Henry Purcell, Emmanuelle Haïm made "Purcell: Dido and Aeneas, Z. 626, Act 1: "See, your Royal Guest appears" (Belinda, Aeneas, Dido)" available on 2003. With Purcell: Dido and Aeneas, Z. 626, Act 1: "See, your Royal Guest appears" (Belinda, Aeneas, Dido) being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. There are a total of 36 in the song's album "Purcell: Dido and Aeneas". In this album, this song's track order is #9. In terms of popularity, Purcell: Dido and Aeneas, Z. 626, Act 1: "See, your Royal Guest appears" (Belinda, Aeneas, Dido) is currently not that popular. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
With Purcell: Dido and Aeneas, Z. 626, Act 1: "See, your Royal Guest appears" (Belinda, Aeneas, Dido) by Henry Purcell, Emmanuelle Haïm having a BPM of 108 with a half-time of 54 BPM and a double-time of 216 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall moderate tempo. The time signature for this track is 3/4.
This song is in the music key of F♯ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Matthäus-Passion, BWV 244, Zweiter Teil: 33. Evangelista, Testis I & II, Pontifex "Und wiewohl viel falsche Zeugen herzutraten" | Johann Sebastian Bach, Collegium Vocale Gent, Andreas Scholl, Ian Bostridge, Frits Vanhulle, Philippe Herreweghe, Werner Güra | F♯ Minor | 1 | 11A | 92 BPM | ||
Purcell: Dido and Aeneas, Z. 626, Act 2 Scene 1: Prelude for the Witches - "Wayward sisters, you that fright" (Sorceress, First Witch) - "Harm’s our delight" (Chorus) | Henry Purcell, Emmanuelle Haïm | E Major | 2 | 12B | 80 BPM | ||
Sonata a 5 in G Minor, Op. 2, No. 6: III. Grave | Tomaso Albinoni, Capella Istropolitana, Jaroslav Krcek | G Minor | 0 | 6A | 94 BPM | ||
Ode for St. Cecilia's Day, HWV 76: Air and chorus: The trumpet's loud clangour | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | A♭ Minor | 0 | 1A | 96 BPM | ||
Vivaldi: Magnificat in G Minor, RV 610: III. Et misericordia | Antonio Vivaldi, Choir of King's College, Cambridge, Academy of Ancient Music, Stephen Cleobury | E Minor | 2 | 9A | 100 BPM | ||
Stabat Mater: 11. Inflammatus | Giovanni Battista Pergolesi, Barbara Bonney, Andreas Scholl, Les Talens Lyriques, Christophe Rousset | A Major | 1 | 11B | 109 BPM | ||
L'Orfeo, Atto terzo: IV. Possente Spirto | Claudio Monteverdi, Jordi Savall, Furio Zanasi, Le Concert Des Nations | D Minor | 1 | 7A | 70 BPM | ||
Concerto Grosso In F Major, Op. 6, No. 2: IV. Allegro | Arcangelo Corelli, Daniela Ruso, Anna Holbling, Quido Holbling, Ludovit Kanta, Capella Istropolitana | F Major | 3 | 7B | 112 BPM | ||
Xerxes Ballet: Air pour les esclaves dansants | Jean-Baptiste Lully, Musica Antiqua Köln, Reinhard Goebel | D♭ Major | 0 | 3B | 79 BPM | ||
Magnificat en ré majeur, BWV 243: VI. Et misericordia | Johann Sebastian Bach, Jordi Savall, Damien Guillon, David Munderloh, Le Concert Des Nations | A♭ Minor | 1 | 1A | 73 BPM |
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