"Troisième Leçon du Jeudy: VII. Circum ædificavit (Ghimel)" by Michel Richard Delalande, Sophie Karthäuser, Ensemble Correspondances, Sébastien Daucé was released on March 9, 2015. With Troisième Leçon du Jeudy: VII. Circum ædificavit (Ghimel) being less than two minutes long, at 1:57, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The track order of this song in Michel Richard Delalande, Ensemble Correspondances, Sébastien Daucé, Sophie Karthäuser's "Lalande: Leçons de Ténèbres" album is number 28 out of 44. Troisième Leçon du Jeudy: VII. Circum ædificavit (Ghimel) 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 Troisième Leçon du Jeudy: VII. Circum ædificavit (Ghimel) by Michel Richard Delalande, Sophie Karthäuser, Ensemble Correspondances, Sébastien Daucé to be Adagio (slowly with great expression) because the track has a tempo of 76 BPM, a half-time of 38BPM, and a double-time of 152 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 Major. This also means that this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Gottes Zeit ist die allerbeste Zeit, BWV 106 "Actus tragicus": I. Sonatina | Johann Sebastian Bach, Paul Agnew, Les Arts Florissants | E Major | 1 | 12B | 112 BPM | ||
Te Deum "de Lyon": VIII. Tu ad liberandum suscepturus hominem | Henri Desmarets, Ensemble les Surprises, Louis-Noël Bestion de Camboulas, Jehanne Amzal | B♭ Major | 4 | 6B | 106 BPM | ||
Télémaque & Calypso, Act III Scene 6: Prince, enfin je ne crains plus rien (Calypso, Télémaque) | Andre Cardinal Destouches, Les Ombres, Sylvain Sartre, Margaux Blanchard, Isabelle Druet, Antonin Rondepierre | F Minor | 2 | 4A | 79 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 | ||
Wassermusik Suite, TWV 55:C3 "Hamburger Ebb' und Fluth": X. Canarie. Die lustigen Bots Leute | Georg Philipp Telemann, Robert King, The King's Consort | B Major | 1 | 1B | 110 BPM | ||
Purcell: The Fairy Queen, Z. 629: Overture | Henry Purcell, Amsterdam Baroque Orchestra, Ton Koopman | B Minor | 0 | 10A | 78 BPM | ||
Concert d'Esculape, S. 134: Il est le choix du plus grand des Monarques | Michel Richard Delalande, Aaron Sheehan, Boston Early Music Festival Vocal Ensemble, Boston Early Music Festival Chamber Ensemble, Paul O'Dette, Stephen Stubbs | D♭ Minor | 1 | 12A | 76 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 | ||
Armide, LWV 71, Act I Scene 3: Armide est encore plus aimable (Hidraot, Phénice, Chœur) | Jean-Baptiste Lully, Vincent Dumestre, Le Poème Harmonique, Tomislav Lavoie, Marie Perbost, Chœur de l'Opéra de Dijon | F Major | 1 | 7B | 139 BPM | ||
Confitebor tibi Domine, S. 56: I. Simphonie. Confitebor | Michel Richard Delalande, Simon Berridge, François Piolino, Jean-Paul Fouchécourt, Jérôme Corréas, Jean-claude Saragosse, Les Arts Florissants, William Christie | B♭ Minor | 1 | 3A | 101 BPM |
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