Johann Sebastian Bach, Glenn Gould made "Prelude and Fugue in A Minor, BWV 895: I. Prelude" available on 1957. With Prelude and Fugue in A Minor, BWV 895: I. Prelude being less than two minutes long, at 1:31, 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. The track order of this song in Johann Sebastian Bach, Glenn Gould's "Glenn Gould plays Bach: 6 Partitas BWV 825-830; Chromatic Fantasy BWV 903; Italian Concerto BWV 971; The Art of the Fugue BWV 1080 (excerpts); Preludes, Fugues & Fantasies" album is number 15 out of 90. The popularity of Prelude and Fugue in A Minor, BWV 895: I. Prelude is currently below average in popularity right now. The mood doesn't appear to be that danceable, but it still produces a high amount of positive energy.
We consider the tempo marking of Prelude and Fugue in A Minor, BWV 895: I. Prelude by Johann Sebastian Bach, Glenn Gould to be Presto (very, very fast) because the track has a tempo of 182 BPM, a half-time of 91BPM, and a double-time of 364 BPM. Based on that, the speed of the song's tempo is fast. The time signature for this track is 4/4.
This song is in the music key of E Major. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
9 Little Preludes, BWV 924-932: Praeambulum in G Minor, BWV 930 | Johann Sebastian Bach, Glenn Gould | D♭ Major | 0 | 3B | 126 BPM | ||
Suite en La: Premier double de la Gavotte | Jean-Philippe Rameau, Alexandre Tharaud | A Minor | 1 | 8A | 91 BPM | ||
Mass in B Minor, BWV 232 / Credo: Crucifixus | Johann Sebastian Bach, Carol Hall, Michael Chance, Wynford Evans, Stephen Varcoe, English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | E♭ Minor | 0 | 2A | 118 BPM | ||
Suite en La: Sixième double | Jean-Philippe Rameau, Alexandre Tharaud | C Major | 1 | 8B | 119 BPM | ||
Prelude and Fughetta in E Minor, BWV 900: I. Prelude | Johann Sebastian Bach, Glenn Gould | E Minor | 2 | 9A | 101 BPM | ||
Symphony in F Major, J-C 36: III. Allegro assai | Giovanni Battista Sammartini, Aradia Ensemble, Kevin Mallon | E Major | 3 | 12B | 126 BPM | ||
Symphony No. 2 in A Major, Op. 2, "Birthday Ode": II. Vivace | William Boyce, Aradia Ensemble, Kevin Mallon | A♭ Major | 1 | 4B | 187 BPM | ||
Bach, JS : Well-Tempered Clavier Book 2 : Prelude No.24 in B minor BWV893 | Daniel Barenboim | A Minor | 0 | 8A | 129 BPM | ||
Kinderszenen, Op.15: 13. Der Dichter spricht | Robert Schumann, Martha Argerich | G Major | 0 | 9B | 169 BPM | ||
Concerto For 4 Harpsichords, Strings, And Continuo In A Minor, BWV 1065: 1. (Allegro) | Johann Sebastian Bach, Ton Koopman, Tini Mathot, Friederike Ernst, David Collyer, Amsterdam Baroque Orchestra | A♭ Minor | 5 | 1A | 98 BPM |
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