"Music for the Funeral of Queen Mary, Z. 860: Man That Is Born of a Woman" by Henry Purcell, Baroque Brass Of London, Choir of Clare College, Cambridge, Timothy Brown was released on 2009. The duration of Music for the Funeral of Queen Mary, Z. 860: Man That Is Born of a Woman is about two minutes long, specifically at 2:21. This song does not appear to have any foul language. Music for the Funeral of Queen Mary, Z. 860: Man That Is Born of a Woman's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 13 in the song's album "Purcell: Sacred Music & Funeral Sentences for Queen Mary". In this album, this song's track order is #9. Music for the Funeral of Queen Mary, Z. 860: Man That Is Born of a Woman 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.
With Music for the Funeral of Queen Mary, Z. 860: Man That Is Born of a Woman by Henry Purcell, Baroque Brass Of London, Choir of Clare College, Cambridge, Timothy Brown having a BPM of 77 with a half-time of 38 BPM and a double-time of 154 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
This song is in the music key of C Minor. Which also means that the camelot key for this song is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Choral Hymns from the Rig Veda, 3rd Group, Op. 26: No. 4. Hymn of the Travellers | Gustav Holst, Etherea Vocal Ensemble, Grace Cloutier, Derek Greten-Harrison | D Major | 1 | 10B | 88 BPM | ||
Romanesca: Ohime, dov'e il mio ben, dov'e il mio core?: Part 1: Ohime, dov'e il mio ben, dov'e il mio core? | Claudio Monteverdi, Delitiæ Musicæ, Marco Longhini | G Major | 0 | 9B | 85 BPM | ||
Weint nicht um meinen Tod | Johann Bach, Vox Luminis, Lionel Meunier | C Minor | 0 | 5A | 67 BPM | ||
Missa si Deus pro nobis, a 16 voci: I. Kyrie eleison | Orazio Benevoli, Le Concert Spirituel, Herve Niquet | C Major | 1 | 8B | 94 BPM | ||
To be sung on the water, Op. 42, No. 2 | Samuel Barber, Conspirare, Craig Hella Johnson | C Minor | 0 | 5A | 83 BPM | ||
Pergolesi: Stabat Mater: I. Stabat mater dolorosa | Giovanni Battista Pergolesi, Véronique Gens, Gérard Lesne, Il Seminario Musicale | E♭ Minor | 1 | 2A | 84 BPM | ||
Ohimè Ch'Io Cado (Libro Nono) | Jordi Savall, Claudio Monteverdi, Montserrat Figueras | F Major | 2 | 7B | 76 BPM | ||
Mass in B Minor, BWV 232: Kyrie eleison (Chorus) | Johann Sebastian Bach, Veronika Winter, Johanna Koslowsky, Kai Wessel, Markus Brutscher, Hans-Georg Wimmer, Stephan Schreckenberger, Rheinische Kantorei, Kleine Konzert, Das, Hermann Max | A♭ Major | 0 | 4B | 130 BPM | ||
Purcell: Funeral Sentences: In the Midst of Life, Z. 17A | Henry Purcell, Philip Ledger, Choir of King's College, Cambridge, Timothy Byram-Wigfield, Robert Chilcott, Jonathan Robarts, Francis Grier, Michael Cockerham | B Major | 2 | 1B | 137 BPM | ||
Dido and Aeneas, Z. 626: Act III: Dido: Thy hand, Belinda; darkness shades me | Henry Purcell, Kym Amps, David van Asch, Anna Crookes, The Scholars Baroque Ensemble | G Major | 0 | 9B | 179 BPM |
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