Eric Schmidt, Jonathan Rosenberg, Christian Jungwirth made "Kapitel 15.2 & Kapitel 16.1 - Wie Google tickt - How Google Works" available on January 8, 2015. The duration of Kapitel 15.2 & Kapitel 16.1 - Wie Google tickt - How Google Works is about 3 minutes long, at 3:23. Based on our data, "Kapitel 15.2 & Kapitel 16.1 - Wie Google tickt - How Google Works" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. This song is part of Wie Google tickt - How Google Works by Eric Schmidt, Jonathan Rosenberg. The song's track number on the album is #37 out of 208 tracks. Based on our data, Germany was the country where this track was produced or recorded. Kapitel 15.2 & Kapitel 16.1 - Wie Google tickt - How Google Works is unknown right now. Even with the track produces more of a neutral energy, it is pretty danceable compared to others.
Since Kapitel 15.2 & Kapitel 16.1 - Wie Google tickt - How Google Works by Eric Schmidt, Jonathan Rosenberg, Christian Jungwirth has a tempo of 67 beats per a minute, the tempo markings of this song would be Adagio (slowly with great expression). With Kapitel 15.2 & Kapitel 16.1 - Wie Google tickt - How Google Works being at 67 BPM, the half-time would be 34 BPM with a double-time of 134 BPM.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 3/4.
B Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Samuel Coleridge-Taylor: Hiawatha’s Wedding Feast: Then said they to Chibiabos | Samuel Coleridge-Taylor, Philharmonia Orchestra, Royal Choral Society, Richard Lewis, Sir Malcolm Sargent | B♭ Minor | 2 | 3A | 63 BPM | ||
Mono Chant | Erich Kunzel, Cincinnati Pops Orchestra, May Festival Chorus, Janet Stubbs | D Major | 1 | 10B | 126 BPM | ||
Yunosha i deva (The Youth and the Maiden) | Alexander Dargomyzhsky, Dmitri Hvorostovsky, Ivari Ilja | G Minor | 1 | 6A | 94 BPM | ||
J.S.Bach - Ch.Gounod. Ave Maria | Lina Mktrchyan (contralto) | C Major | 1 | 8B | 81 BPM | ||
Requiem, Op. 48: 7. In paradisum | Gabriel Fauré, MDR Leipzig Radio Chorus, Staatskapelle Dresden, Sir Colin Davis | G Major | 1 | 9B | 145 BPM | ||
Amarilli (Recorded 1939) | Francesca Caccini, Beniamino Gigli | E Minor | 0 | 9A | 77 BPM | ||
The Dream of Gerontius, Op. 38, Pt. 2: Lord, Thou hast been our refuge - Radio Edit | Edward Elgar, Gabrieli, Paul McCreesh, Anna Stephany | D Major | 0 | 10B | 85 BPM | ||
Die sieben Worte Christi am Kreuz für Soli, Chor und Orchester: Sitio! | César Franck, Chor Der Philharmonie Schwäbisch Gmünd, Edith Wiens, Hubert Beck, Ivo Ingram, Philharmonie Schwäbisch Gmünd, Raimundo Mettre, Thomas Pfeiffer | F Major | 1 | 7B | 75 BPM | ||
Si mes vers avaient des ailes | Reynaldo Hahn, Ailyn Perez, Iain Burnside | E Major | 1 | 12B | 78 BPM | ||
La Traviata: "Ah, Fors'è Lui" and "Sempre Libera" | Francesco Maria Piave, Giuseppe Verdi, Dame Joan Sutherland | F Minor | 1 | 4A | 84 BPM |
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