Élisabeth Jacquet de La Guerre, Musica Fiorita made "Chamber Sonata No. 3 in D Major: VI. Aria affettuoso" available on July 31, 2015. With Chamber Sonata No. 3 in D Major: VI. Aria affettuoso being less than two minutes long, at 1:55, 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 Élisabeth Jacquet de La Guerre, Musica Fiorita, Daniela Dolci's "Jacquet de la Guerre: Chamber Music" album is number 14 out of 43. On top of that, Switzerland appears to be the country where this track was created. In terms of popularity, Chamber Sonata No. 3 in D Major: VI. Aria affettuoso is currently not that popular. The mood doesn't appear to be that danceable, but it still produces a high amount of positive energy.
We consider the tempo marking of Chamber Sonata No. 3 in D Major: VI. Aria affettuoso by Élisabeth Jacquet de La Guerre, Musica Fiorita to be Andante (at a walking pace) because the track has a tempo of 100 テンポ, a half-time of 50テンポ, and a double-time of 200 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
D Major is the music key of this track. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sonates à violon ou flûte seule avec basse continue, Op. 14, Sonata 4: I. Allegro | Jean-Baptiste Quentin, Anna Besson, Myriam Rignol, Jean Rondeau | A♭ Major | 2 | 4B | 99 BPM | ||
Airs for the Spring: Ranunculus: I. Aria: Moderato | James Oswald, The Broadside Band | F♯ Minor | 2 | 11A | 85 BPM | ||
Canzoni overo sonate concertate per chiesa e camera, a 2–3, libro terzo, Op. 12: Ballo detto gennaro | Tarquinio Merula, Musica Fiorita, Daniela Dolci | G Major | 2 | 9B | 73 BPM | ||
Concerto grosso No. 6 in D Major: II. Con furia (After D. Scarlatti's Kk. 29) [1] | Charles Avison, Akademie für Alte Musik Berlin, Georg Kallweit | D♭ Major | 1 | 3B | 139 BPM | ||
Mensa sonora / PARS I (In D Major): 5. Gavotte | Heinrich Ignaz Franz von Biber, Musica Antiqua Köln, Reinhard Goebel | D♭ Major | 2 | 3B | 81 BPM | ||
Baryton Trio in G Major, Hob. XI:67: III. Finale. Allegro di molto | Joseph Haydn, Valencia Baryton Project | F♯ Major | 2 | 2B | 143 BPM | ||
Céphale et Procris, Act V Scene 2: Après de mortelles peines (Borée, Procris) | Élisabeth Jacquet de La Guerre, Lisandro Abadie, Deborah Cachet, Reinoud Van Mechelen, A Nocte Temporis | B♭ Major | 2 | 6B | 104 BPM | ||
Concerto Grosso No. 1 in D Minor, "Bona nova": I. Sonata. Grave | Georg Muffat, Holland Baroque Society, Matthew Halls | B Major | 3 | 1B | 103 BPM | ||
Concert LXVI: Tombeau. Les Regrets | Monsieur de Sainte-Colombe, Philippe Pierlot, Lucile Boulanger | B♭ Minor | 1 | 3A | 153 BPM | ||
[Suite en la majeur]: X. Fantaisie (No. 27) | Marin Marais, François Joubert-Caillet, L'Achéron | A♭ Major | 3 | 4B | 73 BPM |