Heinrich Ignaz Franz von Biber, Masques, Olivier Fortin's 'Sonata VIII A Cinque In G Major: (Allegro), Presto, Allegro, Adagio, Allegro, Adagio (Biber)' came out on March 21, 2006. Sonata VIII A Cinque In G Major: (Allegro), Presto, Allegro, Adagio, Allegro, Adagio (Biber) is about six minutes long, preciously at 5:43, making this song fairly long compared to other songs. The track order of this song in Masques, Olivier Fortin's "Mensa Sonora - Biber And His Contemporaries" album is number 1 out of 29. In terms of popularity, Sonata VIII A Cinque In G Major: (Allegro), Presto, Allegro, Adagio, Allegro, Adagio (Biber) is currently not that popular. 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 Sonata VIII A Cinque In G Major: (Allegro), Presto, Allegro, Adagio, Allegro, Adagio (Biber) by Heinrich Ignaz Franz von Biber, Masques, Olivier Fortin to be Moderato (at a moderate speed) because the track has a tempo of 113 BPM, a half-time of 56BPM, and a double-time of 226 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 F♯ Major. This also means that this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Ottavo libro de' madrigali (Madrigali guerrieri, et amorosi ...), Venice, 1638 - If my Celia could persuade | Claudio Monteverdi, Alfred Deller, Deller Consort | F Minor | 3 | 4A | 92 BPM | ||
Intermedes de Xerxes: Air pour les Esclaves dansans (minuet and passepied versions) | Jean-Baptiste Lully, Mary Enid Haines, Sharla Nafziger, Aradia Ensemble, Kevin Mallon | D♭ Major | 0 | 3B | 180 BPM | ||
Pièces de clavecin, Livre IV: L’Amphibie. Mouvement de passacaille | François Couperin, Skip Sempé, Olivier Fortin | F♯ Major | 1 | 2B | 118 BPM | ||
Concerto a 7 in G Major - 2 Oboes, 2 Violins, 2 Violas & B.C., Seibel 214: Allegro (1) | Johann David Heinichen, Il Fondamento, Paul Dombrecht | F♯ Major | 3 | 2B | 116 BPM | ||
Concerto a cinque No. 11, Op. 9: II. Adagio | Tomaso Albinoni, Paul Dombrecht, Il Fondamento | F♯ Minor | 2 | 11A | 65 BPM | ||
Concerto in A Major, Op.7, No.2: II. Ouverture - A tempo ordinario | George Frideric Handel, Academy of Ancient Music, Richard Egarr | A♭ Major | 1 | 4B | 123 BPM | ||
Trio Sonata No. 4 in C Major, DürG 13 (Attrib. J.S. Bach as BWV 1037): III. Largo | Johann Gottlieb Goldberg, London Baroque | E♭ Minor | 1 | 2A | 82 BPM | ||
The Married Beau, Z.603: Trumpet Air - March - Hornpipe On A Ground | Henry Purcell, Academy of Ancient Music, Christopher Hogwood | F♯ Major | 2 | 2B | 108 BPM | ||
Overture No. 6 in B-Flat Major: II. Largo | Francesco Maria Veracini, L'Arte dell' Arco, Federico Guglielmo | A Major | 2 | 11B | 80 BPM | ||
Mensa sonora / PARS II (In F Major): 5. Sarabanda (II) | Heinrich Ignaz Franz von Biber, Musica Antiqua Köln, Reinhard Goebel | E Major | 1 | 12B | 79 BPM |
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