George Frideric Handel, Katherine Ciesinski, Judith Blegen, Richard Westenburg's 'Messiah, HWV 56: Part I: He shall feed His flock like a shepherd; Come unto Him (Airs)' came out on 1982. With this song being about 5 minutes long, at 5:09, "Messiah, HWV 56: Part I: He shall feed His flock like a shepherd; Come unto Him (Airs)" by George Frideric Handel, Katherine Ciesinski, Judith Blegen, Richard Westenburg is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The track order of this song in George Frideric Handel, Richard Westenburg's "Handel: Messiah" album is number 20 out of 53. On top of that, United States appears to be the country where this track was created. In terms of popularity, Messiah, HWV 56: Part I: He shall feed His flock like a shepherd; Come unto Him (Airs) is currently not that popular. Although the overall vibe is very danceable, it does project more negative sounds.
We consider the tempo marking of Messiah, HWV 56: Part I: He shall feed His flock like a shepherd; Come unto Him (Airs) by George Frideric Handel, Katherine Ciesinski, Judith Blegen, Richard Westenburg to be Moderato (at a moderate speed) because the track has a tempo of 119 テンポ, a half-time of 60テンポ, and a double-time of 238 テンポ. Based on that, the speed of the song's tempo is moderate. Activities such as, walking, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Keyboard Suite No. 4 in D Minor, HWV 437: III. Saraband (arr. A. Segovia for guitar): Suite No. 4 in D Minor, HWV 437: III. Saraband (arr. A. Segovia) | Andrés Segovia, George Frideric Handel | D Minor | 1 | 7A | 87 BPM | ||
Pergolesi: Stabat Mater: II. Cujus animam gementem | Giovanni Battista Pergolesi, Philippe Jaroussky, Diego Fasolis, I Barocchisti | G Major | 1 | 9B | 103 BPM | ||
3.Sequentia: Lacrimosa dies illae: Requiem in D Minor, K 626 | Orchestra of the Vienna Concert House, The Vienna Singer Boys, Paul Redinowski | D Minor | 1 | 7A | 75 BPM | ||
Belle nuit, ô nuit d'amour (from "Les contes d'Hoffmann") | Jacques Offenbach, Lars Payne | D Major | 1 | 10B | 75 BPM | ||
Hahn: 20 Mélodies: No. 20 À Chloris | Philippe Jaroussky | D Major | 0 | 10B | 70 BPM | ||
Il Trionfo del Tiempo e del Disinganno, HWV 46a: "Lascia la spina cogli la rosa" | George Frideric Handel, Cecilia Bartoli, Les Musiciens du Louvre, Marc Minkowski | E Major | 1 | 12B | 180 BPM | ||
O cessate di piagarmi (from Il Pompeo) | Alessandro Scarlatti, Cecilia Bartoli, György Fischer | E Minor | 0 | 9A | 68 BPM | ||
Cantata Memoria: Lacrimosa Lullaby | Karl Jenkins, Bryn Terfel, Côr Heol y March, Cor Y Cwm, Cywair, Cor Caerdydd, Cf1, David Childs, Joo Yeon Sir, Catrin Finch, Jody Jenkins, Sinfonia Cymru | A♭ Major | 1 | 4B | 79 BPM | ||
Monteverdi: Sì dolce è'l tormento, SV 332 | Claudio Monteverdi, Christina Pluhar, Philippe Jaroussky | G Major | 0 | 9B | 134 BPM | ||
Mein Herr und mein Gott | Pēteris Vasks, Latvian Radio Choir, Sinfonietta Riga, Sigvards Kļava | C Minor | 1 | 5A | 80 BPM |