minor | 3 | 4A | 148 BPM | ||
Aida: Act II: Marcia | Giuseppe Verdi, Maria Dragoni, Kristjan Johannsson, Barbara Dever, Mark Rucker, Francesco Ellero d' Artegna, Riccardo Ferrari, Antonio Marcenò, Monica Trini, Colin Mawby, RTÉ Philharmonic Choir, RTE Chamber Choir, Culwick Choral Society, Bray Choral Society, Dublin County Choir, Dun Laoghaire Choral Society, Cantabile Singers, Goethe Institut Choir, Musica Sacra, The Phoenix Singers, RTÉ National Symphony Orchestra, Irish Army No. 1 Band, Ricco Saccani | A♭ Major | 1 | 4B | 112 BPM | ||
Carmina Burana Suite, "Cantiones profanae" (arr. J. Krance): II. Fortune plango vulnera (I lament Fortune's blows) | John Krance, Carl Orff, Peabody Conservatory Wind Ensemble, Harlan D. Parker | A Minor | 1 | 8A | 107 BPM | ||
Verdi: Aïda, Act 2: Triumphal march | Giuseppe Verdi, Antonio Pappano, Orchestra dell'Accademia Nazionale di Santa Cecilia | E♭ Major | 0 | 5B | 93 BPM | ||
Samson et Dalila, Op. 47, R. 288: Bacchanale | Camille Saint-Saëns, Lorin Maazel, Pittsburgh Symphony Orchestra | A Minor | 1 | 8A | 122 BPM |
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