"A boy was born, Op.3: Variation 5: In The Bleak Mid-Winter" by Benjamin Britten, Choir of King's College, Cambridge, Ladies From Cambridge University Choir, Stephen Cleobury had its release date on January 1, 1991. With this song being about 5 minutes long, at This song is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The song is number 25 out of 26 in Britten: A Ceremony of Carols; Rejoice in the Lamb; A Boy Was Born by Benjamin Britten, Choir of King's College, Cambridge, Rachel Masters, Stephen Cleobury. Based on our statistics, A boy was born, Op.3: Variation 5: In The Bleak Mid-Winter's popularity 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 A boy was born, Op.3: Variation 5: In The Bleak Mid-Winter by Benjamin Britten, Choir of King's College, Cambridge, Ladies From Cambridge University Choir, Stephen Cleobury is Allegro (fast, quick, and bright), since this song has a tempo of 124 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with walking. 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 | ||
|---|---|---|---|---|---|---|---|
| Suite No. 2, P. 138: I. Laura Soave: Balletto Con Gagliarda, Saltarello E Canario: Andantino | Ottorino Respighi, RTÉ National Symphony Orchestra | G Major | 0 | 9B | 107 BPM | ||
| Sérénité Nocturne | Etoilee | E Major | 3 | 12B | 178 BPM | ||
| Suor Angelica: Ave Maria, piena di gratia | Giacomo Puccini, Dame Joan Sutherland, The London Opera Chorus, National Philharmonic Orchestra, Richard Bonynge | F Major | 0 | 7B | 106 BPM | ||
| Requiem, Op. 9: VIII. Libera me | Maurice Duruflé, Maîtrise de Saint-Christophe de Javel, Chœur de filles Cæcilia, Yves Castagnet, Christophe Gautier, Henri Chalet, Alice Korovitch | B♭ Major | 0 | 6B | 131 BPM | ||
| Chichester Psalms: I. Psalm 108,2 / Psalm 100 - Live | Leonard Bernstein, Wiener Jeunesse-Chor, Israel Philharmonic Orchestra | B♭ Major | 0 | 6B | 109 BPM | ||
| Neon Waves | Lumi Risto | D Major | 1 | 10B | 130 BPM | ||
| Virga Jesse, WAB 52 | Anton Bruckner, Latvian Radio Choir, Sigvards Kļava | D Minor | 1 | 7A | 136 BPM | ||
| Requiem: I. Requiem aeternam I | Eleanor Daley, The Choir of Royal Holloway, Rupert Gough, Esmé Ellis | D Major | 0 | 10B | 83 BPM | ||
| Sea Pictures, Op. 37: No. 1, Sea Slumber-Song | Edward Elgar, Alice Coote, Sir Mark Elder, Hallé | C Minor | 3 | 5A | 133 BPM | ||
| Chichester Psalms: I. Psalm 108:2, Urah, hanevel, v'chinor! - Psalm 100, Hariu l'Adonai kol haarets | Leonard Bernstein, Thomas Kelly, Elizabeth Franklin-Kitchen, Victoria Nayler, Jeremy Budd, Paul Charrier, Bournemouth Symphony Chorus, Bournemouth Symphony Orchestra, Marin Alsop | D Minor | 2 | 7A | 105 BPM | ||
| Pavane pour une infante défunte, M. 19 (Arr. for Wind Ensemble by Guy du Cheyron) | Maurice Ravel, Ensemble Ouranos | G Major | 0 | 9B | 58 BPM | ||
| Symphony in C Major, Op. 46: II. Sehr langsam - | Hans Pfitzner, Seattle Symphony Orchestra, Gerard Schwarz | F Major | 0 | 7B | 87 BPM | ||
| Requiem, Op. 48: 1. Introitus: Requiem aeternam - Kyrie | Gabriel Fauré, The Monteverdi Choir, Salisbury Cathedral Choristers, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner | B♭ Major | 0 | 6B | 74 BPM | ||
| Trauermusik | Paul Hindemith, Kim Kashkashian, Dennis Russell Davies, Stuttgart Chamber Orchestra | E Minor | 1 | 9A | 99 BPM | ||
| Mass for Double Choir: II. Gloria | Frank Martin, Westminster Choir, Joe Miller | C Major | 1 | 8B | 74 BPM | ||
| Empty Abyss | Orithia | A Minor | 0 | 8A | 76 BPM | ||
| Love's Labour's Lost, Op.28: 3. Soliloquy 3: On a day, alack the day - Instrumental | Gerald Finzi, Aurora Orchestra, Nicholas Collon | B♭ Major | 1 | 6B | 103 BPM | ||
| A Midsummer Night's Dream / Act 2: A Midsummer Night's Dream, Act 2: "On The Ground, Sleep Sound" | Benjamin Britten, Choir Of Downside School, Purley, Wandsworth School Boys Choir, London Symphony Orchestra | F Minor | 0 | 4A | 176 BPM | ||
| Variations on a theme of Frank Bridge, Op.10: 7. Wiener Waltzer | Benjamin Britten, English Chamber Orchestra | C Major | 1 | 8B | 98 BPM | ||
| The Kingdom, Op. 51: IIIb. Pentecost (And suddenly there came from heaven) | Edward Elgar, Sarah Connolly, Benjamin Hulett, Ashley Riches, London Mozart Players, Crouch End Festival Chorus, David Temple | A♭ Major | 3 | 4B | 122 BPM | ||
| Vespers (All-Night Vigil), Op.37: 3. "Blazhen muzh" | Sergei Rachmaninoff, St.Petersburg Chamber Choir, Nikolai Korniev | F Major | 0 | 7B | 104 BPM | ||
| Bach, JS: Johannes-Passion, BWV 245, Pt. 2: No. 39, Chor. "Ruht wohl, ihr heiligen Gebeine" | Johann Sebastian Bach, Edward Higginbottom, Capricorn | C Minor | 1 | 5A | 79 BPM | ||
| War Requiem, Op. 66: viii. Dies Irae - "Out there, we've walked quite friendly up to Death" | Benjamin Britten, Gianandrea Noseda, Ian Bostridge, Simon Keenlyside, London Symphony Orchestra | G Major | 2 | 9B | 142 BPM | ||
| Magnificat in C | Charles Villiers Stanford, The King's Consort, Robert King | E♭ Minor | 2 | 2A | 121 BPM | ||
| Mass for Four Voices: Kyrie | William Byrd, Christ Church Cathedral Choir, Stephen Darlington | F Minor | 1 | 4A | 80 BPM |