- BPM
- 139
- Key
- F Major
- Camelot
- 7B
Gloria, FP 144: 2. Laudamus te - Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver Information
- Acousticness
- 98%
- Danceability
- 30%
- Energy
- 23%
- Instrumentalness
- 84%
- Liveness
- 11%
- Loudness
- 64%
- Speechiness
- 4%
- Valence
- 33%
- Popularity
- 13%
- Loudness
- -21.354 dB
Summary
Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver's 'Gloria, FP 144: 2. Laudamus te' came out on January 1, 1989. The duration of Gloria, FP 144: 2. Laudamus te is about two minutes long, specifically at 2:50. This song does not appear to have any foul language. Gloria, FP 144: 2. Laudamus te's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 18 in the song's album "Poulenc: Gloria; Stabat Mater". In this album, this song's track order is #2. Based on our statistics, Gloria, FP 144: 2. Laudamus te's popularity 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.
Gloria, FP 144: 2. Laudamus te BPM
With Gloria, FP 144: 2. Laudamus te by Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver having a BPM of 139 with a half-time of 70 BPM and a double-time of 278 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 4/4.
Gloria, FP 144: 2. Laudamus te Key
F Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Recommendations
| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
 | Pelléas et Mélisande, Op.80: Chanson de Mélisande | Gabriel Fauré, Lorraine Hunt, Boston Symphony Orchestra, Seiji Ozawa | B♭ Major | 0 | 6B | 87 BPM | |
 | Belshazzar's Feast: The trumpeters and pipers are silent | William Walton, Christopher Purves, Huddersfield Choral Society, Leeds Philharmonic Chorus, Laudibus, English Northern Philharmonia, Simon Lindley, Paul Daniel | A Minor | 0 | 8A | 79 BPM | |
 | Carmina Burana: Estuans interius | Carl Orff, Sherrill Milnes, Seiji Ozawa | E Minor | 2 | 9A | 128 BPM | |
 | Stabat Mater, FP 148: 1. Stabat Mater dolorosa | Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver | A Minor | 1 | 8A | 77 BPM | |
 | Turangalîla Symphonie: Turangalîla 1 | Olivier Messiaen, Seiji Ozawa, Yvonne Loriod, Jeanne Loriod | D♭ Major | 8 | 3B | 113 BPM | |
 | Symphony No. 2 in C minor - "Resurrection": 5d. "Aufersteh'n, ja aufersteh'n wirst du" (Langsam. Misterioso) - Text after F.G. Klopstock: "Auferstehung" | Gustav Mahler, Kiri Te Kanawa, Marilyn Horne, Tanglewood Festival Chorus, Boston Symphony Orchestra, Seiji Ozawa | F♯ Major | 0 | 2B | 89 BPM | |
 | Dona Nobis Pacem: Reconciliation | Ralph Vaughan Williams, Christina Pier, Matthew Brook, The Bach Choir, Bournemouth Symphony Orchestra, David Hill | C Major | 0 | 8B | 90 BPM | |
 | Gloria: III. Vivace e ritmico | John Rutter, St. Albans Cathedral Choir, Tom Winpenny, Ensemble DeChorum, Andrew Lucas | E♭ Major | 3 | 5B | 117 BPM | |
 | 6 Songs from A Shropshire Lad: No. 2. When I was one-and-twenty | George Butterworth, Roderick Williams, Iain Burnside | B Minor | 1 | 10A | 165 BPM | |
 | Die tote Stadt (The Dead City), Op. 12: Act I Scene 5: Gluck, das mir verblieb (Marietta, Paul) | Erich Wolfgang Korngold, Klaus Florian Vogt, Tatiana Pavlovskaya, Michael Nagy, Hedwig Fassbender, Anna Ryberg, Jenny Carlstedt, Julian Prégardien, Hans-Jurgen Lazar, Frankfurt Opera Chorus, Frankfurt Opera Children's Chorus, Frankfurt Opera and Museum Orchestra, Sebastian Weigle | B♭ Major | 1 | 6B | 83 BPM |
- ISRC
- This song does not have an ISRC.
- Label
- L-M Records/RCA Records
Section: 0.6794760227203369
End: 0.6833817958831787