Antonio Brunelli, Furio Zanazi, La Chimera made "Non Havea Febo Ancora, Scherzi Arie Canzonette - Madrigali a una, due, e tre voci..." available on May 11, 2009. The duration of Non Havea Febo Ancora, Scherzi Arie Canzonette - Madrigali a una, due, e tre voci... is about two minutes long, specifically at 2:28. This song does not appear to have any foul language. Non Havea Febo Ancora, Scherzi Arie Canzonette - Madrigali a una, due, e tre voci...'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Eduardo Eguez, La Chimera, Furio Zanasi's "La Voce Di Orfeo" album is number 24 out of 24. Based on our statistics, Non Havea Febo Ancora, Scherzi Arie Canzonette - Madrigali a una, due, e tre voci...'s popularity is unknown right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
We consider the tempo marking of Non Havea Febo Ancora, Scherzi Arie Canzonette - Madrigali a una, due, e tre voci... by Antonio Brunelli, Furio Zanazi, La Chimera to be Allegro (fast, quick, and bright) because the track has a tempo of 127 BPM, a half-time of 64BPM, and a double-time of 254 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
G Major is the music key of this track. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Violin Sonata in G Minor, Op. 5 No. 5 (Transcr. for Viola da Gamba and Continuo by Teodoro Baù): IV. Vivace | Arcangelo Corelli, Teodoro Baù, Andrea Buccarella | C Major | 6 | 8B | 170 BPM | ||
Sonata No.6 in D Major, Op. 50: I. Largo | Joseph Bodin de Boismortier, Lucile Boulanger, Simon Pierre, Olivier Fortin | B♭ Minor | 3 | 3A | 94 BPM | ||
Nisi Dominus, RV 608: VII. Gloria patri | Antonio Vivaldi, Syste Bulwalda, Netherlands Bach Collegium, Pieter Jan Leusink | D♭ Minor | 0 | 12A | 170 BPM | ||
Trumpet Sonata in D Major: III. Grave | Giuseppe Torelli, Niklas Eklund, Wasa Baroque Ensemble, Edward H. Tarr | A Major | 3 | 11B | 123 BPM | ||
Ojos, pues me desdeñais | José Marin, Cappella Mediterranea, Leonardo García-Alarcón, Mariana Flores | B♭ Minor | 0 | 3A | 110 BPM | ||
Ground in G Minor | John Blow, Rachel Podger, Brecon Baroque | A♭ Minor | 2 | 1A | 112 BPM | ||
Membra Jesu nostri, BuxWV 75: IVb. Ad latus: Salve latus Salvatoris | Dietrich Buxtehude, Roberto Balconi, Daniele Carnovich, Mario Cecchetti, Roberta Invernizzi, Caterina Trogu, Radio Svizzera Choir, Lugano, Sonatori de la Gioiosa Marca, Accademia Instrumentale Italiana, Diego Fasolis | F♯ Minor | 2 | 11A | 100 BPM | ||
Weint nicht um meinem Tod | Johann Bach, Henri Ledroit, Ricercar Consort | D♭ Major | 3 | 3B | 114 BPM | ||
Fantasia: Fantasia | Carl Philipp Emanuel Bach, Marcin Świątkiewicz | F♯ Major | 2 | 2B | 136 BPM | ||
When Saul was king: I. When Saul was king over us | Giovanni Bononcini, Owen Rees, The Choir of The Queen's College Oxford, Academy of Ancient Music | A Major | 1 | 11B | 170 BPM |
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