Roger Quilter, Kathleen Ferrier, Phyllis Spurr's 'The Fair House Of Joy, Op.12, No.7' came out on January 1, 1992. The duration of The Fair House Of Joy, Op.12, No.7 is about two minutes long, specifically at 2:37. This song does not appear to have any foul language. The Fair House Of Joy, Op.12, No.7's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Kathleen Ferrier, Phyllis Spurr, John Newmark's "Kathleen Ferrier Vol. 8 - Blow the Wind Southerly" album is number 14 out of 21. On top of that, United Kingdom appears to be the country where this track was created. In terms of popularity, The Fair House Of Joy, Op.12, No.7 is currently unknown. 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 The Fair House Of Joy, Op.12, No.7 by Roger Quilter, Kathleen Ferrier, Phyllis Spurr to be Andante (at a walking pace) because the track has a tempo of 101 BPM, a half-time of 50BPM, and a double-time of 202 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song has a musical 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 | ||
---|---|---|---|---|---|---|---|
Variations on a Theme by Haydn, Op. 56a, "St. Anthony Variations": Thema, "Chorale St. Antoni": Andante | Johannes Brahms, London Philharmonic Orchestra, Marin Alsop | F♯ Major | 3 | 2B | 125 BPM | ||
Nocturne | Lili Boulanger, Juliette Hurel, Hélène Couvert | F Major | 0 | 7B | 62 BPM | ||
A Moorside Suite, H. 173: Nocturne | Gustav Holst, Royal Northern Sinfonia, David Lloyd-Jones | B Minor | 0 | 10A | 91 BPM | ||
Bagatelles, Op. 47, B. 79: No. 1. Allegretto scherzando | Antonín Dvořák, Scharoun Ensemble | G Minor | 1 | 6A | 94 BPM | ||
Fauré: Requiem, Op. 48: II. Offertoire | Gabriel Fauré, Matthias Goerne, Choeur de l'Orchestre de Paris, Orchestre de Paris, Paavo Järvi | D Major | 0 | 10B | 83 BPM | ||
Beau soir, L. 6 | Claude Debussy, Gérard Souzay, Dalton Baldwin | F♯ Minor | 0 | 11A | 77 BPM | ||
7 Elizabethan Lyrics, Op. 12: No. 4, The Faithless Shepherdess | Roger Quilter, BBC Concert Orchestra, Roderick Williams, John Andrews | F Major | 1 | 7B | 86 BPM | ||
Love's Labour's Lost, Op. 28a: II. Longaville's Sonnet | Gerald Finzi, Robert Plane, Royal Northern Sinfonia, Howard Griffiths | D Minor | 0 | 7A | 94 BPM | ||
Overture to "A Midsummer Night's Dream", Op. 21: Allegro di molto | Felix Mendelssohn, London Symphony Orchestra, John Eliot Gardiner | E Major | 1 | 12B | 137 BPM | ||
Myrthen, Op. 25 - Version for Cello and Piano: XXIV. Du bist wie eine Blume | Robert Schumann, Kian Soltani, Aaron Pilsan | F Major | 0 | 7B | 116 BPM |
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