These are eight speed graphs.  Each of the graphs or charts compares of five classic contemporary songs which have mean speeds between 70-76 beats per minute.  That tempo range has been found to be a predictor that the mean emotion, or the emotion which was at the heart of the performer was grace, benevolence, poise and serenity.

Meanspeed Graph comparing songs at the speed of grace

Meanspeed Graph - 5 Songs at the speed of grace

Dimensional Meanspeed Graph - 5 songs at the speed of grace

Meanspeed Radar Graph - 5 songs at the speed of grace

Three Dimensional Meanspeed neurotemporal graph

Meanspeed Graph - Speed of Grace - comparative line graph

Breakfast In America, It Was A Very Good Year, El Malecon, Bad Day, Hey Jude

Is there not, you ask,  is some master DJ “mouse” out there?  Is this not an internet where everything may be found in under 5 minutes?  No.  This ‘best of all information a world I only mention because I get many people who ask me: am I counting beats for my own self-aggrandizement?  Am I trying to force the industry to catalog all these tempo lines by doing it myself until they ask me to stop?  Am I just joking – certainly speed in itself, you say, cannot predict emotional concepts or emotive expressions?  But I’d come right back to you by saying: No, no one has asserted this before, yes it is true and NO, this is hardly a way to self-aggrandize.  You want to know about self-aggrandizement?  Ask Steve “I promised I was going to release all the BPM through iTunes last year but I lied” Jobs.  Seriously.  I can tell you why: because the artists themselves won’t even give Steve the BPM?  Why not?  Sales of music, in part, are driven by a mystery in speed, or tempo, depending if you speed geek-outdated Italian or geek-updated American English. And the secrets on all the Meanspeed pages online and in this bathroom – our speciality has become – yup – disposable wallpaper for bathrooms.  Nothing quite like analyzing the speed of a Sinatra classic while pooping – it does beat Newsweek magazine lately, where publishers seem to be clamouring for all-out anarchy.  And face it: those tubes of Tom’s of Maine® Toothpaste are interesting yet short and not very dramatic.
Given just these five songs with the mean-emotion of grace–in my house where I have white noise playing at a frequency that reverts to approximately the note Eb –and looking at these charts, I can play each of these at once.  Because they all have the same general underlying pulse, –they sound so different. A Very Good Year by the Chairman Of The Board, from Hoboken, New Jersey, Frank Sinatra “sounds” slower, Bad Day by Daniel Powter and El Malecon by Orchestra Harlow sound faster. If a [master-mix-masher-DJ] makes a song out of this, I’d love to hear it!

/Ian Andrew Schneider/

/James St. James Neumann/

March 25, 2009/originally publish August 13, 2006

Notes on elementary notes, pitches, tones and frequencies and how their relation to simple BEATS is simple:

From DonGuinn/PianoTuning -

Note ‘Verbs to build tables in Tuning’

This script builds the tables in the Jwiki on piano tuning.

Accessed from Essays/PianoTuning

f1 beats f2

Calculates the number of beats per second heard when

frequencies f1 and f2 are played together

f1 cent f2

Gives the difference between frequencies f1 and f2 in cents

Temperament_Octave

The first table of fundamental frequencies and harmonics

Beats

The second table showing beats for 1 hz frequency

Temperament_Procedure

The third table showing the temperament tuning procedure

Bottom of this script

Four statements which build the beats for the check for A#

These definitions are for the ideal string or pipe where the

overtones follow exact multiples of the fundamental. In

reality strings have stiffness, thickness and flaws which

shift the overtones away from exact multiples. The stiffness

shifts the overtones sharper, slightly more than exact

multiples.

The thickness of pipes shifts the overtones flatter, less

than exact multiples.

Chimes and drums have overtones which are nowhere near

multiples For that reason two chimes are never played

harmonically but melodically as the overtones clash so much

that they sound awful together.

Otherwise these shifts are neglegable in the mid-ranges of

various instruments but become significant at the extremes.