"Four Motets: No. 1, Help Us, O Lord - Voice" by Aaron Copland, Michael Tilson Thomas, Mormon Tabernacle Choir, Utah Symphony Orchestra was released on June 23, 1987. The duration of Four Motets: No. 1, Help Us, O Lord - Voice is about two minutes long, specifically at 2:50. This song does not appear to have any foul language. Four Motets: No. 1, Help Us, O Lord - Voice's duration is considered a little bit shorter than the average duration of a typical track. The song is number 12 out of 15 in Copland: Old American Songs, Canticle of Freedom & 4 Motets by Aaron Copland, Michael Tilson Thomas. Based on our statistics, Four Motets: No. 1, Help Us, O Lord - Voice'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.
The tempo marking of Four Motets: No. 1, Help Us, O Lord - Voice by Aaron Copland, Michael Tilson Thomas, Mormon Tabernacle Choir, Utah Symphony Orchestra is Allegro (fast, quick, and bright), since this song has a tempo of 135 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. The time signature for this track is 1/4.
A Minor is the music key of this track. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carnival of the Animals: IV. Tortoises | Camille Saint-Saëns, Barry Wordsworth, London Symphony Orchestra | C Minor | 0 | 5A | 65 BPM | ||
Serenade for String Orchestra, Op. 11: I. Preludium: Allegro molto | Dag Wirén, Bournemouth Sinfonietta, Richard Studt | C Major | 1 | 8B | 129 BPM | ||
5 Military Marches, Op. 39, "Pomp and Circumstance": No. 1 in D Major | Edward Elgar, New Zealand Symphony Orchestra, James Judd | D Major | 3 | 10B | 127 BPM | ||
Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction: Grave, Adagio cantabile | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 60 BPM | ||
Variations on a theme by Haydn, Op. 56a "St. Anthony Variations": Thema, "Chorale St. Antoni". Andante | Johannes Brahms, Pittsburgh Symphony Orchestra, Marek Janowski | B♭ Major | 0 | 6B | 175 BPM | ||
Idyl for Strings - Adagio | Leoš Janáček, Hanspeter Gmür, Camerata Romana | G Major | 1 | 9B | 105 BPM | ||
Andante Festivo | Jean Sibelius, Gothenburg Symphony Orchestra, Neeme Järvi | G Major | 1 | 9B | 86 BPM | ||
Symphonie fantastique, Op. 14: Marche au supplice (Allegro non troppo) | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | B♭ Major | 2 | 6B | 147 BPM | ||
Prokofiev: Romeo and Juliet, Op. 64, Act 1, Scene 1: Introduction | Sergei Prokofiev, André Previn, London Symphony Orchestra | B Major | 0 | 1B | 105 BPM | ||
Elegy for Solo Viola, String Quartet and String Orchestra, Op. 15: Quasi Lento, teneramente | Herbert Howells, Richard Hickox, City of London Sinfonia, Andrew Watkinson, Edward Roberts, Matthew Souter, Shuna Wilson | C Minor | 0 | 5A | 90 BPM |
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