William Christie made "Purcell : King Arthur : Act 1 "The white horse neigh'd aloud" [Bass, Tenor, Chorus]" available on 1995. With Purcell : King Arthur : Act 1 "The white horse neigh'd aloud" [Bass, Tenor, Chorus] being less than two minutes long, at 1:22, 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 41 in the song's album "Purcell : King Arthur". In this album, this song's track order is #4. In terms of popularity, Purcell : King Arthur : Act 1 "The white horse neigh'd aloud" [Bass, Tenor, Chorus] is currently not that popular. The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe.
With Purcell : King Arthur : Act 1 "The white horse neigh'd aloud" [Bass, Tenor, Chorus] by William Christie having a BPM of 97 with a half-time of 48 BPM and a double-time of 194 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. The time signature for this track is 4/4.
The music key of this track is E♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Intermedes de Xerxes: Ouverture | Jean-Baptiste Lully, Mary Enid Haines, Sharla Nafziger, Aradia Ensemble, Kevin Mallon | F♯ Major | 0 | 2B | 98 BPM | ||
Gloria in D, R.589: 9. Qui tollis peccata mundi | Antonio Vivaldi, Simon Preston, Christ Church Cathedral Choir, Oxford, Academy of Ancient Music | E♭ Minor | 1 | 2A | 134 BPM | ||
Canzona seconda a canto solo "detta la Bernardinia" | Girolamo Frescobaldi, Bruno Cocset, Les Basses Réunies | A Minor | 2 | 8A | 82 BPM | ||
Sant'Agnese: Vaga rosa (Aria) | Bernardo Pasquini, Núria Rial | D♭ Minor | 0 | 12A | 77 BPM | ||
Overture in C Minor, TWV TWV 55:c4 | Georg Philipp Telemann, Indianapolis Baroque Orchestra, Barthold Kuijken | B Minor | 1 | 10A | 179 BPM | ||
Missa "Assumpta Est Maria", H. 11: Missa "Assumpta Est Maria", H. 11: IX. Domine salvum | Marc-Antoine Charpentier, Les Arts Florissants, William Christie | D♭ Minor | 3 | 12A | 93 BPM | ||
Symphony No. 5 in D Major, Op. 2, "St. Cecilia's Day Ode": III. Tempo di Minuetto | William Boyce, Aradia Ensemble, Kevin Mallon | D♭ Major | 1 | 3B | 93 BPM | ||
Te Deum: II. Te Deum Laudamus | Marc-Antoine Charpentier, La Capella Reial De Catalunya, Le Concert Des Nations, Jordi Savall | D♭ Major | 2 | 3B | 111 BPM | ||
Ouverture "La Bizarre", en Sol Majeur: Ouverture "La Bizarre", en Sol Majeur: VI. Fantaisie | Georg Philipp Telemann, Akademie für Alte Musik Berlin | F♯ Major | 3 | 2B | 128 BPM | ||
Ode for St. Cecilia's Day, HWV 76: Air and chorus: The trumpet's loud clangour | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | A♭ Minor | 0 | 1A | 96 BPM |
Section: 0.7061247825622559
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