Georg Philipp Telemann, Akademie für Alte Musik Berlin, Bernhard Forck made "Sinfonia melodica in C Major, TWV 50:2: Sinfonia melodica in C Major, TWV 50:2: VII. Gigue en Canarie" available on March 8, 2024. With Sinfonia melodica in C Major, TWV 50:2: Sinfonia melodica in C Major, TWV 50:2: VII. Gigue en Canarie being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. The track order of this song in Georg Philipp Telemann, Christina Landshamer, Akademie für Alte Musik Berlin, Bernhard Forck's "Ino & Late Works" album is number 31 out of 31. On top of that, Netherlands appears to be the country where this track was created. In terms of popularity, Sinfonia melodica in C Major, TWV 50:2: Sinfonia melodica in C Major, TWV 50:2: VII. Gigue en Canarie is currently unknown. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of Sinfonia melodica in C Major, TWV 50:2: Sinfonia melodica in C Major, TWV 50:2: VII. Gigue en Canarie by Georg Philipp Telemann, Akademie für Alte Musik Berlin, Bernhard Forck to be Moderato (at a moderate speed) because the track has a tempo of 109 BPM, a half-time of 54BPM, and a double-time of 218 BPM. Based on that, the speed of the song's tempo is moderate. The time signature for this track is 4/4.
This song is in the music key of B Major. This also means that this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Amadis de Gaule, W. G39: Act II Scene V: Gigue | Johann Christian Bach, Ulrike Sonntag, Elfie Hobarth, Ibolya Verebics, James Wagner, Wolfgang Schöne, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling | E Major | 1 | 12B | 132 BPM | ||
Concerto Grosso No. 3 in F Major: III. Allegro | Alessandro Scarlatti, Capella Istropolitana, Jaroslav Krcek | F Major | 2 | 7B | 135 BPM | ||
Concerto in E Major for Violin, BWV 1042: Concerto in E Major for Violin, BWV 1042: I. Allegro | Johann Sebastian Bach, Andrew Manze, Academy of Ancient Music | E♭ Major | 4 | 5B | 102 BPM | ||
Telemann: Concerto for Recorder and Flute in E Minor, TWV 52:e1: I. Largo | Georg Philipp Telemann, Frans Brüggen, André Rieu, Franz Vester, Gustav Leonhardt, Paul Doctor, Chamber Orchestra of Amsterdam, Concerto Amsterdam, Südwestdeutsches Kammerorchester, & Friedrich Tilegant, Franz Vester, Gustav Leonhardt, André Rieu, Concertgebouw Chamber Orchestra | D Minor | 1 | 7A | 122 BPM | ||
Suite From Abdelzar: VI. Air | Henry Purcell, Tafelmusik Baroque Orchestra, Jeanne Lamon | F♯ Minor | 2 | 11A | 101 BPM | ||
Kommt, eilet und laufet, BWV 249, "Easter Oratorio": I. Sinfonia, ''Adagio'' | Johann Sebastian Bach, Keisuke Wakao, Malcolm Lowe, Victor Romanul, Cathy Basrak, Sato Knudsen, Edwin Barker | D♭ Major | 8 | 3B | 117 BPM | ||
Sinfonia in A Major: I. Presto | Giovanni Battista Sammartini, Capella Istropolitana, Jaroslav Krcek | A Major | 3 | 11B | 117 BPM | ||
Phaéton Opera in 5 acts with prologue: Chaconne in G | Jean-Baptiste Lully, Musica Antiqua Köln, Reinhard Goebel | F♯ Major | 1 | 2B | 140 BPM | ||
Concerto Grosso in D Major, Op. 1, No. 5: I. Largo | Pietro Locatelli, Capella Istropolitana, Jaroslav Krcek | D Major | 1 | 10B | 119 BPM | ||
Concerto in F Major, Seibel 234: 4. Allegro | Johann David Heinichen, Musica Antiqua Köln, Reinhard Goebel | E Major | 1 | 12B | 148 BPM |
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