"Lauda Jerusalem Dominum: II. Quoniam confortavit" by Henri Desmarets, Normand Richard, Les Violons du Roy, Christopher Jackson was released on January 6, 2017. The duration of Lauda Jerusalem Dominum: II. Quoniam confortavit is about two minutes long, specifically at 2:41. This song does not appear to have any foul language. Lauda Jerusalem Dominum: II. Quoniam confortavit's duration is considered a little bit shorter than the average duration of a typical track. The song is number 12 out of 36 in Desmarest: Quatre, Motets & Lorrains by Henri Desmarets, Studio De Musique Ancienne De Montréal, Les Violons du Roy, Christopher Jackson. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. The popularity of Lauda Jerusalem Dominum: II. Quoniam confortavit is currently unknown 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 Lauda Jerusalem Dominum: II. Quoniam confortavit by Henri Desmarets, Normand Richard, Les Violons du Roy, Christopher Jackson is Presto (very, very fast), since this song has a tempo of 178 BPM. With that information, we can conclude that the song has a fast tempo. The time signature for this track is 4/4.
This song is in the music key of A Minor. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Divertimento in E-Flat Major, TWV 50:21: Divertimento in E-Flat Major, TWV 50:21: II. La Reveille | Georg Philipp Telemann, Akademie für Alte Musik Berlin, Bernhard Forck | B Major | 1 | 1B | 109 BPM | ||
Gluck: Orfeo ed Euridice, Wq. 30, Act 1: "Che disse? Che ascoltai?" (Orfeo) | Christoph Willibald Gluck, Stefan Plewniak, Jakub Józef Orliński, Il Giardino d'Amore | E♭ Minor | 3 | 2A | 113 BPM | ||
Céphale et Procris, Prologue: Chœur. Cherchons à satisfaire les plus doux de nos vœux (Pan) | Élisabeth Jacquet de La Guerre, Reinoud Van Mechelen, A Nocte Temporis, Chœur De Chambre De Namur | F Minor | 1 | 4A | 75 BPM | ||
Te deum, LWV 55: IV. Patrem immensae majestatis | Jean-Baptiste Lully, Stephane Fuget, Les Épopées, Les Pages & Les Chantres du Centre de Musique Baroque de Versailles | B♭ Major | 6 | 6B | 94 BPM | ||
Vénus & Adonis, Act V, Scene 5: No. 65, Passacaille | Henri Desmarets, Les Talens Lyriques, Christophe Rousset, Chœur de l'Opéra national de Lorraine, Karine Deshayes, Sebastien Droy, Henk Neven, Anna Maria Panzarella, Ingrid Perruche, Jean Teitgen, Anders J. Dahlin | D Minor | 2 | 7A | 113 BPM | ||
Suite No. 1 in G Minor: III. Courante | Matthew Locke, Fretwork, Sergio Bucheli, Silas Wollston | B Major | 1 | 1B | 104 BPM | ||
Psyche, Act V Scene 3: Rustick musick of Mænades & Ægipanes | Matthew Locke, Ensemble Correspondances, Sébastien Daucé | A♭ Major | 3 | 4B | 120 BPM | ||
Christ lag in Todesbanden: IVd. Rittornello | Johann Kuhnau, Paul Agnew, Les Arts Florissants | E Major | 4 | 12B | 101 BPM | ||
Stabat Mater, P. 77: V. Quis est homo | Giovanni Battista Pergolesi, Shira Patchornik, Maarten Engeltjes, PRJCT Amsterdam | F♯ Minor | 2 | 11A | 101 BPM | ||
Missa pro Defunctis in E-Flat Major, HocJ A1.3: III. Sequentia, 4. Pie Jesu Domine | Niccolò Jommelli, Il Gardellino, Peter Van Heyghen | D Major | 1 | 10B | 81 BPM |
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