"Purcell: Dido and Aeneas, Z. 626, Act I: Duet. "Whence Could so Much Virtue Spring?" (Dido, Belinda)" by Henry Purcell, Emmanuelle Haïm, Camilla Tilling, Le Concert d'Astrée was released on 2003. With Purcell: Dido and Aeneas, Z. 626, Act I: Duet. "Whence Could so Much Virtue Spring?" (Dido, Belinda) being less than two minutes long, at 1:41, 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 36 in the song's album "Purcell: Dido and Aeneas". In this album, this song's track order is #7. Purcell: Dido and Aeneas, Z. 626, Act I: Duet. "Whence Could so Much Virtue Spring?" (Dido, Belinda) is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Purcell: Dido and Aeneas, Z. 626, Act I: Duet. "Whence Could so Much Virtue Spring?" (Dido, Belinda) by Henry Purcell, Emmanuelle Haïm, Camilla Tilling, Le Concert d'Astrée having a BPM of 81 with a half-time of 40 BPM and a double-time of 162 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 B Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Handel: Dixit Dominus, HWV 232: VI. Dominus a dextris tuis | George Frideric Handel, Emmanuelle Haïm, Denis Comtet | F♯ Minor | 4 | 11A | 132 BPM | ||
Amarilli mia bella | Giulio Caccini, Andreas Scholl, Edin Karamazov | E Major | 0 | 12B | 91 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 | ||
Miserere in C minor: Gloria Patri I | Thomas Hengelbrock | E♭ Minor | 1 | 2A | 122 BPM | ||
Orfeo ed Euridice: Act II, Scene 2, Coro: Vieni ai regni del riposo | Christoph Willibald Gluck, René Jacobs, RIAS Kammerchor, Freiburger Barockorchester | A Minor | 1 | 8A | 88 BPM | ||
Funeral Sentences For Queen Mary: In The Midst Of Life | Timothy Brown, William Carter, Baroque Brass Of London, Jan Schlapp, Mark Bennet, Keri Dexter, Tim Handley, Nicholas Parker, Marshall Marcus, Ron Bryans, Robert Howes, Andrew Manze, Liz Kenny, Micheal Laird, Jonathan Brown, Choir of Clare College, Cambridge, Nicholas Parker, Tim Handley, Jenny Ward-Clarke, Henry Purcell, Crispian Steele-Perkins | C Minor | 0 | 5A | 88 BPM | ||
Telemann: Jesus liegt in letzten Zügen, TWV 1:983: No. 3, Arie. "Mein liebster Heiland" | Georg Philipp Telemann, Philippe Jaroussky, Petra Mullejans, Freiburger Barockorchester | A♭ Major | 0 | 4B | 83 BPM | ||
Purcell: Funeral Sentences: In the Midst of Life, Z. 17A | Henry Purcell, John Eliot Gardiner, The Monteverdi Choir, Equale Brass Ensemble, Monteverdi Orchestra | C Minor | 1 | 5A | 67 BPM | ||
Monteverdi: L'Orfeo, favola in musica, SV 318, Prologue: "Quinci a dirvi d'Orfeo" (La Musica) | Claudio Monteverdi, Emmanuelle Haïm | E♭ Minor | 3 | 2A | 111 BPM | ||
Trumpet Tune | Bertalan Hock, György Geiger, Henry Purcell | D Major | 2 | 10B | 101 BPM |
Section: 0.6926877498626709
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