Claudio Monteverdi, John Mark Ainsley, New London Consort, Philip Pickett's 'Il Combattimento di Tancredi e Clorinda, SV 153: 3. Torna l'ira nei cori' came out on January 2, 1995. The duration of Il Combattimento di Tancredi e Clorinda, SV 153: 3. Torna l'ira nei cori is about two minutes long, specifically at 2:45. This song does not appear to have any foul language. Il Combattimento di Tancredi e Clorinda, SV 153: 3. Torna l'ira nei cori's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Claudio Monteverdi, Catherine Bott, Tessa Bonner, John Mark Ainsley, Andrew King, Michael George, New London Consort, Philip Pickett's "Monteverdi: Il Combattimento di Tancredi e Clorinda; Ballo delle Ingrate; Tirsi e Clori" album is number 3 out of 15. On top of that, United Kingdom appears to be the country where this track was created. The popularity of Il Combattimento di Tancredi e Clorinda, SV 153: 3. Torna l'ira nei cori is currently 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.
We consider the tempo marking of Il Combattimento di Tancredi e Clorinda, SV 153: 3. Torna l'ira nei cori by Claudio Monteverdi, John Mark Ainsley, New London Consort, Philip Pickett to be Vivace (lively and fast) because the track has a tempo of 164 BPM, a half-time of 82BPM, and a double-time of 328 BPM. Based on that, the speed of the song's tempo is fast. The time signature for this track is 3/4.
C Major is the music key of this track. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Ho vinto, Amor (I) | Tommaso Carapella, Cappella Mediterranea, Leonardo García-Alarcón, Léo Fernique, Valerio Contaldo | B♭ Minor | 0 | 3A | 110 BPM | ||
Motezuma, RV 723 / Act 1: Aria "Gl'otraggi della sorte" | Antonio Vivaldi, Vito Priante, Il Complesso Barocco, Alan Curtis | A♭ Major | 2 | 4B | 116 BPM | ||
La Serva Padrona · Intermezzo Primo: VIII. 08 Aria: Stizzoso, mio stizzoso | Giovanni Battista Pergolesi, Amanda Forsythe, Boston Early Music Festival Chamber Ensemble, Paul O'Dette, Stephen Stubbs, Robert Mealy | F♯ Major | 3 | 2B | 101 BPM | ||
Vitali: Donde avvien che tutt’ebro di vera gioia: "Se nunzia fedel con tromba sonante" | Giovanni Battista Vitali, Jakub Józef Orliński, Il Pomo D'oro | F Major | 2 | 7B | 103 BPM | ||
Missa Charitatis, ZWV 10: Gloria in excelsis Deo | Jan Dismas Zelenka, Ensemble Inégal, Adam Viktora | A♭ Major | 3 | 4B | 101 BPM | ||
Il Prigionier Superbo: I. 01 Allegro e spirituoso | Giovanni Battista Pergolesi, Boston Early Music Festival Chamber Ensemble, Paul O'Dette, Stephen Stubbs, Robert Mealy | D♭ Major | 3 | 3B | 158 BPM | ||
Madrigals, Book 1: A che tormi il ben mio, SV 25 | Claudio Monteverdi, Le Nuove Músiche, Krijn Koetsveld | E♭ Major | 1 | 5B | 123 BPM | ||
Maddalena ai piedi di Cristo: No. 15 Recitativo Marta, Maddalena "Germana, al ciel, deh, volgi" | Antonio Caldara, René Jacobs, Schola Cantorum Basiliensis, Chiara Banchini, Maria Cristina Kiehr | A♭ Major | 1 | 4B | 0 BPM | ||
Elias, Op. 70, MWV A25, Part II: No. 25, Recitative "Du Mann Gottes" (Obadjah, Elias) | Felix Mendelssohn, John Mark Ainsley, Petteri Salomaa, Philippe Herreweghe, Orchestre des Champs-Élysées | D Major | 3 | 10B | 109 BPM | ||
Traditional: Jácara. "No hay que decirle el primor" | Traditional, Christina Pluhar, L'Arpeggiata, Céline Scheen, Luciana Mancini, Vincenzo Capezzuto | A Minor | 0 | 8A | 71 BPM |
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