"Victoria: Ave Maria, for Double Choir - 1. Ave Maria, gratia plena" by Tomás Luis de Victoria, Peter Phillips, The Tallis Scholars was released on 1980. The duration of Victoria: Ave Maria, for Double Choir - 1. Ave Maria, gratia plena is about 3 minutes long, at 3:02. Based on our data, "Victoria: Ave Maria, for Double Choir - 1. Ave Maria, gratia plena" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 81 in the song's album "The Essential Tallis Scholars". In this album, this song's track order is #12. Furthermore, we believe that the track originated from United Kingdom. In terms of popularity, Victoria: Ave Maria, for Double Choir - 1. Ave Maria, gratia plena is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Victoria: Ave Maria, for Double Choir - 1. Ave Maria, gratia plena by Tomás Luis de Victoria, Peter Phillips, The Tallis Scholars having a BPM of 93 with a half-time of 46 BPM and a double-time of 186 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
This song has a musical key of A Minor. Which also means that the camelot key for this song is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Crucifixus a 8 | Antonio Lotti, Stephen Cleobury, Choir of King's College, Cambridge | C Minor | 1 | 5A | 124 BPM | ||
Missa Assumpta est Maria: Credo | Giovanni Pierluigi da Palestrina, The Sixteen | B♭ Major | 1 | 6B | 134 BPM | ||
Infant Holy, Infant Lowly (arr. David Willcocks) | Sir David Willcocks, Traditional, Tewkesbury Abbey Choir, Andrew Sackett | F Major | 0 | 7B | 107 BPM | ||
Adieu, sweet Amaryllis | John Wilbye, The Cambridge Singers, John Rutter | F♯ Minor | 0 | 11A | 127 BPM | ||
Silent Night | Franz Xaver Gruber, St. Paul's Cathedral Choir, Andrew Carwood | C Major | 0 | 8B | 126 BPM | ||
Erster Teil - Jauchzet, Frohlocket, Auf, Preiset Die Tage: Aria (Bass) - Großer Herr, O Starker König (Bach) | Johann Sebastian Bach, Swiss Radio Choir, I Barocchisti, Diego Fasolis | D♭ Major | 3 | 3B | 93 BPM | ||
Babe of Bethlehem | Edmund Walters, The Choral Arts Society Of Washington, The Choral Arts Society of Washington Orchestra, Norman Scribner | E♭ Major | 0 | 5B | 126 BPM | ||
O magnum mysterium | Owain Park, Tenebrae, Nigel Short, Grace Davidson, Joseph Edward | A Major | 2 | 11B | 76 BPM | ||
Panis angelicus | César Franck, Stephen Cleobury, Choir of King's College, Cambridge | A Major | 2 | 11B | 77 BPM | ||
The Lord bless you and keep you | John Rutter, The Cambridge Singers, City of London Sinfonia | F♯ Major | 0 | 2B | 72 BPM |
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