"Requiem in D Minor, K. 626: IIIf. Sequenz. Lacrimosa" by Wolfgang Amadeus Mozart, Robert Shaw, Atlanta Symphony Orchestra was released on 1986. The duration of Requiem in D Minor, K. 626: IIIf. Sequenz. Lacrimosa is about 3 minutes long, at 3:25. Based on our data, "Requiem in D Minor, K. 626: IIIf. Sequenz. Lacrimosa" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The track order of this song in Wolfgang Amadeus Mozart, Robert Shaw, Atlanta Symphony Orchestra, Arleen Auger, Delores Ziegler, Jerry Hadley, Tom Krause's "Mozart: Requiem in D Minor, K. 626" album is number 8 out of 14. On top of that, United States appears to be the country where this track was created. Requiem in D Minor, K. 626: IIIf. Sequenz. Lacrimosa 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 Requiem in D Minor, K. 626: IIIf. Sequenz. Lacrimosa by Wolfgang Amadeus Mozart, Robert Shaw, Atlanta Symphony Orchestra to be Andante (at a walking pace) because the track has a tempo of 89 テンポ, a half-time of 44テンポ, and a double-time of 178 テンポ. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 4/4.
The music key of this track is D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Lohengrin, Act III: Prelude | Richard Wagner, Slovak Philharmonic, Michael Halasz | G Major | 2 | 9B | 94 BPM | ||
Sinfonia concertante in E-Flat Major, K. 364: II. Andante | Wolfgang Amadeus Mozart, Frank Peter Zimmermann, Antoine Tamestit, Bavarian Radio Symphony Orchestra, Radosław Szulc | C Minor | 0 | 5A | 112 BPM | ||
Vesperae solennes de confessore, K. 339: VII. Magnificat | Wolfgang Amadeus Mozart, Greta de Reyghere, Marijke van Arnhem, Renaat Deckers, Jan van der Crabben, Capella Brugensis, Collegium Instrumentale Brugense, Patrick Peire | C Major | 2 | 8B | 109 BPM | ||
electro night 1 | Erwin Godbey IV | F♯ Minor | 1 | 11A | 120 BPM | ||
Le roi s'amuse: Passepied | Léo Delibes, Slovak Philharmonic, Ondrej Lenard | A Major | 1 | 11B | 88 BPM | ||
Le nozze di Figaro, K. 492, Act III: Duettino. Che soave zeffiretto | Wolfgang Amadeus Mozart, Scottish Chamber Orchestra, Sir Charles Mackerras, Nuccia Focile, Carol Vaness | E♭ Major | 1 | 5B | 67 BPM | ||
Marriage of Figaro | Jeff String | C Minor | 4 | 5A | 138 BPM | ||
La traviata*: Gypsy Chorus 'Noi siamo zingarelle' | Giuseppe Verdi, Marian Vach, Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra, Oliver von Dohnanyi | E♭ Major | 2 | 5B | 170 BPM | ||
Cinderella-Suite Nr. 1, Op. 107: VIII. Midnight | Sergei Prokofiev, Ukrainian State Symphony Orchestra, Theodore Kuchar | D Minor | 2 | 7A | 77 BPM | ||
Turandot / Act 2: Tre enigmi m'hai proposto | Giacomo Puccini, Luciano Pavarotti, Sir Peter Pears, John Alldis Choir, London Philharmonic Orchestra, Zubin Mehta | C Minor | 3 | 5A | 94 BPM |