Leonard Bernstein, Jeremy Budd, Paul Charrier, Elizabeth Franklin-Kitchen, Thomas Kelly, Victoria Nayler, Bournemouth Symphony Chorus, Bournemouth Symphony Orchestra, Marin Alsop's 'Chichester Psalms: I. Psalm 108 vs. 2, Psalm 100' came out on September 9, 2003. With this song being around four minutes long, at 3:39, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The song is number 2 out of 7 in Bernstein: Chichester Psalms & On the Waterfront by Leonard Bernstein, Marin Alsop. Chichester Psalms: I. Psalm 108 vs. 2, Psalm 100 is below average in popularity 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 Chichester Psalms: I. Psalm 108 vs. 2, Psalm 100 by Leonard Bernstein, Jeremy Budd, Paul Charrier, Elizabeth Franklin-Kitchen, Thomas Kelly, Victoria Nayler, Bournemouth Symphony Chorus, Bournemouth Symphony Orchestra, Marin Alsop is Adagio (slowly with great expression), since this song has a tempo of 70 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
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 | ||
---|---|---|---|---|---|---|---|
Magnificat in D Major, BWV 243: I. Magnificat anima mea | Johann Sebastian Bach, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | A Major | 0 | 11B | 124 BPM | ||
Hudson River Suite: Albany Night Boat | Ferde Grofé, Bournemouth Symphony Orchestra, William Stromberg | G Major | 3 | 9B | 125 BPM | ||
Bluebeard's Castle, Op. 11, Sz. 48: Lásd a régi asszonyokat (7th Door) | Béla Bartók, Gustav Belacek, Andrea Meláth, Bournemouth Symphony Orchestra, Marin Alsop | A Major | 1 | 11B | 110 BPM | ||
Variations on an Original Theme, Op. 36, "Enigma": Var. XII (B.G.N.) | Edward Elgar, Bournemouth Symphony Orchestra, George Hurst | C Minor | 2 | 5A | 107 BPM | ||
Elijah, Op. 70: "Lift Thine Eyes to the Mountains" (Trio) | Felix Mendelssohn, Emily Rowley Jones, Lucy Ballard, Ruth Gibbins, Paul McCreesh | E♭ Major | 2 | 5B | 83 BPM | ||
Requiem for the Living: IV. Sanctus | Dan Forrest, Bel Canto Company, Welborn Young | A Minor | 3 | 8A | 88 BPM | ||
Carmina Burana: XXI. In trutina | Carl Orff, London Symphony Chorus, London Symphony Orchestra, Richard Hickox | D Major | 0 | 10B | 170 BPM | ||
Praeludium - 1991 Digital Remaster | Bournemouth Symphony Orchestra, Paavo Berglund | F Major | 1 | 7B | 95 BPM | ||
Evensong | Liza Lehmann, Steuart Bedford, Catherine Wyn-Rogers | A♭ Major | 0 | 4B | 75 BPM | ||
Dvořák: Symphony No. 3 in E-Flat Major, Op. 10, B. 34: III. Finale. Allegro vivace | Antonín Dvořák, José Serebrier, Bournemouth Symphony Orchestra | D Major | 2 | 10B | 112 BPM |