Eric Schmidt, Jonathan Rosenberg, Christian Jungwirth made "Kapitel 54.7 - Wie Google tickt - How Google Works" available on January 8, 2015. With Kapitel 54.7 - Wie Google tickt - How Google Works being less than two minutes long, at 1:36, 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. This song is part of Wie Google tickt - How Google Works by Eric Schmidt, Jonathan Rosenberg. The song's track number on the album is #120 out of 208 tracks. Based on our data, Germany was the country where this track was produced or recorded. Kapitel 54.7 - Wie Google tickt - How Google Works is unknown right now. The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe.
Since Kapitel 54.7 - Wie Google tickt - How Google Works by Eric Schmidt, Jonathan Rosenberg, Christian Jungwirth has a tempo of 82 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Kapitel 54.7 - Wie Google tickt - How Google Works being at 82 BPM, the half-time would be 41 BPM with a double-time of 164 BPM.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 3/4.
A Major is the music key of this track. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Messa da Requiem for Soloists, Chorus and Orchestra: II. Dies Irae: Liber scriptus proferetur | Giuseppe Verdi, Leonard Bernstein, London Symphony Orchestra | F Minor | 2 | 4A | 80 BPM | ||
La Traviata: "Ah, Fors'è Lui" and "Sempre Libera" | Francesco Maria Piave, Giuseppe Verdi, Dame Joan Sutherland | F Minor | 1 | 4A | 84 BPM | ||
Zigeunermelodien, Op. 55, B. 104 (Sung in German): No. 2. Ei, wie mein Triangel wunderherrlich lautet (Hark, how my triangle) | Antonín Dvořák, Martina Arroyo, Leonard Hokanson | F♯ Minor | 1 | 11A | 86 BPM | ||
The Pirates of Penzance: Climbing Over Rocky Mountain | Patricia Cameron, Pauline Birchall | C Major | 1 | 8B | 59 BPM | ||
Israel in Egypt, HWV 54: Part II: He gave them hailstones for rain (Chorus) | George Frideric Handel, Rosemary Joshua, Atzuko Suzuki, Gerhild Romberger, Kobie Van Rensburg, Simon Pauly, Thomas Hamberger, Harald Hoeren, Christoph Lehmann, Max Hanft, Bavarian Radio Chorus, Concerto Köln, Peter Dijkstra | B Major | 4 | 1B | 111 BPM | ||
HFTEPX | KNOXVILLETRACKZ | D Minor | 0 | 7A | 65 BPM | ||
Ave Maria sur la Méditation de Thaïs: A tempo "Ave Maria, gratia plena" (Arr. Spindler for Soprano, Choir, Violin Solo and Orchestra) | Jules Massenet, Hera Hyesang Park, Coro del Teatro Carlo Felice, Giovanni Battista Fabris, Orchestra del Teatro Carlo Felice, Jochen Rieder | F♯ Minor | 2 | 11A | 80 BPM | ||
Antipodes (short) | Juan Pablo Fernández Ramos | C Minor | 0 | 5A | 73 BPM | ||
Ode for St. Cecilia's Day, HWV 76: Air: Orpheus could lead the savage race | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | A♭ Minor | 0 | 1A | 96 BPM | ||
The Red Mill: Moonbeams | Victor Herbert, Virginia Croskery, Slovak Radio Symphony Orchestra, Keith Brion | F Minor | 1 | 4A | 175 BPM |
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