"Since By Man Came Death" by George Frideric Handel, Andrew Davis, Toronto Mendelssohn Choir, Elmer Iseler Singers, Florence Quivar, John Aler, Samuel Ramey, Kathleen Battle, Toronto Symphony Orchestra had its release date on January 1, 1987. The duration of This song is about two minutes long, specifically at 2:03. This song does not appear to have any foul language. Since By Man Came Death's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in George Frideric Handel, Andrew Davis's "Handel: Messiah" album is number 23 out of 54. On top of that, United States appears to be the country where this track was created. Since By Man Came Death 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 Since By Man Came Death by George Frideric Handel, Andrew Davis, Toronto Mendelssohn Choir, Elmer Iseler Singers, Florence Quivar, John Aler, Samuel Ramey, Kathleen Battle, Toronto Symphony 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 5/4.
This song is in the music key of 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 | ||
---|---|---|---|---|---|---|---|
XII. for unto us a child a child is born | London Philharmonic Orchestra | G Major | 3 | 9B | 97 BPM | ||
Messiah, HWV 56 / Pt. 1: 9. "O thou that tellest good tidings to Zion" | George Frideric Handel, Anne Sofie von Otter, The English Concert, Trevor Pinnock, The English Concert Choir | D♭ Major | 1 | 3B | 173 BPM | ||
Wachet auf, ruft uns die Stimme, BWV 140: No. 4, Zion hört die Wächter singen | Johann Sebastian Bach, Leipzig Thomaner Choir, Peter Schreier, Arleen Auger, Siegfried Lorenz, Hans-Joachim Rotzsch, Leipzig New Bach Collegium Musicum | E♭ Minor | 1 | 2A | 116 BPM | ||
Magnificat in D Major, BWV 243: XII. Gloria Patri | Johann Sebastian Bach, Unknown, Collegium Vocale Gent, La Chapelle Royale, Philippe Herreweghe | D Major | 2 | 10B | 178 BPM | ||
Ave Maria - Javier Busto | Dale Warland Singers | G Major | 0 | 9B | 162 BPM | ||
Ave Maria | Anton Bruckner, Collegium Vocale Gent, Philippe Herreweghe, La Chapelle Royale, Ensemble Musique Oblique | F Major | 0 | 7B | 147 BPM | ||
Jesus bleibet meine Freude, BWV 147 | Choir of King's College, Cambridge, Stephen Cleobury, Benjamin Bayl | G Major | 0 | 9B | 77 BPM | ||
Concerto Grosso In G Minor, Op. 6, No. 8, "Christmas Concerto" : II. Allegro | Arcangelo Corelli, Anna Holbling, Quido Holbling, Daniela Ruso, Ludovit Kanta, Capella Istropolitana | G Minor | 3 | 6A | 173 BPM | ||
Rutter: What Sweeter Music | John Rutter, Choir of King's College, Cambridge, Stephen Cleobury, Robert Quinney, City of London Sinfonia | F♯ Major | 1 | 2B | 136 BPM | ||
Vivaldi: Gloria in D Major, RV 589: VIII. Domine Deus, Agnus Dei | Antonio Vivaldi, Choir of King's College, Cambridge, Academy of Ancient Music, Michael Chance, Stephen Cleobury | D♭ Minor | 0 | 12A | 76 BPM |