Carl Orff, Edita Gruberova, Berliner Philharmoniker, Seiji Ozawa made "Carmina Burana / 3. Cour d'amours: XXI. In trutina" available on January 1, 1989. The duration of Carmina Burana / 3. Cour d'amours: XXI. In trutina is about two minutes long, specifically at 2:00. This song does not appear to have any foul language. Carmina Burana / 3. Cour d'amours: XXI. In trutina's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 25 in the song's album "Orff: Carmina Burana". In this album, this song's track order is #21. Furthermore, we believe that the track originated from Netherlands. Carmina Burana / 3. Cour d'amours: XXI. In trutina is unknown right now. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
With Carmina Burana / 3. Cour d'amours: XXI. In trutina by Carl Orff, Edita Gruberova, Berliner Philharmoniker, Seiji Ozawa having a BPM of 79 with a half-time of 40 BPM and a double-time of 158 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. The time signature for this track is 3/4.
D Minor is the music key of this track. Which also means that the camelot key for this song is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carmina Burana / III. Cour d'amours: "Tempus est iocundum" | Carl Orff, Gundula Janowitz, Dietrich Fischer-Dieskau, Schöneberger Sängerknaben, Orchester der Deutschen Oper Berlin, Eugen Jochum | F♯ Major | 7 | 2B | 138 BPM | ||
Mozart: Requiem in D Minor, K. 626: III. Dies irae | Nikolaus Harnoncourt, Vienna State Opera Chorus | G Minor | 4 | 6A | 77 BPM | ||
Vivaldi: The Four Seasons, Violin Concerto in G Minor, Op. 8 No. 2, RV 315 "Summer": III. Presto | Antonio Vivaldi, Nigel Kennedy, English Chamber Orchestra | G Minor | 6 | 6A | 149 BPM | ||
Symphonie fantastique, Op. 14: Marche au supplice (Allegro non troppo) | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | B♭ Major | 2 | 6B | 147 BPM | ||
Also sprach Zarathustra, Op. 30, TrV 176: 1. Einleitung (Sonnenaufgang) - Live | Richard Strauss, Lucerne Festival Orchestra, Riccardo Chailly | C Major | 2 | 8B | 145 BPM | ||
Gayane Suite No. 2: VI. Sabre Dance | Aram Khachaturian, St. Petersburg State Symphony Orchestra, Andre Anichanov | E♭ Major | 8 | 5B | 91 BPM | ||
Le grand cahier: X. L'incendie | Alexander Litvinovsky, Metamorphose String Orchestra, Pavel Lyubomudrov | B Major | 3 | 1B | 122 BPM | ||
Masquerade Suite: I. Waltz | Aram Khachaturian, Kirill Kondrashin, RCA Victor Symphony Orchestra | C Major | 3 | 8B | 181 BPM | ||
Gounod: Faust, CG 4, Act 2 Scene 5: Waltz | Charles Gounod, Willi Boskovsky/Wiener Symphoniker, Willi Boskovsky, Wiener Philharmoniker, Wiener Symphoniker | D Major | 2 | 10B | 92 BPM | ||
Keyboard Suite in D Minor, HWV 437: III. Sarabande (Arr. for Chamber Orchestra) | George Frideric Handel, Raymond Leppard, English Chamber Orchestra | D Minor | 0 | 7A | 170 BPM |
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