"Mystery (Rosary) Sonata No. 7, "The Scourging at the Pillar"" by Heinrich Ignaz Franz von Biber, Julia Wedman, Felix Deak, Lucas Harris, Charlotte Nediger was released on March 1, 2011. Since Mystery (Rosary) Sonata No. 7, "The Scourging at the Pillar" is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The song is number 7 out of 16 in Biber: Mystery Sonatas by Heinrich Ignaz Franz von Biber, Julia Wedman. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. Based on our statistics, Mystery (Rosary) Sonata No. 7, "The Scourging at the Pillar"'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.
The tempo marking of Mystery (Rosary) Sonata No. 7, "The Scourging at the Pillar" by Heinrich Ignaz Franz von Biber, Julia Wedman, Felix Deak, Lucas Harris, Charlotte Nediger is Allegro (fast, quick, and bright), since this song has a tempo of 146 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with jogging or cycling. The time signature for this track is 4/4.
This song is in the music 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 | ||
---|---|---|---|---|---|---|---|
Folias echa para mi Señora Doña Tarolilla de Carallenos | Andrea Falconieri, London Baroque | B Major | 3 | 1B | 78 BPM | ||
Viola da Gamba Suite in D Major: III. Vivace | Carl Friedrich Abel, Paolo Pandolfo | D♭ Major | 0 | 3B | 103 BPM | ||
Symphony in D Major, J-C 16: II. Andante sempre piano | Giovanni Battista Sammartini, Aradia Ensemble, Kevin Mallon | B♭ Minor | 1 | 3A | 106 BPM | ||
Organ Concertos, Op. 4, Organ Concerto No. 1 in G Minor, HWV 289: I. Larghetto, e staccato | George Frideric Handel, Richard Egarr, Academy of Ancient Music | F♯ Minor | 0 | 11A | 115 BPM | ||
Simphonia V: Chaconne in D Major | Louis-Nicolas Clérambault, Fabio Bonizzoni, La Risonanza | D♭ Major | 1 | 3B | 121 BPM | ||
Balletto à 3 in G Major, Op. 3 No. 3: I. Preludio. Largo | Tomaso Albinoni, London Baroque | F♯ Major | 2 | 2B | 105 BPM | ||
Violin Sonata in A Major, Op. 5 No. 6: I. Grave | Arcangelo Corelli, Enrico Onofri | G Major | 1 | 9B | 131 BPM | ||
Chacony in G | John Blow, Musica Antiqua Köln, Reinhard Goebel | F♯ Major | 2 | 2B | 120 BPM | ||
Flute Sonata in E Minor: II. Allegro assai | Frederick the Great, Berliner Barock Compagney | E♭ Minor | 0 | 2A | 120 BPM | ||
Violin Sonata in B-Flat Major, T. So 34: IV. Sarabanda | Tomaso Albinoni, Davide Belosio, I Solisti Ambrosiani | A♭ Major | 0 | 4B | 120 BPM |
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