Tomaso Albinoni, Berlin Chamber Orchestra, Vittorio Negri, Jeffrey Tate made "Concerto a 5 in A, Op. 7, No. 7 for Strings and Continuo: 1. (Allegro)" available on January 1, 1999. The duration of Concerto a 5 in A, Op. 7, No. 7 for Strings and Continuo: 1. (Allegro) is about two minutes long, specifically at 2:19. This song does not appear to have any foul language. Concerto a 5 in A, Op. 7, No. 7 for Strings and Continuo: 1. (Allegro)'s duration is considered a little bit shorter than the average duration of a typical track. The song is number 12 out of 64 in Albinoni: Complete Concertos Op.5 & Op.7 by Tomaso Albinoni, I Musici, Pina Carmirelli, Berlin Chamber Orchestra, Vittorio Negri. Going off of the ISRC code of this track, we detected that the origin of this track is from Netherlands. In terms of popularity, Concerto a 5 in A, Op. 7, No. 7 for Strings and Continuo: 1. (Allegro) is currently not that popular. The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe.
The tempo marking of Concerto a 5 in A, Op. 7, No. 7 for Strings and Continuo: 1. (Allegro) by Tomaso Albinoni, Berlin Chamber Orchestra, Vittorio Negri, Jeffrey Tate is Moderato (at a moderate speed), since this song has a tempo of 110 BPM. With that information, we can conclude that the song has a moderate tempo. The time signature for this track is 4/4.
This song has a musical key of A Major. This also means that this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No. 2 in A Major, Op. 2, "Birthday Ode": II. Vivace | William Boyce, Aradia Ensemble, Kevin Mallon | A♭ Major | 1 | 4B | 187 BPM | ||
Orfeo ed Euridice, Wq. 30 / Act 2: Dance of the Blessed Spirits | Christoph Willibald Gluck, Stuttgart Chamber Orchestra, Karl Münchinger | F Major | 1 | 7B | 67 BPM | ||
Der Fischer und das Milchmädchen: XI. Allegretto ma non troppo | Giacomo Meyerbeer, Czech Philharmonic Chamber Orchestra, Dario Salvi | D Major | 1 | 10B | 77 BPM | ||
Symphony No. 1 in B-Flat Major, Op. 2, "New Year Ode": I. Allegro | William Boyce, Aradia Ensemble, Kevin Mallon | A Major | 1 | 11B | 86 BPM | ||
Schwanengesang, S. 560: Schubert - Schwanengesang, S. 560/R. 245: No. 7, Standchen (Leise flehen meine Lieder) [After F. Schubert] | Franz Liszt, Oxana Yablonskaya | D Major | 0 | 10B | 66 BPM | ||
Chopin: Berceuse in D-Flat Major, Op. 57 | Frédéric Chopin, Dong Hyek Lim | D♭ Major | 0 | 3B | 67 BPM | ||
Chiome d'oro, SV 143 | Claudio Monteverdi, Sonia Wieder-Atherton | C Major | 1 | 8B | 119 BPM | ||
Concerto for Two Oboes in D Major, Op. 7 No. 8: I. Allegro | Tomaso Albinoni, Collegium Musicum 90, Simon Standage, Anthony Robson, Catherine Latham | D♭ Major | 3 | 3B | 106 BPM | ||
Antiche danze ed arie per liuto, Suite No. 3, P. 172: I. Italiana. Andantino | Ottorino Respighi, Orchestra Filarmonica Della Scala, Riccardo Chailly | B♭ Major | 1 | 6B | 172 BPM | ||
Pièces de Clavecin, Livre II, 6e ordre: V. Les Baricades Mistérieuses | François Couperin, Alexandre Tharaud | B♭ Major | 1 | 6B | 111 BPM |
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