Eric Schmidt, Jonathan Rosenberg's 'Kapitel 24.3 & Kapitel 25 & Kapitel 26.1 - Wie Google tickt - How Google Works' came out on January 8, 2015. With this song being around four minutes long, at 3:36, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. This song is part of Wie Google tickt - How Google Works by Eric Schmidt, Jonathan Rosenberg. The song's track number on the album is #33 out of 137 tracks. Based on our statistics, Kapitel 24.3 & Kapitel 25 & Kapitel 26.1 - Wie Google tickt - How Google Works's popularity is unknown right now. Although the overall vibe is very danceable, it does project more negative sounds.
Since Kapitel 24.3 & Kapitel 25 & Kapitel 26.1 - Wie Google tickt - How Google Works by Eric Schmidt, Jonathan Rosenberg has a tempo of 126 beats per a minute, the tempo markings of this song would be Allegro (fast, quick, and bright). With Kapitel 24.3 & Kapitel 25 & Kapitel 26.1 - Wie Google tickt - How Google Works being at 126 BPM, the half-time would be 63 BPM with a double-time of 252 BPM.In addition, we consider the tempo speed to be pretty fast for this song. This makes this song perfect for activities such as, walking. The time signature for this track is 1/4.
A Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Cantata HWV 170 Lascia Ch'io Pianga - Rinaldo | George Frideric Handel, Maria Bayo, Capriccio Stravagante, Skip Sempé | E Major | 1 | 12B | 178 BPM | ||
Te Deum in C Major, WAB 45: 4. Salvum fac | Anton Bruckner, Magdaléna Hajóssyová, Rosemarie Lang, Peter-Jurgen Schmidt, Hermann Christian Polster, Rundfunkchor Berlin, Rundfunk Sinfonieorchester Berlin, Heinz Rögner | F Minor | 0 | 4A | 68 BPM | ||
Concert: V. Allegro final | Eric Schmidt, Geneva Brass Quintet, Vincent Thévenaz | A Minor | 1 | 8A | 93 BPM | ||
Samuel Coleridge-Taylor: Hiawatha’s Wedding Feast: Then the handsome Pau-Puk-Keewis | Samuel Coleridge-Taylor, Philharmonia Orchestra, Royal Choral Society, Richard Lewis, Sir Malcolm Sargent | C Minor | 2 | 5A | 65 BPM | ||
Requiem, Op. 9: V. Pie Jesu | Maurice Duruflé, Yves Castagnet, Anaïs Bertrand, Anaïs Moreau, Henri Chalet | D Major | 0 | 10B | 67 BPM | ||
Messe solennelle de Sainte Cecile: Kyrie | Charles Gounod, Angela Maria Blasi, Christian Elsner, Dietrich Henschel, Munich Motet Choir, Munich Philharmonic Orchestra, Hans Rudolf Zöbeley | G Major | 1 | 9B | 66 BPM | ||
Requiem, Op. 9: II. Kyrie | Maurice Duruflé, Robert Shaw, Atlanta Symphony Orchestra | F Major | 2 | 7B | 70 BPM | ||
Versicle/Response: Deus in adjutorium/Domine in adiuvandum | Claudio Monteverdi, Choir Of The Enlightenment, Eamonn Dougan, Robert Howarth, Orchestra of the Age of Enlightenment | E♭ Major | 1 | 5B | 82 BPM | ||
Magnificat in C | Charles Villiers Stanford, The King's Consort, Robert King | E♭ Minor | 2 | 2A | 121 BPM | ||
Peer Gynt, Op. 23, Act V Scene 10: Pinsesalme: Velsignede morgen (Whitsun Hymn: Oh Blessed Morning) | Edvard Grieg, Svein Sturla Hungnes, Marita Sølberg, Kari Simonsen, Andrea Bræin Hovig, Bjorn Willberg Andersen, Ståle Bjørnhaug, Håkan Hagegård, Ingebjorg Kosmo, Kari Postma, Hilde Haraldsen Sveen, Ilkka Leppänen, Torbjorn Gulbrandsoy, Bergen Philharmonic Orchestra, Ole Kristian Ruud | E Minor | 0 | 9A | 68 BPM |
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