"Auf Christi Himmelfahrt allein, BWV 128: V. Chorus "Alsdenn so wirst du mich"" by Johann Sebastian Bach, Vox Luminis, Freiburger Barockorchester, Lionel Meunier was released on April 12, 2024. With Auf Christi Himmelfahrt allein, BWV 128: V. Chorus "Alsdenn so wirst du mich" being less than two minutes long, at 1:14, 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. The song is number 22 out of 22 in Bach & Telemann: Himmelfahrt by Freiburger Barockorchester, Vox Luminis, Lionel Meunier. Going off of the ISRC code of this track, we detected that the origin of this track is from France. Based on our statistics, Auf Christi Himmelfahrt allein, BWV 128: V. Chorus "Alsdenn so wirst du mich"'s popularity is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Auf Christi Himmelfahrt allein, BWV 128: V. Chorus "Alsdenn so wirst du mich" by Johann Sebastian Bach, Vox Luminis, Freiburger Barockorchester, Lionel Meunier is Allegro (fast, quick, and bright), since this song has a tempo of 137 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 F♯ Major. This also means that this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Ihr lieben Christen, freut euch nun, BuxWV 66: II. Choral: "Ihr lieben Christen" | Dietrich Buxtehude, Antonia Bourvé, Les Favorites, Vocalensemble Rastatt, Holger Speck | G Major | 2 | 9B | 129 BPM | ||
Te Deum: I. Te Deum laudamus | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Academy of Ancient Music | B Minor | 2 | 10A | 71 BPM | ||
Stabat Mater pour dix voix et basse continue: VIII. Inflammatus et accensus | Domenico Scarlatti, Vox Luminis, Lionel Meunier | F♯ Major | 1 | 2B | 169 BPM | ||
O Bone Jesu | ensemble tresonare | D Minor | 1 | 7A | 106 BPM | ||
VII. Ei nun, mein Gott, so fall ich (Recitative & Choral) | Johann Sebastian Bach, Christoph Spering, Das Neue Orchester, Chorus Musicus Köln, Erika Tandiono, Sofia Pavone, Daniel Johannsen, Tobias Berndt | A♭ Major | 2 | 4B | 92 BPM | ||
Matthäus-Passion, BWV 244, Prima parte: Nr.11. Er antwortete und sprach (Evangelista, Jesus, Judas) | Johann Sebastian Bach, Raphael Pichon, Ensemble Pygmalion, Julian Prégardien, Stéphane Degout, Georg Finger | A♭ Minor | 0 | 1A | 98 BPM | ||
Elijah, Op. 70, MWV A 25 (Excerpts): No. 31, Sei stille dem Herrn | Felix Mendelssohn, Ema Nikolovska, Munich Radio Orchestra, Bavarian Radio Chorus, Howard Arman | D Major | 2 | 10B | 97 BPM | ||
Johannes-Passion, BWV 245.1: 32. Aria: Mein teurer Heiland | Johann Sebastian Bach, Thomanerchor Leipzig, Andreas Reize, Akademie für Alte Musik Berlin, Tobias Berndt | D Major | 2 | 10B | 172 BPM | ||
Te Deum: XIII. In te Domine speravi | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Academy of Ancient Music | B Minor | 2 | 10A | 71 BPM | ||
Christ lag in Todesbanden: IVc. Aria "Er ist das rechte Osterlamb" | Johann Kuhnau, Paul Agnew, Les Arts Florissants, Thomas Hobbs | E Major | 1 | 12B | 79 BPM |
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