George Frideric Handel, Eileen Farrell, Martha Lipton, William Warfield, The Tabernacle Choir at Temple Square, Eugene Ormandy, Philadelphia Orchestra's 'Messiah, HWV 56: No. 26. Chorus: All we like sheep have gone astray (Chorus)' had a release date set for 1959. With this song being around four minutes long, at 4:14, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The track order of this song in George Frideric Handel, Eileen Farrell, Martha Lipton, William Warfield, The Mormon Tabernacle Choir, Eugene Ormandy's "Messiah, HWV 56 (Highlights)" album is number 11 out of 17. On top of that, United States appears to be the country where this track was created. In terms of popularity, Messiah, HWV 56: No. 26. Chorus: All we like sheep have gone astray (Chorus) is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Messiah, HWV 56: No. 26. Chorus: All we like sheep have gone astray (Chorus) by George Frideric Handel, Eileen Farrell, Martha Lipton, William Warfield, The Tabernacle Choir at Temple Square, Eugene Ormandy, Philadelphia Orchestra to be Andante (at a walking pace) because the track has a tempo of 100 BPM, a half-time of 50BPM, and a double-time of 200 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Concerto grosso No. 12 in B Minor, Op. 6/12, HWV 330: III. Larghetto, e piano | George Frideric Handel, Trevor Connah, Raymond Keenlyside, Thurston Dart, Sir Andrew Davis, Academy of St. Martin in the Fields, Sir Neville Marriner | G Minor | 1 | 6A | 169 BPM | ||
Harp Concerto in A major: 3. Rondeau: Allegretto | Carl Ditters von Dittersdorf, Marisa Robles, Academy of St. Martin in the Fields, Iona Brown | A Major | 1 | 11B | 97 BPM | ||
Water Music (ed. Boyling) (1999 Digital Remaster), Suite no.2 in D: Gigue | George Frideric Handel, Yehudi Menuhin, Bath Festival Orchestra | D Major | 1 | 10B | 118 BPM | ||
Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction: Grave, Adagio cantabile | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 60 BPM | ||
Mozart: Zaide, K. 344/336b, Act 1 Scene 3: No. 3, Arie, "Ruhe sanft, mein holdes Leben" (Zaide) | Wolfgang Amadeus Mozart, Natalie Dessay, Orchestra of the Age of Enlightenment, Louis Langrée | G Major | 1 | 9B | 166 BPM | ||
The 4 Seasons: Violin Concerto in E major, Op. 8, No. 1, RV 269, "La primavera" (Spring): II. Largo e pianissimo sempre | Karoly Botvay | D♭ Minor | 0 | 12A | 88 BPM | ||
2 Pieces, Op. posth., B. 188: No. 1. Lullaby in G Major | Antonín Dvořák, Stefan Veselka | G Major | 0 | 9B | 66 BPM | ||
Orfeo ed Euridice, Wq. 30 / Act II: Dance of the Blessed Spirits (Arr. by Mathieu Herzog for Cello and Strings) | Christoph Willibald Gluck, Camille Thomas, Brussels Philharmonic, Mathieu Herzog | B Minor | 1 | 10A | 87 BPM | ||
Trumpet Concerto in D Major, G. 28: I. Allegro | Giuseppe Torelli, Niklas Eklund, Wasa Baroque Ensemble, Edward H. Tarr | A♭ Major | 2 | 4B | 95 BPM | ||
Piano Concerto No.23 In A, K.488: 3. Allegro assai | Wolfgang Amadeus Mozart, Vladimir Horowitz, Orchestra Del Teatro Alla Scala, Milano, Carlo Maria Giulini | A Major | 1 | 11B | 135 BPM |