William Christie made "Purcell : King Arthur : Act 1 "I call you all to Woden's Hall" [Tenor, Chorus]" available on 1995. The duration of Purcell : King Arthur : Act 1 "I call you all to Woden's Hall" [Tenor, Chorus] is about two minutes long, specifically at 2:05. This song does not appear to have any foul language. Purcell : King Arthur : Act 1 "I call you all to Woden's Hall" [Tenor, Chorus]'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 41 in the song's album "Purcell : King Arthur". In this album, this song's track order is #7. Purcell : King Arthur : Act 1 "I call you all to Woden's Hall" [Tenor, Chorus] is not that popular right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
With Purcell : King Arthur : Act 1 "I call you all to Woden's Hall" [Tenor, Chorus] by William Christie having a BPM of 79 with a half-time of 40 BPM and a double-time of 158 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. The time signature for this track is 4/4.
The music key of this track is E♭ Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Trio Sonata for 2 Violins and Continuo in D, Op.5, No.2, HWV 397: 4. Marche | George Frideric Handel, Simon Standage, Michaela Comberti, Anthony Pleeth, Trevor Pinnock | A Major | 2 | 11B | 115 BPM | ||
Amour malade: Le Damigelle delle Cochette | Jean-Baptiste Lully, Mary Enid Haines, Sharla Nafziger, Aradia Ensemble, Kevin Mallon | D♭ Minor | 0 | 12A | 85 BPM | ||
Mass in B Minor, BWV 232: Credo. Et in unum Dominum Jesum Christum (Soprano I and Alto) | Johann Sebastian Bach, Carolyn Sampson, Robin Blaze, Bach Collegium Japan Chorus, Bach Collegium Japan, Masaaki Suzuki | F♯ Major | 1 | 2B | 171 BPM | ||
Pergolesi: Confitebor: II. Confessor et magnificentia | Giovanni Battista Pergolesi, Philippe Jaroussky, Diego Fasolis, I Barocchisti | F♯ Major | 1 | 2B | 79 BPM | ||
Mass in B Minor, BWV 232: Benedictus (Tenor) | Johann Sebastian Bach, Nick Pritchard, English Baroque Soloists, John Eliot Gardiner | B♭ Minor | 0 | 3A | 111 BPM | ||
Dixit Dominus, HWV 232: Tu es sacerdos in aeternum | George Frideric Handel, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | F♯ Major | 5 | 2B | 82 BPM | ||
Ode for St. Cecilia's Day, HWV 76: Recitative: From harmony, from heav'nly harmony | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | A♭ Minor | 0 | 1A | 96 BPM | ||
Litanies de la Vierge, H. 83: VII. Rosa mystica | Marc-Antoine Charpentier, Les Arts Florissants, William Christie, Kaori Uemura, Anne Marie Lasla | A♭ Major | 1 | 4B | 181 BPM | ||
Mass in B Minor, BWV 232: Confiteor unum baptisma (Chorus) | Johann Sebastian Bach, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | F Minor | 2 | 4A | 105 BPM | ||
Laudate pueri in G Major, RV 601 "Salmo 112": VIII. Sicut erat in principio (Allegro non molto) | Antonio Vivaldi, Sandrine Piau, Accademia Bizantina, Ottavio Dantone, Stefano Montanari | D♭ Major | 1 | 3B | 93 BPM |
Section: 0.7193300724029541
End: 0.7257437705993652