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It was released as a double A-side single with Moby's song "I Feel It" in the United States, serving as the fourth and final single released from his self-titled debut album. "Thousand" was listed in Guinness World Records for having the second fastest tempo in beats-per-minute (BPM) of any released single, peaking at approximately 1,015 BPM. [1]
Musically, "Fast Times" is a two minutes and fifty-five seconds upbeat pop and soft rock song with bossa nova-tinged sounds. [9] [10] [11] In terms of music notation, "Fast Times" was composed using 4 4 common time in the key of C♯ minor, with the verses composed in D major, with a moderately fast tempo of 133 beats per minute. [12]
4) time. According to Alfred Publishing's sheet music published at Musicnotes.com, the song has a moderately fast tempo of 176 beats per minute. [12] The song is known for its distinctive two-chord piano/bass vamp (E ♭ m-B ♭ m 7), cool jazz saxophone melodies, drum solo, [b] and unorthodox meter, from which Dave Brubeck derived its name.
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The patter song is characterised by a moderately fast to very fast tempo with a rapid succession of rhythmic patterns in which each syllable of text corresponds to one note. [1] It is a staple of comic opera , especially Gilbert and Sullivan , but it has also been used in musical theatre and elsewhere.
Speedcore is a form of electronic music that is characterized by a high tempo and aggressive themes. [1] It was created in the early to mid-1990s and the name originates from the hardcore genre as well as the high tempo used. Songs are usually classified as speedcore at around 300+ beats per minute (BPM), but this can vary. [3]
The said that when analyzed all the "feel-good" songs had were at least 10 BPM faster than the average pop song and most of them were written in a major key.
Hi-NRG (pronounced "high energy") [2] is a genre of uptempo disco or electronic dance music (EDM) that originated during the late 1970s and early 1980s.. As a music genre, typified by its fast tempo, staccato hi-hat rhythms (and the four-on-the-floor pattern), reverberated "intense" vocals and "pulsating" octave basslines, it was particularly influential on the disco scene.