"Misatango, Misa a Buenos Aires: VII. Et incarnatus est" by MartÍn Palmeri, Chœur régional Vittoria d'Ile de France, Orchestre Pasdeloup, Michel Piquemal, Sophie Hanne, Gilberto Pereyra was released on January 6, 2017. With Misatango, Misa a Buenos Aires: VII. Et incarnatus est being less than two minutes long, at 1:05, 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 15 in the song's album "Palmeri: Misatango, Misa a Buenos Aires". In this album, this song's track order is #7. Misatango, Misa a Buenos Aires: VII. Et incarnatus est is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Misatango, Misa a Buenos Aires: VII. Et incarnatus est by MartÍn Palmeri, Chœur régional Vittoria d'Ile de France, Orchestre Pasdeloup, Michel Piquemal, Sophie Hanne, Gilberto Pereyra having a BPM of 86 with a half-time of 43 BPM and a double-time of 172 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 5/4.
This song is in the music key of F Minor. Which also means that the camelot key for this song is 4A. So, the perfect camelot match for 4A would be either 4A or 3B. While, a low energy boost can consist of either 4B or 5A. For moderate energy boost, you would use 1A and a high energy boost can either be 6A or 11A. However, if you are looking for a low energy drop, finding a song with a camelot key of 3A would be a great choice. Where 7A would give you a moderate drop, and 2A or 9A would be a high energy drop. Lastly, 7B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Magnificat: No. 6, Esurientes implevit | Clive Osgood, London Mozart Players, Amy Carson, Robert Lewis | E Minor | 2 | 9A | 104 BPM | ||
Sub Tuum Paesidium: Sub Tuum Præsidium Pour Sopranos, Altos Et Orgue | Michel Piquemal Vocal Ensemble, Eric Lebrun, Michel Piquemal, Guy Ropartz | E♭ Major | 1 | 5B | 77 BPM | ||
Annelies (chamber version): I. Introit - Prelude | James Whitbourn, Arianna Zukerman, Westminster Williamson Voices, Lincoln Trio, Bharat Chandra, James Jordan | C Minor | 1 | 5A | 84 BPM | ||
Salve Regina, S. 308: No. 1, Salve Regina | Anonymous, Nicola Porpora, José Maria Lo Monaco, Stile Galante, Stefano Aresi | F Minor | 2 | 4A | 75 BPM | ||
Yet, Here I Am: III. Reflection | Karl Jenkins, Lucy Crowe, World Orchestra For Peace, World Choir for Peace, Nicol Matt, Alexander Duggan, Jody Jenkins | F Major | 4 | 7B | 120 BPM | ||
Norma: Casta Diva - Remasterizado 2003 | Tania Libertad | F Major | 4 | 7B | 101 BPM | ||
La Pasión según San Mateo, BWV 244: No. 39, Erbarme dich, mein Gott | Orquesta de Cámara de Berlín, Karl Grossmann, Coros de Cámara de Berlín | B Minor | 3 | 10A | 92 BPM | ||
Beau soir, L. 6 | Dilyana Georgieva, Galina Apostolova | F♯ Minor | 2 | 11A | 142 BPM | ||
Bach, CPE: Magnificat in D Minor, Wq. 215: VI. Deposuit potentes | Carl Philipp Emanuel Bach, Geraint Jones, Helen Watts, Wilfred Brown, Geraint Jones Orchestra | F Major | 1 | 7B | 85 BPM | ||
Serse, HWV 40, Act I: O voi, che penate (Romilda, Arsamene, Elviro, Serse) | George Frideric Handel, Ann Murray, Ivor Bolton, Christopher Robson, Patricia Bardon, Umberto Chiummo, Yvonne Kenny, Julie Kaufmann, Jan Zinkler, Chor der Bayerischen Staatsoper, Bavarian State Orchestra | E Minor | 2 | 9A | 147 BPM |
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