"Wachet auf, ruft uns die Stimme, BWV 140 "Sleepers Awake": I. Wachet auf, ruft uns die Stimme (Arr. E. Ormandy for Orchestra)" by Johann Sebastian Bach, Eugene Ormandy, Philadelphia Orchestra was released on 1959. With this song being around four minutes long, at 3:56, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The song is number 10 out of 25 in Bach: Greatest Hits by Till Lindemann, Johann Sebastian Bach, Eugene Ormandy. In terms of popularity, Wachet auf, ruft uns die Stimme, BWV 140 "Sleepers Awake": I. Wachet auf, ruft uns die Stimme (Arr. E. Ormandy for Orchestra) 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.
The tempo marking of Wachet auf, ruft uns die Stimme, BWV 140 "Sleepers Awake": I. Wachet auf, ruft uns die Stimme (Arr. E. Ormandy for Orchestra) by Johann Sebastian Bach, Eugene Ormandy, Philadelphia Orchestra is Moderato (at a moderate speed), since this song has a tempo of 109 BPM. With that information, we can conclude that the song has a moderate tempo. The time signature for this track is 1/4.
This song is in the music key of E♭ Major. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Prelude In D Minor, BWV 926 : Prelude In D Minor, BWV 926 | Janos Sebestyen, Johann Sebastian Bach | G Minor | 2 | 6A | 126 BPM | ||
Bach, JS: Violin Concerto No. 1 in A Minor, BWV 1041: II. Andante | Johann Sebastian Bach, Anne-Sophie Mutter, Leslie Pearson, Salvatore Accardo, English Chamber Orchestra | A Minor | 3 | 8A | 118 BPM | ||
The Well-Tempered Clavier, Book 1: Prelude in C Major, BWV 846 | Johann Sebastian Bach, Masaaki Suzuki | B Major | 5 | 1B | 127 BPM | ||
Concerto In F Major, F Dur BWV978, After Antonio Vivaldi: (Allegro) | Arts Music Recording, Rotterdam, Pieter Dirksen, Johann Sebastian Bach | E Minor | 1 | 9A | 81 BPM | ||
Grieg: Peer Gynt, Op. 23, Act IV: No. 16, Anitra's Dance | Edvard Grieg, Paavo Järvi, Estonian National Symphony Orchestra | A Major | 1 | 11B | 161 BPM | ||
Peter and the Wolf, Op. 67: The Hunters Arrive | David Bowie, Eugene Ormandy | D♭ Major | 1 | 3B | 143 BPM | ||
Brahms: Violin Concerto in D Major, Op. 77: III. Allegro giocoso, ma non troppo vivace | Johannes Brahms, Maxim Vengerov, Daniel Barenboim, Chicago Symphony Orchestra | G Major | 3 | 9B | 143 BPM | ||
Prokofiev: Romeo and Juliet, Suite No. 2, Op. 64ter: I. The Montagues and Capulets (Excerpt) | Sergei Prokofiev, Philadelphia Orchestra, Riccardo Muti | A Minor | 3 | 8A | 108 BPM | ||
Tchaikovsky: Suite from Swan Lake, Op. 20a: I. Scene. Moderato | Pyotr Ilyich Tchaikovsky, Alexander Lazarev, The Bolshoi Symphony Orchestra | A♭ Minor | 3 | 1A | 79 BPM | ||
Elégie, Op. 24 | Gabriel Fauré, Julian Lloyd Webber, English Chamber Orchestra, Yan Pascal Tortelier | A♭ Major | 0 | 4B | 84 BPM |
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