Nicola Matteis, Gli Incogniti, Amandine Beyer's 'The False Consonances of Musick, Aria II' came out on August 1, 2009. With The False Consonances of Musick, Aria II being less than two minutes long, at 1:10, 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 track order of this song in Nicola Matteis, Gli Incogniti, Amandine Beyer's "Matteis: False Consonances of Melancholy" album is number 14 out of 40. On top of that, France appears to be the country where this track was created. In terms of popularity, The False Consonances of Musick, Aria II is currently not that popular. 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 The False Consonances of Musick, Aria II by Nicola Matteis, Gli Incogniti, Amandine Beyer to be Andante (at a walking pace) because the track has a tempo of 95 テンポ, a half-time of 48テンポ, and a double-time of 190 テンポ. 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 3/4.
This song has a musical key of A♭ Minor. Because this track belongs in the A♭ Minor key, the camelot key is 1A. So, the perfect camelot match for 1A would be either 1A or 12B. While, a low energy boost can consist of either 1B or 2A. For moderate energy boost, you would use 10A and a high energy boost can either be 3A or 8A. However, if you are looking for a low energy drop, finding a song with a camelot key of 12A would be a great choice. Where 4A would give you a moderate drop, and 11A or 6A would be a high energy drop. Lastly, 4B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sinfonia de "L'Olimpiade" in C Major, RV 725: I. Allegro | Antonio Vivaldi, Gli Incogniti, Amandine Beyer | E Major | 2 | 12B | 98 BPM | ||
Suite in A: II. Aria con divisioni, allegro | Nicola Matteis, Hélène Schmitt, Gaetano Nasillo, Éric Bellocq, Jörg-Andreas Bötticher | F♯ Major | 1 | 2B | 138 BPM | ||
Cuatro Diferencias Sobre Guárdame Las Vacas | Luis de Narváez, Juan Carlos Rivera | C Minor | 1 | 5A | 98 BPM | ||
La soave melodia | Andrea Falconieri, Luca Pianca | E Minor | 0 | 9A | 91 BPM | ||
Sinfonia to the oratorio Santa Beatrice d'Este in D Minor, WoO 1: I. Grave | Arcangelo Corelli, Gli Incogniti, Amandine Beyer, Flavio Losco | D♭ Minor | 2 | 12A | 79 BPM | ||
Rondeau in B-Flat Major "Les Bergeries", BWV Anh. 183 (Formerly Attrib. Bach) | François Couperin, Mahan Esfahani | F♯ Major | 0 | 2B | 151 BPM | ||
Fuga. A Fuga, Prestissimo | Nicola Matteis, Theatrum Affectuum | F♯ Major | 3 | 2B | 143 BPM | ||
Un poco di Grave trà la Maniera Italiana e la Francese | Nicola Matteis, Theatrum Affectuum | E Major | 1 | 12B | 133 BPM | ||
Suite in G Major: II. Allemande | Robert de Visée, Yasunori Imamura | C Major | 1 | 8B | 58 BPM | ||
Wer nur den lieben Gott lässt walten, BWV 691 | Johann Sebastian Bach, Mahan Esfahani | F♯ Major | 0 | 2B | 151 BPM |