"Stabat Mater: No. 16, Inflammatus et accensus. Andantino (Canto Solo)" by Alessandro Scarlatti, Gemma Bertagnolli, Concerto Italiano, Rinaldo Alessandrini was released on 2000. With Stabat Mater: No. 16, Inflammatus et accensus. Andantino (Canto Solo) being less than two minutes long, at 1:57, 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 30 in the song's album "Pergolesi and Scarlatti: Stabat Mater". In this album, this song's track order is #28. Stabat Mater: No. 16, Inflammatus et accensus. Andantino (Canto Solo) 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.
With Stabat Mater: No. 16, Inflammatus et accensus. Andantino (Canto Solo) by Alessandro Scarlatti, Gemma Bertagnolli, Concerto Italiano, Rinaldo Alessandrini having a BPM of 86 with a half-time of 43 BPM and a double-time of 172 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
A 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 11B. So, the perfect camelot match for 11B would be either 11B or 12A. While, 12B can give you a low energy boost. For moderate energy boost, you would use 8B and a high energy boost can either be 1B or 6B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 11A or 10B will give you a low energy drop, 2B would be a moderate one, and 9B or 4B would be a high energy drop. Lastly, 8A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Missa pro Defunctis in E-Flat Major, HocJ A1.3: I. Introitus, "Requiem æternam" | Niccolò Jommelli, Miriam Feuersinger, Gaia Petrone, Il Gardellino, Peter Van Heyghen | D Major | 0 | 10B | 77 BPM | ||
Oboe Concerto in C Major, Op. 9, No. 5: II. Adagio (non troppo) | Tomaso Albinoni, Anthony Camden, London Virtuosi, John Georgiadis | A Minor | 1 | 8A | 79 BPM | ||
Sei Concerti in sette parti: No. 3 in F Major: III. Allegro | Alessandro Scarlatti, Concerto de' Cavalieri, Marcello di Lisa | E Major | 4 | 12B | 136 BPM | ||
Miserere in C minor: Misere I | Thomas Hengelbrock | B Minor | 2 | 10A | 94 BPM | ||
Mentre un Zeffiro arguto, H. 421: Recitativo. Vuol Cupido ch’io mora | Alessandro Scarlatti, Valeria La Grotta, Quartetto Vanvitelli | D♭ Major | 3 | 3B | 95 BPM | ||
Mystery (Rosary) Sonata No. 1, "The Annunciation": I. Praeludium | Heinrich Ignaz Franz von Biber, Sirkka-Liisa Kaakinen, Battalia | D♭ Minor | 1 | 12A | 134 BPM | ||
Concerto Grosso in D Minor, Op. 2, No. 5: I. Adagio | Francesco Geminiani, Capella Istropolitana | D Minor | 1 | 7A | 103 BPM | ||
Canzona undecima a due canti "detta la plettenberger" | Girolamo Frescobaldi, Bruno Cocset, Les Basses Réunies | A Minor | 1 | 8A | 72 BPM | ||
Sinfonia Nо. 2 in do maggiore (Il battista): IV. Allegro | Antonio Caldara, Claudio Ferrarini, Accademia Farnese | D Major | 3 | 10B | 123 BPM | ||
Su le sponde del Tebro - Cantata a voce sola con Violini e Tromba: 1. Sinfonia. Grave - Voice | Alessandro Scarlatti, Wynton Marsalis, Kathleen Battle, John Nelson, Orchestra of St. Luke's | D Major | 0 | 10B | 128 BPM |
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