It’s All Coming Back to Me Now

153 independent analyses of this recording were submitted to AcousticBrainz. All but a handful of them — 99% — put it in C major, a key signature of no sharps and no flats. The tempo printed above is the median of the 153 readings; 77% of them land within 2% of it, and the middle eight tenths of them run from 178.2 to 184.6 BPM.

At 184.6 BPM one beat lasts 325 milliseconds, so a sixteenth note is 81.3 ms and a dotted eighth 243.8 ms — the delay times for this recording. Counted half as fast it is 92.3 BPM, counted twice as fast 369.2. A score would mark that Presto, by the ranges this site uses.

The analyses put the reference pitch of the recording at 440.5 Hz, which is 2 cents above 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 8.59 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 0.028 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 C major; the ones listed below are the closest in tempo.