"Easter Oratorio "Kommt, eilet und laufet", BWV 249: 5. Seele, Deine Specereien sollen nicht mehr Myrrhen sein" by And, Ferdin, Grossmann, Pro Musica Chamber Orchestra Vienna was released on November 27, 2011. Easter Oratorio "Kommt, eilet und laufet", BWV 249: 5. Seele, Deine Specereien sollen nicht mehr Myrrhen sein appears to be safe for all ages as it is not explicit. There is only one song in 1-2-3 - A Bach Experience, so we believe that "Easter Oratorio "Kommt, eilet und laufet", BWV 249: 5. Seele, Deine Specereien sollen nicht mehr Myrrhen sein" is a single. In terms of popularity, Easter Oratorio "Kommt, eilet und laufet", BWV 249: 5. Seele, Deine Specereien sollen nicht mehr Myrrhen sein is currently unknown. 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 Easter Oratorio "Kommt, eilet und laufet", BWV 249: 5. Seele, Deine Specereien sollen nicht mehr Myrrhen sein by And, Ferdin, Grossmann, Pro Musica Chamber Orchestra Vienna is Andante (at a walking pace), since this song has a tempo of 96 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
B Minor is the music key of this track. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Puccini: Manon Lescaut, Act 1: "Donna non vidi mai" (Des Grieux) | Giacomo Puccini, José Cura, Philharmonia Orchestra, Plácido Domingo | A♭ Major | 0 | 4B | 181 BPM | ||
Verdi: Messa da Requiem: IX. Ingemisco | Giuseppe Verdi, Riccardo Muti, Luciano Pavarotti, Orchestra Del Teatro Alla Scala, Milano | C Major | 2 | 8B | 114 BPM | ||
Lucia di Lammermoor / Act 3: Oh, giusto cielo!...Il dolce suono | Gaetano Donizetti, Dame Joan Sutherland, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | F Minor | 1 | 4A | 92 BPM | ||
Computer Stupor | And | A Major | 6 | 11B | 100 BPM | ||
One Life | Aleksandra Wasielewska, And | D Major | 5 | 10B | 120 BPM | ||
Tosca / Act 2: "Vissi d'arte, vissi d'amore" | Giacomo Puccini, Mirella Freni, Samuel Ramey, Philharmonia Orchestra, Giuseppe Sinopoli | E♭ Major | 1 | 5B | 76 BPM | ||
Si, Mi Chiamano Mimì - la Boheme Atto I | Renata Tebaldi | D Major | 2 | 10B | 80 BPM | ||
"Ch'io mi scordi di te... Non temer, amato bene", K.505 | Wolfgang Amadeus Mozart, Teresa Berganza, Geoffrey Parsons, London Symphony Orchestra, Sir John Pritchard | G Major | 2 | 9B | 105 BPM | ||
Die Fledermaus / Act I: Nr. 1 Introduktion: "Täubchen, das entflattert ist" | Johann Strauss II, Lucia Popp, René Kollo, Bavarian State Orchestra, Carlos Kleiber | G Major | 1 | 9B | 50 BPM | ||
Polovtsian Dances, from: Prince Igor: Moderato alla breve | Alexander Borodin, Berliner Philharmoniker, Herbert von Karajan | B Minor | 3 | 10A | 184 BPM |
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