Louis-Nicolas Clérambault, London Baroque's 'Trio Sonata in G Major, Op. 52 "La félicité" (Ed. R. Gwilt): IV. Allegro' came out on April 1, 2005. With Trio Sonata in G Major, Op. 52 "La félicité" (Ed. R. Gwilt): IV. Allegro being less than two minutes long, at 1:25, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 33 in the song's album "Trio Sonata In 17th-Century France". In this album, this song's track order is #21. Furthermore, we believe that the track originated from Sweden. Trio Sonata in G Major, Op. 52 "La félicité" (Ed. R. Gwilt): IV. Allegro is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Trio Sonata in G Major, Op. 52 "La félicité" (Ed. R. Gwilt): IV. Allegro by Louis-Nicolas Clérambault, London Baroque having a BPM of 89 with a half-time of 44 BPM and a double-time of 178 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. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of A♭ Minor. Which also means that the camelot key for this song is 1A. So, the perfect camelot match for 1A would be either 1A or 12B. While, a low energy boost can consist of either 1B or 2A. For moderate energy boost, you would use 10A and a high energy boost can either be 3A or 8A. However, if you are looking for a low energy drop, finding a song with a camelot key of 12A would be a great choice. Where 4A would give you a moderate drop, and 11A or 6A would be a high energy drop. Lastly, 4B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Messa Della Domenica: Kyrye II | Girolamo Frescobaldi, Federico del Sordo, Schola Gregoriana Gregoriani Urbis Cantores, Alberto Turco | D♭ Major | 2 | 3B | 130 BPM | ||
Sinfonia No. 8 in si bemolle maggiore (Gesù presentato nel tempio): II. Largo | Antonio Caldara, Claudio Ferrarini, Accademia Farnese | A Minor | 1 | 8A | 96 BPM | ||
Libera me in C Minor, HocJ E.2: IV. Tremens factus sum ego | Niccolò Jommelli, Miriam Feuersinger, Il Gardellino, Peter Van Heyghen | D Major | 1 | 10B | 126 BPM | ||
Suite from Taffel-Consort: Volta | Thomas Simpson, Boreas Quartett Bremen | A♭ Major | 1 | 4B | 75 BPM | ||
Languet anima mea BWV deest 1006: IV. Aria: Tu lumen mentis es | Francesco Bartolomeo Conti, Johann Sebastian Bach, Bach Collegium Japan, Masaaki Suzuki, Hana Blaziková | E♭ Minor | 2 | 2A | 74 BPM | ||
Prelude in C Minor | Louis-Nicolas Clérambault, The Bach Players | F Major | 0 | 7B | 103 BPM | ||
Violin Sonata in E Major, Op. 5 No. 11 (Transcr. for Viola da Gamba and Continuo by Teodoro Baù): III. Adagio | Arcangelo Corelli, Teodoro Baù, Andrea Buccarella | D♭ Minor | 1 | 12A | 110 BPM | ||
Biber: Sonata a 7 | Heinrich Ignaz Franz von Biber, Amsterdam Baroque Orchestra, Ton Koopman | D♭ Major | 1 | 3B | 79 BPM | ||
Psyche, Act V Scene 3: Rustick musick of Mænades & Ægipanes | Matthew Locke, Ensemble Correspondances, Sébastien Daucé | A♭ Major | 3 | 4B | 120 BPM | ||
Mass in D Minor: Kyrie: Kyrie I | Johann Adolf Hasse, Mária Zádori, Lena Susanne Norin, Hans-Jörg Mammel, Klaus Mertens, Rheinische Kantorei, Kleine Konzert, Das, Hermann Max | D Major | 2 | 10B | 105 BPM |
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