George Frideric Handel, Carolyn Sampson, Akademie für Alte Musik Berlin, Justin Doyle's ' "Laudate pueri, HWV 237: IV. Excelsus super omnes" was released on its scheduled release date, March 29, 2024. The duration of This song is about two minutes long, specifically at 2:16. This song does not appear to have any foul language. Laudate pueri, HWV 237: IV. Excelsus super omnes's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in George Frideric Handel, RIAS Kammerchor, Akademie für Alte Musik Berlin, Justin Doyle's "Handel: Dixit Dominus, Laudate pueri, Nisi Dominus" album is number 19 out of 23. On top of that, France appears to be the country where this track was created. In terms of popularity, Laudate pueri, HWV 237: IV. Excelsus super omnes is currently unknown. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
We consider the tempo marking of Laudate pueri, HWV 237: IV. Excelsus super omnes by George Frideric Handel, Carolyn Sampson, Akademie für Alte Musik Berlin, Justin Doyle to be Andante (at a walking pace) because the track has a tempo of 108 BPM, a half-time of 54BPM, and a double-time of 216 BPM. Based on that, the speed of the song's tempo is moderate. The time signature for this track is 4/4.
This song is in the music key of D♭ Major. This also means that this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Missa pro Defunctis in E-Flat Major, HocJ A1.3: VI. Benedictus, 1. Benedictus qui venit in nomine Domini | Niccolò Jommelli, Gudrun Sidonie Otto, Il Gardellino, Peter Van Heyghen | B Minor | 1 | 10A | 142 BPM | ||
Atys, Acte II, Scène 1: "Qu'un indifférent est heureux" (Atys) | Jean-Baptiste Lully, Jean-François Gardeil, Guy De Mey, Les Arts Florissants, William Christie | D♭ Minor | 1 | 12A | 115 BPM | ||
Herz und Mund und Tat und Leben, BWV 147: Aria: Bereite dir, Jesu, noch itzo die Bahn (Soprano) | Johann Sebastian Bach, Judith Spiesser, Annekathrin Laabs, Robert Sellier, Timo Janzen, Arcis-Vocalisten Munich, Arpa Festante Baroque Orchestra, L', Thomas Gropper | F♯ Major | 2 | 2B | 72 BPM | ||
Libera me in C Minor, HocJ E.2: VI. Dies illa, dies irae | Niccolò Jommelli, Gaia Petrone, Il Gardellino, Peter Van Heyghen | B Minor | 1 | 10A | 136 BPM | ||
Qual mormorio giocondo: Recitative: Cosi dell'alma mia | Alessandro Melani, Ruth Ziesak, Reinhold Friedrich, Karoly Botvay | F♯ Major | 1 | 2B | 78 BPM | ||
Te deum, LWV 55: XIII. Dignare Domine die isto | Jean-Baptiste Lully, Stephane Fuget, Les Épopées, Les Pages & Les Chantres du Centre de Musique Baroque de Versailles | B♭ Major | 6 | 6B | 94 BPM | ||
Ho vinto, Amor | Tommaso Carapella, Cappella Mediterranea, Leonardo García-Alarcón, Ana Vieira Leite | B♭ Minor | 0 | 3A | 110 BPM | ||
Masque of Neptune and Amphitrite: "Great Nephew Aeolus" | Pelham Humfrey, Nicky Kennedy, Rachel Elliott, Roderick Williams, Andrew King, Paul Agnew, Musicians Of The Globe, Philip Pickett | A Major | 1 | 11B | 100 BPM | ||
Bleib bei uns, denn es will Abend werden, BWV 6: Chorale. Ach bleib bei uns, Herr Jesu Christ (Soprano) | Johann Sebastian Bach, Yukari Nonoshita, Robin Blaze, James Gilchrist, Dominik Worner, Bach Collegium Japan Chorus, Bach Collegium Japan, Masaaki Suzuki | F♯ Minor | 0 | 11A | 102 BPM | ||
Ode for St. Cecilia's Day, HWV 76: March | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | A♭ Minor | 0 | 1A | 96 BPM |