Claudio Monteverdi, Emmanuelle Haïm's 'Monteverdi: L'Orfeo, favola in musica, SV 318, Prologue: "Io su cetera d'or cantando soglio" (La Musica)' came out on 2004. With Monteverdi: L'Orfeo, favola in musica, SV 318, Prologue: "Io su cetera d'or cantando soglio" (La Musica) being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The track order of this song in Claudio Monteverdi, Emmanuelle Haïm's "Monteverdi: L'Orfeo" album is number 7 out of 80. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, Monteverdi: L'Orfeo, favola in musica, SV 318, Prologue: "Io su cetera d'or cantando soglio" (La Musica) is currently not that popular. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
We consider the tempo marking of Monteverdi: L'Orfeo, favola in musica, SV 318, Prologue: "Io su cetera d'or cantando soglio" (La Musica) by Claudio Monteverdi, Emmanuelle Haïm to be Andante (at a walking pace) because the track has a tempo of 103 BPM, a half-time of 52BPM, and a double-time of 206 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
B♭ Minor is the music key of this track. Because this track belongs in the B♭ Minor key, the camelot key is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Purcell : King Arthur : Air | William Christie | G Minor | 1 | 6A | 0 BPM | ||
The Earle of Essex Galiard from Lachrimae, or Seaven Teares | John Dowland, Fretwork, Christopher Wilson | F Minor | 1 | 4A | 107 BPM | ||
Sequentia: Pie Jesu | Cristobal de Morales, Musica Ficta, Raúl Mallavibarrena | E♭ Major | 1 | 5B | 76 BPM | ||
2e livre de viole: Tombeau pour Mr de Sainte-Colombe | Marin Marais, Friederike Heumann, Xavier Diaz-Latorre | E♭ Minor | 0 | 2A | 167 BPM | ||
Offerte non encore exécutée, H.522 | Marc-Antoine Charpentier, Musica Antiqua Köln, Reinhard Goebel | B Major | 2 | 1B | 79 BPM | ||
O dolce anima mia, dunque e pur vero | Claudio Monteverdi, Delitiæ Musicæ, Marco Longhini | A♭ Major | 0 | 4B | 114 BPM | ||
Musiche sacre: No. 23, Canzon à 3 | Francesco Cavalli, London Baroque | A♭ Minor | 1 | 1A | 122 BPM | ||
Diverse bizzarrie sopra la Vecchia Sarabanda ò pur Ciaccona | Nicola Matteis, Gli Incogniti, Amandine Beyer | B Major | 3 | 1B | 79 BPM | ||
Sant'Agnese: Vaga rosa (Aria) | Bernardo Pasquini, Núria Rial | D♭ Minor | 0 | 12A | 77 BPM | ||
Madrigals, Book III: Sovra tenere erbette e bianchi fiori | Rinaldo Alessandrini, Concerto Italiano, Monica Piccinini, Sonia Tedla, Andrés Montilla, Raffaele Giordani, Salvo Vitale, Claudio Monteverdi | F Minor | 1 | 4A | 127 BPM |
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