"Fünff-stimmigte blasende Music: Suite" by Johann Christoph Pezel, Posaunenquintett Berlin was released on January 1, 2008. Since Fünff-stimmigte blasende Music: Suite is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. There are a total of 24 in the song's album "Tochter Zion - festliche Posaunenmusik". In this album, this song's track order is #24. Furthermore, we believe that the track originated from Germany. Fünff-stimmigte blasende Music: Suite is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Fünff-stimmigte blasende Music: Suite by Johann Christoph Pezel, Posaunenquintett Berlin having a BPM of 87 with a half-time of 44 BPM and a double-time of 174 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. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of B♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Intermedes de Xerxes: Ouverture | Jean-Baptiste Lully, Mary Enid Haines, Sharla Nafziger, Aradia Ensemble, Kevin Mallon | F♯ Major | 0 | 2B | 98 BPM | ||
Biber: Requiem a 15 in A Major: III. Sequenz | Heinrich Ignaz Franz von Biber, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra | B♭ Major | 0 | 6B | 139 BPM | ||
Oi kallis Suomenmaa | SRK Instrumentaali, Lumme Brass | C Major | 1 | 8B | 128 BPM | ||
Trumpet Sonata in D Major: III. Allegro | Maurice André | D Major | 5 | 10B | 104 BPM | ||
Sacrae symphoniae: Canzon duodecimi toni I a 10 (arr. E. Crees for brass) | Giovanni Gabrieli, Eric Crees, London Symphony Brass | C Major | 1 | 8B | 100 BPM | ||
Biber: Sonata a 7 | Heinrich Ignaz Franz von Biber, Amsterdam Baroque Orchestra, Ton Koopman | D♭ Major | 1 | 3B | 79 BPM | ||
Courtly Masquing Ayres: Nos. 5 & 6 | John Adson, The Prague Brass Soloists | D Major | 1 | 10B | 93 BPM | ||
Concerto No. 6 in G Major, SF 941 "La Cetra": III. Vivace | Alessandro Marcello, Gruppo Instrumentale di Roma, Giorgio Sasso | D♭ Major | 2 | 3B | 100 BPM | ||
Missa pro Defunctis in E-Flat Major, HocJ A1.3: II. Kyrie, 3. Kyrie eleison | Niccolò Jommelli, Il Gardellino, Peter Van Heyghen | D Major | 2 | 10B | 111 BPM | ||
Allein Gott in der Höh sey Ehr, SwWV 299: IV. Variation IV | Jan Pieterszoon Sweelinck, Gustav Auzinger | D Major | 1 | 10B | 176 BPM |
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