Giovanni Battista Vitali, London Baroque's 'Varie partite del passemezo, ciaccona, capricii, e passagalii, Op. 7: Ciaccona' came out on November 6, 2012. The duration of Varie partite del passemezo, ciaccona, capricii, e passagalii, Op. 7: Ciaccona is about two minutes long, specifically at 2:53. This song does not appear to have any foul language. Varie partite del passemezo, ciaccona, capricii, e passagalii, Op. 7: Ciaccona's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 16 in the song's album "The Trio Sonata in 17th-Century Italy". In this album, this song's track order is #14. Furthermore, we believe that the track originated from Sweden. In terms of popularity, Varie partite del passemezo, ciaccona, capricii, e passagalii, Op. 7: Ciaccona is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Varie partite del passemezo, ciaccona, capricii, e passagalii, Op. 7: Ciaccona by Giovanni Battista Vitali, London Baroque having a BPM of 101 with a half-time of 50 BPM and a double-time of 202 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 slow tempo. The time signature for this track is 4/4.
This song is in the music key of E Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Concerto Grosso in F Major, Op. 3, No. 1: III. Allegro | Francesco Onofrio Manfredini, Capella Istropolitana, Jaroslav Krcek | F Major | 1 | 7B | 70 BPM | ||
Concerto I in D Major: I. Grave - Allegro - Adagio | Francesco Geminiani, Academy of Ancient Music, Andrew Manze | D♭ Major | 1 | 3B | 75 BPM | ||
Concerto con violino e viola da gamba, Archi e continuo (La Maggiore, RV 546): II. Andante | Antonio Vivaldi, Jordi Savall, Luca Guglielmi, Manfredo Kraemer, Le Concert Des Nations | F♯ Major | 4 | 2B | 115 BPM | ||
Partie a 4 in fis-moll | Johann Pachelbel, London Baroque, Charles Medlam | F♯ Major | 2 | 2B | 107 BPM | ||
Trio Sonata in D Major, Op. 4 No. 2: IV. Allegro | Jean-Pierre Guignon, London Baroque | D♭ Major | 3 | 3B | 118 BPM | ||
Symphony No. 4 in C Major: III. Allegro | Franz Xaver Richter, Helsinki Baroque Orchestra, Aapo Häkkinen | F♯ Major | 2 | 2B | 186 BPM | ||
Trio Sonata in G Minor, Op. 3 No. 5: I. Andante sostenuto | Giuseppe Sammartini, London Baroque | E Major | 1 | 12B | 106 BPM | ||
Sonata II In G Minor: VIII. Borea (Alla Breve) (Muffat) | Georg Muffat, Masques, Olivier Fortin | F♯ Minor | 3 | 11A | 108 BPM | ||
Trios pour le coucher du Roi: Menuet | Jean-Baptiste Lully, London Baroque | B Major | 3 | 1B | 84 BPM | ||
Trio Sonata No. 2 in G Minor: IV. Menuets I & II | Giovanni Bononcini, London Baroque | E Major | 1 | 12B | 106 BPM |
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