"Come Again, Sweet Love Doth Now Invite" by Hugues Cuénod, Joel Cohen was released on February 1, 2016. The duration of Come Again, Sweet Love Doth Now Invite is about two minutes long, specifically at 2:50. This song does not appear to have any foul language. Come Again, Sweet Love Doth Now Invite's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 22 in the song's album "Songs and Dances of John Dowland". In this album, this song's track order is #15. In terms of popularity, Come Again, Sweet Love Doth Now Invite is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Come Again, Sweet Love Doth Now Invite by Hugues Cuénod, Joel Cohen having a BPM of 93 with a half-time of 46 BPM and a double-time of 186 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of G Major. 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 | ||
---|---|---|---|---|---|---|---|
Jubilate, o amoeni chori, RV 639 - Gloria in D Major, RV 588: VIII. Qui tollis peccata mundi: Adagio | Antonio Vivaldi, Jane Archibald, Nils Brown, Anita Krause, Aradia Chorus, Aradia Ensemble, Kevin Mallon | E Major | 2 | 12B | 80 BPM | ||
Cinq Poèmes de Baudelaire, L. 70: Harmonie du Soir | Claude Debussy, Hugues Cuénod | D♭ Minor | 1 | 12A | 114 BPM | ||
Te Deum "de Lyon": III. Te gloriosus apostolorum chorus | Henri Desmarets, Ensemble les Surprises, Louis-Noël Bestion de Camboulas, Eugénie Lefebvre | B♭ Major | 4 | 6B | 106 BPM | ||
Actéon, H. 481, Scene I: Allons, marchons, courons | Marc-Antoine Charpentier, Les Arts Florissants, William Christie | D♭ Major | 4 | 3B | 152 BPM | ||
Messa da Requiem for Soloists, Chorus and Orchestra: I. Requiem & Kyrie | Giuseppe Verdi, Leonard Bernstein, London Symphony Orchestra | A Major | 1 | 11B | 83 BPM | ||
6 Ariette: No. 5, Per pietà, bell'idol mio | Vincenzo Bellini, Jessica Pratt, Vincenzo Scalera | C Minor | 1 | 5A | 122 BPM | ||
Missa Divi Xaverii, ZWV 12: Christe eleison | Jan Dismas Zelenka, Hana Blaziková, Collegium 1704, Vaclav Luks | F♯ Minor | 3 | 11A | 171 BPM | ||
Elias, Op. 70: Part I: Der Du deine Diener machst zu Geistern (No. 16 Rec., Chorus) | Felix Mendelssohn, Karl-Friedrich Beringer | D Major | 3 | 10B | 100 BPM | ||
Handel: Giulio Cesare in Egitto, HWV 17, Act 3: Recitativo. "E pur così in un giorno" - Aria. "Piangerò la sorte mia" (Cleopatra) | George Frideric Handel, Kathleen Battle, Sir Neville Marriner, Academy of St. Martin in the Fields | B♭ Major | 0 | 6B | 134 BPM | ||
Missa pro Defunctis in E-Flat Major, HocJ A1.3: III. Sequentia, 3. Oro supplex et acclinis | Niccolò Jommelli, Miriam Feuersinger, Il Gardellino, Gaia Petrone, Valerio Contaldo, Wolf Matthias Friedrich, Peter Van Heyghen | B Minor | 1 | 10A | 139 BPM |
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