"ピエ・イエズ〜レクイエム作品48より" by 蒲原史子 had its release date on April 21, 1995. With this song being around four minutes long, at 3:57, 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. There is only one song in 祈り〜アヴェ・マリア, so we believe that "ピエ・イエズ〜レクイエム作品48より" is a single. ピエ・イエズ〜レクイエム作品48より is unknown 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 ピエ・イエズ〜レクイエム作品48より by 蒲原史子 is Larghetto (rather broadly), since this song has a tempo of 66 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
B♭ Major is the music key of this track. This also means that this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Want to find the BPM and music key for other songs? Check out our BPM and Key Finder page!
| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
| Eugene Onegin (Lyrical scenes in three acts) (Act 1): Duet and Quartet; Tatyana: Have you heard beyond the grove | Pyotr Ilyich Tchaikovsky, Emil Tchakarov, Sofia Festival Orchestra | G Minor | 1 | 6A | 67 BPM | ||
| アヴェ・ヴェルム・コルプス | Wolfgang Amadeus Mozart, Maki Mori | F Major | 0 | 7B | 70 BPM | ||
| Verdi: Aida, Act 1: "I sacri nomi di padre, d'amante" (Aida) | Giuseppe Verdi, Riccardo Muti, New Philharmonia Orchestra | A♭ Major | 1 | 4B | 80 BPM | ||
| Die Fledermaus, Act I: Terzett. Nein, mit solchen Advokaten (Rosalinde, Eisenstein, Blind) | Johann Strauss II, Friedrich Haider, Aga Mikolaj, Paul Armin Edelmann, Jürgen Sacher, WDR Rundfunkorchester Köln | D Major | 1 | 10B | 92 BPM | ||
| Dargomyzhsky: Bolero | Alexander Dargomyzhsky, Galina Vishnevskaya, Mstislav Rostropovich | G Major | 2 | 9B | 74 BPM | ||
| アイルランドの子守歌 | 蒲原史子 | B♭ Major | 1 | 6B | 80 BPM | ||
| Rodelinda / Act 2: Ritorna, oh caro e dolce mio tesoro | George Frideric Handel, Renée Fleming, Orchestra of the Age of Enlightenment, Harry Bicket | F♯ Major | 1 | 2B | 72 BPM | ||
| Gretchaninov: 5 Romances, Op. 1: No. 5, Lullaby | Alexander Gretchaninov, Oda Slobodskaya, Percy Kahn | E♭ Major | 0 | 5B | 67 BPM | ||
| Neuf mélodies retrouvées: No. 5, Naïs | Reynaldo Hahn, Julie Roset, Susan Manoff | G Major | 2 | 9B | 74 BPM | ||
| Delibes: Duo des fleurs (de "Lakmé") | Léo Delibes, Monroe | D Major | 4 | 10B | 149 BPM | ||
| Dorilla In Tempe, RV 709: Dell'aura al sussurar | Antonio Vivaldi, Elin Manahan Thomas, Orchestra of the Age of Enlightenment, Harry Christophers | B Major | 2 | 1B | 98 BPM | ||
| Bizet: Carmen, WD 31, Act 2: "Nous avons en tête une affaire" (Le Dancaïre, Frasquita, Mercédès, Le Remendado, Carmen) | Georges Bizet, Michel Plasson, Angela Gheorghiu, Elizabeth Vidal, Isabelle Cals, Nicolas Rivenq, Yann Beuron, Orchestre National Du Capitole De Toulouse | D♭ Major | 2 | 3B | 77 BPM | ||
| La Boheme: Acto III: "Donde Lieta Usce" | Victoria de los Ángeles | D♭ Major | 1 | 3B | 98 BPM | ||
| Requiem, Op. 89, B. 165, Pt. 1: II. Graduale | Antonín Dvořák, Maria Stader, Sieglinde Wagner, Ernst Haefliger, Kim Borg, Czech Philharmonic, Karel Ančerl, Czech Chorus, Prague, Markéta Kühnová | G Major | 0 | 9B | 79 BPM | ||
| Eugene Onegin, Op. 24, TH.5 / Act 1: Scene and Quartet. "Mesdames! Ya na sebya vzyal smyelost" | Pyotr Ilyich Tchaikovsky, Dmitri Hvorostovsky, Neil Shicoff, Sarah Walker, Orchestre de Paris, Semyon Bychkov | E Major | 1 | 12B | 87 BPM | ||
| Don Giovanni, K. 527, Act I: Batti, batti, o bel Masetto | Wolfgang Amadeus Mozart, Kathleen Battle, Metropolitan Opera Orchestra, James Levine | F Major | 0 | 7B | 84 BPM | ||
| Il barbiere di Siviglia (The Barber of Seville): Act I No. 1: Introduzione: Piano, pianissimo | Gioachino Rossini, Roberto Servile, Sonia Ganassi, Ramón Vargas, Angelo Romero, Franco de Grandis, Ingrid Kertesi, Kazmer Sarkany, Laszlo Orban, Ferenc Korpas, Hungarian Radio Chorus, Budapest Failoni Chamber Orchestra, Will Humburg | G Major | 0 | 9B | 104 BPM | ||
| 松林に出かけた乙女たち | 蒲原史子 | D Major | 0 | 10B | 96 BPM | ||
| Zwei Scenen für Singstimme und Orchester, Op. 199: No. 2, Die Hirtin | Joachim Raff, Therese Schleiden, Lena-Lisa Wüstendörfer, Marie-Claude Chappuis, Swiss Orchestra | G Major | 2 | 9B | 74 BPM | ||
| 君を愛す 作品5の3 | 蒲原史子 | A Major | 1 | 11B | 85 BPM | ||
| Lucia di Lammermoor / Act 1: "Ancor non giunse!" | Gaetano Donizetti, Dame Joan Sutherland, Huguette Tourangeau, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | D Major | 0 | 10B | 80 BPM | ||
| Manon Lescaut / Act 2: Minuetto | Giacomo Puccini, Anthony Laciura, Giuseppe Taddei, Mirella Freni, Metropolitan Opera Chorus, Metropolitan Opera Orchestra, James Levine | D Major | 0 | 10B | 146 BPM | ||
| Zigeunermelodien, Op. 55, B. 104: Zigeunermelodien (Gypsy Melodies), Op. 55: No. 4, Songs my Mother taught me [Sung in German] | Antonín Dvořák, Yoshikazu Mera, Japan Philharmonic Orchestra, Shigeo Genda | B♭ Major | 1 | 6B | 111 BPM | ||
| Turandot: Act I: Signore, ascolta! | Giacomo Puccini, Masako Deguci, Giovanna Casolla, Lando Bartolini, Gorka Gerrikabeitia, Francisco Heredia, Javier Mas, Vicenc Esteve, Armando Ariostini, Jose Garcia-Quijada, Felipe Bou, Bilbao Choral Society, Malaga Philharmonic Orchestra, Alexander Rahbari | D Major | 2 | 10B | 125 BPM | ||
| Alma del core | Antonio Caldara, Sua Jo, The Czech Symphony Orchestra | D Major | 3 | 10B | 109 BPM |