"Messiah / Part 3: "Since by man came death"" by George Frideric Handel, Academy of St. Martin in the Fields Chorus, Academy of St. Martin in the Fields, Sir Neville Marriner had its release date on January 1, 1976. With This song being less than two minutes long, at 1:50, 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 George Frideric Handel, Sir Neville Marriner, Academy of St. Martin in the Fields's "Handel: Messiah" album is number 17 out of 37. Based on our statistics, Messiah / Part 3: "Since by man came death"'s popularity 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.
We consider the tempo marking of Messiah / Part 3: "Since by man came death" by George Frideric Handel, Academy of St. Martin in the Fields Chorus, Academy of St. Martin in the Fields, Sir Neville Marriner to be Allegro (fast, quick, and bright) because the track has a tempo of 124 BPM, a half-time of 62BPM, and a double-time of 248 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Cantique de Jean Racine, Op. 11 | Gabriel Fauré, Choir of King's College, Cambridge, James Vivian, Stephen Cleobury | D Major | 1 | 10B | 99 BPM | ||
Magnificat: II. Of a Rose, a Lovely Rose | John Rutter, The Cambridge Singers, City of London Sinfonia | A Minor | 0 | 8A | 104 BPM | ||
Oratorio de Noel, Op. 12: Tollite hostias (Chorus) | Camille Saint-Saëns, Verena Schweizer, Edith Wiens, Helena Jungwirth, Friedreich Melzer, Kurt Widmer, Hans-Joachim Bartsch, Barbara Biermann, Mainz Bach Choir, Mainz Bach Orchestra, Diethard Hellmann | G Major | 2 | 9B | 105 BPM | ||
In dulci jubilo, BWV 751 Anh.III 172 (von Johann Michael Bach) - Arranged by Wilhelm Kempff | Johann Sebastian Bach, Wilhelm Kempff | G Major | 0 | 9B | 65 BPM | ||
Rinaldo, HWV 7b: Act I Scene 7: Aria: Cara sposa, amante cara, dove sei? (Rinaldo) | George Frideric Handel, Marion Newman, Laura Whalen, Kimberley Barber, Jennifer Ens Modolo, Sean Watson, Barbara Hannigan, Giles Tomkins, Nicole Bower, Catherine Affleck, Melinda Delorme, Lenard Whiting, Opera in Concert, Aradia Ensemble, Kevin Mallon | E♭ Minor | 1 | 2A | 92 BPM | ||
All-Night Vigil, Op. 37 "Vespers": No. 6, Ave Maria | Sergei Rachmaninoff, The Cambridge Singers, John Rutter | F Major | 0 | 7B | 151 BPM | ||
A Spotless Rose | Herbert Howells, Gabrieli, Paul McCreesh | C Minor | 1 | 5A | 94 BPM | ||
Hark! The Herald Angels Sing | The City of Prague Philharmonic Orchestra, Richard Hein, Voices West | F Major | 2 | 7B | 107 BPM | ||
Tallis: If Ye Love Me | Thomas Tallis, Choir of King's College, Cambridge, Philip Ledger | D Major | 1 | 10B | 135 BPM | ||
Missa Brevis No. 7 In B Major St. Joannis De Deo - Sanctus | Joseph Haydn, Vienna Chamber Orchestra, Vienna State Opera Orchestra, Hans Gillesberger | D Major | 3 | 10B | 97 BPM |