"Transcendental Symphony Part III. Adagio 3: 'Communion'" by Taipei New Dynasty Philharmonic & Chorus, Stella Chang, Vittorio Wu Bai was released on 2005. Transcendental Symphony Part III. Adagio 3: 'Communion' appears to be safe for all ages as it is not explicit. There are a total of 8 in the song's album "Ritzen: Heavenly Peace Transcendental Symphony (World Premiere Recording)". In this album, this song's track order is #2. Furthermore, we believe that the track originated from Taiwan. In terms of popularity, Transcendental Symphony Part III. Adagio 3: 'Communion' is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Transcendental Symphony Part III. Adagio 3: 'Communion' by Taipei New Dynasty Philharmonic & Chorus, Stella Chang, Vittorio Wu Bai having a BPM of 114 with a half-time of 57 BPM and a double-time of 228 BPM, we would consider this track to have a Moderato (at a moderate speed) 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 has a musical key of F Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Stabat Mater: Stabat Mater: IX. Sancta mater, istud agas | Francis Poulenc, Cappella Amsterdam, Daniel Reuss, Estonian National Symphony Orchestra, Estonian Philharmonic Chamber Choir | B♭ Minor | 2 | 3A | 89 BPM | ||
Symphony No. 6 in B Minor, Op. 74, "Pathetique": Solitude [Again, as before, alone], Op. 73, No. 6 (trans. L. Stokowski) | Pyotr Ilyich Tchaikovsky, Bournemouth Symphony Orchestra, José Serebrier | B♭ Major | 0 | 6B | 45 BPM | ||
The Mountain Thrall, Op. 32 | Edvard Grieg, Carole Farley, London Philharmonic Orchestra, José Serebrier | A♭ Major | 1 | 4B | 72 BPM | ||
Theme from the Onedin Line | John Keating/London Symphony Orchestra | D♭ Major | 3 | 3B | 112 BPM | ||
Grieg: Peer Gynt Suite No. 2, Op. 55: I. The Abduction of the Bride - Ingrid's Lament | Edvard Grieg, The Norwegian Radio Orchestra, Ari Rasilainen | G Major | 1 | 9B | 134 BPM | ||
Rigoletto: Overture (Preludio) | Giuseppe Verdi, London Symphony Orchestra, Richard Bonynge | C Major | 0 | 8B | 72 BPM | ||
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Veni, creator spiritus - | Gustav Mahler, Ulla Gustafsson, MariAnne Häggander, Carolina Sandgren, Ulrika Tenstam, Anne Gjevang, Seppo Ruohonen, Mats Persson, Johann Tilli, Brunnsbo Children's Choir, Estonian Boys' Choir, Gothenburg Opera Chorus, Gothenburg Symphony Chorus, Stockholm Royal Philharmonic Choir, Gothenburg Opera Orchestra, Göttingen Symphony Orchestra, Neeme Järvi | A♭ Major | 3 | 4B | 69 BPM | ||
Ein Heldenleben, Op. 40, TrV 190: The Love Scene | Richard Strauss, Chicago Symphony Orchestra, Bernard Haitink | F♯ Major | 1 | 2B | 76 BPM | ||
Die Walküre / Erster Aufzug: "Kühlende Labung gab mir der Quell" | Richard Wagner, James King, Régine Crespin, Wiener Philharmoniker, Sir Georg Solti | F Major | 0 | 7B | 88 BPM | ||
And He Shall Smite the Wicked | Alan Menken, Chorus - The Hunchback Of Notre Dame | E Minor | 1 | 9A | 136 BPM |
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