"Gottes Zeit ist der allerbeste Zeit "Actus Tragicus", BWV 106: Gottes Zeit ist der allerbeste Zeit "Actus Tragicus", BWV 106: Aria" by Johann Sebastian Bach, Philippe Pierlot, Ricercar Consort, Carlos Mena, Stephan MacLeod was released on 2001. Gottes Zeit ist der allerbeste Zeit "Actus Tragicus", BWV 106: Gottes Zeit ist der allerbeste Zeit "Actus Tragicus", BWV 106: Aria is about six minutes long, preciously at 5:58, making this song fairly long compared to other songs. The song is number 9 out of 17 in Bach: Actus Tragicus by Johann Sebastian Bach, Ricercar Consort, Philippe Pierlot, Carlos Mena, Jan Kobow, Katharine Fuge, Stephan MacLeod. Going off of the ISRC code of this track, we detected that the origin of this track is from France. Gottes Zeit ist der allerbeste Zeit "Actus Tragicus", BWV 106: Gottes Zeit ist der allerbeste Zeit "Actus Tragicus", BWV 106: Aria 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.
The tempo marking of Gottes Zeit ist der allerbeste Zeit "Actus Tragicus", BWV 106: Gottes Zeit ist der allerbeste Zeit "Actus Tragicus", BWV 106: Aria by Johann Sebastian Bach, Philippe Pierlot, Ricercar Consort, Carlos Mena, Stephan MacLeod is Andante (at a walking pace), since this song has a tempo of 82 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
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 | ||
---|---|---|---|---|---|---|---|
Kol Nidrei - Adagio For Cello, Opus 47 | Max Bruch, Alisa Weilerstein, Staatskapelle Berlin, Daniel Barenboim | D Major | 1 | 10B | 81 BPM | ||
Trio Sonata No. 4 in C Major, DürG 13 (Attrib. J.S. Bach as BWV 1037): I. Adagio | Johann Gottlieb Goldberg, London Baroque | D Major | 0 | 10B | 87 BPM | ||
Nocturne No.6 In G Minor, Op.15 No.3 | Frédéric Chopin, Maurizio Pollini | D Minor | 0 | 7A | 105 BPM | ||
(Ré)inventio: No. 13 in A Minor [After J.S. Bach's BWV 784] | Chiahu Lee, Johann Sebastian Bach, Yulia Vershinina-Mukhopadhyay | E Minor | 2 | 9A | 112 BPM | ||
Bist du bei mir (Formerly Attrib. J.S. Bach as BWV 508, Notebook for Anna Magdalena Bach, 1725) | Gottfried Heinrich Stölzel, Daniil Trifonov | E♭ Major | 0 | 5B | 133 BPM | ||
Notebook for Anna Magdalena Bach (1725) [Excerpts]: No. 18, Marche in G Major, H. 1 No. 3 [Attrib. J.S. Bach's BWV Anh. 124] | Carl Philipp Emanuel Bach, Giovanni Mazzocchin | E♭ Major | 1 | 5B | 113 BPM | ||
Viola da gamba Sonata in G Minor, BWV 1029 (Arr. for Cello & Piano): III. Allegro | Anonymous, Johann Sebastian Bach, Daniel Müller-Schott, Angela Hewitt | A♭ Major | 0 | 4B | 84 BPM | ||
Sonata a 5 in G Minor, Op. 2, No. 6: IV. Allegro | Tomaso Albinoni, Capella Istropolitana, Jaroslav Krcek | G Minor | 3 | 6A | 59 BPM | ||
3 Etudes Opus 104b: No. 1 in B-Flat Minor | Felix Mendelssohn, Bertrand Chamayou | B♭ Minor | 1 | 3A | 52 BPM | ||
Violin Concerto No. 1 in A minor, BWV 1041: 2. Andante | Johann Sebastian Bach, Janine Jansen, Boris Brovtsyn, Cindy Albracht, Frederik Paulsson, Julia-Maria Kretz, Tijmen Huisingh, Monika Urbonaite, Nimrod Guez, Pauline Sachse, Maarten Jansen, Rick Stotijn, Jan Jansen | C Major | 0 | 8B | 108 BPM |