"The Creation, Hob.XXI,2: Pt. 2, On Mighty Pens Uplifted" by Joseph Haydn, Handel & Haydn Society, Sarah Tynan, Harry Christophers was released on 2015. Since The Creation, Hob.XXI,2: Pt. 2, On Mighty Pens Uplifted is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The track order of this song in Joseph Haydn, Handel & Haydn Society, Harry Christophers's "Haydn: The Creation & The Paris Symphonies" album is number 16 out of 56. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, The Creation, Hob.XXI,2: Pt. 2, On Mighty Pens Uplifted is currently unknown. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
We consider the tempo marking of The Creation, Hob.XXI,2: Pt. 2, On Mighty Pens Uplifted by Joseph Haydn, Handel & Haydn Society, Sarah Tynan, Harry Christophers to be Moderato (at a moderate speed) because the track has a tempo of 114 BPM, a half-time of 57BPM, and a double-time of 228 BPM. Based on that, the speed of the song's tempo is moderate. The time signature for this track is 4/4.
This song is in the music key of D Minor. Because this track belongs in the D Minor key, the camelot key 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 | ||
---|---|---|---|---|---|---|---|
Missa solemnis in D major, Op. 123: III. Credo: Crucifixus etiam pro nobis. Adagio espressivo | Ludwig van Beethoven, Jordi Savall, Le Concert Des Nations | D Major | 2 | 10B | 78 BPM | ||
Requiem: Requiem: V. 4. Coro. Mors stupebit | Johann Christian Bach, RIAS Kammerchor, Akademie für Alte Musik Berlin, Hans-Christoph Rademann | F Minor | 2 | 4A | 113 BPM | ||
Elijah, Op. 70, MWV A25 / Part 2: "Behold, God the Lord passed by!" | Felix Mendelssohn, Edinburgh Festival Chorus, Stephen Doughty, Orchestra of the Age of Enlightenment, Paul Daniel | C Major | 1 | 8B | 100 BPM | ||
Requiem in B-Flat Major, MH 838: V. Rex tremendae | Michael Haydn, Saarbrucken Chamber Choir, Kammerphilharmonie Mannheim, Georg Grun | F♯ Minor | 0 | 11A | 69 BPM | ||
Veni sancte spiritus, K. 47 : Presto | Capella Brugensis, Collegium Instrumentale Brugense, Patrick Peire | G Major | 3 | 9B | 73 BPM | ||
In furore iustissimae irae, RV 626: III. Tunc meus fletus | Antonio Vivaldi, Elly Ameling, English Chamber Orchestra, Vittorio Negri, Jeffrey Tate | E♭ Major | 2 | 5B | 116 BPM | ||
Cantata: "All'ombra di sospetto", RV 678: 1. All' ombra di sospetto | Antonio Vivaldi, Catherine Bott, New London Consort, Philip Pickett | F♯ Major | 1 | 2B | 139 BPM | ||
Te Deum in C Major, WAB 45: II. Te ergo | Anton Bruckner, Magdaléna Hajóssyová, Rosemarie Lang, Peter-Jurgen Schmidt, Hermann Christian Polster, Rundfunkchor Berlin, Rundfunk Sinfonieorchester Berlin, Heinz Rögner | B♭ Minor | 0 | 3A | 72 BPM | ||
Alcina, HWV 34 / Act 1: Tornami a vagheggiar | George Frideric Handel, Karina Gauvin, Il Complesso Barocco, Alan Curtis | C Minor | 1 | 5A | 61 BPM | ||
Elijah, Op. 70, MWV A25 / Part 2: "Go return upon thy way" | Felix Mendelssohn, Edinburgh Festival Chorus, Bryn Terfel, Stephen Doughty, Orchestra of the Age of Enlightenment, Paul Daniel | B♭ Minor | 2 | 3A | 82 BPM |
Section: 0.6747283935546875
End: 0.6801309585571289