Johann Sebastian Bach, Glenn Gould's 'The Art of the Fugue, BWV 1080: Contrapunctus III - Excerpts' came out on 1957. The duration of The Art of the Fugue, BWV 1080: Contrapunctus III - Excerpts is about two minutes long, specifically at 2:20. This song does not appear to have any foul language. The Art of the Fugue, BWV 1080: Contrapunctus III - Excerpts's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Johann Sebastian Bach, Glenn Gould's "Glenn Gould plays Bach: 6 Partitas BWV 825-830; Chromatic Fantasy BWV 903; Italian Concerto BWV 971; The Art of the Fugue BWV 1080 (excerpts); Preludes, Fugues & Fantasies" album is number 15 out of 90. On top of that, United States appears to be the country where this track was created. Based on our statistics, The Art of the Fugue, BWV 1080: Contrapunctus III - Excerpts'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 The Art of the Fugue, BWV 1080: Contrapunctus III - Excerpts by Johann Sebastian Bach, Glenn Gould to be Allegro (fast, quick, and bright) because the track has a tempo of 133 BPM, a half-time of 66BPM, and a double-time of 266 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 | ||
---|---|---|---|---|---|---|---|
24 Preludes & Fugues, Op. 87: Fugue no.3 in G major. Allegro molto (3-voice) | Dmitri Shostakovich, Alexander Melnikov | F♯ Minor | 0 | 11A | 50 BPM | ||
Fantasie g-Moll "duobus subjectis" BWV 917 | Inge Rosar, Johann Sebastian Bach | A Minor | 3 | 8A | 64 BPM | ||
Suite en La: La Triomphante | Jean-Philippe Rameau, Alexandre Tharaud | E Major | 2 | 12B | 116 BPM | ||
Keyboard Sonata in F Major, Wq. 54/1, H. 204: II. Allegro | Carl Philipp Emanuel Bach, Ana-Marija Markovina | F Major | 1 | 7B | 140 BPM | ||
Partita No. 5 in G Major, BWV 829: VI. Passe-pied | Glenn Gould | C Minor | 4 | 5A | 111 BPM | ||
The Well-Tempered Clavier, Book 1, BWV 846-869: Prelude No. 2 in C minor, BWV 847 | Luc Beauséjour | B Minor | 6 | 10A | 110 BPM | ||
Concerto In F Major, F Dur BWV978, After Antonio Vivaldi: Largo | Arts Music Recording, Rotterdam, Pieter Dirksen, Johann Sebastian Bach | C Major | 3 | 8B | 103 BPM | ||
Italian Ground: Allemande | Orlando Gibbons, Glenn Gould | C Major | 4 | 8B | 105 BPM | ||
I. Nun Danket Alle Gott BWV 192, (2) Aria (Duetto: Soprano, Basso): Der Ewig Reiche Gott | Pieter Jan Leusink, Bas Ramselaar, Holland Boys Choir, Netherlands Bach Collegium, Johann Sebastian Bach, Knut Schoch, Peter Frankenberg, Sytse Buwalda, Kate Clark, Marjon Strijk | D♭ Major | 3 | 3B | 53 BPM | ||
Andantino in C Major, Wq. 116/23, H. 249 | Carl Philipp Emanuel Bach, Ana-Marija Markovina | C Major | 0 | 8B | 88 BPM |
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