David Lang, Theatre Of Voices, Paul Hillier made "the little match girl passion: lights were shining" available on May 12, 2009. With the little match girl passion: lights were shining being less than two minutes long, at 1:40, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The track order of this song in David Lang, Theatre Of Voices, Paul Hillier, Ars Nova Copenhagen's "Lang: The Little Match Girl Passion" album is number 6 out of 19. In terms of popularity, the little match girl passion: lights were shining is currently not that popular. The mood doesn't appear to be that danceable, but it still produces a high amount of positive energy.
We consider the tempo marking of the little match girl passion: lights were shining by David Lang, Theatre Of Voices, Paul Hillier to be Andante (at a walking pace) because the track has a tempo of 92 BPM, a half-time of 46BPM, and a double-time of 184 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. 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 | ||
---|---|---|---|---|---|---|---|
Herr, wenn ich nur dich habe, SWV 280 | Heinrich Schütz, Vox Luminis, Lionel Meunier | A Minor | 1 | 8A | 85 BPM | ||
evening morning day | David Lang, Ars Nova Copenhagen, Paul Hillier | B♭ Major | 0 | 6B | 74 BPM | ||
Les Chansons des roses: No. 2. Contre qui, rose | Morten Lauridsen, Leslie De'Ath, Elora Festival Singers, Noel Edison | D♭ Major | 0 | 3B | 78 BPM | ||
Requiem (Missa pro defunctis) a 2-4: Tractus: Sicut cervus | Johannes Ockeghem, The Hilliard Ensemble, Paul Hillier | C Major | 0 | 8B | 62 BPM | ||
Miserere mei Deus (psaume L) – à 8, alternatim | Andrés Barea, Paul Van Nevel, Huelgas Ensemble | A♭ Major | 2 | 4B | 83 BPM | ||
Carmina Burana: Veris leta facies | Carl Orff, Claire Rutter, Thomas Randle, Markus Eiche, Mary Denniss, Andrew Knights, Greg Beardsell, Bournemouth Symphony Chorus, Highcliffe Junior Choir, Bournemouth Symphony Youth Chorus, Bournemouth Symphony Orchestra, Marin Alsop | F Major | 2 | 7B | 127 BPM | ||
Alma Redemptoris Mater | Hildegard von Bingen, Sequentia, Barbara Thornton | F Major | 1 | 7B | 80 BPM | ||
Two is Apocryphal | Jóhann Jóhannsson, Theatre of Voices, Paul Hillier, American Contemporary Music Ensemble | E Minor | 2 | 9A | 83 BPM | ||
Elias, Op. 70, MWV A25: Elijah, Op. 70, Part II: Hebe deine Augen auf zu den Bergen | Felix Mendelssohn, Estonian Philharmonic Chamber Choir, Daniel Reuss | D Major | 1 | 10B | 83 BPM | ||
Mass in G Minor: Sanctus – Osanna I – Benedictus – Osanna II | Ralph Vaughan Williams, Choir of St. John's College, Cambridge, Matthew Brown, Hugh Cutting, Oliver Morris, James Beddoe, Andrew Nethsingha | D Minor | 0 | 7A | 74 BPM |
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