"Maud: III. She Came to the Village Church" by Arthur Somervell, David Owen Norris, David Wilson-Johnson was released on 1986. With Maud: III. She Came to the Village Church being less than two minutes long, at 1:27, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 23 in the song's album "Somervell: Maud & A Shropshire Lad". In this album, this song's track order is #3. Furthermore, we believe that the track originated from United Kingdom. Maud: III. She Came to the Village Church 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.
With Maud: III. She Came to the Village Church by Arthur Somervell, David Owen Norris, David Wilson-Johnson having a BPM of 80 with a half-time of 40 BPM and a double-time of 160 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 1/4.
G 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 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
4 Lieder, Op. 2: No. 1, Erwartung | Arnold Schoenberg, Claire Booth, Christopher Glynn | D Major | 0 | 10B | 66 BPM | ||
Fauré: Requiem, Op. 48: V. Agnus Dei | Gabriel Fauré, Choir of King's College, Cambridge, Sir David Willcocks, New Philharmonia Orchestra | G Major | 3 | 9B | 100 BPM | ||
Requiem aeternam: Recordare | Franz von Suppé, Marie Fajtová, Franziska Gottwald, Tomislav Musek, Albert Pesendorfer, Munich Philharmonic Chorus, Philharmonie Festiva, Gerd Schaller | D Minor | 1 | 7A | 121 BPM | ||
The Music Makers, Op. 69: III. With wonderful deathless ditties | Edward Elgar, Sarah Connolly, Greg Beardsell, Bournemouth Symphony Chorus, Bournemouth Symphony Orchestra, Simon Wright | G Major | 2 | 9B | 85 BPM | ||
Mass for unaccompanied double choir: V. Agnus Dei | Frank Martin, RIAS Kammerchor, Daniel Reuss | E Minor | 0 | 9A | 84 BPM | ||
25 Scottish Songs, Op. 108: No. 20, Faithfu' Johnie | Ludwig van Beethoven, Gerald Finley, Nicola Benedetti, Sheku Kanneh-Mason, Benjamin Grosvenor | E♭ Major | 1 | 5B | 99 BPM | ||
Bernstein - I hate music!: I hate music! | Leonard Bernstein, Barbara Bonney, Malcolm Martineau | E Minor | 1 | 9A | 77 BPM | ||
Maud: No. 9, Come Into the Garden, Maud | Arthur Somervell, Roderick Williams, Susie Allan | G Major | 1 | 9B | 92 BPM | ||
Elijah, Op. 70, MWV A25 / Part 1: "Ye people, rend your hearts" - "If with all your hearts" | Felix Mendelssohn, Anthony Rolfe Johnson, Academy of St. Martin in the Fields, Sir Neville Marriner | E♭ Major | 1 | 5B | 118 BPM | ||
Requiem, Op. 9: Domine Jesu Christe | Maurice Duruflé, Okka von der Damerau, Ljubomir Puškarić, Uladzimir Sinkevich, Bavarian Radio Chorus, Munich Radio Orchestra, Max Hanft, Ivan Repušić | G Minor | 2 | 6A | 176 BPM |
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