"Funeral Sentences For Queen Mary: Man That Is Born Of A Woman" by Timothy Brown, Robert Howes, Jonathan Brown, Jenny Ward-Clarke, Liz Kenny, Andrew Manze, Nicholas Parker, Tim Handley, Crispian Steele-Perkins, Baroque Brass Of London, Henry Purcell, Jan Schlapp, Keri Dexter, Micheal Laird, Ron Bryans, William Carter, Mark Bennet, Tim Handley, Nicholas Parker, Marshall Marcus, Choir of Clare College, Cambridge was released on December 20, 2006. The duration of Funeral Sentences For Queen Mary: Man That Is Born Of A Woman is about two minutes long, specifically at 2:20. This song does not appear to have any foul language. Funeral Sentences For Queen Mary: Man That Is Born Of A Woman's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 13 in the song's album "Sacred Music, Dioclesian Songs Part: 1". In this album, this song's track order is #9. Funeral Sentences For Queen Mary: Man That Is Born Of A Woman 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 Funeral Sentences For Queen Mary: Man That Is Born Of A Woman by Timothy Brown, Robert Howes, Jonathan Brown, Jenny Ward-Clarke, Liz Kenny, Andrew Manze, Nicholas Parker, Tim Handley, Crispian Steele-Perkins, Baroque Brass Of London, Henry Purcell, Jan Schlapp, Keri Dexter, Micheal Laird, Ron Bryans, William Carter, Mark Bennet, Tim Handley, Nicholas Parker, Marshall Marcus, Choir of Clare College, Cambridge having a テンポ of 78 with a half-time of 39 テンポ and a double-time of 156 テンポ, 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 3/4.
This song has a musical key of C Minor. Which also means that the camelot key for this song is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Mass No. 7 in B-Flat Major, Hob. XXII:7, "Missa brevis Sancti Joannis de Deo", "Kleine Orgelsolomesse" (Little Organ Mass): Kyrie | Joseph Haydn, Ann Hoyt, Trinity Church Choir, New York, Dongsok Shin, Rebel Baroque Orchestra, Owen Burdick | B♭ Major | 2 | 6B | 99 BPM | ||
Water Music, Suite No. 3, HWV 350: Water Music, Suite No. 3, HWV 350: XIX. [Menuet 2] | George Frideric Handel, Akademie für Alte Musik Berlin | F♯ Minor | 0 | 11A | 88 BPM | ||
In Manus Tuas | John Sheppard, Choir of Clare College, Cambridge, Timothy Brown | D♭ Major | 0 | 3B | 73 BPM | ||
Missa Brevis, Op. 57: IV. Benedictus | Lennox Berkeley, Choir of Clare College, Cambridge, Timothy Brown | C Minor | 0 | 5A | 62 BPM | ||
Monteverdi: L'Orfeo, SV 318: Toccata | Alessandro Striggio, Claudio Monteverdi, Christina Pluhar | D Major | 2 | 10B | 146 BPM | ||
Delizie contente | Francesco Cavalli, Cecilia Bartoli, György Fischer | F Minor | 1 | 4A | 92 BPM | ||
Erbarm dich mein, o Herre Gott, SWV 148 | Heinrich Schütz, Bremen Weser-Renaissance | C Major | 1 | 8B | 74 BPM | ||
Eia Mater: Andantino | Giovanni Battista Pergolesi, Rinaldo Alessandrini, Gemma Bertagnolli, Concerto Italiano, Sara Mingardo | E Minor | 0 | 9A | 0 BPM | ||
Cantica Sacra: Nos. 18-19, Paratum cor Meum | Richard Dering, Timothy Brown | B Major | 1 | 1B | 78 BPM | ||
Magnificat, W. E22: Et misericordia eius (Chorus) | Johann Christian Bach, Elisabeth Scholl, Ruth Sandhoff, Andreas Karasiak, Gotthold Schwarz, Dresden Chamber Choir, La Stagione Frankfurt, Michael Schneider | B Major | 3 | 1B | 64 BPM |