TempoPeek

Ray Charles · The Genius Sings the Blues

Feelin’ Sad

Feelin’ Sad is in E flat major at 117.4 beats per minute.

4080120160200

Tempo

117 BPM · Moderatomedian of 211 analyses · 117.3–117.4 across the middle eight tenths
Key
E♭ major3 flats · the key most of the analyses agreed on
Agreement
99%share of analyses that agreed
Analyses
211people who ran the extractor
One beat
511.1milliseconds, 60,000 ÷ BPM
Tuning
441.8Hz · +7 cents from A 440
Dynamics
6.94dB the level wanders from its average
Loudness
0.393Essentia's 0–1 scale, not dB
Danceability
0.959Essentia'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

211 independent analyses of this recording were submitted to AcousticBrainz. All but a handful of them — 99% — put it in E flat major, a key signature of 3 flats. The tempo printed above is the median of the 211 readings; 97% of them land within 2% of it, and they barely differ at all.

At 117.4 BPM one beat lasts 511.1 milliseconds, so a sixteenth note is 127.8 ms and a dotted eighth 383.3 ms — the delay times for this recording. Counted half as fast it is 58.7 BPM, counted twice as fast 234.8. A score would mark that Moderato, by the ranges this site uses.

The analyses put the reference pitch of the recording at 441.8 Hz, which is 7 cents above 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 6.94 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 0.393 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 E flat major; 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 E♭ major

Each of these differs from E♭ major 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 117 BPM

Note valueBeatsMillisecondsHertz
Whole note42044.30.49
Half note21022.10.98
Dotted quarter1.5766.61.3
Quarter note (one beat)1511.11.96
Quarter triplet0.667340.72.94
Dotted eighth0.75383.32.61
Eighth note0.5255.53.91
Eighth triplet0.333170.45.87
Dotted sixteenth0.375191.75.22
Sixteenth note0.25127.87.83
Sixteenth triplet0.16785.211.74
Thirty-second note0.12563.915.65

Half time 58.7 BPM · double time 234.8 BPM. Every row is one beat (511.1 ms) times the fraction in the second column.

Closest in key and tempo

  1. Since You’ve Been Gone (Sweet Sweet Baby)Aretha FranklinE♭ major117BPM
  2. Say Say SayMichael Jackson & Paul McCartneyE♭ major118BPM
  3. Blues to YouJohn ColtraneE♭ major117BPM
  4. The More I See YouMichael BubléE♭ major118BPM
  5. She’s Always a WomanBilly JoelE♭ major117BPM
  6. No ExcusesAlice in ChainsE♭ major118BPM
  7. Frances Farmer Will Have Her Revenge on SeattleNirvanaE♭ major118BPM
  8. ApologizeOneRepublicE♭ major118BPM
  9. One SlipPink FloydE♭ major117BPM
  10. RememberAirE♭ major117BPM

Recordings in E flat major, ordered by how near their tempo is to 117 BPM. A calculation, not a recommendation.

All songs in E flat majorAll songs at 117 BPME♭ major at 110–119 BPMRay Charles

MusicBrainz collapses 33 recording ids into this one. Recording id 352cf89c-3c01-4ca4-91ab-8f68b6a2489e.