George Frideric Handel, Andrew Davis, Toronto Mendelssohn Choir, Elmer Iseler Singers, Florence Quivar, John Aler, Samuel Ramey, Kathleen Battle, Toronto Symphony Orchestra's ' "And With His Stipes We Are Healed - Live" was released on its scheduled release date, January 1, 1987. With This song being less than two minutes long, at 1:43, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The track order of this song in George Frideric Handel, Andrew Davis's "Handel: Messiah" album is number 2 out of 54. On top of that, United States appears to be the country where this track was created. And With His Stipes We Are Healed - Live is not that popular right now. Based on the vibe, this track doesn't seem to be that danceable, however its valence properties can make this some somewhat danceable.
We consider the tempo marking of And With His Stipes We Are Healed - Live 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 Adagio (slowly with great expression) because the track has a tempo of 70 BPM, a half-time of 35BPM, and a double-time of 140 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 3/4.
This song is in the music key of F Minor. Because this track belongs in the F Minor key, the camelot key is 4A. So, the perfect camelot match for 4A would be either 4A or 3B. While, a low energy boost can consist of either 4B or 5A. For moderate energy boost, you would use 1A and a high energy boost can either be 6A or 11A. However, if you are looking for a low energy drop, finding a song with a camelot key of 3A would be a great choice. Where 7A would give you a moderate drop, and 2A or 9A would be a high energy drop. Lastly, 7B 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 | ||
|---|---|---|---|---|---|---|---|
| Ode for St. Cecilia's Day, HWV 76: Air: But oh! what art can teach | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | A♭ Minor | 0 | 1A | 96 BPM | ||
| Messiah: Part 1, But who may abide? (Air, Alto) | The Sixteen | D♭ Minor | 2 | 12A | 93 BPM | ||
| Messiah, HWV 56, Pt. 2: Hallelujah Chorus | The City of Prague Philharmonic Orchestra, Richard Hein, The City of Prague Choir | D Major | 4 | 10B | 107 BPM | ||
| Hark! The Herald Angels Sing | Vienna Boys' Choir | G Major | 1 | 9B | 84 BPM | ||
| Praetorius: Musae Sioniae, Pt. 6: No. 53, Es ist ein Ros entsprungen | Michael Praetorius, Ton Koopman, Avro Kinderchor, Amsterdam Baroque Orchestra | E Major | 0 | 12B | 114 BPM | ||
| Hallelujah Chorus | Voces8 | D Major | 5 | 10B | 105 BPM | ||
| Messiah, HWV 56: Worthy Is The Lamb - 2021 Digitally Remastered | Handel, Boston Chamber Choir & Orchestra, Robert Shorter | G Major | 0 | 9B | 73 BPM | ||
| Messiah, HWV 56: Part 1: For unto us a child is born (Chorus) | Nikolaus Harnoncourt | F♯ Major | 2 | 2B | 86 BPM | ||
| Oh di Betlemme altera povertà (Cantata pastorale per la nascita di Nostro Signore): Introduzione | Alessandro Scarlatti, Mária Zádori, Capella Savaria, Pal Nemeth | A♭ Major | 1 | 4B | 99 BPM | ||
| Gloria: Qui sedes ad dexteram Patris | Antonio Vivaldi, Margaret Cameron, English Baroque Soloists, John Eliot Gardiner | B♭ Minor | 1 | 3A | 109 BPM | ||
| You'll Never Walk Alone | The Boys Choir Of Harlem | F Major | 3 | 7B | 124 BPM | ||
| This Christmastide (Jessye's Carol) | St. Olaf Choral Ensembles | D Major | 1 | 10B | 126 BPM | ||
| Hallelujah Chorus | Diane Bish, US Army Brass Quintet | D Major | 1 | 10B | 128 BPM | ||
| Vivaldi: Gloria in D Major, RV 589: VIII. Domine Deus, Agnus Dei | Antonio Vivaldi, Riccardo Muti, Lucia Valentini Terrani | D Major | 4 | 10B | 119 BPM | ||
| Messiah, HWV 56 / Pt. 1: O Thou That Tellest Good Tidings To Zion | George Frideric Handel, London Philharmonic Orchestra, London Philharmonic Choir, John Alldis, Alfreda Hodgson | D Major | 2 | 10B | 87 BPM | ||
| Wohl Mir, Das Ich Jesum Habe | The Bach Choir Of Bethlehem | G Major | 1 | 9B | 124 BPM | ||
| Mozart: Mass in C Minor, K. 427 "Great": III. Credo - Et incarnatus est | Wolfgang Amadeus Mozart, Barbara Hendricks, Academy of St. Martin in the Fields, Sir Neville Marriner | F Major | 1 | 7B | 95 BPM | ||
| II. Comfort ye my people | London Philharmonic Orchestra | B Major | 2 | 1B | 77 BPM | ||
| Messiah HWV56, PART 2: Behold, and see (tenor arioso: Largo e piano) | George Frideric Handel, Choir of King's College, Cambridge, Stephen Cleobury, Allan Clayton | E♭ Minor | 1 | 2A | 96 BPM | ||
| Wachet auf, ruft uns die Stimme, BWV 140: Chorale. Gloria sei dir gesungen (Chorus) | Johann Sebastian Bach, Susan Hamilton, William Kendall, Peter Harvey, The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner | D Major | 2 | 10B | 170 BPM | ||
| Messiah, HWV 56 / Pt. 1: Comfort Ye My People | George Frideric Handel, London Philharmonic Orchestra, London Philharmonic Choir, John Alldis, Philip Langridge | B Major | 1 | 1B | 101 BPM | ||
| And With His Stripes We Are Healed | The Tabernacle Choir at Temple Square, Orchestra at Temple Square | C Major | 1 | 8B | 77 BPM | ||
| Ode for St. Cecilia's Day, HWV 76: Air and chorus: As from the powers of sacred lays | George Frideric Handel, Dorothee Mields, Mark Wilde, Alsfelder Vocal Ensemble, Concerto Polacco, Wolfgang Helbich | G Minor | 2 | 6A | 74 BPM | ||
| Messiah: Part 3, Worthy is the Lamb that was slain (Chorus) | The Sixteen | D♭ Major | 3 | 3B | 103 BPM | ||
| How Beautiful Are the Feet | The Tabernacle Choir at Temple Square, Orchestra at Temple Square, Sonya Yoncheva | F Minor | 1 | 4A | 93 BPM |