"Elgar: The Dream of Gerontius, Op. 38, Pt. 2: "But Hark!" - "Low-Born Clods of Brute Earth" (Soul, Angel, Chorus)" by Edward Elgar, Anthony Rolfe Johnson/Catherine Wyn-Rogers/Michael George/Royal Liverpool Philharmonic Choir/Ian Tracey/Huddersfield Choral Society/Royal Liverpool Philharmonic Orchestra/Brian Kay/Vernon Handley/Stephen Disley/Malcolm Stewart, Anthony Rolfe Johnson, Catherine Wyn-Rogers, Huddersfield Choral Society, Royal Liverpool Philharmonic Choir, Stephen Disley, Vernon Handley, Royal Liverpool Philharmonic Orchestra was released on 2002. With Elgar: The Dream of Gerontius, Op. 38, Pt. 2: "But Hark!" - "Low-Born Clods of Brute Earth" (Soul, Angel, Chorus) being less than two minutes long, at 1:33, 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. The song is number 5 out of 31 in Elgar The Dream of Gerontius . Walton Belshazzar's Feast by Vernon Handley, James Loughran. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. Elgar: The Dream of Gerontius, Op. 38, Pt. 2: "But Hark!" - "Low-Born Clods of Brute Earth" (Soul, Angel, Chorus) 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.
The tempo marking of Elgar: The Dream of Gerontius, Op. 38, Pt. 2: "But Hark!" - "Low-Born Clods of Brute Earth" (Soul, Angel, Chorus) by Edward Elgar, Anthony Rolfe Johnson/Catherine Wyn-Rogers/Michael George/Royal Liverpool Philharmonic Choir/Ian Tracey/Huddersfield Choral Society/Royal Liverpool Philharmonic Orchestra/Brian Kay/Vernon Handley/Stephen Disley/Malcolm Stewart, Anthony Rolfe Johnson, Catherine Wyn-Rogers, Huddersfield Choral Society, Royal Liverpool Philharmonic Choir, Stephen Disley, Vernon Handley, Royal Liverpool Philharmonic Orchestra is Andante (at a walking pace), since this song has a tempo of 80 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
A Minor is the music key of this track. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Cello Concerto No.1, Op.107: 1. Allegretto | Dmitri Shostakovich, Heinrich Schiff, Bavarian Radio Symphony Orchestra, Maxim Shostakovich | G Minor | 2 | 6A | 126 BPM | ||
Elegy, Op. 58 | Edward Elgar, English Northern Philharmonia, David Lloyd-Jones | F Minor | 0 | 4A | 84 BPM | ||
Suite in B-Flat Major, HWV 434: IV. Menuet | George Frideric Handel, Khatia Buniatishvili | G Minor | 0 | 6A | 59 BPM | ||
An English Suite: VI. Air | Hubert Parry, London Symphony Orchestra, Sir Adrian Boult | G Major | 0 | 9B | 91 BPM | ||
5 Military Marches, Op. 39, "Pomp and Circumstance": No. 5 in C Major | Edward Elgar, New Zealand Symphony Orchestra, James Judd | C Major | 2 | 8B | 102 BPM | ||
Bruch: Violin Concerto No. 1 in G Minor, Op. 26: I. Prelude. Allegro moderato | Max Bruch, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | E♭ Major | 1 | 5B | 113 BPM | ||
English Folk Song Suite: 1. March: Seventeen come Sunday | Ralph Vaughan Williams, Academy of St. Martin in the Fields, Sir Neville Marriner | F Minor | 2 | 4A | 121 BPM | ||
Symphony No. 6 in B Minor, Op. 74 "Pathétique": II. Allegro con grazia | Pyotr Ilyich Tchaikovsky, Teodor Currentzis, musicAeterna | D Major | 2 | 10B | 66 BPM | ||
Songs My Mother Taught Me (from "Gypsy Songs", Op. 55, No. 4) | Antonín Dvořák, Yo-Yo Ma, Kathryn Stott | B Minor | 0 | 10A | 92 BPM | ||
Scottish Fantasy for Violin and Orchestra, Op. 46: I. Introduction: Grave, Adagio cantabile | Max Bruch, Joshua Bell, Academy of St. Martin in the Fields | E♭ Major | 2 | 5B | 60 BPM |
Section: 0.803645133972168
End: 0.8069713115692139