Franz Tunder, Mária Zádori, Andrea Csereklyei, Istvan Kovacs, Purcell Choir, Orfeo Orchestra, Gyorgy Vashegyi made "Hosianna dem Sohne David" available on July 15, 2014. With Hosianna dem Sohne David being less than two minutes long, at 1:03, 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 34 in the song's album "Tunder: Sacred Works". In this album, this song's track order is #14. Furthermore, we believe that the track originated from Hungary. Based on our statistics, Hosianna dem Sohne David's popularity is not that popular right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
With Hosianna dem Sohne David by Franz Tunder, Mária Zádori, Andrea Csereklyei, Istvan Kovacs, Purcell Choir, Orfeo Orchestra, Gyorgy Vashegyi having a BPM of 124 with a half-time of 62 BPM and a double-time of 248 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 3/4.
F 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 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Credo in F Major: II. Crucifixus à 8 | Antonio Lotti, Le Palais royal, Jean-Philippe Sarcos | B Minor | 2 | 10A | 101 BPM | ||
Johannes-Passion, BWV 245.1: 30. Aria: Es ist vollbracht | Johann Sebastian Bach, Andreas Reize, Akademie für Alte Musik Berlin, Konrad Führer | A Minor | 2 | 8A | 125 BPM | ||
Byrd: Christe redemptor a 4 | William Byrd, Fretwork | B♭ Major | 0 | 6B | 95 BPM | ||
Stabat Mater in F Minor, RV 621: No. 3., O quam tristis | Antonio Vivaldi, Andreas Scholl, Accademia Bizantina, Alessandro Tampieri | E Minor | 1 | 9A | 99 BPM | ||
Lachrimae or Seven Tears: IV. Lachrimae tristes | John Dowland, Phantasm, Elizabeth Kenny | E Major | 1 | 12B | 112 BPM | ||
Repons: Eram quasi agnus | Emilio de' Cavalieri, Le Poème Harmonique, Vincent Dumestre | E Major | 1 | 12B | 173 BPM | ||
Fantazia I, Z. 732 | Henry Purcell, John Holloway, Monika Baer, Martin Zeller | D♭ Minor | 1 | 12A | 162 BPM | ||
Te Deum, H. 146: VI. Te ergo quæsumus famulis tuis subveni | Marc-Antoine Charpentier, Ensemble les Surprises, Louis-Noël Bestion de Camboulas, Jehanne Amzal | B♭ Major | 4 | 6B | 106 BPM | ||
Jubilate, o amoeni chori, RV 639 - Gloria in D Major, RV 588: VIII. Qui tollis peccata mundi: Adagio | Antonio Vivaldi, Jane Archibald, Nils Brown, Anita Krause, Aradia Chorus, Aradia Ensemble, Kevin Mallon | E Major | 2 | 12B | 80 BPM | ||
Egisto, Atto III Scena 10: Amanti, se credete | Francesco Cavalli, Cappella Mediterranea, Leonardo García-Alarcón, Thomas Dunford, François Joubert-Caillet, Mariana Flores | A Major | 1 | 11B | 109 BPM |
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