"Ariel (Shakespeare: The Tempest): No. 1. Ariel's Song, "Come unto these yellow sands"" by Frank Martin, Aarhus Academic Choir, Uffe Most was released on January 1, 2002. With Ariel (Shakespeare: The Tempest): No. 1. Ariel's Song, "Come unto these yellow sands" being less than two minutes long, at 1:46, 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. This song is part of Vaughan Williams, R.: 3 Shakespeare Songs / Martin, F.: Ariel / Jeppesen, K.: 4 Shakespeare Songs / Johanson, S.: Fancies by Aarhus Academic Choir, Uffe Most. The song's track number on the album is #6 out of 30 tracks. Based on our data, Denmark was the country where this track was produced or recorded. In terms of popularity, Ariel (Shakespeare: The Tempest): No. 1. Ariel's Song, "Come unto these yellow sands" is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
Since Ariel (Shakespeare: The Tempest): No. 1. Ariel's Song, "Come unto these yellow sands" by Frank Martin, Aarhus Academic Choir, Uffe Most has a tempo of 94 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Ariel (Shakespeare: The Tempest): No. 1. Ariel's Song, "Come unto these yellow sands" being at 94 BPM, the half-time would be 47 BPM with a double-time of 188 BPM.In addition, we consider the tempo speed to be pretty slow for this song. This makes this song perfect for activities such as, yoga or pilates. The time signature for this track is 4/4.
D♭ Minor is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 12A. So, the perfect camelot match for 12A would be either 12A or 11B. While, a low energy boost can consist of either 12B or 1A. For moderate energy boost, you would use 9A and a high energy boost can either be 2A or 7A. However, if you are looking for a low energy drop, finding a song with a camelot key of 11A would be a great choice. Where 3A would give you a moderate drop, and 10A or 5A would be a high energy drop. Lastly, 3B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Martin: Ballade III | Frank Martin, David Bruchez, Ariane Haering | A Major | 1 | 11B | 96 BPM | ||
I Sat Down Under His Shadow | Edward Bairstow, Westminster Choir, Joe Miller | E Major | 0 | 12B | 135 BPM | ||
Dona Nobis Pacem: O Man Greatly Beloved | Ralph Vaughan Williams, Christina Pier, Matthew Brook, The Bach Choir, Bournemouth Symphony Orchestra, David Hill | B♭ Major | 1 | 6B | 77 BPM | ||
Mass in E-Flat Major (Cantus missae), Op.109: I. Kyrie | Josef Rheinberger, Ensemble Stuttgart, Frieder Bernius, Kammerchor Stuttgart | E♭ Major | 1 | 5B | 66 BPM | ||
The Armed Man (Ensemble Version): III. Kyrie | Karl Jenkins, Hertfordshire Chorus, David Temple, London Orchestra da Camera, Kathryn Rudge | G Major | 2 | 9B | 127 BPM | ||
Three Songs, Op. 42: I. Abendständchen | Johannes Brahms, RIAS Kammerchor | D♭ Major | 1 | 3B | 106 BPM | ||
Cantate Domino (I) | Vytautas Miskinis, Kammerchor Consonare, Almut Stümke | G Major | 1 | 9B | 86 BPM | ||
Trois chansons de Charles d'Orleans L. 92: I. Dieu! qu'il la fait bon regarder | Claude Debussy, Netherlands Chamber Choir | A♭ Minor | 1 | 1A | 78 BPM | ||
The Blue Bird, Op. 119 No. 3 | Charles Villiers Stanford, Simon Phipps, Swedish Chamber Choir | F♯ Major | 0 | 2B | 124 BPM | ||
Poème d'un jour, Op. 21 (Arr. Rouger): No. 3, Adieu | Gabriel Fauré, Olga Wien, figure humaine kammerchor, Denis Rouger | F Major | 0 | 7B | 81 BPM |
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