"Hommage á T.S. Eliot (1987) - For Octet And Soprano: 7. "Sin is Behovely, but"" by Sofia Gubaidulina, Christine Whittlesey, Eduard Brunner, Klaus Thunemann, Radovan Vlatkovic, Gidon Kremer, Isabelle van Keulen, Tabea Zimmermann, David Geringas, Alois Posch was released on May 18, 2021. Since Hommage á T.S. Eliot (1987) - For Octet And Soprano: 7. "Sin is Behovely, but" 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. The song is number 49 out of 85 in Clara Schumann & Great Female Composers by Clara Schumann, Cécile Chaminade, Grażyna Bacewicz. Hommage á T.S. Eliot (1987) - For Octet And Soprano: 7. "Sin is Behovely, but" is unknown right now. 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 Hommage á T.S. Eliot (1987) - For Octet And Soprano: 7. "Sin is Behovely, but" by Sofia Gubaidulina, Christine Whittlesey, Eduard Brunner, Klaus Thunemann, Radovan Vlatkovic, Gidon Kremer, Isabelle van Keulen, Tabea Zimmermann, David Geringas, Alois Posch is Andante (at a walking pace), since this song has a tempo of 86 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
This song has a musical key of A Major. This also means that this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Cura Emocional | Sinta Positivo | B♭ Major | 0 | 6B | 73 BPM | ||
The Sin of Jesus (1960-61) [Score for untitled film] for flute, horn, trumpet, and Cello: A | Morton Feldman, Ensemble Recherche | D Minor | 0 | 7A | 140 BPM | ||
Proving the Existence of Folkloric Creatures | Milo Paulus | F♯ Major | 3 | 2B | 65 BPM | ||
Cello Concerto 'Earth, Sea, Air': III. Air | Cheryl Frances-Hoad, Laura van der Heijden, BBC Scottish Symphony Orchestra, Ryan Wigglesworth | G Major | 1 | 9B | 90 BPM | ||
Bernstein: Symphony No. 2 "The Age of Anxiety", Pt. 1: The Seven Ages. Variation VII | Leonard Bernstein, Antonio Pappano, Beatrice Rana, Orchestra dell'Accademia Nazionale di Santa Cecilia | F Major | 0 | 7B | 53 BPM | ||
Umi e (Toward the Sea): I - The Night | Toru Takemitsu, Robert Aitken, Toronto New Music Ensemble | F♯ Major | 0 | 2B | 71 BPM | ||
Musical Toys: The Drummer | Sofia Gubaidulina, Marcela Roggeri | G Major | 3 | 9B | 140 BPM | ||
7 Worte (7 Words): Mein Gott, mein Gott, warum hast du mich verlassen? (My God, my God, why hast thou forsaken me?) | Sofia Gubaidulina, Maria Kliegel, Elsbeth Moser, Kathrin Rabus, Camerata Transsylvanica, György Selmeczi | D Major | 1 | 10B | 83 BPM | ||
Lamentate: Consolante | Arvo Pärt, Alexei Lubimov, Andrey Boreyko, Radio-Sinfonieorchester Stuttgart | D♭ Minor | 0 | 12A | 80 BPM | ||
Sonatas and Interludes for Prepared Piano: Sonata No. 3 | John Cage, Boris Berman | D♭ Major | 3 | 3B | 95 BPM |
Section: 0.688676118850708
End: 0.6931803226470947