TempoPeek

Aretha Franklin · Spirit in the Dark

The Thrill Is Gone (From Yesterday’s Kiss)

The Thrill Is Gone (From Yesterday’s Kiss) is in F minor at 101.7 beats per minute.

4080120160200

Tempo

102 BPM · Andantemedian of 225 analyses · 101–101.7 across the middle eight tenths
Key
F minor4 flats · the key most of the analyses agreed on
Agreement
99%share of analyses that agreed
Analyses
225people who ran the extractor
One beat
590milliseconds, 60,000 ÷ BPM
Tuning
434.2Hz · -23 cents from A 440
Dynamics
6.22dB the level wanders from its average
Loudness
0.435Essentia's 0–1 scale, not dB
Danceability
1.114Essentia's danceability, 0–3

Source: AcousticBrainz, dump of 2022-06-23 (CC0) · MusicBrainz core data, 2026-09-17 (CC0) · how each number is measured. Measured up to 23.06.2022 — AcousticBrainz stopped collecting in 2022, so nothing released after that date is here.

What the numbers say

225 independent analyses of this recording were submitted to AcousticBrainz. All but a handful of them — 99% — put it in F minor, a key signature of 4 flats. The tempo printed above is the median of the 225 readings; 100% of them land within 2% of it, and they barely differ at all.

At 101.7 BPM one beat lasts 590 milliseconds, so a sixteenth note is 147.5 ms and a dotted eighth 442.5 ms — the delay times for this recording. Counted half as fast it is 50.9 BPM, counted twice as fast 203.4. A score would mark that Andante, by the ranges this site uses.

The analyses put the reference pitch of the recording at 434.2 Hz, which is 23 cents below concert A at 440 Hz — the sort of drift a tape machine or a slightly different mastering leaves behind. That is a fact about this transfer of the music, not about how it was played.

The dynamic complexity of the recording measures 6.22 dB: that is how far the level wanders from its own average, so a small number means a loud, flat master and a large one means a recording that still breathes. Its average loudness is 0.435 on Essentia's 0-to-1 scale, which is not decibels and is not comparable to a streaming service's number.

10 other recordings here are in F minor; the ones listed below are the closest in tempo.

Beats per bar are not in this dataset. AcousticBrainz's analysis reports a tempo, a key and a loudness, and no time signature at all, so this page does not print one — a 4/4 here would be a guess dressed as a measurement.

Keys that fit with F minor

Each of these differs from F minor by at most one accidental, or shares its tonic. That is the whole of what a mixing wheel encodes; here the relations are named instead of numbered.

Delay times at 102 BPM

Note valueBeatsMillisecondsHertz
Whole note42359.90.42
Half note21179.90.85
Dotted quarter1.58851.13
Quarter note (one beat)15901.7
Quarter triplet0.667393.32.54
Dotted eighth0.75442.52.26
Eighth note0.52953.39
Eighth triplet0.333196.75.09
Dotted sixteenth0.375221.24.52
Sixteenth note0.25147.56.78
Sixteenth triplet0.16798.310.17
Thirty-second note0.12573.713.56

Half time 50.9 BPM · double time 203.4 BPM. Every row is one beat (590 ms) times the fraction in the second column.

Closest in key and tempo

  1. How I Could Just Kill a ManCypress HillF minor102BPM
  2. Islands in the StreamDolly Parton with Kenny RogersF minor102BPM
  3. Rebel of the Underground2PacF minor101BPM
  4. StayZedd & Alessia CaraF minor102BPM
  5. Tracks of My TearsAretha FranklinF minor101BPM
  6. The Negotiation Limerick FileBeastie BoysF minor101BPM
  7. KILL ME BITCH$NotF minor101BPM
  8. Detroit Rock CityKISSF minor101BPM
  9. I’m Bad, I’m NationwideZZ TopF minor103BPM
  10. Man in the MirrorMichael JacksonF minor100BPM

Recordings in F minor, ordered by how near their tempo is to 102 BPM. A calculation, not a recommendation.

All songs in F minorAll songs at 102 BPMF minor at 100–109 BPMAretha Franklin

MusicBrainz collapses 2 recording ids into this one. Recording id d8b689ad-fac9-4862-8567-476bd3bde58d.