"La Pighetta, Op. 12 No. 17" by Tarquinio Merula, Maurice Steger was released on August 21, 2009. La Pighetta, Op. 12 No. 17 is about six minutes long, preciously at 5:55, making this song fairly long compared to other songs. This song is part of Venezia 1625 by Maurice Steger. The song's track number on the album is #14 out of 18 tracks. Based on our data, France was the country where this track was produced or recorded. In terms of popularity, La Pighetta, Op. 12 No. 17 is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
Since La Pighetta, Op. 12 No. 17 by Tarquinio Merula, Maurice Steger has a tempo of 97 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With La Pighetta, Op. 12 No. 17 being at 97 BPM, the half-time would be 48 BPM with a double-time of 194 BPM.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 4/4.
This song has a musical key of A♭ Minor. Which also means that the camelot key for this song is 1A. So, the perfect camelot match for 1A would be either 1A or 12B. While, a low energy boost can consist of either 1B or 2A. For moderate energy boost, you would use 10A and a high energy boost can either be 3A or 8A. However, if you are looking for a low energy drop, finding a song with a camelot key of 12A would be a great choice. Where 4A would give you a moderate drop, and 11A or 6A would be a high energy drop. Lastly, 4B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Sonata Seconda detta la Desperata | Carlo Farina, Stephen Stubbs, Maxine Eilander, Erin Headley, Milos Valent | F♯ Minor | 1 | 11A | 131 BPM | ||
Adson's Masque | John Adson, Dorothee Oberlinger | G Minor | 2 | 6A | 130 BPM | ||
Per ogni sorte di strumenti musicale, Op. 22: Passacaglio | Biagio Marini, Jordi Savall | G Minor | 1 | 6A | 82 BPM | ||
Fantasies and Preludes, Giedde I.45: Vivace alla Francese | Johann Joachim Quantz, Dorothee Oberlinger | A Major | 0 | 11B | 79 BPM | ||
Pass'emezzo antico: Recercada primera | Diego Ortiz, Mika Suihkonen, Ballo della Battalia | A♭ Minor | 2 | 1A | 76 BPM | ||
Beatus vir: II. Exortum est | Domenico Zipoli, Florilegium, Bolivian Soloists | D♭ Minor | 0 | 12A | 135 BPM | ||
Le Rossignol en Amour | François Couperin, Dorothee Oberlinger | D♭ Major | 0 | 3B | 84 BPM | ||
Canzoni overo sonate concertate per chiesa e camera, Op. 12: No. 20, Ciaccona | Tarquinio Merula, Cembaless | B Major | 2 | 1B | 80 BPM | ||
Pièces pour théorbe, Suite in G Major: II. Chaconne | Robert de Visée, Xavier Diaz-Latorre | G Major | 1 | 9B | 123 BPM | ||
Ground in G Minor | John Blow, Rachel Podger, Brecon Baroque | A♭ Minor | 2 | 1A | 112 BPM |
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