Johann Sebastian Bach, Robert Cohen's 'Suite for Solo Cello No. 1 in G Major, BWV 1007: I. Prelude' came out on May 18, 2010. The duration of Suite for Solo Cello No. 1 in G Major, BWV 1007: I. Prelude is about two minutes long, specifically at 2:40. This song does not appear to have any foul language. Suite for Solo Cello No. 1 in G Major, BWV 1007: I. Prelude's duration is considered a little bit shorter than the average duration of a typical track. The song is number 1 out of 36 in Bach: Cello Suites 1-6 by Johann Sebastian Bach, Robert Cohen. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. Suite for Solo Cello No. 1 in G Major, BWV 1007: I. Prelude is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Suite for Solo Cello No. 1 in G Major, BWV 1007: I. Prelude by Johann Sebastian Bach, Robert Cohen is Adagio (slowly with great expression), since this song has a tempo of 71 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of E Minor. Because this track belongs in the E Minor key, the camelot key is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Keyboard Concerto in F Minor, BWV 1056: II. Largo | Johann Sebastian Bach, Hae Won Chang, Camerata Cassovia, Robert Stankovsky | A♭ Major | 0 | 4B | 128 BPM | ||
Piano Sonata No. 8 In C Minor Op. 13 - Pathétique - II. Adagio cantabile | The Jane Austen Era | A♭ Major | 0 | 4B | 108 BPM | ||
Les Boréades, RCT 31, Acte IV, Scène IV: Entrée pour les Muses, les Zéphyres, les Saisons, les Heures et les Arts | Jean-Philippe Rameau, Teodor Currentzis | D♭ Major | 1 | 3B | 130 BPM | ||
Dido and Aeneas, Z. 626: Overture | Henry Purcell, Kym Amps, David van Asch, Anna Crookes, The Scholars Baroque Ensemble | B Minor | 2 | 10A | 91 BPM | ||
Music: Stolzel: Bist Du Bei Mir | John Shrapnel, Jeremy Siepmann, Johann Sebastian Bach | E♭ Major | 1 | 5B | 64 BPM | ||
Serenade für Streicher Nr. 13, G-Dur, KV 525: I. Allegro | Alexander Pitamic, Camerata Labacensis | G Major | 1 | 9B | 122 BPM | ||
Cavatina | Craig Ogden | E Major | 1 | 12B | 79 BPM | ||
Meditations From Thais | Jules Massenet, G.R.P feat .Jules Massenet | C Minor | 1 | 5A | 95 BPM | ||
Piano Concerto No. 1 in B-Flat Minor, Op. 23: I. Allegro non troppo e molto maestoso - Allegro con spirito (opening) | Pyotr Ilyich Tchaikovsky, Joseph Banowetz, Slovak Radio Symphony Orchestra, Ondrej Lenard | D♭ Major | 2 | 3B | 85 BPM | ||
Suite in D Minor, HWV 447: Allemande | George Frideric Handel, David Greilsammer | D Minor | 1 | 7A | 74 BPM |
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