Matthew Locke, Ensemble Correspondances, Sébastien Daucé's 'Psyche, Act V Scene 1: To what great distresses (Devils & Furies)' came out on September 23, 2022. The duration of Psyche, Act V Scene 1: To what great distresses (Devils & Furies) is about two minutes long, specifically at 2:07. This song does not appear to have any foul language. Psyche, Act V Scene 1: To what great distresses (Devils & Furies)'s duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Matthew Locke, Ensemble Correspondances, Sébastien Daucé's "Locke: Psyche" album is number 20 out of 55. On top of that, France appears to be the country where this track was created. Based on our statistics, Psyche, Act V Scene 1: To what great distresses (Devils & Furies)'s popularity is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
We consider the tempo marking of Psyche, Act V Scene 1: To what great distresses (Devils & Furies) by Matthew Locke, Ensemble Correspondances, Sébastien Daucé to be Allegro (fast, quick, and bright) because the track has a tempo of 122 テンポ, a half-time of 61テンポ, and a double-time of 244 テンポ. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 1/4.
This song is in the music key of D♭ Major. This also means that this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Gagliarda Prima detta la Galante | The Royal Wind Music | A♭ Minor | 0 | 1A | 66 BPM | ||
M. Buctons his Galiard (Susanna Galliard) from Lachrimae, or Seaven Teares | John Dowland, Fretwork | F Minor | 0 | 4A | 101 BPM | ||
Concerto in D Minor; Op. 6 No. 5: III. Moderato | Charles Avison, Café Zimmermann | D♭ Minor | 0 | 12A | 102 BPM | ||
Sonata in G Minor: III. Adagio | Giovanni Buonaventura Viviani, Veronika Skuplik, Andreas Arend | B Minor | 1 | 10A | 114 BPM | ||
3e Livre de Sonates à violon seul avec la basse continue, Sonata Quarta: I. Un poco andante | Jean-Baptiste Quentin, Anna Besson, Myriam Rignol, Jean Rondeau | A♭ Major | 2 | 4B | 99 BPM | ||
Chamber Sonata No. 4 in G Minor: IV. Presto | Élisabeth Jacquet de La Guerre, Musica Fiorita | F♯ Minor | 2 | 11A | 121 BPM | ||
Chacony in G | John Blow, Musica Antiqua Köln, Reinhard Goebel | F♯ Major | 2 | 2B | 120 BPM | ||
Sonata Sexta in F Minor for Violin: II. Allegro | Daniel Purcell, La Rêveuse, Florence Bolton, Benjamin Perrot, Stephan Dudermel | B♭ Minor | 0 | 3A | 135 BPM | ||
Sonata & Suite in D-Dur: Sonata & Suite in D-Dur: VI. Allmandt | Dietrich Becker, La Rêveuse, Florence Bolton, Benjamin Perrot, Sébastien Wonner | D♭ Major | 2 | 3B | 79 BPM | ||
Lachrimae or Seven Tears: IV. Lachrimae tristes | John Dowland, Phantasm, Elizabeth Kenny | E Major | 1 | 12B | 112 BPM |