"St Matthew Passion, BWV 244: Part I, No. 1: Chorus "Come, ye Daughters"" by Johann Sebastian Bach, Leonard Bernstein, New York Philharmonic was released on 1963. Since St Matthew Passion, BWV 244: Part I, No. 1: Chorus "Come, ye Daughters" is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The song is number 1 out of 67 in Bach: Saint Matthew Passion, BWV 244 by Johann Sebastian Bach, Leonard Bernstein, New York Philharmonic, Collegiate Chorale. St Matthew Passion, BWV 244: Part I, No. 1: Chorus "Come, ye Daughters" 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 St Matthew Passion, BWV 244: Part I, No. 1: Chorus "Come, ye Daughters" by Johann Sebastian Bach, Leonard Bernstein, New York Philharmonic is Larghetto (rather broadly), since this song has a tempo of 64 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 E Minor. Because this track belongs in the E Minor key, the camelot key is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Exsultate, jubilate, K.165: 1. Exsultate, jubilate | Wolfgang Amadeus Mozart, Emma Kirkby, Academy of Ancient Music, Christopher Hogwood | F Major | 1 | 7B | 121 BPM | ||
The Hebrides, Op. 26, MWV P 7 "Fingal's Cave": Overture | Felix Mendelssohn, Leonard Bernstein, New York Philharmonic | B Minor | 2 | 10A | 135 BPM | ||
Stabat Mater: Stabat Mater: VI. Vidit suum dulcem natum | Francis Poulenc, Cappella Amsterdam, Estonian Philharmonic Chamber Choir, Estonian National Symphony Orchestra, Daniel Reuss, Carolyn Sampson | B Minor | 1 | 10A | 87 BPM | ||
Vier letzte Lieder, TrV 296: 2. September | Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur | D Major | 1 | 10B | 153 BPM | ||
Requiem, Op.48: 2. Offertorium: Domine Jesu Christe | Gabriel Fauré, Gilles Cachemaille, The Monteverdi Choir, Salisbury Cathedral Boy Choristers, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner | D Major | 0 | 10B | 80 BPM | ||
Madrigal, Op. 35 | Gabriel Fauré, Netherlands Chamber Choir, Limburg Symphony Orchestra, Ed Spanjaard | D Minor | 0 | 7A | 134 BPM | ||
Strauss, R: 4 Lieder, Op. 27: No. 4, Morgen! (Version with Orchestra) | Richard Strauss, Elisabeth Schwarzkopf, George Szell, London Symphony Orchestra | G Major | 1 | 9B | 75 BPM | ||
Psalmen Davids samt etlichen Moteten und Concerten, Op. 2, SWV 22-47: Wie lieblich sind deine Wohnungen, SWV 29, "Psalm 84" | Heinrich Schütz, The Monteverdi Choir, Edmund Connolly, John Eliot Gardiner | G Minor | 1 | 6A | 73 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 | ||
Rinaldo / Act 2: Lascia ch'io pianga | George Frideric Handel, Cecilia Bartoli, Academy of Ancient Music, Christopher Hogwood | E Major | 1 | 12B | 176 BPM |