"Sequentia O, Jerusalem, aurea civitas" by Hildegard von Bingen, Tiburtina Ensemble, Barbora Kabátková, Hana Blaziková, Margit Übellacker was released on 2015. Since Sequentia O, Jerusalem, aurea civitas 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. This song is part of Von Bingen: Ego sum homo by Hildegard von Bingen, Tiburtina Ensemble, Barbora Kabátková. The song's track number on the album is #1 out of 15 tracks. In terms of popularity, Sequentia O, Jerusalem, aurea civitas is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
Since Sequentia O, Jerusalem, aurea civitas by Hildegard von Bingen, Tiburtina Ensemble, Barbora Kabátková, Hana Blaziková, Margit Übellacker has a tempo of 101 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Sequentia O, Jerusalem, aurea civitas being at 101 BPM, the half-time would be 50 BPM with a double-time of 202 BPM.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 3/4.
This song is in the music key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
In monte Oliveti, IGM 4 | Giovanni Battista Martini, Pro Musica, Szabó Dénes | G Minor | 0 | 6A | 133 BPM | ||
Antiphon: In mandatis eius | Sixt Dietrich, Amarcord | B Minor | 1 | 10A | 75 BPM | ||
All'imperio d'Amore: 5. Ineffabile ardore a 6 "Il rapimento di Cefalo" | Giulio Caccini, Ensemble Pygmalion, Raphael Pichon | B♭ Major | 2 | 6B | 113 BPM | ||
Si du malheur | Orlande de Lassus, Ensemble Clément Janequin, Dominique Visse | E♭ Minor | 0 | 2A | 138 BPM | ||
Ave cujus conceptio | Nicholas Ludford, Blue Heron, Scott Metcalfe | D Major | 2 | 10B | 133 BPM | ||
Viderunt omnes... (2-part organum) | Léonin, Tonus Peregrinus, Antony Pitts | A♭ Major | 1 | 4B | 135 BPM | ||
Garrit Gallus flendo dolorose - In nova fert animus - Neuma (Motette) | Philippe de Vitry, Sequentia | G Major | 1 | 9B | 184 BPM | ||
Burial Sentences: I Am the Resurrection and the Life – I Know That My Redeemer Liveth – We Brought Nothing Into This World – I Heard a Voice from Heaven | Thomas Tomkins, Vox Luminis, Lionel Meunier | D♭ Minor | 1 | 12A | 134 BPM | ||
Miserere mei Deus (psaume L) – à 8, alternatim | Andrés Barea, Paul Van Nevel, Huelgas Ensemble | A♭ Major | 2 | 4B | 83 BPM | ||
To Thee We Sing - S.Rachmaninoff Version | Kiev Chamber Choir | E♭ Major | 1 | 5B | 132 BPM |
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