"Funeral Sentences For Queen Mary: Canzona" by Timothy Brown, Tim Handley, William Carter, Jan Schlapp, Jenny Ward - Clarke, Henry Purcell, Andrew Manze, Choir of Clare College, Cambridge, Liz Kenny, Nicholas Parker, Marshall Marcus, Jonathan Brown was released on December 22, 2006. The duration of Funeral Sentences For Queen Mary: Canzona is about two minutes long, specifically at 2:26. This song does not appear to have any foul language. Funeral Sentences For Queen Mary: Canzona's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Timothy Brown's "Miserere, Lamentations" album is number 11 out of 13. Funeral Sentences For Queen Mary: Canzona 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.
We consider the tempo marking of Funeral Sentences For Queen Mary: Canzona by Timothy Brown, Tim Handley, William Carter, Jan Schlapp, Jenny Ward - Clarke, Henry Purcell, Andrew Manze, Choir of Clare College, Cambridge, Liz Kenny, Nicholas Parker, Marshall Marcus, Jonathan Brown to be Larghetto (rather broadly) because the track has a tempo of 65 BPM, a half-time of 32BPM, and a double-time of 130 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song has a musical key of C Minor. Because this track belongs in the C Minor key, the camelot key is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Petite messe solennelle: Kyrie | Gioachino Rossini, Orchestre de chambre de Paris, Accentus, Ottavio Dantone | C Major | 0 | 8B | 120 BPM | ||
Wachet auf, ruft uns die Stimme, Cantata BWV 140: I. "Wachet auf, ruft uns die Stimme" | Johann Sebastian Bach, Münchener Bach-Orchester, Karl Richter, Münchener Bach-Chor | E♭ Major | 2 | 5B | 64 BPM | ||
Miserere in C Minor Psalm 50, ZWV. 57 | Jan Dismas Zelenka, Il Fondamento, Il Fondamento Choir, Paul Dombrecht | B Minor | 2 | 10A | 64 BPM | ||
Concerto for 2 Horns, Strings and Continuo in D: 4. Allegro assai | Georg Philipp Telemann, Hermann Baumann, Timothy Brown, Academy of St. Martin in the Fields, Iona Brown | D Major | 3 | 10B | 104 BPM | ||
The Well-Tempered Clavier, Book 1, BWV 846-869: Prelude No. 1 in C major, BWV 846 | Luc Beauséjour | B Major | 3 | 1B | 78 BPM | ||
Byrd: O Lord, Give Ear | William Byrd, Choir of Clare College, Cambridge, Timothy Brown | A Major | 3 | 11B | 124 BPM | ||
Pergolesi: Stabat Mater: I. Stabat mater dolorosa | Giovanni Battista Pergolesi, Véronique Gens, Gérard Lesne, Il Seminario Musicale | E♭ Minor | 1 | 2A | 84 BPM | ||
Ecce virgo concipiet | Jan Pieterszoon Sweelinck, Timothy Brown, Choir of Clare College, Cambridge, Cambridge | C Major | 1 | 8B | 117 BPM | ||
Te Deum, H. 146: III. Te aeternum Patrem | Marc-Antoine Charpentier, Véronique Gens, William Christie, Gilles Ragon, Jean-Paul Fouchécourt, Les Arts Florissants, Bernard Deletré | D♭ Major | 3 | 3B | 116 BPM | ||
Monteverdi: L'Orfeo, favola in musica, SV 318, Prologue: Toccata | Claudio Monteverdi, Emmanuelle Haïm, Le Concert d'Astrée | E♭ Major | 3 | 5B | 133 BPM |
Section: 3.8526554107666016
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