Eric Schmidt, Jonathan Rosenberg made "Kapitel 11.3 - Wie Google tickt - How Google Works" available on January 8, 2015. With Kapitel 11.3 - Wie Google tickt - How Google Works being less than two minutes long, at 1:56, 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 Wie Google tickt - How Google Works by Eric Schmidt, Jonathan Rosenberg. The song's track number on the album is #31 out of 208 tracks. Kapitel 11.3 - Wie Google tickt - How Google Works is unknown right now. The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe.
Since Kapitel 11.3 - Wie Google tickt - How Google Works by Eric Schmidt, Jonathan Rosenberg has a tempo of 80 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Kapitel 11.3 - Wie Google tickt - How Google Works being at 80 BPM, the half-time would be 40 BPM with a double-time of 160 BPM.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 4/4.
D♭ Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carmina Burana, Pt. 1: No. 4, Omnia sol temperat | Carl Orff, Atlanta Symphony Orchestra, Robert Shaw, Håkan Hagegård | F Major | 1 | 7B | 95 BPM | ||
Spring Symphony, Op. 44, Part IV: Finale. London, to Thee I do Present (soprano, alto, tenor, chorus, children's chorus) | Benjamin Britten, Sir Simon Rattle, London Symphony Orchestra, Elizabeth Watts, Alice Coote, Allan Clayton, London Symphony Chorus, Tiffin Boys' Choir, Tiffin Children's Chorus, The Tiffin Girls' School Choir | C Major | 3 | 8B | 134 BPM | ||
Poulenc: Stabat Mater, FP 148: I. Stabat mater dolorosa | Francis Poulenc, Richard Hickox, Westminster Singers, City of London Sinfonia | A♭ Major | 0 | 4B | 92 BPM | ||
Misatango, Misa a Buenos Aires: III. Gloria | MartÍn Palmeri, Chœur régional Vittoria d'Ile de France, Orchestre Pasdeloup, Michel Piquemal, Sophie Hanne, Gilberto Pereyra | C Minor | 3 | 5A | 82 BPM | ||
Credo, RV 591: Crucifixus | Antonio Vivaldi, Carlo Maria Giulini, Berliner Philharmoniker | E♭ Minor | 1 | 2A | 63 BPM | ||
Les adieux de Marie Stuart, WWV 61 (Arr. Fontanelli for Voice and Ensemble) | Richard Wagner, KammerMusikKöln, Kathrin Zukowski | E♭ Major | 1 | 5B | 69 BPM | ||
Aida: Act II: Vieni: sul crin ti piovano | Giuseppe Verdi, Maria Dragoni, Kristjan Johannsson, Barbara Dever, Mark Rucker, Francesco Ellero d' Artegna, Riccardo Ferrari, Antonio Marcenò, Monica Trini, Colin Mawby, RTÉ Philharmonic Choir, RTE Chamber Choir, Culwick Choral Society, Bray Choral Society, Dublin County Choir, Dun Laoghaire Choral Society, Cantabile Singers, Goethe Institut Choir, Musica Sacra, The Phoenix Singers, RTÉ National Symphony Orchestra, Irish Army No. 1 Band, Ricco Saccani | D Major | 2 | 10B | 60 BPM | ||
Requiem, Op. 48: IV. Sanctus | Gabriel Fauré, Laurence Equilbey, Accentus, Orchestre National De France | E♭ Major | 1 | 5B | 64 BPM | ||
Moravské dvojzpěvy, 2. řada, Op. 29: V. Slavíkovský polečko malý | Antonín Dvořák, Magdaléna Hajóssyová, Marta Benackova, Marián Lapšanský | A Minor | 0 | 8A | 101 BPM | ||
Elijah, Op. 70: "O Thou, Who Makest" (Recitative & Chorus) | Felix Mendelssohn, Simon Keenlyside, William Whitehead, Paul McCreesh, Gabrieli | B♭ Major | 2 | 6B | 72 BPM |
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