George Frideric Handel, Boston Early Music Festival Orchestra, Stephen Stubbs, Paul O'Dette made "Almira, HWV 1, Act III Scene 1: Entrée" available on January 3, 2020. With Almira, HWV 1, Act III Scene 1: Entrée being less than two minutes long, at 1:09, 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 George Frideric Handel, Christian Immler, Boston Early Music Festival Orchestra, Paul O'Dette, Stephen Stubbs's "Handel: Almira, HWV 1" album is number 18 out of 122. On top of that, Germany appears to be the country where this track was created. Based on our statistics, Almira, HWV 1, Act III Scene 1: Entrée's popularity is not that popular right now. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
We consider the tempo marking of Almira, HWV 1, Act III Scene 1: Entrée by George Frideric Handel, Boston Early Music Festival Orchestra, Stephen Stubbs, Paul O'Dette to be Allegro (fast, quick, and bright) because the track has a tempo of 147 テンポ, a half-time of 74テンポ, and a double-time of 294 テンポ. Based on that, the speed of the song's tempo is fast. Activities such as, jogging or cycling, can go well with this song. The time signature for this track is 5/4.
This song is in the music key of F Minor. Because this track belongs in the F Minor key, the camelot key is 4A. So, the perfect camelot match for 4A would be either 4A or 3B. While, a low energy boost can consist of either 4B or 5A. For moderate energy boost, you would use 1A and a high energy boost can either be 6A or 11A. However, if you are looking for a low energy drop, finding a song with a camelot key of 3A would be a great choice. Where 7A would give you a moderate drop, and 2A or 9A would be a high energy drop. Lastly, 7B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Violin Concerto in B-Flat Major, Op. 10 No. 1: I. Allegro | Jean-Marie Leclair, Leila Schayegh, La Cetra Barockorchester Basel | A Major | 1 | 11B | 99 BPM | ||
Capriol Suite: 2. Pavane | Peter Warlock, Academy of St. Martin in the Fields, Sir Neville Marriner | B♭ Major | 0 | 6B | 160 BPM | ||
Brandenburg Concerto No. 1 in F BWV1046: III. Allegro | Johann Sebastian Bach, Catherine Mackintosh/Paul Goodwin/Timothy Brown/Susan Dent/Orchestra of the Age of Enlightenment, Orchestra of the Age of Enlightenment | E Major | 3 | 12B | 92 BPM | ||
Concerto Grosso In B Flat Major, Op. 6, No. 11: VI. Giga: Vivace | Arcangelo Corelli, Daniela Ruso, Ludovit Kanta, Anna Holbling, Quido Holbling, Capella Istropolitana | B♭ Major | 1 | 6B | 59 BPM | ||
Orfeo Ed Euridice: Dance of the Blessed Spirits (Act II) | Christoph Willibald Gluck, Karlheinz Zoeller, Berliner Philharmoniker, Herbert von Karajan | C Major | 1 | 8B | 75 BPM | ||
Overture (Suite) In D Major, TWV 55:D15: III. Harlequinade | Cologne Chamber Orchestra, Georg Philipp Telemann | D Major | 3 | 10B | 135 BPM | ||
Haydn: Cello Concerto No. 1 in C Major, Hob. VIIb, 1: II. Adagio (Cadenza by Britten) | Franz Joseph Haydn, Mstislav Rostropovich, Academy of St. Martin in the Fields | F Major | 1 | 7B | 124 BPM | ||
Concerto For 2 Keyboards In C Minor, BWV 1062: I. - Allegro | Cologne Chamber Orchestra, Michael Behringer, Robert Hill, Johann Sebastian Bach | C Minor | 4 | 5A | 106 BPM | ||
Concerto in G Minor - Oboe, Strings & B.C., Seibel 237: Allegro (2) | Johann David Heinichen, Il Fondamento, Paul Dombrecht | C Major | 1 | 8B | 89 BPM | ||
Oboe Concerto in D Minor, S. Z799: III. Presto | Alessandro Marcello, Musica Bohemica, Jaroslav Krcek, Gabriela Krčková | D Minor | 5 | 7A | 103 BPM |