"Beecham & Handel: The Gods Go a'Begging: I. Introduction (After Admeto, HWV 22)" by George Frideric Handel, Sir Thomas Beecham, Royal Philharmonic Orchestra was released on March 25, 2022. With Beecham & Handel: The Gods Go a'Begging: I. Introduction (After Admeto, HWV 22) being less than two minutes long, at 1:35, 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 Sir Thomas Beecham, George Frideric Handel, Royal Philharmonic Orchestra's "Handel, Beecham: The Gods Go a'Begging" album is number 1 out of 9. On top of that, United Kingdom appears to be the country where this track was created. Beecham & Handel: The Gods Go a'Begging: I. Introduction (After Admeto, HWV 22) 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 Beecham & Handel: The Gods Go a'Begging: I. Introduction (After Admeto, HWV 22) by George Frideric Handel, Sir Thomas Beecham, Royal Philharmonic Orchestra to be Andante (at a walking pace) because the track has a tempo of 78 テンポ, a half-time of 39テンポ, and a double-time of 156 テンポ. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
This song is in the music key of C Minor. Because this track belongs in the C Minor key, the camelot key is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Serenade for Strings in C Major, Op. 48, TH 48: II. Valse | Pyotr Ilyich Tchaikovsky, Zagreb Philharmonic Orchestra, Dmitri Kitayenko | C Major | 1 | 8B | 138 BPM | ||
Peer Gynt Opp.46 & 55, Excerpts, Suite No. 2, Op.55: Arab Dance | Paavo Berglund | E Minor | 1 | 9A | 124 BPM | ||
Violin Concerto in D Minor "Accademico": II. Adagio | Ralph Vaughan Williams, London Choral Sinfonia, Michael Waldron, Jack Liebeck | G Major | 1 | 9B | 79 BPM | ||
The Son Of Kong: Runaway Blues | Moscow Symphony Orchestra, William T. Stromberg, John Morgan, Max Steiner | F Major | 0 | 7B | 138 BPM | ||
Presto Paradigm | Selena Veles | E Minor | 0 | 9A | 114 BPM | ||
Gayaneh, Ballet Suite: Gayaneh's Adagio | Aram Khachaturian, Bolshoi Theatre Orchestra, Yevgeny Svetlanov | A Major | 1 | 11B | 105 BPM | ||
Wachet auf, ruft uns die Stimme, Cantata BWV 140: 4. Zion Hears The Watchmen Singing BWV 140 (arr. orchestra) | Johann Sebastian Bach, Royal Philharmonic Orchestra, James Morgan | E♭ Major | 0 | 5B | 111 BPM | ||
Barry Lyndon: Sarabande | Royal Philharmonic Orchestra | F Minor | 2 | 4A | 149 BPM | ||
Copland: Suite from Appalachian Spring: II. Allegro (1945 Version) | Aaron Copland, Minnesota Orchestra, Sir Neville Marriner | C Major | 0 | 8B | 87 BPM | ||
Ballet Suite No. 1 (arr. L. Atovmyan): Galop (The Limpid Stream) | Lev Atovmyan, Dmitri Shostakovich, Russian Philharmonic Orchestra, Dmitry Yablonsky | A Major | 4 | 11B | 162 BPM |