Johann Sebastian Bach, Glenn Gould's 'The Art of the Fugue, BWV 1080: Contrapunctus V - Excerpts' came out on 1957. The duration of The Art of the Fugue, BWV 1080: Contrapunctus V - Excerpts is about two minutes long, specifically at 2:53. This song does not appear to have any foul language. The Art of the Fugue, BWV 1080: Contrapunctus V - Excerpts's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Johann Sebastian Bach, Glenn Gould's "Glenn Gould plays Bach: 6 Partitas BWV 825-830; Chromatic Fantasy BWV 903; Italian Concerto BWV 971; The Art of the Fugue BWV 1080 (excerpts); Preludes, Fugues & Fantasies" album is number 17 out of 90. On top of that, United States appears to be the country where this track was created. Based on our statistics, The Art of the Fugue, BWV 1080: Contrapunctus V - Excerpts'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.
We consider the tempo marking of The Art of the Fugue, BWV 1080: Contrapunctus V - Excerpts by Johann Sebastian Bach, Glenn Gould to be Allegro (fast, quick, and bright) because the track has a tempo of 142 BPM, a half-time of 71BPM, and a double-time of 284 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, jogging or cycling, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Johannes-Passion, BWV 245.1: 27. Recitativo: Die Kriegsknechte aber | Johann Sebastian Bach, Thomanerchor Leipzig, Andreas Reize, Akademie für Alte Musik Berlin, David Fischer, Daniel Ochoa | D Major | 2 | 10B | 172 BPM | ||
Brandenburg Concerto No. 2 In F Major, Bwv 1047: II. Andante | Cologne Chamber Orchestra, Johann Sebastian Bach | D Minor | 1 | 7A | 124 BPM | ||
Suite No.2 in F Major, HWV 427: Allegro [Fugue] | George Frideric Handel, Murray Perahia | F Major | 2 | 7B | 194 BPM | ||
Suite in G minor: IV. Bourree II (Arr. A. Camden) | George Frideric Handel, Anthony Camden, Julia Girdwood, City of London Sinfonia, Nicholas Ward | C Minor | 1 | 5A | 114 BPM | ||
Concerto Grosso In F Major, Op. 6, No. 2: IV. Allegro | Arcangelo Corelli, Daniela Ruso, Anna Holbling, Quido Holbling, Ludovit Kanta, Capella Istropolitana | F Major | 3 | 7B | 112 BPM | ||
Sonata No. 5 in A Major, Op. 17, No. 5: II. Presto | Johann Christian Bach, Daniil Trifonov | A Major | 2 | 11B | 67 BPM | ||
Concerto for 2 Oboes in F Major, Op. 9, No. 3: II. Adagio (non troppo) | Tomaso Albinoni, Anthony Camden, London Virtuosi, John Georgiadis | D Minor | 1 | 7A | 61 BPM | ||
La Muse Plantine (19e ordre) | François Couperin, Alexandre Tharaud | D Minor | 1 | 7A | 74 BPM | ||
French Suite No. 6 in E Major, BWV 817: I. Allemande | Johann Sebastian Bach, Guoda Gedvilaitė | E Major | 0 | 12B | 79 BPM | ||
Concerto Grosso In B Flat Major, Op. 6, No. 11: V. Sarabanda: Largo | Arcangelo Corelli, Quido Holbling, Daniela Ruso, Ludovit Kanta, Anna Holbling, Capella Istropolitana | D♭ Major | 1 | 3B | 118 BPM |
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