Carl Orff, London Symphony Chorus, London Symphony Orchestra, Richard Hickox's 'Carmina Burana: XXII. Tempus est iocundum' came out on January 1, 2005. The duration of Carmina Burana: XXII. Tempus est iocundum is about two minutes long, specifically at 2:25. This song does not appear to have any foul language. Carmina Burana: XXII. Tempus est iocundum's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 25 in the song's album "Orff: Carmina Burana". In this album, this song's track order is #22. Based on our statistics, Carmina Burana: XXII. Tempus est iocundum's popularity is below average in popularity right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Carmina Burana: XXII. Tempus est iocundum by Carl Orff, London Symphony Chorus, London Symphony Orchestra, Richard Hickox having a BPM of 127 with a half-time of 64 BPM and a double-time of 254 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 5/4.
D 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 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 | ||
---|---|---|---|---|---|---|---|
Requiem, Op. 48: VII. Libera me | Gabriel Fauré, Harry Peeters, Netherlands Chamber Choir, Limburg Symphony Orchestra, Ed Spanjaard | G Minor | 1 | 6A | 134 BPM | ||
Carmina Burana: Omnia sol temperat | Carl Orff, Cleveland Orchestra, Michael Tilson Thomas | B♭ Major | 1 | 6B | 91 BPM | ||
Messe solennelle de Sainte Cécile (1988 Digital Remaster): Sanctus | Charles Gounod, Pilar Lorengar/Heinz Hoppe/Franz Crass/Choeurs René Duclos/Orchestre de la Société des Concerts du Conservatoire/Jean-Claude Hartemann, Jean-Claude Hartemann, Orchestre De La Société Des Concerts Du Conservatoire | B Minor | 2 | 10A | 77 BPM | ||
Carnival of the Animals: XIII. The Swan | Camille Saint-Saëns, Barry Wordsworth, London Symphony Orchestra | G Major | 0 | 9B | 102 BPM | ||
Puccini: La rondine, Act 1: "Forse, come la rondine" (Magda) | Giacomo Puccini, Angela Gheorghiu, Antonio Pappano, London Symphony Orchestra | C Minor | 3 | 5A | 64 BPM | ||
Orfeo ed Euridice, Wq. 30 / Act 3: "Che farò senza Euridice?" | Christoph Willibald Gluck, Teresa Berganza, Orchestra of the Royal Opera House, Covent Garden, Sir Alexander Gibson | C Major | 1 | 8B | 77 BPM | ||
The High Council Meeting and Qui-Gon's Funeral | John Williams, London Symphony Orchestra | F♯ Minor | 1 | 11A | 77 BPM | ||
German Requiem, Op. 45: Wie lieblich sind deine Wohnungen | Johannes Brahms, London Symphony Orchestra, London Symphony Chorus, Valery Gergiev | E♭ Major | 1 | 5B | 80 BPM | ||
Prokofiev: Symphony No. 1 in D Major, Op. 25, "Classical": II. Larghetto | Sergei Prokofiev, André Previn, London Symphony Orchestra | A Major | 0 | 11B | 104 BPM | ||
Lalo: Symphonie espagnole in D Minor, Op. 21: III. Intermezzo. Allegretto non troppo | Édouard Lalo, Vadim Repin, Kent Nagano, London Symphony Orchestra | A Minor | 1 | 8A | 103 BPM |
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