"Requiem in D Minor, K. 626: IIIf. Sequenz. Lacrimosa" by Wolfgang Amadeus Mozart, Robert Shaw, Atlanta Symphony Orchestra was released on 1986. The duration of Requiem in D Minor, K. 626: IIIf. Sequenz. Lacrimosa is about 3 minutes long, at 3:25. Based on our data, "Requiem in D Minor, K. 626: IIIf. Sequenz. Lacrimosa" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The track order of this song in Wolfgang Amadeus Mozart, Robert Shaw, Atlanta Symphony Orchestra, Arleen Auger, Delores Ziegler, Jerry Hadley, Tom Krause's "Mozart: Requiem in D Minor, K. 626" album is number 8 out of 14. On top of that, United States appears to be the country where this track was created. Requiem in D Minor, K. 626: IIIf. Sequenz. Lacrimosa is not that popular 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 Requiem in D Minor, K. 626: IIIf. Sequenz. Lacrimosa by Wolfgang Amadeus Mozart, Robert Shaw, Atlanta Symphony Orchestra to be Andante (at a walking pace) because the track has a tempo of 89 BPM, a half-time of 44BPM, and a double-time of 178 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 4/4.
The music key of this track is D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Symphony No. 5 - Return to Middle Earth: II. Tinúviel - Nachtigall | Johan de Meij, Neuer Kammerchor Heidenheim, Landesblasorchester Baden-Württemberg, Björn Bus, Katarzyna Jagiello | B♭ Minor | 1 | 3A | 171 BPM | ||
When the Whales Came | Christopher Gunning, Rumon Gamba, BBC Philharmonic, Nicole Tibbels | D Minor | 1 | 7A | 81 BPM | ||
Variations on an Original Theme, Op. 36 "Enigma": 9. Nimrod (Adagio) | David Hirschfelder, Kim Wheeler | E♭ Major | 1 | 5B | 86 BPM | ||
Schubert: Ave Maria, Op. 52 No. 6, D. 839 | Franz Schubert, Barbara Bonney, Geoffrey Parsons | B♭ Major | 1 | 6B | 176 BPM | ||
Die Zauberflöte, K.620, Act I: Nun, stolzer Jüngling, nur hierher! (Monostatos, Pamina, Tamino, Chor, Sarastro) | Wolfgang Amadeus Mozart, Roland Bracht/Siegfried Jerusalem/Lucia Popp/Chor des Bayerischen Rundfunks/Symphonieorchester des Bayerischen Rundfunks/Bernard Haitink, Bernard Haitink, Bayerischer Rundfunk, Bavarian Radio Symphony Orchestra | D Minor | 1 | 7A | 131 BPM | ||
Whispers of Friends | Sibille Crawford, Neon Lilith, Sandro Delle Valli, Royal Philarmonic Cunes | D♭ Major | 1 | 3B | 97 BPM | ||
Carmina Burana: O Fortuna | Carl Orff, Eva Jenisova, Vladimir Dolezal, Ivan Kusnjer, Pavol Procházka, Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra, Stephen Gunzenhauser | D Minor | 3 | 7A | 136 BPM | ||
Mr. Knightley Chases After Emma | Isobel Waller-Bridge, David Schweitzer | A Major | 2 | 11B | 84 BPM | ||
Capriccio espagnol, Op. 34: I. Alborada | Nikolai Rimsky-Korsakov, Seattle Symphony Orchestra, Gerard Schwarz | A Major | 3 | 11B | 127 BPM | ||
Le roi s'amuse: Pavane | Léo Delibes, Slovak Philharmonic, Ondrej Lenard | B♭ Major | 0 | 6B | 91 BPM |
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