"Dominus illuminatio mea: IV. Chor "Qui tribulant me inimici mei"" by Franz Tunder, Collegium Vocale Gent, Philippe Herreweghe was released on 2000. With Dominus illuminatio mea: IV. Chor "Qui tribulant me inimici mei" being less than two minutes long, at 1:37, 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 song is number 4 out of 36 in Deutsche Kantaten by Philippe Herreweghe, Collegium Vocale Gent. Going off of the ISRC code of this track, we detected that the origin of this track is from France. The popularity of Dominus illuminatio mea: IV. Chor "Qui tribulant me inimici mei" is currently not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Dominus illuminatio mea: IV. Chor "Qui tribulant me inimici mei" by Franz Tunder, Collegium Vocale Gent, Philippe Herreweghe is Vivace (lively and fast), since this song has a tempo of 175 テンポ. With that information, we can conclude that the song has a fast tempo. The time signature for this track is 5/4.
B Minor is the music key of this track. This also means that this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Circé, Prologue Scene 2: Gigue pour les Nymphes et les Dieux des eaux | Henri Desmarets, Boston Early Music Festival Orchestra, Robert Mealy | C Major | 1 | 8B | 100 BPM | ||
Missa Paschalis, ZWV 7: Credo. Et resurrexit | Jan Dismas Zelenka, Inégal Ensemble, Adam Viktora, Gabriela Eibenová, Marian Krejcik, Terry Wey, Cyril Auvity | A♭ Minor | 1 | 1A | 103 BPM | ||
Atys, LWV 53, Prologue: Air pour la suite de Flore (Gavotte) | Jean-Baptiste Lully, Les Talens Lyriques, Christophe Rousset | B♭ Major | 2 | 6B | 119 BPM | ||
Stabat Mater in G Minor: VII. Sancta Mater | Frantisek Tuma, Collegium 1704, Collegium vocale 1704, Vaclav Luks | B Minor | 0 | 10A | 57 BPM | ||
The Lady of Sussex Delight | Tobias Hume, Guido Balestracci, Les Basses Réunies, Bruno Cocset | E Major | 1 | 12B | 92 BPM | ||
A Sonata of Scots Tunes: IV. Cromlit's Lilt (Largo) | James Oswald, La Rêveuse, Florence Bolton, Benjamin Perrot | B Major | 2 | 1B | 143 BPM | ||
Marais: Pièces en trio: Suite No. 4 en si bémol majeur: IV. Gigue | Marin Marais, Ensemble Amalia | A Major | 0 | 11B | 76 BPM | ||
Missa Quadragesimalis, MH 552: Benedictus | Michael Haydn, Purcell Choir, Orfeo Orchestra, members, Gyorgy Vashegyi | E Major | 0 | 12B | 174 BPM | ||
Missa Quadragesimalis, MH 552: Sanctus | Michael Haydn, Purcell Choir, Orfeo Orchestra, members, Gyorgy Vashegyi | E Major | 0 | 12B | 84 BPM | ||
Missa pro Defunctis in E-Flat Major, HocJ A1.3: III. Sequentia, 1. Dies irae | Niccolò Jommelli, Miriam Feuersinger, Il Gardellino, Gaia Petrone, Valerio Contaldo, Wolf Matthias Friedrich, Peter Van Heyghen | D Major | 1 | 10B | 142 BPM |