Henricus Albicastro, Collegium Marianum, Collegium 1704, Vaclav Luks made "Concerto a 4 in F Minor, Op. 7, No. 12: II. Allegro" available on January 1, 2000. The duration of Concerto a 4 in F Minor, Op. 7, No. 12: II. Allegro is about two minutes long, specifically at 2:04. This song does not appear to have any foul language. Concerto a 4 in F Minor, Op. 7, No. 12: II. Allegro's duration is considered a little bit shorter than the average duration of a typical track. The song is number 23 out of 50 in Albicastro, H.: Concerti A 4, Op. 7, Nos. 1-12 by Henricus Albicastro, Vaclav Luks. Going off of the ISRC code of this track, we detected that the origin of this track is from Switzerland. Based on our statistics, Concerto a 4 in F Minor, Op. 7, No. 12: II. Allegro's popularity is not that popular right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
The tempo marking of Concerto a 4 in F Minor, Op. 7, No. 12: II. Allegro by Henricus Albicastro, Collegium Marianum, Collegium 1704, Vaclav Luks is Allegro (fast, quick, and bright), since this song has a tempo of 122 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 3/4.
This song is in the music key of E Minor. Because this track belongs in the E Minor key, the camelot key is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Telemann: Ouverture-Suite for Recorder and Strings in A Minor, TWV 55:a2: VII. Polonaise | Georg Philipp Telemann, Sir Neville Marriner, David Munrow, Academy of St. Martin in the Fields | B♭ Major | 3 | 6B | 105 BPM | ||
Sinfonia No. 9 in G Minor, RosS 533.9: II. Adagio | Alessandro Scarlatti, Dorothee Oberlinger, Ensemble 1700 | F♯ Minor | 0 | 11A | 131 BPM | ||
Concerto a 4 in C Minor, Op. 7, No. 4: III. Adagio | Henricus Albicastro, Collegium Marianum, Collegium 1704, Vaclav Luks | D Major | 1 | 10B | 95 BPM | ||
Concerto grosso No. 6 in D Major: II. Con furia (After D. Scarlatti's Kk. 29) [1] | Charles Avison, Akademie für Alte Musik Berlin, Georg Kallweit | D♭ Major | 1 | 3B | 139 BPM | ||
Christ lag in Todesbanden: I. Sonata | Johann Kuhnau, Paul Agnew, Les Arts Florissants | E Major | 4 | 12B | 101 BPM | ||
Oboe Concerto in C Major, Op. 9 No. 5: III. Allegro | Tomaso Albinoni, Kostroma Chamber Orchestra, Oleg Yakubovich, Pavel Gerstein | C Major | 4 | 8B | 103 BPM | ||
Organ Sonata No. 2 in C Minor, BWV 526 "Trio" (Excerpts Arr. J. & T. Steenbrink for Chamber Ensemble): I. Vivace | Johann Sebastian Bach, Holland Baroque | D♭ Minor | 1 | 12A | 98 BPM | ||
Concerto a 4 in G Major, Op. 7, No. 9: II. Allegro | Henricus Albicastro, Collegium Marianum, Collegium 1704, Vaclav Luks | F♯ Major | 1 | 2B | 98 BPM | ||
I - Grave from: Concerto No. 1 in f minor | Accademia Bizantina | E Minor | 1 | 9A | 108 BPM | ||
Concerto a 5 in A Major, Op. 5, No. 10: II. Adagio | Tomaso Albinoni, Bela Banfalvi, Budapest Strings, Karoly Botvay | C Major | 3 | 8B | 109 BPM |
Section: 0.733616828918457
End: 0.7407841682434082