"Stabat Mater: 7. Eia Mater" by Giovanni Battista Pergolesi, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson was released on January 1, 1985. The duration of Stabat Mater: 7. Eia Mater is about two minutes long, specifically at 2:54. This song does not appear to have any foul language. Stabat Mater: 7. Eia Mater's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 12 in the song's album "Pergolesi: Stabat Mater". In this album, this song's track order is #7. Furthermore, we believe that the track originated from Germany. In terms of popularity, Stabat Mater: 7. Eia Mater is currently below average in popularity. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Stabat Mater: 7. Eia Mater by Giovanni Battista Pergolesi, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson having a BPM of 100 with a half-time of 50 BPM and a double-time of 200 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 3/4.
This song is in the music key of C Minor. Which also means that the camelot key for this song is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Rodelinda / Act 3: Vivi, tiranno, io t'ho scampato | George Frideric Handel, Marijana Mijanovic, Il Complesso Barocco, Alan Curtis | A Major | 2 | 11B | 123 BPM | ||
Strauss, R: Vier letzte Lieder, TrV 196: I. Frühling | Richard Strauss, Elisabeth Schwarzkopf, George Szell, Radio-Sinfonie-Orchester Berlin | A♭ Major | 2 | 4B | 83 BPM | ||
Requiem in D minor, K.626: 8.Communio: Lux aeterna | Wolfgang Amadeus Mozart, Barbara Bonney, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | D Minor | 2 | 7A | 89 BPM | ||
Stabat Mater: 7. Eia Mater | Giovanni Battista Pergolesi, James Bowman, Academy of Ancient Music, Christopher Hogwood | E Minor | 0 | 9A | 125 BPM | ||
Scherzo in B-Flat Major - Remastered | Modest Mussorgsky, Claudio Abbado, London Symphony Orchestra | D Major | 0 | 10B | 104 BPM | ||
Te Deum, H. 146: Te Deum, H. 146: II. Te Deum laudamus | Marc-Antoine Charpentier, Bernard Deletré, Les Arts Florissants, William Christie | D♭ Major | 1 | 3B | 84 BPM | ||
Carmina Burana: Fortuna imperatrix mundi: O Fortuna | Carl Orff, Eduardo Mata, London Symphony Orchestra | D Minor | 0 | 7A | 121 BPM | ||
Requiem in D Minor, Op. 48: Libera me | Gabriel Fauré, Tenebrae, William Gaunt, LSO Chamber Ensemble, Nigel Short | B♭ Major | 1 | 6B | 175 BPM | ||
Pergolesi: Confitebor tibi Domine, P. 66: V. Sanctum et terribile nomen ejus | Giovanni Battista Pergolesi, Philippe Jaroussky, Diego Fasolis, I Barocchisti | D Major | 1 | 10B | 60 BPM | ||
Symphony No. 40 in G Minor, K. 550: II. Andante | Wolfgang Amadeus Mozart, London Symphony Orchestra, Claudio Abbado | C Major | 3 | 8B | 133 BPM |
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