Tomaso Albinoni, Claudio Ferrarini, Accademia Farnese's '6 Balletti e 6 Sonate a tre, Op. 8, Vol. II: Sonata no. 5 in fa maggiore: I. Grave, adagio' came out on May 5, 2020. The duration of 6 Balletti e 6 Sonate a tre, Op. 8, Vol. II: Sonata no. 5 in fa maggiore: I. Grave, adagio is about two minutes long, specifically at 2:31. This song does not appear to have any foul language. 6 Balletti e 6 Sonate a tre, Op. 8, Vol. II: Sonata no. 5 in fa maggiore: I. Grave, adagio's duration is considered a little bit shorter than the average duration of a typical track. The song is number 11 out of 32 in Albinoni: Sonate & Trio Sonate, Op. 8 Volume secondo by Tomaso Albinoni, Claudio Ferrarini, Accademia Farnese. Going off of the ISRC code of this track, we detected that the origin of this track is from Italy. 6 Balletti e 6 Sonate a tre, Op. 8, Vol. II: Sonata no. 5 in fa maggiore: I. Grave, adagio 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 6 Balletti e 6 Sonate a tre, Op. 8, Vol. II: Sonata no. 5 in fa maggiore: I. Grave, adagio by Tomaso Albinoni, Claudio Ferrarini, Accademia Farnese is Adagio (slowly with great expression), since this song has a tempo of 68 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song has a musical key of F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Intermedes de Xerxes: Bourre pour les Basques | Jean-Baptiste Lully, Mary Enid Haines, Sharla Nafziger, Aradia Ensemble, Kevin Mallon | F♯ Major | 1 | 2B | 140 BPM | ||
Concerto a cinque No. 2, Op. 9: III. Allegro | Tomaso Albinoni, Paul Dombrecht, Il Fondamento | D♭ Minor | 4 | 12A | 116 BPM | ||
Ständchen in D Minor (After Schubert), S. 560 | Franz Liszt, Lise de la Salle | D Major | 0 | 10B | 76 BPM | ||
Arpeggione Sonata, D. 821: II. Adagio | Franz Schubert, Anne Gastinel, Claire Désert | E Major | 0 | 12B | 73 BPM | ||
Grande Messe des Morts: II. Introitus: Requiem aeternam - Grave | Francois-Joseph Gossec, Roberta Invernizzi, Maite Arruabarrena, Howard Crook, Claude Darbellay, Radio Svizzera Choir, Lugano, Radio Svizzera Italiana Orchestra, Diego Fasolis | C Minor | 1 | 5A | 74 BPM | ||
Concerto for Flute and Harp in C Major, K. 299: II. Andantino | Wolfgang Amadeus Mozart, Jiří Válek, Hana Mullerova, Capella Istropolitana, Richard Edlinger | F Major | 1 | 7B | 111 BPM | ||
Symphony No.5 in D Major: 1. Allegro ma non troppo - Allegro assai | William Boyce, Academy of Ancient Music, Christopher Hogwood | D♭ Major | 2 | 3B | 131 BPM | ||
Ode for St. Cecilia's Day, HWV 76: Air: What passion cannot Music raise | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | A♭ Minor | 0 | 1A | 96 BPM | ||
Nocturne in E-Flat Major | Mikhail Glinka, Xavier De Maistre | E♭ Major | 0 | 5B | 81 BPM | ||
Rinaldo, HWV 7: Lascia ch'io pianga (Arr. for Piano) | George Frideric Handel, Martin Stadtfeld | F Major | 0 | 7B | 68 BPM |
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