Marc-Antoine Charpentier, Véronique Gens, William Christie, Gilles Ragon, Jean-Paul Fouchécourt, Les Arts Florissants, Bernard Deletré's 'Te Deum, H. 146: III. Te aeternum Patrem' came out on April 27, 1989. With this song being around four minutes long, at 3:59, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The song is number 4 out of 30 in Charpentier: Te Deum, H.146, Litanies de la Vierge & Missa "Assumpta est Maria" by Marc-Antoine Charpentier, Les Arts Florissants, William Christie. In terms of popularity, Te Deum, H. 146: III. Te aeternum Patrem 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.
The tempo marking of Te Deum, H. 146: III. Te aeternum Patrem by Marc-Antoine Charpentier, Véronique Gens, William Christie, Gilles Ragon, Jean-Paul Fouchécourt, Les Arts Florissants, Bernard Deletré is Moderato (at a moderate speed), since this song has a tempo of 116 BPM. With that information, we can conclude that the song has a moderate tempo. This song can go great with walking. The time signature for this track is 5/4.
This song is in the music key of D♭ Major. This also means that this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Charpentier : Médée, Act 1: "Quel bonheur suit la tendresse" (Chorus) | Marc-Antoine Charpentier, William Christie, Les Arts Florissants | A Major | 2 | 11B | 136 BPM | ||
Atys, Acte I, Scène 3: "Allons, allons, accourez tous" (Sangaride, Doris) | Jean-Baptiste Lully, Agnes Mellon, Guy De Mey, Jacques Bona, Françoise Semellaz, Les Arts Florissants, William Christie | F♯ Major | 1 | 2B | 92 BPM | ||
Mass in B Minor, BWV 232: Benedictus: Osanna in excelsis (Chorus) | Johann Sebastian Bach, Robin Blaze, Bach Collegium Japan Chorus, Bach Collegium Japan, Masaaki Suzuki | D♭ Major | 3 | 3B | 179 BPM | ||
Rejoice in the Lord alway, verse anthem, Z.49 | Henry Purcell, Philippe Herreweghe, Collegium Vocale Gent | D♭ Major | 1 | 3B | 73 BPM | ||
L'incoronazione di Poppea, SV 308, Act 3: Pur ti miro, pur ti godo | Sara Macliver, Sally-Anne Russell | F♯ Major | 1 | 2B | 74 BPM | ||
St. John Passion, BWV 245: Part II: Chorale: Ach Herr, lass dein lieb Engelein (Chorus) | Johann Sebastian Bach, Joanne Lunn, Katherine Fuge, Bernarda Fink, Mark Padmore, Robert Murray, Paul Tindall, Hanno Müller-Brachmann, Peter Harvey, Julian Clarkson, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | D Major | 2 | 10B | 173 BPM | ||
Handel: Theodora, HWV 68, Pt. 2 Scene 5: Duet. "To Thee, Thou Glorious Son of Worth" (Theodora, Didymus) | George Frideric Handel, Maxim Emelyanychev, Lisette Oropesa, Paul-Antoine Bénos-Djian, Il Pomo D'oro | E Minor | 2 | 9A | 62 BPM | ||
All'imperio d'Amore: 5. Ineffabile ardore a 6 "Il rapimento di Cefalo" | Giulio Caccini, Ensemble Pygmalion, Raphael Pichon | B♭ Major | 2 | 6B | 113 BPM | ||
Charpentier: Te Deum in D Major, H. 146: I. Prelude. Marche en rondeau | Marc-Antoine Charpentier, William Christie | C Major | 4 | 8B | 75 BPM | ||
Missa pro defuncto Archiepiscopo Sigismundo, MH 154: Requiem aeternam | Michael Haydn, Christian Zacharias, Johanette Zomer, Helena Rasker, Markus Schäfer, Klaus Mertens, Schweizer Kammerchor, Orchestre de Chambre de Lausanne | D Major | 2 | 10B | 107 BPM |
Section: 1.2040941715240479
End: 1.2086396217346191