Shania Twain · Come On Over
Come On Over
Come On Over is in F sharp major at 153 beats per minute.
Tempo
153 BPM · Allegromedian of 134 analyses · 152.9–153 across the middle eight tenths- Key
- F♯ major6 sharps · the key most of the analyses agreed on
- Agreement
- 100%share of analyses that agreed
- Analyses
- 134people who ran the extractor
- One beat
- 392.2milliseconds, 60,000 ÷ BPM
- Tuning
- 439.5Hz · -2 cents from A 440
- Dynamics
- 3.63dB the level wanders from its average
- Loudness
- 0.833Essentia's 0–1 scale, not dB
- Danceability
- 1.125Essentia'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
134 independent analyses of this recording were submitted to AcousticBrainz. All but a handful of them — 100% — put it in F sharp major, a key signature of 6 sharps. The tempo printed above is the median of the 134 readings; 100% of them land within 2% of it, and they barely differ at all.
At 153 BPM one beat lasts 392.2 milliseconds, so a sixteenth note is 98 ms and a dotted eighth 294.1 ms — the delay times for this recording. Counted half as fast it is 76.5 BPM, counted twice as fast 306. A score would mark that Allegro, by the ranges this site uses.
The analyses put the reference pitch of the recording at 439.5 Hz, which is 2 cents below concert A at 440 Hz — close enough to standard that a tuner would not argue. That is a fact about this transfer of the music, not about how it was played.
The dynamic complexity of the recording measures 3.63 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 0.833 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 sharp 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 F♯ major
Each of these differs from F♯ 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 153 BPM
| Note value | Beats | Milliseconds | Hertz |
|---|---|---|---|
| Whole note | 4 | 1568.6 | 0.64 |
| Half note | 2 | 784.3 | 1.27 |
| Dotted quarter | 1.5 | 588.2 | 1.7 |
| Quarter note (one beat) | 1 | 392.2 | 2.55 |
| Quarter triplet | 0.667 | 261.4 | 3.83 |
| Dotted eighth | 0.75 | 294.1 | 3.4 |
| Eighth note | 0.5 | 196.1 | 5.1 |
| Eighth triplet | 0.333 | 130.7 | 7.65 |
| Dotted sixteenth | 0.375 | 147.1 | 6.8 |
| Sixteenth note | 0.25 | 98 | 10.2 |
| Sixteenth triplet | 0.167 | 65.4 | 15.3 |
| Thirty-second note | 0.125 | 49 | 20.4 |
Half time 76.5 BPM · double time 306 BPM. Every row is one beat (392.2 ms) times the fraction in the second column.
Closest in key and tempo
- Live and Let DieGuns N’ RosesF♯ major153BPM
- TrismThe B‐52sF♯ major152BPM
- Into the VoidBlack SabbathF♯ major152BPM
- I Knew You Were Trouble.Taylor SwiftF♯ major154BPM
- ScattergunRamonesF♯ major155BPM
- Barbara AnnThe Beach BoysF♯ major155BPM
- What’s My Age Again?blink‐182F♯ major156BPM
- Country GirlBlack SabbathF♯ major156BPM
- MichaelFranz FerdinandF♯ major156BPM
- Tonight, TonightThe Smashing PumpkinsF♯ major150BPM
Recordings in F sharp major, ordered by how near their tempo is to 153 BPM. A calculation, not a recommendation.
All songs in F sharp majorAll songs at 153 BPMF♯ major at 150–159 BPMShania Twain
MusicBrainz collapses 12 recording ids into this one. Recording id 25259755-5395-47d1-bb57-6f7955271adb.