"Matthäus-Passion, BWV 244 / Zweiter Teil: No. 54 "O Haupt voll Blut und Wunden"" by Johann Sebastian Bach, The Monteverdi Choir, The London Oratory Junior Choir, English Baroque Soloists, John Eliot Gardiner was released on January 1, 1989. With Matthäus-Passion, BWV 244 / Zweiter Teil: No. 54 "O Haupt voll Blut und Wunden" being less than two minutes long, at 1:46, 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 song is number 2 out of 68 in Bach, J.S.: St. Matthew Passion, BWV 244 by Johann Sebastian Bach, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner. Matthäus-Passion, BWV 244 / Zweiter Teil: No. 54 "O Haupt voll Blut und Wunden" 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.
The tempo marking of Matthäus-Passion, BWV 244 / Zweiter Teil: No. 54 "O Haupt voll Blut und Wunden" by Johann Sebastian Bach, The Monteverdi Choir, The London Oratory Junior Choir, English Baroque Soloists, John Eliot Gardiner is Andante (at a walking pace), since this song has a tempo of 78 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of E Major. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Ich steh an deiner Krippen hier | Martin Luther, Johann Sebastian Bach, Bach-Chor Siegen | G Major | 3 | 9B | 70 BPM | ||
Jesus, Jesus Rest Your Head (arr. T. Wallace) | Traditional, Tom Wallace, Concordia University Chicago Wind Symphony, Richard Fischer | B♭ Major | 1 | 6B | 87 BPM | ||
Maria durch ein Dornwald ging | Dresdner Kreuzchor | A Minor | 1 | 8A | 111 BPM | ||
Vivaldi: Gloria in D Major, RV 589: IV. Gratias agimus tibi & V. Propter magnam gloriam | Antonio Vivaldi, Choir of King's College, Cambridge, Academy of Ancient Music, Stephen Cleobury | E♭ Major | 3 | 5B | 146 BPM | ||
Magnificat, BWV 243a: Magnificat, BWV 243a: I. Magnificat anima mea | Johann Sebastian Bach, Philippe Herreweghe, Collegium Vocale Gent | D Major | 4 | 10B | 96 BPM | ||
First Vespers for the Nativity of the Blessed Virgin Mary: Psalm 117: Laudate Dominum omnes gentes; Antiphon 2: Beata progenies (mode II) | Anonymous, Choir of King's College, Cambridge, Stephen Cleobury | A Major | 1 | 11B | 80 BPM | ||
Nessaja - Ich wollte nie erwachsen sein | Peter Maffay, Dresdner Kreuzchor | A Major | 4 | 11B | 96 BPM | ||
Gloria: Domine Deus, Rex coelestis | Antonio Vivaldi, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | B Major | 0 | 1B | 66 BPM | ||
A Sea Symphony, I. A Song for All Seas, All Ships (Moderato maestoso): Today a rude brief recitative (baritone & chorus) | Ralph Vaughan Williams, Margaret Marshall, Richard Hickox, Philharmonia Orchestra | D Minor | 2 | 7A | 129 BPM | ||
Messiah, HWV 56 / Pt. 3: 43. Air: I know that my Redeemer liveth | George Frideric Handel, Margaret Marshall, English Baroque Soloists, John Eliot Gardiner | E♭ Major | 0 | 5B | 76 BPM |
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