Michael Haydn, Cantemus, German Chamber Academy Neuss, Werner Ehrhardt's ' "Missa Sancti Joannis Nepomuceni, MH 182: Kyrie" was released on its scheduled release date, January 1, 2006. The duration of This song is about two minutes long, specifically at 2:05. This song does not appear to have any foul language. Missa Sancti Joannis Nepomuceni, MH 182: Kyrie's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Michael Haydn, Werner Ehrhardt's "Haydn, M.: Requiem in C Minor / Missa Sancti Joannis Nepomuceni / Te Deum in D Major" album is number 14 out of 23. On top of that, Germany appears to be the country where this track was created. In terms of popularity, Missa Sancti Joannis Nepomuceni, MH 182: Kyrie is currently not that popular. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of Missa Sancti Joannis Nepomuceni, MH 182: Kyrie by Michael Haydn, Cantemus, German Chamber Academy Neuss, Werner Ehrhardt to be Andante (at a walking pace) because the track has a tempo of 96 BPM, a half-time of 48BPM, and a double-time of 192 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of A Minor. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Ave generosa | Hildegard von Bingen, Oxford Camerata, Jeremy Summerly | A Minor | 0 | 8A | 134 BPM | ||
Phaeton, Prologue - Le retour de l'Âge d'or: Ouverture | Jean-Baptiste Lully, Christophe Rousset, Chœur De Chambre De Namur, Les Talens Lyriques | B♭ Major | 3 | 6B | 128 BPM | ||
Requiem No. 1 in C Minor: Agnus Dei | Luigi Cherubini, Radio Svizzera Choir, Lugano, Radio Svizzera Italiana Orchestra, Diego Fasolis | C Major | 0 | 8B | 128 BPM | ||
Tallis: Sancte Deus - 4. Quia Per Crucem Tuam | The Tallis Scholars, Peter Phillips | A Minor | 1 | 8A | 137 BPM | ||
Surrexit Christus hodie | Samuel Scheidt, Vox Luminis, Lionel Meunier | G Minor | 1 | 6A | 79 BPM | ||
Missa Tempore Quadragesimae, MH 553: Credo: Et incarnatus | Michael Haydn, Purcell Choir, Orfeo Orchestra, members, Gyorgy Vashegyi | D♭ Minor | 1 | 12A | 89 BPM | ||
Eia Mater: Andantino | Giovanni Battista Pergolesi, Rinaldo Alessandrini, Gemma Bertagnolli, Concerto Italiano, Sara Mingardo | E Minor | 0 | 9A | 0 BPM | ||
Remember Not, Lord, Our Offences, Z. 50 | Henry Purcell, Westminster Kantorei, Thomas Fields, Kerry Heimann, Amanda Quist | A Minor | 1 | 8A | 133 BPM | ||
Requiem in B-Flat Major, MH 838: XIV. Lux aeterna | Michael Haydn, Lydia Teuscher, Saarbrucken Chamber Choir, Kammerphilharmonie Mannheim, Georg Grun | F♯ Minor | 0 | 11A | 69 BPM | ||
Pergolesi: Confitebor: VI. Gloria Patri | Giovanni Battista Pergolesi, Philippe Jaroussky, Diego Fasolis, I Barocchisti | D♭ Minor | 2 | 12A | 114 BPM |