"Concertino Pastorale: III. Toccata. Allegro molto ma non troppo presto" by John Ireland, Richard Hickox, City of London Sinfonia had its release date on June 1, 1995. With this song being about 5 minutes long, at This song 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 John Ireland, Richard Hickox, City of London Sinfonia's "Ireland: A Downland Suite, Contertino Pastorale, Two Symphonic Studies & Orchestral Poem" album is number 8 out of 10. On top of that, United Kingdom appears to be the country where this track was created. Concertino Pastorale: III. Toccata. Allegro molto ma non troppo presto is 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.
We consider the tempo marking of Concertino Pastorale: III. Toccata. Allegro molto ma non troppo presto by John Ireland, Richard Hickox, City of London Sinfonia to be Adagio (slowly with great expression) because the track has a tempo of 73 テンポ, a half-time of 36テンポ, and a double-time of 146 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
This song is in the music key of A♭ Minor. Because this track belongs in the A♭ Minor key, the camelot key is 1A. So, the perfect camelot match for 1A would be either 1A or 12B. While, a low energy boost can consist of either 1B or 2A. For moderate energy boost, you would use 10A and a high energy boost can either be 3A or 8A. However, if you are looking for a low energy drop, finding a song with a camelot key of 12A would be a great choice. Where 4A would give you a moderate drop, and 11A or 6A would be a high energy drop. Lastly, 4B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Tallis: Hear the Voice and Prayer | The Tallis Scholars, Peter Phillips | F♯ Minor | 0 | 11A | 82 BPM | ||
Come Holy Ghost | Thomas Attwood, Choir of Clare College, Cambridge, Timothy Brown | F Major | 0 | 7B | 132 BPM | ||
Maria jumping mountains | Smooth Moment | C Major | 2 | 8B | 120 BPM | ||
Christus factus est, WAB 11 | Anton Bruckner, SWR Vokalensemble Stuttgart, Marcus Creed | D Major | 2 | 10B | 116 BPM | ||
The Eyes of All Wait Upon Thee | Jean Berger, Syracuse University Singers, John Warren | E Minor | 1 | 9A | 132 BPM | ||
Burial Sentences: VI. Thou Knowest, Lord | William Croft, Michael Bawtree, Annabell McLauchlan, David Rowland | B♭ Major | 1 | 6B | 124 BPM | ||
Greater Love hath no man | John Ireland, Richard Hickox, London Symphony Orchestra, Bryn Terfel, Paula Bott, London Symphony Chorus | A Major | 1 | 11B | 74 BPM | ||
Songs of the Fleet, Op. 117: III. The Middle-Watch | Charles Villiers Stanford, Richard Hickox, BBC National Orchestra Of Wales, Gerald Finley, BBC National Chorus of Wales | G Major | 1 | 9B | 83 BPM | ||
Drei geistliche Chöre, Op. 37 No. 1: O bone Jesu | Johannes Brahms, Kvindelige Studenters Sangforening, Marit Tøndel Bodsberg | E♭ Major | 2 | 5B | 101 BPM | ||
Cantate Domino canticum novum | Hans Leo Hassler, Voices of Ascension Chorus, Dennis Keene | D Major | 1 | 10B | 128 BPM |