Alessandro Scarlatti, Víctor Sordo, La Ritirata, Josetxu Obregon's ' "Il giardino di rose, R.503.19: Seconda Parte: Com'esser può rubella (Recitativo)" was released on its scheduled release date, February 14, 2025. With This song being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. There are a total of 55 in the song's album "Scarlatti: Il giardino di rose". In this album, this song's track order is #5. Furthermore, we believe that the track originated from Germany. Il giardino di rose, R.503.19: Seconda Parte: Com'esser può rubella (Recitativo) is unknown right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
With Il giardino di rose, R.503.19: Seconda Parte: Com'esser può rubella (Recitativo) by Alessandro Scarlatti, Víctor Sordo, La Ritirata, Josetxu Obregon having a BPM of 68 with a half-time of 34 BPM and a double-time of 136 BPM, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
F♯ Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A 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 | ||
|---|---|---|---|---|---|---|---|
| Orfeo ed Euridice: Act I, Scene 1, Coro: Ah, se intorno a quest'urna funesta | Christoph Willibald Gluck, René Jacobs, RIAS Kammerchor, Freiburger Barockorchester | F Minor | 1 | 4A | 80 BPM | ||
| Aire (For the Play "The Mad Lover) [3] | John Eccles, Capella Orlandi Bremen, Thomas Ihlenfeldt | F♯ Minor | 0 | 11A | 97 BPM | ||
| Durante / Orch Courbier & Delaforge: Danza, Danza fanciulla gentile [Orch. Courbier & Delaforge] | Francesco Durante, Nathalie Stutzmann, Orfeo 55 | F♯ Minor | 4 | 11A | 109 BPM | ||
| I fratelli riconosciuti: Ciel nemico - Attalo | Giovanni Maria Capelli, Philippe Jaroussky, Emmanuelle Haïm, Le Concert d'Astrée | B Major | 0 | 1B | 103 BPM | ||
| Couperin, F: L'apothéose de Lully: La paix du Parnasse: I. Sonade en trio | François Couperin, John Eliot Gardiner, English Baroque Soloists | F♯ Minor | 0 | 11A | 78 BPM | ||
| Concerto Grosso in B-Flat Major, Op. 1, No. 3: I. Largo | Pietro Locatelli, Capella Istropolitana, Jaroslav Krcek | G Minor | 3 | 6A | 133 BPM | ||
| Concerto grosso No. 11 in B-Flat Major, Op. 6: I. Preludio (Andante largo) | Arcangelo Corelli, Gli Incogniti, Amandine Beyer, Alba Roca | E Major | 2 | 12B | 80 BPM | ||
| Missa pro Defunctis in E-Flat Major, HocJ A1.3: III. Sequentia, 3. Oro supplex et acclinis | Niccolò Jommelli, Miriam Feuersinger, Il Gardellino, Gaia Petrone, Valerio Contaldo, Wolf Matthias Friedrich, Peter Van Heyghen | B Minor | 1 | 10A | 139 BPM | ||
| Concerto in D Minor; Op. 6 No. 5: III. Moderato | Charles Avison, Café Zimmermann | D♭ Minor | 0 | 12A | 102 BPM | ||
| Overture For Viola D'amore & Orchestra in D Minor, GWV 426: VI. Menuets 1 Et 2 (Alternativement) | Christoph Graupner, Les idées heureuses, Hélène Plouffe, Geneviève Soly | D♭ Minor | 1 | 12A | 168 BPM | ||
| Stabat mater: II. Cujus animam gementem | Alessandro Scarlatti, Emmanuelle De Negri, Les Accents, Thibault Noally | E Minor | 2 | 9A | 68 BPM | ||
| Żebrowski: Magnificat: II. Quia respexit | Marcin Józef Żebrowski, Jakub Józef Orliński, Jan Tomasz Adamus, Capella Cracoviensis | E♭ Major | 1 | 5B | 80 BPM | ||
| Symphony No. 8 in D Minor, Op. 2, "Worcester Overture": II. Largo Andante | William Boyce, Aradia Ensemble, Kevin Mallon | E Major | 0 | 12B | 70 BPM | ||
| Les Indes galantes, Prologue, Scène 2: Entrée des 4 nations | Jean-Philippe Rameau, Les Arts Florissants, William Christie | E♭ Minor | 0 | 2A | 169 BPM | ||
| Atalia: "Ombre, cure, sospetti" | Francesco Gasparini, Blandine Staskiewicz, Thibault Noally, Les Accents | D♭ Major | 1 | 3B | 170 BPM | ||
| Rodelinda, HWV 19: Act I - "Ombre, piante" | Simone Kermes | E Minor | 1 | 9A | 84 BPM | ||
| Overture in G Minor: III. Aria. Presto | Giuseppe Antonio Brescianello, La Cetra Barockorchester Basel, David Plantier, Vaclav Luks | A Minor | 1 | 8A | 67 BPM | ||
| Missa Circumcisionis, ZWV 11: Sanctus – Pleni sunt caeli – Osanna I | Jan Dismas Zelenka, Collegium 1704, Collegium Vocale 1704, Václav Luks | F♯ Minor | 0 | 11A | 78 BPM | ||
| Concerto in E Minor: I. Adagio e staccato | Benedetto Marcello, Concerto Italiano, Rinaldo Alessandrini | B Major | 0 | 1B | 132 BPM | ||
| Concerto for Flute and Oboe in B Minor, FaWV L:h1: I. Allegro | Johann Friedrich Fasch, Irish Baroque Orchestra, Monica Huggett, Lisa Beznosiuk, Andreas Helm | F♯ Minor | 1 | 11A | 113 BPM | ||
| Now Does the Glorious Day Appear, Z. 332 "Ode for Queen Mary's Birthday": No. 7, By Beauteous Softness | Henry Purcell, Paul-Antoine Benos-Djian, Le Consort | D♭ Minor | 0 | 12A | 71 BPM | ||
| Welcome Every Guest: I. Symphony | John Blow, Vincent Dumestre, Le Poème Harmonique | D♭ Major | 2 | 3B | 85 BPM | ||
| X. Alleluja, ein Prinz ist da! | Georg Philipp Telemann, Hanna Herfurtner, Kölner Akademie, Michael Alexander Willens | E Major | 1 | 12B | 102 BPM | ||
| Concerto grosso No. 10 in F Major: I. Preludio | Giovanni Benedetto Platti, Akademie für Alte Musik Berlin, Georg Kallweit | G Major | 0 | 9B | 95 BPM | ||
| Scarlatti, A: Ombre tacite e sole: IV. Aria. "Allor d’intorno a te" | Alessandro Scarlatti, Philippe Jaroussky, Artaserse | F♯ Major | 3 | 2B | 124 BPM |