Giovanni Pierluigi da Palestrina, The Sixteen, Harry Christophers's 'Missa Iam Christus astra ascenderat: Benedictus' came out on June 2, 2014. With Missa Iam Christus astra ascenderat: Benedictus being less than two minutes long, at 1:58, 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. There are a total of 16 in the song's album "Palestrina, Vol. 5". In this album, this song's track order is #9. Furthermore, we believe that the track originated from United Kingdom. Based on our statistics, Missa Iam Christus astra ascenderat: Benedictus'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.
With Missa Iam Christus astra ascenderat: Benedictus by Giovanni Pierluigi da Palestrina, The Sixteen, Harry Christophers having a BPM of 132 with a half-time of 66 BPM and a double-time of 264 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
This song is in the music key of A♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
The Day Is Done (2006) | Stephen Paulus, Stephen Layton, The Choir Of Trinity College, Cambridge | D Major | 0 | 10B | 135 BPM | ||
Geistliche Chormusik: Die mit Tränen säen, SWV 378 | Heinrich Schütz, Collegium Vocale Gent, Philippe Herreweghe | B Minor | 1 | 10A | 68 BPM | ||
Requiem [in memoriam Josquin Desprez] à 6 voix: I. Introitus - Requiem aeternam | Jean Richafort, Huelgas Ensemble | F Major | 1 | 7B | 83 BPM | ||
6 Chansons: No. 6. Verger | Paul Hindemith, SWR Vokalensemble Stuttgart, Marcus Creed | C Minor | 3 | 5A | 133 BPM | ||
Missa pro Defunctis (1544): Introitus: "Requiem aeternam" | Cristobal de Morales, Gabrieli, Paul McCreesh | F Major | 1 | 7B | 77 BPM | ||
Stranger | Yuri Alexandrovich Falik, Latvian Radio Choir, Sigvards Kļava | A Minor | 1 | 8A | 111 BPM | ||
Chansons: De plus en plus se renouvelle | Gilles Binchois, Ensemble Gilles Binchois, Dominique Vellard | A♭ Major | 0 | 4B | 69 BPM | ||
Collectio: Veneranda nobis | Guillaume de Machaut, Dominique Vellard | D Minor | 1 | 7A | 99 BPM | ||
Mother of God Here I Stand | John Taverner, Nottingham Cathedral Choir, Alex Patterson | F♯ Major | 0 | 2B | 84 BPM | ||
Gloria patri | Francesco Corteccia, Le Concert Spirituel, Herve Niquet | G Major | 1 | 9B | 79 BPM |
Section: 0.512070894241333
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