Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver's 'Gloria: VI. Qui sedes ad dexteram Patris' came out on January 1, 1995. Gloria: VI. Qui sedes ad dexteram Patris is about six minutes long, preciously at 6:10, making this song fairly long compared to other songs. There are a total of 12 in the song's album "Poulenc: Gloria For Soprano, Mixed Chorus And Orchestra; Concerto For Organ, Strings And Timpani In G Minor; Concert Champetre For Harpsichord And Orchestra". In this album, this song's track order is #6. Furthermore, we believe that the track originated from Germany. Based on our statistics, Gloria: VI. Qui sedes ad dexteram Patris's popularity is unknown right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Gloria: VI. Qui sedes ad dexteram Patris by Francis Poulenc, Kathleen Battle, Boston Symphony Orchestra, Seiji Ozawa, Tanglewood Festival Chorus, John Oliver having a BPM of 140 with a half-time of 70 BPM and a double-time of 280 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 jogging or cycling. The time signature for this track is 4/4.
G Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Piano Concerto No. 1 in C Major, Op. 11, J. 98: II. Adagio | Carl Maria von Weber, Benjamin Frith, RTE Sinfonietta, Proinnsias O'Duinn | A♭ Major | 0 | 4B | 95 BPM | ||
3 Romances, Op. 22: No. 1, Andante molto (Arr. Knoth for Cello and Piano) | Clara Schumann, Sophie Kauer, Kunal Lahiry | D♭ Major | 0 | 3B | 68 BPM | ||
Elégie in C Minor, Op. 24 (Arr. Parkin) | Gabriel Fauré, Sheku Kanneh-Mason, Rowena Calvert, Ashok Klouda, Nicholas Trygstad, Caroline Dearnley, Desmond Neysmith, Josephine Knight, Hannah Roberts, Chris Murray, Robert Max | A♭ Major | 0 | 4B | 88 BPM | ||
Bach, JS : Well-Tempered Clavier Book 2 : Prelude No.3 in C sharp major BWV872 | Daniel Barenboim | D♭ Major | 0 | 3B | 133 BPM | ||
5 Pieces, Op. 75, "The Trees": No. 4 Bjorken (The Birch) | Jean Sibelius, Håvard Gimse | E♭ Major | 0 | 5B | 64 BPM | ||
Miroirs: IV. Alborada del gracioso | Maurice Ravel, André Laplante | D Major | 1 | 10B | 140 BPM | ||
Suite pastorale: III. Sous-bois | Emmanuel Chabrier, Wiener Philharmoniker, John Eliot Gardiner | G Major | 0 | 9B | 0 BPM | ||
7 Variations on the Air Vien qua, Dorina bella by Bianchi, Op. 7, J. 53: Variation 2 | Carl Maria von Weber, Michael Endres | C Major | 1 | 8B | 95 BPM | ||
2 Pieces, Op. posth., B. 188: No. 1. Lullaby in G Major | Antonín Dvořák, Stefan Veselka | G Major | 0 | 9B | 66 BPM | ||
5 Preludes, Op. 16: IV. Prelude No. 4 in E-Flat Minor: Lento | Alexander Scriabin, Evgeny Zarafiants | A Minor | 0 | 8A | 129 BPM |
Section: 0.8672435283660889
End: 0.870323657989502