The Monteverdi Choir, John Eliot Gardiner's 'Missa Orbis factor: I. Kyrie eleison' came out on April 5, 2019. With Missa Orbis factor: I. Kyrie eleison being less than two minutes long, at 1:16, 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 track order of this song in The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner's "Love Is Come Again" album is number 16 out of 21. Based on our statistics, Missa Orbis factor: I. Kyrie eleison's popularity 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 Missa Orbis factor: I. Kyrie eleison by The Monteverdi Choir, John Eliot Gardiner to be Allegro (fast, quick, and bright) because the track has a tempo of 127 BPM, a half-time of 64BPM, and a double-time of 254 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 5/4.
This song has a musical key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Gluck: Orphée et Eurydice, Wq. 41, Act 2 Scene 1: Air, "Laissez-vous toucher par mes pleurs" (Orphée, Spectres, Furies, Démons) - Choeur en rondeau, "Qui t'amène en ces lieux" (Orphée, Spectres, Furies, Démons) | Christoph Willibald Gluck, Monteverdi Choir/Orchestre de l'Opéra National de Lyon/Sir John Eliot Gardiner, John Eliot Gardiner, Orchestre De L'Opéra National De Lyon | C Minor | 2 | 5A | 137 BPM | ||
Tallis: Sancte Deus - 4. Quia Per Crucem Tuam | The Tallis Scholars, Peter Phillips | A Minor | 1 | 8A | 137 BPM | ||
Allegri: Miserere - 01. Miserere Mei, Deus | The Tallis Scholars, Peter Phillips | B♭ Major | 1 | 6B | 135 BPM | ||
Ave verum corpus in E-Flat Major | Camille Saint-Saëns, Convivium Singers, Neil Ferris | D♭ Major | 0 | 3B | 81 BPM | ||
Gluck: Orphée et Eurydice, Wq. 41, Act 1 Scene 2: Air en rondeau, "Objet de mon amour" (Orphée) | Christoph Willibald Gluck, Anne Sofie von Otter, John Eliot Gardiner, Orchestre De L'Opéra National De Lyon | F Major | 0 | 7B | 87 BPM | ||
Ola Gjeilo: Tota pulchra es | Ola Gjeilo, Schola Cantorum, Tone Bianca Sparre Dahl | E Major | 1 | 12B | 131 BPM | ||
Gloria: Gloria in excelsis Deo | Antonio Vivaldi, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | A♭ Minor | 4 | 1A | 85 BPM | ||
Sestina, prima parte: "Incenerite spoglie" | Claudio Monteverdi, La Chapelle Vocale de l'Université de Lausanne, Jean-Christophe Aubert | B♭ Minor | 1 | 3A | 69 BPM | ||
L'incoronazione di Poppea, SV 308 / Act III: "Pur ti miro" | Claudio Monteverdi, Sylvia McNair, Dana Hanchard, English Baroque Soloists, John Eliot Gardiner | G Major | 0 | 9B | 125 BPM | ||
Quemadmodum | John Taverner, Owen Rees, Contrapunctus | C Minor | 1 | 5A | 76 BPM |
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