Girolamo Frescobaldi, David Munrow, Early Music Consort Of London made "Cornett - Canzona fro (due canti) from Canzoni da sonare, 1634" available on 1976. The duration of Cornett - Canzona fro (due canti) from Canzoni da sonare, 1634 is about 3 minutes long, at 3:08. Based on our data, "Cornett - Canzona fro (due canti) from Canzoni da sonare, 1634" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The track order of this song in David Munrow, Early Music Consort Of London's "Instruments of Middle Age and Renaissance" album is number 18 out of 61. In terms of popularity, Cornett - Canzona fro (due canti) from Canzoni da sonare, 1634 is currently not that popular. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of Cornett - Canzona fro (due canti) from Canzoni da sonare, 1634 by Girolamo Frescobaldi, David Munrow, Early Music Consort Of London to be Moderato (at a moderate speed) because the track has a tempo of 116 BPM, a half-time of 58BPM, and a double-time of 232 BPM. Based on that, the speed of the song's tempo is moderate. 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 C Major. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Romanesca: Ohime, dov'e il mio ben, dov'e il mio core?: Part 1: Ohime, dov'e il mio ben, dov'e il mio core? | Claudio Monteverdi, Delitiæ Musicæ, Marco Longhini | G Major | 0 | 9B | 85 BPM | ||
Vespro della beata Vergine (1610): Concerto - Duo Seraphim | Claudio Monteverdi, Andrew Parrott, The Taverner Consort, Choir & Players | G Minor | 2 | 6A | 82 BPM | ||
Il Spiritillo Brando | Andrea Falconieri, La Ritirata, Josetxu Obregon | G Major | 2 | 9B | 126 BPM | ||
Miserere in C Minor Psalm 50, ZWV. 57 | Jan Dismas Zelenka, Il Fondamento, Il Fondamento Choir, Paul Dombrecht | B Major | 1 | 1B | 64 BPM | ||
Fantazia I in 3 Parts | Henry Purcell, Fretwork | D♭ Minor | 1 | 12A | 102 BPM | ||
Canzoni overo sonate concertate per chiesa e camera, Op. 12: No. 19, Ballo detto Eccardo | Tarquinio Merula, Ensemble les Surprises, Louis-Noël Bestion de Camboulas | B♭ Minor | 2 | 3A | 159 BPM | ||
In Nomine - "Re la re": In Nomine - "Re la re" | Christopher Tye, The Rose Consort Of Viols, Clare Wilkinson | D♭ Minor | 0 | 12A | 0 BPM | ||
Herzlich Lieb hab' ich dich, O Herr, BuxWV 41: I. Herzlich Lieb hab' ich Dich | Dietrich Buxtehude, Vox Luminis, Lionel Meunier, Ensemble Masques, Olivier Fortin | C Major | 1 | 8B | 76 BPM | ||
In ecclesiis (a 14), C78 | Giovanni Gabrieli, His Majestys Sagbutts & Cornetts, Ensemble of King's College, Cambridge, Stephen Cleobury | A Minor | 1 | 8A | 79 BPM | ||
Lachrimae or Seven Tears: XIV. The Earl of Essex Galliard | John Dowland, Phantasm, Elizabeth Kenny | E Major | 1 | 12B | 112 BPM |
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