Gerard de Wit, Johanneke de Wit, Harjo Neutkens, Anne-Linde Visser, Dutch Baroque Vocal Consort's 'Psalm 62: 1 “Mijn ziel is immers stil tot God”' came out on 2016. With Psalm 62: 1 “Mijn ziel is immers stil tot God” being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. There are a total of 38 in the song's album "Psalmcomposties voor Koor en Orgel Vol. 3". In this album, this song's track order is #17. Furthermore, we believe that the track originated from Netherlands. The popularity of Psalm 62: 1 “Mijn ziel is immers stil tot God” is currently not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Psalm 62: 1 “Mijn ziel is immers stil tot God” by Gerard de Wit, Johanneke de Wit, Harjo Neutkens, Anne-Linde Visser, Dutch Baroque Vocal Consort having a BPM of 192 with a half-time of 96 BPM and a double-time of 384 BPM, we would consider this track to have a Presto (very, very fast) tempo marking. Because of this, we believe that the song has an overall fast tempo. The time signature for this track is 4/4.
This song is in the music key of F♯ Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 11A. So, the perfect camelot match for 11A would be either 11A or 10B. While, a low energy boost can consist of either 11B or 12A. For moderate energy boost, you would use 8A and a high energy boost can either be 1A or 6A. However, if you are looking for a low energy drop, finding a song with a camelot key of 10A would be a great choice. Where 2A would give you a moderate drop, and 9A or 4A would be a high energy drop. Lastly, 2B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Aus der Tiefen rufe ich, Herr, zu dir, BWV 131: Sinfonia - Aus der Tiefen rufe ich, Herr, zu dir (Chorus) | Johann Sebastian Bach, Maximilian Kiener, Franz Schlecht, Arcis-Vocalisten Munich, L'arpa Festante, Thomas Gropper | E Minor | 2 | 9A | 138 BPM | ||
Krebs: Auf meinen lieben Gott (Formerly Attributed to Bach as BWV 744) | Johann Ludwig Krebs, Ton Koopman | C Minor | 0 | 5A | 72 BPM | ||
Er heißet Wunderbar, Rat, Kraft, Held, FR 408/1: IV. Choral (Tutti) | Johann Friedrich Fasch, Benjamin Schmolck, Berit Norbakken Solset, Marianne Beate Kielland, Anders J. Dahlin, Halvor Festervoll Melien, Alfredo Bernardini, Barokkanerne | F♯ Minor | 1 | 11A | 126 BPM | ||
Handel: Messiah, HWV 56, Pt. 3, Scene 4: Chorus. "Amen" | George Frideric Handel, Amsterdam Baroque Orchestra, Ton Koopman, The Sixteen | D♭ Major | 2 | 3B | 122 BPM | ||
Was für ein jauchzendes Gedränge, TWV 1:1509: No. 9, Ei, meine Perl, du werte Kron | Georg Philipp Telemann, Hanna Herfurtner, Carola Gunther, Mirko Ludwig, Fabian Strotmann, Peter Kooij, Kölner Akademie, Michael Alexander Willens | F♯ Major | 1 | 2B | 66 BPM | ||
Missa Paschalis, ZWV 7: Gloria. Qui tollis | Jan Dismas Zelenka, Inégal Ensemble, Adam Viktora, Gabriela Eibenová, Marian Krejcik, Terry Wey, Cyril Auvity | F♯ Minor | 2 | 11A | 128 BPM | ||
Biber: Requiem a 15 in A Major: VII. Communio | Heinrich Ignaz Franz von Biber, Ton Koopman, Amsterdam Baroque Choir, Amsterdam Baroque Orchestra | B♭ Major | 1 | 6B | 101 BPM | ||
Christus am Ölberge, Op. 85: VII. Recitative. Verkündet, Seraph, mir dein Mund Erbarmen | Ludwig van Beethoven, Orchestre des Champs-Élysées, Philippe Herreweghe, Sebastian Kohlhepp, Eleanor Lyons | C Major | 3 | 8B | 104 BPM | ||
Der Herr verstößet nicht ewiglich, TWV 1:288: VIII. Was Gott tut, das ist wohlgetan | Georg Philipp Telemann, Gutenberg Soloists, Neumeyer Consort, Felix Koch | F♯ Major | 1 | 2B | 95 BPM | ||
Gloria in D major: I. Gloria in excelsis Deo | Antonio Vivaldi, Christelijk koor Jigdaljahu, Willem Arie den Hertog | B♭ Major | 1 | 6B | 129 BPM |
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