François Couperin, William Christie, Sophie Daneman, Les Arts Florissants's 'Couperin, F: Première leçon de ténèbres pour le Mercredi saint: IV. Ghimel' came out on January 1, 1997. With Couperin, F: Première leçon de ténèbres pour le Mercredi saint: IV. Ghimel being less than two minutes long, at 1:39, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The song is number 4 out of 22 in Couperin : Leçons de Ténèbres by François Couperin, William Christie, Les Arts Florissants. Going off of the ISRC code of this track, we detected that the origin of this track is from France. Couperin, F: Première leçon de ténèbres pour le Mercredi saint: IV. Ghimel 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.
The tempo marking of Couperin, F: Première leçon de ténèbres pour le Mercredi saint: IV. Ghimel by François Couperin, William Christie, Sophie Daneman, Les Arts Florissants is Adagio (slowly with great expression), since this song has a tempo of 76 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
C Minor is the music key of this track. Because this track belongs in the C Minor key, the camelot key 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 | ||
---|---|---|---|---|---|---|---|
Stabat Mater in F Minor, RV 621: No. 3., O quam tristis | Antonio Vivaldi, Andreas Scholl, Accademia Bizantina, Alessandro Tampieri | E Minor | 1 | 9A | 99 BPM | ||
Magnificat, Wq. 215: Magnificat, Wq. 215: 7. Arie. Suscepit Israel puerum suum (A) | Carl Philipp Emanuel Bach, Wiebke Lehmkuhl, Akademie für Alte Musik Berlin, Hans-Christoph Rademann | D♭ Minor | 0 | 12A | 74 BPM | ||
Te Deum, H. 146: III. Te aeternum Patrem | Marc-Antoine Charpentier, Véronique Gens, William Christie, Gilles Ragon, Jean-Paul Fouchécourt, Les Arts Florissants, Bernard Deletré | D♭ Major | 3 | 3B | 116 BPM | ||
Dido and Aeneas, Z. 626: Act I: Belinda, Aeneas, Dido: See, your Royal guest appears | Henry Purcell, Kym Amps, David van Asch, Anna Crookes, The Scholars Baroque Ensemble | F♯ Major | 1 | 2B | 113 BPM | ||
Gott Hilf Mir, BuxWV 34: Israel, hoffe auf den Herren | Dietrich Buxtehude, Ricercar Consort, Philippe Pierlot, Matthias Vieweg | C Minor | 2 | 5A | 90 BPM | ||
Qual mormorio giocondo: Recitative: Cosi dell'alma mia | Alessandro Melani, Ruth Ziesak, Reinhold Friedrich, Karoly Botvay | F♯ Major | 1 | 2B | 78 BPM | ||
Jubilate, o amoeni chori, RV 639 - Gloria in D Major, RV 588: Sonoro modulamine - I. Gloria in excelsis (RV 588): Allegro | Antonio Vivaldi, Jane Archibald, Nils Brown, Anita Krause, Aradia Chorus, Aradia Ensemble, Kevin Mallon | D Major | 3 | 10B | 120 BPM | ||
Stabat Mater in F Minor, G. 532: IV. Quis est homo. Adagio assai - Recitativo | Luigi Boccherini, Núria Rial, Orchester Le Phenix | G Major | 3 | 9B | 150 BPM | ||
Salve Regina, S. 308: No. 1, Salve Regina | Anonymous, Nicola Porpora, José Maria Lo Monaco, Stile Galante, Stefano Aresi | F Minor | 2 | 4A | 75 BPM | ||
Magnificat in D Minor, RV 610: IX. Suscepit Israel | Antonio Vivaldi, Sara Mingardo, Patrizia Biccirè, Deborah York, Concerto Italiano, Akademia Vocal Ensemble, Rinaldo Alessandrini | A♭ Major | 2 | 4B | 101 BPM |
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