Gottfried Finger, John Eccles, La Risonanza, Fabio Bonizzoni made "The Love of Mars and Venus: Chorus. Come All, Come All" available on October 7, 2016. With The Love of Mars and Venus: Chorus. Come All, Come All being less than two minutes long, at 1:11, 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. There are a total of 35 in the song's album "Purcell: Dido and Aeneas, Z. 626". In this album, this song's track order is #29. Furthermore, we believe that the track originated from Netherlands. The popularity of The Love of Mars and Venus: Chorus. Come All, Come All is currently unknown right now. The mood doesn't appear to be that danceable, but it still produces a high amount of positive energy.
With The Love of Mars and Venus: Chorus. Come All, Come All by Gottfried Finger, John Eccles, La Risonanza, Fabio Bonizzoni having a BPM of 166 with a half-time of 83 BPM and a double-time of 332 BPM, we would consider this track to have a Vivace (lively and fast) tempo marking. Because of this, we believe that the song has an overall fast tempo. The time signature for this track is 3/4.
This song is in the music key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Concerto XI in A Minor from 24 Concerti di Napoli for Recorder, Strings and Basso Continuo: IV. Spiritoso | Domenico Sarro, Barbara Heindlmeier, La Festa Musicale | A♭ Minor | 1 | 1A | 61 BPM | ||
Concerto Armonico No. 1 in G Major: Grave | Unico Wilhelm van Wassenaer, Aradia Ensemble, Kevin Mallon | F♯ Major | 1 | 2B | 63 BPM | ||
Cello Sonata in G Minor, Op. 1 No. 4: I. Adagio | Benedetto Marcello, Roel Dieltiens, Richte Van Der Meer, Robert Kohnen | F♯ Minor | 0 | 11A | 70 BPM | ||
Sonata in D Major, Op. 6, No. 7: I. Grave Adagio | Tomaso Albinoni, Ensemble Barocco Sans Souci | G Minor | 2 | 6A | 134 BPM | ||
Canzona undecima a due canti "detta la plettenberger" | Girolamo Frescobaldi, Bruno Cocset, Les Basses Réunies | A Minor | 1 | 8A | 72 BPM | ||
Concerto in E Minor: I. Adagio e staccato | Benedetto Marcello, Concerto Italiano, Rinaldo Alessandrini | B Major | 0 | 1B | 132 BPM | ||
Folias (A 3) Echa Para Mi Señora Doña Tarolilla De Carallenos | Andrea Falconieri, Jordi Savall, Hespèrion XXI | B Major | 2 | 1B | 84 BPM | ||
San Giovanni Battista: Overture | Alessandro Stradella, Nereydas, Javier Ulises Illán | D Major | 2 | 10B | 61 BPM | ||
Trio Sonata in C Major, TWV 42:C2: I. Dolce | Georg Philipp Telemann, Erik Bosgraaf, Lucile Boulanger, Robert Smith, Alessandro Pianu | B Major | 0 | 1B | 94 BPM | ||
3e Livre de Sonates à violon seul avec la basse continue, Sonata Quarta: III. Sarabanda | Jean-Baptiste Quentin, Anna Besson, Myriam Rignol, Jean Rondeau | A♭ Major | 1 | 4B | 105 BPM |
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