Michel Richard Delalande, Ensemble Correspondances, Sébastien Daucé's 'Miserere, S. 27: Sacrificium Deo' came out on February 4, 2022. With this song being around four minutes long, at 3:51, 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 track order of this song in Michel Richard Delalande, Ensemble Correspondances, Sébastien Daucé's "Michel-Richard de Lalande: Grands Motets, Dies irae, Miserere, Veni creator" album is number 30 out of 38. On top of that, France appears to be the country where this track was created. In terms of popularity, Miserere, S. 27: Sacrificium Deo 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.
We consider the tempo marking of Miserere, S. 27: Sacrificium Deo by Michel Richard Delalande, Ensemble Correspondances, Sébastien Daucé to be Andante (at a walking pace) because the track has a tempo of 98 BPM, a half-time of 49BPM, and a double-time of 196 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
This song is in the music key of B Minor. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Stabat Mater, P. 77: VII. Eia Mater | Giovanni Battista Pergolesi, Maarten Engeltjes, PRJCT Amsterdam | F♯ Minor | 2 | 11A | 101 BPM | ||
XII sonate a tre o quattro strumenti e basso: Sonata III a 3 | Antonio Bertali, Ars Antiqua Austria, Gunar Letzbor | A♭ Minor | 1 | 1A | 114 BPM | ||
Concerto in C Minor, Op. 6 No. 3: III. Grave | Arcangelo Corelli, Musica Amphion, Pieter-Jan Belder | B♭ Minor | 2 | 3A | 70 BPM | ||
Stabat Mater in F Minor, P. 77: IV. Quae moerebat et dolebat | Giovanni Battista Pergolesi, Christopher Lowrey, Les Talens Lyriques, Christophe Rousset | C Minor | 1 | 5A | 58 BPM | ||
Symphony in F Major: II. Andante - III. Presto | Giovanni Battista Pergolesi, Dorothee Oberlinger, Ensemble 1700 | E Major | 1 | 12B | 182 BPM | ||
In solitare arene | Cataldo Amodei, Cappella Mediterranea, Leonardo García-Alarcón, Ana Vieira Leite, Matteo Bellotto | B♭ Minor | 0 | 3A | 110 BPM | ||
Vater unser im Himmelreich, Variation 10 | Johann Ulrich Steigleder, Gustav Auzinger | D Major | 1 | 10B | 176 BPM | ||
Ouverture-Suite in G Minor, TWV 55:g4: VII. Menuet I - II | Georg Philipp Telemann, The English Concert, Trevor Pinnock | F♯ Minor | 0 | 11A | 78 BPM | ||
Zaïde, reine de Grenade: Air pour les Turcs en rondeau | Joseph-Nicolas-Pancrace Royer, Orfeo Orchestra, Gyorgy Vashegyi | F♯ Major | 0 | 2B | 141 BPM | ||
When Saul was king: I. When Saul was king over us | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Academy of Ancient Music | A Major | 1 | 11B | 170 BPM |
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