Johann Sebastian Bach, Andreas Scholl, Collegium Vocale Gent, Philippe Herreweghe's 'Widerstehe doch der Sünde, BWV 54: I. Aria "Widerstehe doch der Sünde"' came out on January 1, 1998. Since Widerstehe doch der Sünde, BWV 54: I. Aria "Widerstehe doch der Sünde" is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The song is number 6 out of 15 in Bach: Cantatas for Alto Solo (Remastered) by Johann Sebastian Bach, Philippe Herreweghe, La Chapelle Royale, Collegium Vocale Gent. Going off of the ISRC code of this track, we detected that the origin of this track is from France. In terms of popularity, Widerstehe doch der Sünde, BWV 54: I. Aria "Widerstehe doch der Sünde" is currently unknown. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of Widerstehe doch der Sünde, BWV 54: I. Aria "Widerstehe doch der Sünde" by Johann Sebastian Bach, Andreas Scholl, Collegium Vocale Gent, Philippe Herreweghe is Moderato (at a moderate speed), since this song has a tempo of 114 BPM. With that information, we can conclude that the song has a moderate tempo. The time signature for this track is 4/4.
This song is in the music key of E Major. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Komm, Jesu, komm, BWV 229: II. Aria "Drum schliess ich mich in deine Hände" | Johann Sebastian Bach, Collegium Vocale Gent, Stephan MacLeod, Philippe Herreweghe, Dorothee Mields, Damien Guillon, Thomas Hobbs, Peter Kooij, Maria Keohane, Robin Blaze, Hans-Jörg Mammel | A Major | 2 | 11B | 81 BPM | ||
Juditha Triumphans, RV 644, Pt. 1: Veni, me sequere fida | Antonio Vivaldi, Alessandro De Marchi, Academia Montis Regalis, Magdalena Kozená | A Minor | 2 | 8A | 127 BPM | ||
Bach, JS: Concerto for Two Violins in D Minor, BWV 1043: II. Largo ma non tanto | Johann Sebastian Bach, Itzhak Perlman, Pinchas Zukerman, English Chamber Orchestra, Daniel Barenboim | F Major | 2 | 7B | 77 BPM | ||
Concerto For 4 Harpsichords, Strings, And Continuo In A Minor, BWV 1065: 1. (Allegro) | Johann Sebastian Bach, Maurizio Baglini, Marcello Mazzoni, Andrea Padova, Marco Scolastra, I Solisti Filarmonici Italiani, Federico Guglielmo | A Minor | 5 | 8A | 101 BPM | ||
Stabat Mater: 5. Quis est homo | Giovanni Battista Pergolesi, Emma Kirkby, James Bowman, Academy of Ancient Music, Christopher Hogwood | B Minor | 1 | 10A | 80 BPM | ||
Le Bourgeois Gentilhomme - Comédie-Ballet, LWV 43: Ouverture | Jean-Baptiste Lully, Gustav Leonhardt, La Petite Bande | F♯ Minor | 1 | 11A | 106 BPM | ||
Grande Messe des Morts: II. Introitus: Requiem aeternam - Grave | Francois-Joseph Gossec, Roberta Invernizzi, Maite Arruabarrena, Howard Crook, Claude Darbellay, Radio Svizzera Choir, Lugano, Radio Svizzera Italiana Orchestra, Diego Fasolis | C Minor | 1 | 5A | 74 BPM | ||
Chiome d'oro, SV 143 | Claudio Monteverdi, Sonia Wieder-Atherton | C Major | 1 | 8B | 119 BPM | ||
Concerto Grosso In D Major, Op. 6, No. 1 : I. Largo | Arcangelo Corelli, Ludovit Kanta, Quido Holbling, Anna Holbling, Daniela Ruso, Capella Istropolitana | A Major | 1 | 11B | 81 BPM | ||
Vier letzte Lieder, TrV 296: 2. September | Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur | D Major | 1 | 10B | 153 BPM |
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