George Frideric Handel, Barbara Schlick, René Jacobs, Concerto Köln's 'Giulio Cesare in Egitto, HWV 17, Atto I, Scena 7: "Tutto può"' came out on December 1, 1991. Giulio Cesare in Egitto, HWV 17, Atto I, Scena 7: "Tutto può" is about six minutes long, preciously at 6:03, making this song fairly long compared to other songs. The track order of this song in George Frideric Handel, René Jacobs, Bernarda Fink, Jennifer Larmore, Barbara Schlick, Marianne Rorholm, Concert Köln, Concerto Köln's "Handel: Giulio Cesare in Egitto" album is number 11 out of 45. Giulio Cesare in Egitto, HWV 17, Atto I, Scena 7: "Tutto può" is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Giulio Cesare in Egitto, HWV 17, Atto I, Scena 7: "Tutto può" by George Frideric Handel, Barbara Schlick, René Jacobs, Concerto Köln to be Andante (at a walking pace) because the track has a tempo of 78 BPM, a half-time of 39BPM, and a double-time of 156 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of A♭ Major. This also means that this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Troisième livre de pièces de clavecin: 18ème ordre, Le tic-toc-choc ou les maillotins - Adapted by Marina Baranova | François Couperin, Marina Baranova | A♭ Major | 0 | 4B | 69 BPM | ||
San Giovanni Battista: Sinfonia | Alessandro Stradella, Concerto Italiano, Rinaldo Alessandrini | D♭ Major | 1 | 3B | 64 BPM | ||
Symphony No. 2 in A Major, Op. 2, "Birthday Ode": II. Vivace | William Boyce, Aradia Ensemble, Kevin Mallon | A♭ Major | 1 | 4B | 187 BPM | ||
Violin Concerto in B Minor, Op. 3 No. 10, RV. 580: I. Allegro | Yehudi Menuhin | C Major | 2 | 8B | 74 BPM | ||
Ode for St. Cecilia's Day, HWV 76: Interlude | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | A♭ Minor | 0 | 1A | 96 BPM | ||
21 Hungarian Dances, WoO 1: Hungarian Dance No. 16 in F Minor | Seattle Symphony Orchestra, Johannes Brahms, Gerard Schwarz | F Major | 1 | 7B | 83 BPM | ||
Lully : Ballet des Muses : "Trop indiscret Amour" [Euridice] | Jean-Baptiste Lully, William Christie, Les Arts Florissants | F Minor | 1 | 4A | 71 BPM | ||
Haydn: Cello Concerto No. 1 in C Major, Hob. VIIb, 1: II. Adagio (Cadenza by Britten) | Franz Joseph Haydn, Mstislav Rostropovich, Academy of St. Martin in the Fields | F Major | 1 | 7B | 124 BPM | ||
Concerto No. 4 in G major, BWV 1049: I. Allegro | Johann Sebastian Bach, Freiburger Barockorchester | F Major | 2 | 7B | 99 BPM | ||
Nocturne No. 1 in E Flat Major, H.24 | John Field, Elizabeth Joy Roe | E♭ Major | 0 | 5B | 75 BPM |
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