"Dido and Aeneas / Act 2: Ritornelle - "Thanks to these lonesome vales"" by Henry Purcell, Marie McLaughlin, English Chamber Orchestra Chorus, English Chamber Orchestra, Raymond Leppard was released on January 1, 1986. The duration of Dido and Aeneas / Act 2: Ritornelle - "Thanks to these lonesome vales" is about 3 minutes long, at 3:28. Based on our data, "Dido and Aeneas / Act 2: Ritornelle - "Thanks to these lonesome vales"" 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 16 in the song's album "Purcell: Dido and Aeneas". In this album, this song's track order is #9. In terms of popularity, Dido and Aeneas / Act 2: Ritornelle - "Thanks to these lonesome vales" 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 Dido and Aeneas / Act 2: Ritornelle - "Thanks to these lonesome vales" by Henry Purcell, Marie McLaughlin, English Chamber Orchestra Chorus, English Chamber Orchestra, Raymond Leppard having a BPM of 114 with a half-time of 57 BPM and a double-time of 228 BPM, we would consider this track to have a Moderato (at a moderate speed) tempo marking. Because of this, we believe that the song has an overall moderate tempo. The time signature for this track is 3/4.
This song is in the music key of D Minor. Which also means that the camelot key for this song is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Stabat Mater: 3. O quam tristis | Giovanni Battista Pergolesi, Margaret Marshall, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | G Minor | 1 | 6A | 80 BPM | ||
Telemann: Jesus liegt in letzten Zügen, TWV 1:983: No. 3, Arie. "Mein liebster Heiland" | Georg Philipp Telemann, Philippe Jaroussky, Petra Mullejans, Freiburger Barockorchester | A♭ Major | 0 | 4B | 83 BPM | ||
Orfeo ed Euridice: Act II, Scene 1, Orfeo: Mille pene, ombre moleste | Christoph Willibald Gluck, René Jacobs, Freiburger Barockorchester, RIAS Kammerchor, Bernarda Fink | F Minor | 0 | 4A | 81 BPM | ||
Te Deum, H. 146: III. Te aeternum Patrem | Marc-Antoine Charpentier, Véronique Gens, William Christie, Gilles Ragon, Jean-Paul Fouchécourt, Les Arts Florissants, Bernard Deletré | D♭ Major | 3 | 3B | 116 BPM | ||
Vespers of 1610: Nisi Dominus | Claudio Monteverdi, The Sixteen, Harry Christophers | B♭ Major | 1 | 6B | 87 BPM | ||
Missa Votiva, ZWV 18: Kyrie I. | Jan Dismas Zelenka, Kammerchor Stuttgart, Barockorchester Stuttgart, Frieder Bernius | E♭ Minor | 2 | 2A | 116 BPM | ||
L'incoronazione di Poppea, SV 308 / Act II: Adagiati, Poppea - Oblivion soave | Claudio Monteverdi, Bernarda Fink, English Baroque Soloists, John Eliot Gardiner | G Minor | 0 | 6A | 106 BPM | ||
Chants d'Auvergne: 2. Bailero | Joseph Canteloube, Kiri Te Kanawa, English Chamber Orchestra, Jeffrey Tate | B♭ Major | 1 | 6B | 80 BPM | ||
Pergolesi: Confitebor: VII. Sicut erat | Giovanni Battista Pergolesi, Philippe Jaroussky, Diego Fasolis, I Barocchisti | B Major | 3 | 1B | 69 BPM | ||
Te Deum, H. 146: Te Deum, H. 146: VIII. Dignare Domine | Marc-Antoine Charpentier, Véronique Gens, Les Arts Florissants, Bernard Deletré, William Christie | D♭ Major | 0 | 3B | 76 BPM |
Section: 0.6733160018920898
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