On March 15, 2024, the song "Concert Royal No. 3 in A (Version for 2 Harpsichords): VI. Musette. Naïvement" was released by François Couperin, Pierre Gallon, Matthieu Boutineau. The duration of Concert Royal No. 3 in A (Version for 2 Harpsichords): VI. Musette. Naïvement is about two minutes long, specifically at 2:36. This song does not appear to have any foul language. Concert Royal No. 3 in A (Version for 2 Harpsichords): VI. Musette. Naïvement's duration is considered a little bit shorter than the average duration of a typical track. The song is number 18 out of 26 in Couperin: Concerts Royaux by François Couperin, Pierre Gallon, Matthieu Boutineau. Going off of the ISRC code of this track, we detected that the origin of this track is from France. Based on our statistics, Concert Royal No. 3 in A (Version for 2 Harpsichords): VI. Musette. Naïvement's popularity is not that popular right now. The mood doesn't appear to be that danceable, but it still produces a high amount of positive energy.
The tempo marking of Concert Royal No. 3 in A (Version for 2 Harpsichords): VI. Musette. Naïvement by François Couperin, Pierre Gallon, Matthieu Boutineau is Allegro (fast, quick, and bright), since this song has a tempo of 125 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 4/4.
E♭ Major is the music key of this track. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Menuet en Sol Mineur, Transcription de Wilhem Kempff d’après Le Menuet de la Suite en Si Bémol Majeur No. 1, HWV 434, 1er Cahier | George Frideric Handel, Anne Queffélec | G Minor | 0 | 6A | 69 BPM | ||
Nocturne-serenade, Op. 45 | Pablo de Sarasate, Tianwa Yang, Navarre Symphony Orchestra, Ernest Martinez Izquierdo | B♭ Major | 0 | 6B | 108 BPM | ||
Deuxieme livre, Suite en Mi: X. Tambourin | Jean-Philippe Rameau, Alexander Paley | A Major | 1 | 11B | 130 BPM | ||
Kinderszenen, Op. 15: No. 7, Träumerei | Robert Schumann, Zhu Xiao-Mei | F Major | 0 | 7B | 65 BPM | ||
Abdelazar Suite, Z. 570: VI. Air | Henry Purcell, Camerata Nordica, Terje Tonnesen | G Minor | 2 | 6A | 131 BPM | ||
Antiche Danze Ed Arie Per Liuto (Ancient Airs And Dances), P. 114: IV. Italiana | Ottorino Respighi, Konstantin Scherbakov | B Minor | 0 | 10A | 197 BPM | ||
Concerts royaux, Concerto No. 4 in E Minor: V. Sarabande | François Couperin, Emanuel Abbühl, David Tomàs, Carla Sanfelix, Miklós Spányi, Benoît Fallai | E Major | 1 | 12B | 82 BPM | ||
Keyboard Sonata in E Major, K. 380: Andante commodo | Domenico Scarlatti, Ivo Pogorelich | B Major | 0 | 1B | 88 BPM | ||
Schumann: Davidsbündlertänze, Op. 6, Heft II: No. 14, Zart und singend | Robert Schumann, Jonathan Biss | E♭ Major | 0 | 5B | 135 BPM | ||
Kitsch-Musik: III. Allegretto | Valentin Silvestrov, Elisaveta Blumina | E♭ Major | 0 | 5B | 65 BPM |
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