Johann Sebastian Bach, Paul Tortelier, Robert Veyron-Lacroix made "Sonata for Viola da Gamba in G Minor, BWV 1029: I. Vivace" available on January 18, 2021. With this song being about 5 minutes long, at 5:22, "Sonata for Viola da Gamba in G Minor, BWV 1029: I. Vivace" by Johann Sebastian Bach, Paul Tortelier, Robert Veyron-Lacroix is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. This song is part of Work - Bach by Johann Sebastian Bach. The song's track number on the album is #16 out of 250 tracks. Sonata for Viola da Gamba in G Minor, BWV 1029: I. Vivace is not that popular right now. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
Since Sonata for Viola da Gamba in G Minor, BWV 1029: I. Vivace by Johann Sebastian Bach, Paul Tortelier, Robert Veyron-Lacroix has a tempo of 88 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Sonata for Viola da Gamba in G Minor, BWV 1029: I. Vivace being at 88 BPM, the half-time would be 44 BPM with a double-time of 176 BPM.In addition, we consider the tempo speed to be pretty slow for this song. This makes this song perfect for activities such as, yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of C Minor. Which also means that the camelot key for this song is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
16 Waltzes, Op. 39 (1867 version): No. 15 in A-Flat Major | Johannes Brahms, Idil Biret | A♭ Minor | 3 | 1A | 111 BPM | ||
Concertino for Clarinet and Orchestra in E-Flat, Op. 26: Allegro | Carl Maria von Weber, Charles Neidich, Orpheus Chamber Orchestra | E♭ Major | 1 | 5B | 157 BPM | ||
Nocturnes, Op. 27: No. 2 in D-Flat Major | Frédéric Chopin, Arthur Rubinstein | D♭ Major | 0 | 3B | 77 BPM | ||
Ode for St. Cecilia's Day, HWV 76: Air: What passion cannot Music raise | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | A♭ Minor | 0 | 1A | 96 BPM | ||
Orfeo ed Euridice, Act II Scene 2: Ballet Music, "Reigen der seligen Geister" (arr. W. Kempff): Orpheus and Eurydice: Ballet Music - Reigen der seligen Geister (trans. W. Kempff) | Wilhelm Kempff, Christoph Willibald Gluck, Idil Biret | F Major | 0 | 7B | 81 BPM | ||
Concerto Armonico No. 1 in G Major: Grave | Unico Wilhelm van Wassenaer, Aradia Ensemble, Kevin Mallon | F♯ Major | 1 | 2B | 63 BPM | ||
Gavotte (Paride ed Elena) | Christoph Willibald Gluck, Johannes Brahms, Matti Raekallio | A Major | 0 | 11B | 98 BPM | ||
Concerto in B-flat Major for Cello, Strings and Basso continuo, RV 423: I. Allegro | Antonio Vivaldi, Yo-Yo Ma, Amsterdam Baroque Orchestra, Ton Koopman | A Major | 2 | 11B | 114 BPM | ||
Bach, JS / Orch Mahler: Orchestral Suite No. 3 in D Major, BWV 1068: II. Aria (Orch. Mahler) | Johann Sebastian Bach, Camille Berthollet, Julie Berthollet, Grégoire Dubruel, Mathieu Herzog, Rémi Rière | D Major | 1 | 10B | 137 BPM | ||
Keyboard Concerto in G Major, Wq. 44: II. Andantino | Carl Philipp Emanuel Bach, Michael Rische, Kammersymphonie Leipzig | E Minor | 0 | 9A | 87 BPM |
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