Nicola Matteis, Gli Incogniti, Amandine Beyer's 'Preludio in fantasia' came out on August 1, 2009. With Preludio in fantasia being less than two minutes long, at 1:16, 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 track order of this song in Nicola Matteis, Gli Incogniti, Amandine Beyer's "Matteis: False Consonances of Melancholy" album is number 5 out of 40. On top of that, France appears to be the country where this track was created. In terms of popularity, Preludio in fantasia 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.
We consider the tempo marking of Preludio in fantasia by Nicola Matteis, Gli Incogniti, Amandine Beyer to be Andante (at a walking pace) because the track has a tempo of 95 BPM, a half-time of 48BPM, and a double-time of 190 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 3/4.
This song has a musical key of A♭ Minor. Because this track belongs in the A♭ Minor key, the camelot key is 1A. So, the perfect camelot match for 1A would be either 1A or 12B. While, a low energy boost can consist of either 1B or 2A. For moderate energy boost, you would use 10A and a high energy boost can either be 3A or 8A. However, if you are looking for a low energy drop, finding a song with a camelot key of 12A would be a great choice. Where 4A would give you a moderate drop, and 11A or 6A would be a high energy drop. Lastly, 4B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Caro dolce ben mio - diminutions by Giovanni Bassano | Andrea Gabrieli, Gawain Glenton, Silas Wollston | B♭ Minor | 1 | 3A | 64 BPM | ||
Sinfonia No. 7 in G Minor, RosS 533.7: IV. Allegro | Alessandro Scarlatti, Dorothee Oberlinger, Ensemble 1700 | D♭ Minor | 3 | 12A | 120 BPM | ||
Cello Concerto in G Major, INP 18: II. Allegro | Nicola Porpora, Ophélie Gaillard, Pulcinella Orchestra | F♯ Major | 1 | 2B | 80 BPM | ||
Concerto I in D Major: I. Grave - Allegro - Adagio | Francesco Geminiani, Academy of Ancient Music, Andrew Manze | D♭ Major | 1 | 3B | 75 BPM | ||
Sinfonia to the oratorio Santa Beatrice d'Este in D Minor, WoO 1: III. Largo assai | Arcangelo Corelli, Gli Incogniti, Amandine Beyer, Flavio Losco | D♭ Minor | 1 | 12A | 62 BPM | ||
Vitali: Donde avvien che tutt’ebro di vera gioia: Sinfonia | Giovanni Battista Vitali, Il Pomo D'oro | F Major | 2 | 7B | 103 BPM | ||
A Question, No. 25, a Question | Tobias Hume, Stefano Zanobini | F♯ Minor | 0 | 11A | 73 BPM | ||
La Sultane, Sonade en quatuor: III. Air (Tendrement) | François Couperin, Gli Incogniti, Amandine Beyer | D♭ Major | 1 | 3B | 103 BPM | ||
Concerto Grosso No. 2 in G Major (after D. Scarlatti): I. Largo | Charles Avison, The Avison Ensemble, Pavlo Beznosiuk | F♯ Major | 1 | 2B | 87 BPM | ||
Trumpet Concerto in D Major, G. 28: II. Adagio | Giuseppe Torelli, Niklas Eklund, Wasa Baroque Ensemble, Edward H. Tarr | D♭ Major | 4 | 3B | 185 BPM |
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