"The Music Makers, Op. 69: III. With wonderful deathless ditties" by Edward Elgar, Sarah Connolly, Greg Beardsell, Bournemouth Symphony Chorus, Bournemouth Symphony Orchestra, Simon Wright was released on November 12, 2006. With The Music Makers, Op. 69: III. With wonderful deathless ditties being less than two minutes long, at 1:51, 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 song is number 3 out of 15 in Elgar: Music Makers / Sea Pictures by Edward Elgar, Sarah Connolly. Going off of the ISRC code of this track, we detected that the origin of this track is from Hong Kong. The Music Makers, Op. 69: III. With wonderful deathless ditties 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.
The tempo marking of The Music Makers, Op. 69: III. With wonderful deathless ditties by Edward Elgar, Sarah Connolly, Greg Beardsell, Bournemouth Symphony Chorus, Bournemouth Symphony Orchestra, Simon Wright is Andante (at a walking pace), since this song has a tempo of 85 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
G Major is the music key of this track. 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 | ||
---|---|---|---|---|---|---|---|
Solomon, HWV 67, Act III: No. 47 Solo "Now a diff'rent measure try" (Solomon, Israelites) | George Frideric Handel, Daniel Reuss, Sarah Connolly, Akademie für Alte Musik Berlin, RIAS Kammerchor | D♭ Major | 4 | 3B | 117 BPM | ||
Dona Nobis Pacem: O Man Greatly Beloved | Ralph Vaughan Williams, Christina Pier, Matthew Brook, The Bach Choir, Bournemouth Symphony Orchestra, David Hill | B♭ Major | 1 | 6B | 77 BPM | ||
Hidden Faces | Karl Jenkins, Kathryn Rudge, World Orchestra For Peace | D♭ Major | 2 | 3B | 93 BPM | ||
Elijah, Op. 70: "Holy, Holy, Holy Is God the Lord" (Quartet & Chorus) | Felix Mendelssohn, Gabrieli, Emily Rowley Jones, Lucy Ballard, Ruth Gibbins, Samuel Boden, William Whitehead, Paul McCreesh | C Major | 1 | 8B | 140 BPM | ||
Requiem, Op. 9: III. Domine Jesu Christe | Maurice Duruflé, Maîtrise de Saint-Christophe de Javel, Yves Castagnet, Christophe Gautier, Henri Chalet | D Major | 0 | 10B | 67 BPM | ||
The Pirates of Penzance: Climbing Over Rocky Mountain | Patricia Cameron, Pauline Birchall | C Major | 1 | 8B | 59 BPM | ||
Carmina Burana, Introduction: No. 2, Fortune plango vulnera | Carl Orff, Atlanta Symphony Orchestra, Robert Shaw | D Minor | 1 | 7A | 138 BPM | ||
Shostakovich: Piano Concerto No. 2 in F Major, Op. 102: I. Allegro | Dmitri Shostakovich, Cristina Ortiz, Bournemouth Symphony Orchestra, Paavo Berglund | B♭ Major | 3 | 6B | 144 BPM | ||
Stabat Mater, FP 148: 11. Inflammatus et accensus | Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver | A♭ Minor | 2 | 1A | 86 BPM | ||
Messa di Gloria: XVII. Benedictus | Giacomo Puccini, Ludovic Tezier, Gustavo Gimeno, Orchestre Philharmonique Du Luxembourg, Pablo Larraz, Orfeó Català | B♭ Major | 1 | 6B | 73 BPM |
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