Giovanni Battista Bassani, Daniela del Monaco, Philippe Jaroussky, La Fenice, Jean Tubéry, Jean-claude Saragosse, François Piolino, Emanuela Galli's 'La Morte delusa: Sempre Di Morte E Dell'inferno Ad Onta' came out on 2002. With La Morte delusa: Sempre Di Morte E Dell'inferno Ad Onta being less than two minutes long, at 1:28, 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. The song is number 15 out of 26 in Bassani: La Morte delusa by Giovanni Battista Bassani, Jean Tubéry. Going off of the ISRC code of this track, we detected that the origin of this track is from France. In terms of popularity, La Morte delusa: Sempre Di Morte E Dell'inferno Ad Onta is currently unknown. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of La Morte delusa: Sempre Di Morte E Dell'inferno Ad Onta by Giovanni Battista Bassani, Daniela del Monaco, Philippe Jaroussky, La Fenice, Jean Tubéry, Jean-claude Saragosse, François Piolino, Emanuela Galli is Andante (at a walking pace), since this song has a tempo of 94 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of B♭ Minor. Because this track belongs in the B♭ Minor key, the camelot key is 3A. So, the perfect camelot match for 3A would be either 3A or 2B. While, a low energy boost can consist of either 3B or 4A. For moderate energy boost, you would use 12A and a high energy boost can either be 5A or 10A. However, if you are looking for a low energy drop, finding a song with a camelot key of 2A would be a great choice. Where 6A would give you a moderate drop, and 1A or 8A would be a high energy drop. Lastly, 6B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Te Deum: III. Te per orbem terrarum | Giovanni Bononcini, Owen Rees, Academy of Ancient Music, Helen Charlston | B Minor | 2 | 10A | 71 BPM | ||
Biber: Sonata a 7 | Heinrich Ignaz Franz von Biber, Amsterdam Baroque Orchestra, Ton Koopman | D♭ Major | 1 | 3B | 79 BPM | ||
Te deum, LWV 55: IV. Patrem immensae majestatis | Jean-Baptiste Lully, Stephane Fuget, Les Épopées, Les Pages & Les Chantres du Centre de Musique Baroque de Versailles | B♭ Major | 6 | 6B | 94 BPM | ||
Violin Sonata No. 6 in C Minor, C. 143: I. — | Heinrich Ignaz Franz von Biber, Ars Antiqua Austria, Gunar Letzbor | B Minor | 1 | 10A | 85 BPM | ||
Concerts royaux, Concerto No. 2 in D Major: I. Prélude | François Couperin, Emanuel Abbühl, David Tomàs, Carla Sanfelix, Miklós Spányi, Benoît Fallai | F Minor | 0 | 4A | 101 BPM | ||
Messa Della Domenica: Recercar dopo il Credo | Girolamo Frescobaldi, Federico del Sordo, Schola Gregoriana Gregoriani Urbis Cantores, Alberto Turco | F♯ Major | 1 | 2B | 86 BPM | ||
Sonata No. 10 in F Major, “L’ affetuosa”: I. Allegro affettuoso | Giuseppe Sammartini, Claudio Ferrarini, Accademia Farnese | C Major | 4 | 8B | 213 BPM | ||
Neubrandenburg Concerto No. 1: II. Aria (Transcr. By Harer, after Bach's Aria variata alla maniera italiana BWV 989) | Johann Sebastian Bach, Christoph Harer, La Festa Musicale | F♯ Minor | 0 | 11A | 89 BPM | ||
Requiem "Misa": XIV. Comunion. Lux aeterna | José de Nebra, Coro Victoria, Schola Antiqua, La Madrileña, José Antonio Montaño | F♯ Major | 2 | 2B | 71 BPM | ||
Trios Pour Le Coucher Du Roi - Symphony | İzmir Barok | D♭ Minor | 4 | 12A | 121 BPM |
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