Ned Rorem, Concora, Larry Allen, David Westfall, Carol Allen, Stacey Grimaldi, Richard Coffey's 'Seven Motets for the Church Year: God is Gone Up' had a release date set for November 1, 1998. With This song being less than two minutes long, at 1:34, 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. There are a total of 29 in the song's album "Sing My Soul". In this album, this song's track order is #6. Furthermore, we believe that the track originated from United States. In terms of popularity, Seven Motets for the Church Year: God is Gone Up is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Seven Motets for the Church Year: God is Gone Up by Ned Rorem, Concora, Larry Allen, David Westfall, Carol Allen, Stacey Grimaldi, Richard Coffey having a BPM of 92 with a half-time of 46 BPM and a double-time of 184 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 3/4.
This song has a musical key of D Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A 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 for Harp, Op. 83: II. Toccata. Fast and gay | Benjamin Britten, Magdalena Hoffmann | D♭ Major | 0 | 3B | 135 BPM | ||
| Escenas | Gabriel Bouche Caro, Clare Monfredo, Eric Schultz | A Minor | 1 | 8A | 88 BPM | ||
| String Quartet No. 2, Op. 147: VII. Hymn | Alan Hovhaness, Shanghai Quartet | C Major | 0 | 8B | 95 BPM | ||
| Quatuor pour la fin du Temps: VIII. Louange à l'immortalité de Jésus | Olivier Messiaen, Lucas Debargue | E Major | 0 | 12B | 76 BPM | ||
| Kinderszenen, Op. 15: XIII. Der Dichter spricht | Robert Schumann, Angela Hewitt | E♭ Major | 1 | 5B | 81 BPM | ||
| Stille Musik: I. Walzer des Augenblicks | Valentin Silvestrov, Munich Chamber Orchestra | A Minor | 0 | 8A | 60 BPM | ||
| Bach, JS: Sonata for Violin & Keyboard No. 6 in G Major, BWV 1019: II. Largo | Johann Sebastian Bach, Renaud Capuçon, David Fray | E Minor | 0 | 9A | 70 BPM | ||
| Empty Abyss | Orithia | A Minor | 0 | 8A | 76 BPM | ||
| Concerto for Violin and Cello, Op. 102 in A Minor: II. Andante | Johannes Brahms, Leoš Čepický, Michal Kaňka, Stanislav Vavřínek, Komorní filharmonie Pardubice | D Major | 1 | 10B | 96 BPM | ||
| Nymphs and Fauns Arabesque - Duo-Art 5509 | Herman Bemberg, McNair Ilgenfritz, Peter Phillips | D♭ Major | 1 | 3B | 88 BPM | ||
| St. Matthew Passion, Bwv 244: Mache dich, mein Herze, rein | Johann Sebastian Bach, Anderson & Roe | G Major | 4 | 9B | 138 BPM | ||
| Dove: Figures in the Garden: VII. Nocturne. Figaro and Susanna | Jonathan Dove, Antony Pay, Orchestra of the Age of Enlightenment | D♭ Major | 0 | 3B | 81 BPM | ||
| Piano Concerto No. 1, Op. 45: II. Andante (ma rubato) | Einojuhani Rautavaara, Laura Mikkola, Royal Scottish National Orchestra, Hannu Lintu | D♭ Major | 0 | 3B | 104 BPM | ||
| Symphony No. 3: Passacaglia | Bournemouth Symphony Orchestra, Ned Rorem | D Minor | 1 | 7A | 111 BPM | ||
| Sonate, Op. 71: II. Nocturne – Presque adagio | Charles Koechlin, Julien Hardy, Simon Zaoui | E♭ Major | 0 | 5B | 77 BPM | ||
| Quatuor pour la fin du Temps: V. Louange à l'éternité de Jésus | Olivier Messiaen, Lucas Debargue, Torleif Thedéen | E Major | 0 | 12B | 81 BPM | ||
| Pictures and Tales Suite: IV. Sleep, Baby, Sleep | Karl Weigl, Deutsche Staatsphilharmonie Rheinland-Pfalz, Jurgen Bruns | B Major | 0 | 1B | 119 BPM | ||
| 7 Anniversaries: I. For Aaron Copland | Leonard Bernstein, Michele Tozzetti | C Major | 0 | 8B | 87 BPM | ||
| Chansons pour les oiseaux: No. 3, L'oiseau bleu | Louis Beydts, Julie Roset, Susan Manoff | G Major | 6 | 9B | 103 BPM | ||
| Martinu: Piano Quartet No. 1, H. 287: II. Adagio | Bohuslav Martinů, Domus | D Minor | 1 | 7A | 85 BPM | ||
| Symphony No. 2 in One Movement, Op. 30: V. Adagio | Ruth Gipps, Rumon Gamba, BBC National Orchestra Of Wales | B♭ Major | 0 | 6B | 115 BPM | ||
| The Threepenny Opera, Act II: Pollys Lied (Arr. for Piano by Florian Noack) | Kurt Weill, Florian Noack | B Minor | 0 | 10A | 110 BPM | ||
| Concierto para Piano y Orquesta No. 2, "de los Lienzos Olvidados": I. Evanescente - Live | Ramón Paus, Eduardo Fernandez, Orquesta de Extremadura, Iván López Reynoso | C Major | 1 | 8B | 119 BPM | ||
| Concerto for English Horn and Orchestra: IV. Perpetual Motion | Ned Rorem, Thomas Stacy, Michael Palmer, Rochester Philharmonic Orchestra | G Major | 1 | 9B | 103 BPM | ||
| Our Town, Act I: Opening | Ned Rorem, Matthew DiBattista, Gil Rose | D Minor | 2 | 7A | 85 BPM |