"April is in my mistress' face" by Thomas Morley, Trinity Baroque, Julian Podger was released on June 8, 2010. With April is in my mistress' face being less than two minutes long, at 1:13, 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. There are a total of 28 in the song's album "Tudor Age Music". In this album, this song's track order is #11. Furthermore, we believe that the track originated from United Kingdom. Based on our statistics, April is in my mistress' face's popularity is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With April is in my mistress' face by Thomas Morley, Trinity Baroque, Julian Podger having a BPM of 134 with a half-time of 67 BPM and a double-time of 268 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
This song has a musical key of F Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Nolo mortem peccatoris | Thomas Morley, Choir of Merton College, Oxford, Peter Phillips | C Minor | 2 | 5A | 84 BPM | ||
Douce Dame | Guillaume de Machaut, Trinity Baroque, Fprbury Consort, The Holbein Consort, Martin Pope, Alan Crumpler, Julian Podger | C Major | 0 | 8B | 114 BPM | ||
Les Chansons Des Roses: V. Dirait-On (Morten Lauridsen, piano) | The Singers - Minnesota Choral Artists | D♭ Major | 0 | 3B | 75 BPM | ||
Miserere mei, Z. 109 | Henry Purcell, Westminster Kantorei, Thomas Fields, Kerry Heimann, Amanda Quist | A Minor | 1 | 8A | 66 BPM | ||
Ecce vicit Leo | Peter Philips, The Monteverdi Choir, John Eliot Gardiner | B♭ Major | 2 | 6B | 118 BPM | ||
Aimè, ch'io moro: Aime, ch'io moro | Marchetto Cara, Tessa Bonner, James Gilchrist, Julian Podger, Jonathan Arnold | D Major | 1 | 10B | 93 BPM | ||
O Taste and See | Ralph Vaughan Williams | A Major | 1 | 11B | 133 BPM | ||
Sacred Concerto No. 15, "Priidite, vospoim lyudiye" (Come, let us praise in song, O people): II. Adagio | Dmitry Bortniansky, Ensemble Cherubim, Marika Kuzma | E♭ Minor | 0 | 2A | 94 BPM | ||
God is Gone Up | Gerald Finzi, Choir of St. John's College, Cambridge, Andrew Nethsingha | E Major | 2 | 12B | 82 BPM | ||
Les Chansons Des Roses: I. En Une Seule Fleur | The Singers - Minnesota Choral Artists | D♭ Major | 1 | 3B | 131 BPM |
Section: 0.6090433597564697
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