TempoPeek

Ray Charles · The Genius of Ray Charles

Come Rain or Come Shine

Come Rain or Come Shine is in F minor at 120 beats per minute.

4080120160200

Tempo

120 BPM · Allegromedian of 220 analyses · 119.6–120.4 across the middle eight tenths
Key
F minor4 flats · the key most of the analyses agreed on
Agreement
57%share of analyses that agreed
Analyses
220people who ran the extractor
One beat
500milliseconds, 60,000 ÷ BPM
Tuning
436.7Hz · -13 cents from A 440
Dynamics
4.99dB the level wanders from its average
Loudness
0.379Essentia's 0–1 scale, not dB
Danceability
1.027Essentia'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

220 independent analyses of this recording were submitted to AcousticBrainz. A bare majority of them — 57% — put it in F minor, a key signature of 4 flats. The tempo printed above is the median of the 220 readings; 97% of them land within 2% of it, and they barely differ at all.

At 120 BPM one beat lasts 500 milliseconds, so a sixteenth note is 125 ms and a dotted eighth 375 ms — the delay times for this recording. Counted half as fast it is 60 BPM, counted twice as fast 240. A score would mark that Allegro, by the ranges this site uses.

The analyses put the reference pitch of the recording at 436.7 Hz, which is 13 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 4.99 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 0.379 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 120 BPM

Note valueBeatsMillisecondsHertz
Whole note420000.5
Half note210001
Dotted quarter1.57501.33
Quarter note (one beat)15002
Quarter triplet0.667333.33
Dotted eighth0.753752.67
Eighth note0.52504
Eighth triplet0.333166.76
Dotted sixteenth0.375187.55.33
Sixteenth note0.251258
Sixteenth triplet0.16783.312
Thirty-second note0.12562.516

Half time 60 BPM · double time 240 BPM. Every row is one beat (500 ms) times the fraction in the second column.

The same title by somebody else

  1. Come Rain or Come ShineFrank SinatraB minor165BPM

Matched on the title alone, so this list can hold a different song that happens to share a name. Nothing here claims one is a cover of the other.

Closest in key and tempo

  1. Gimme All Your Lovin’ZZ TopF minor120BPM
  2. St. JudeFlorence + the MachineF minor120BPM
  3. Lose My BreathDestiny’s ChildF minor119BPM
  4. I Couldn’t Be More in LoveThe 1975F minor121BPM
  5. 4 My PeopleMissy Elliott featuring EveF minor121BPM
  6. MichelleThe BeatlesF minor118BPM
  7. Smells Like Teen SpiritNirvanaF minor118BPM
  8. FunkytownLipps, Inc.F minor123BPM
  9. They Won’t Go When I GoGeorge MichaelF minor123BPM
  10. Minor MarchMiles DavisF minor117BPM

Recordings in F minor, ordered by how near their tempo is to 120 BPM. A calculation, not a recommendation.

All songs in F minorAll songs at 120 BPMF minor at 120–129 BPMRay Charles

MusicBrainz collapses 61 recording ids into this one. Recording id 926a35b6-18a5-45a9-881e-4c2640ea8aa8.