เพลย์ลิสต์ Spotify ที่ดีที่สุดตามประเภทเพลง (6,291)

2-step

73%

UK, 1990 132–148 BPM

21st Century Classical

44%

Europe, 1600 52–183 BPM

432hz

18%

Global, 2010 37–97 BPM

48g

40%

109–120 BPM

528hz

18%

Global, 2010 38–101 BPM

5th Wave Emo

72%

USA, 1985 118–161 BPM

8-bit

68%

Japan, 1978 120–165 BPM

8d

45%

Global, 2018 79–128 BPM

A Cappella

45%

Global, 1000 80–140 BPM

Aarhus Indie

59%

UK, 1980 104–133 BPM

Aberdeen Indie

65%

UK, 1980 103–136 BPM

Abstract

46%

Global, 1960 83–146 BPM

Abstract Beats

48%

Global, 1960 85–147 BPM

Abstract Hip Hop

72%

USA, 1973 88–115 BPM

Abstract Idm

56%

UK, 1992 97–147 BPM

Abstractro

53%

Global, 1960 83–146 BPM

Accordeon

51%

Austria, 1829 87–137 BPM

Accordion

51%

Austria, 1829 89–138 BPM

Accordion Band

53%

Austria, 1829 90–142 BPM

Acid House

82%

USA, 1984 122–133 BPM

Acid Idm

57%

UK, 1992 103–150 BPM

Acid Jazz

60%

UK, 1987 95–125 BPM

Acid Rock

76%

USA, 1955 110–142 BPM

Acid Techno

76%

USA, 1985 133–150 BPM

Acid Trance

87%

Germany, 1991 132–153 BPM

Acidcore

93%

Global, 1990 147–187 BPM

Acousmatic

32%

France, 1948 43–120 BPM

Acoustic Blues

51%

USA, 1890 72–117 BPM

Acoustic Chill

37%

Global, 1900 83–120 BPM

Acoustic Cover

36%

Global, 1900 81–119 BPM

Acoustic Guitar Cover

35%

Global, 1900 83–120 BPM

Acoustic Opm

36%

Global, 1900 77–117 BPM

Acoustic Pop

61%

USA, 1955 99–128 BPM

Acoustic Punk

93%

USA/UK, 1974 148–191 BPM

Acoustic Rock

77%

USA, 1955 110–142 BPM

Action Rock

76%

USA, 1955 110–142 BPM

Adelaide Indie

59%

UK, 1980 103–136 BPM

Adelaide Punk

89%

USA/UK, 1974 151–189 BPM

Adivasi Pop

68%

USA, 1955 103–130 BPM

Adoracao

32%

Brazil, 1900 72–113 BPM

Adoracion

53%

Latin America, 1980 71–113 BPM

Adoracion Pentecostal

48%

Latin America, 1980 74–118 BPM

Adult Standards

30%

USA, 1950 78–120 BPM

Adventista

45%

USA, 1863 81–118 BPM

Aesthetic Rap

78%

USA, 1979 87–123 BPM

Afghan Pop

65%

USA, 1955 98–131 BPM

Afghan Rap

74%

USA, 1979 82–117 BPM

Afghan Traditional

49%

Global 78–131 BPM

African Electronic

75%

USA, 1982 122–143 BPM

African Experimental

49%

USA, 1950 58–181 BPM

African Gospel

63%

USA, 1930 83–130 BPM

African Metal

93%

UK, 1968 129–178 BPM

African Percussion

67%

Global 93–170 BPM

African Reggae

58%

Jamaica, 1968 72–93 BPM

African Rock

73%

USA, 1955 109–138 BPM

African-american Classical

40%

Europe, 1600 49–178 BPM

Afrikaans

49%

South Africa, 1925 88–130 BPM

Afrikaans Folk

31%

USA/UK, 1900 84–118 BPM

Afrikaans Gospel

67%

USA, 1930 80–132 BPM

Afrikaans Gqom

74%

South Africa, 2010 117–127 BPM

Afrikaans Hip Hop

71%

USA, 1973 83–116 BPM

Afro Drill

72%

USA, 2010 132–142 BPM

Afro House

75%

South Africa, 2010 118–128 BPM

Afro House Angolano

73%

South Africa, 2010 119–127 BPM

Afro Psych

56%

Global, 1965 97–138 BPM

Afro R&b

58%

USA, 1940 82–118 BPM

Afro Soul

58%

USA, 1950 82–117 BPM

Afro-cuban Percussion

73%

Global 89–168 BPM

Afro-cuban Traditional

50%

Global 78–131 BPM

Afro-funk

81%

USA, 1965 98–126 BPM

Afrobeat

78%

Nigeria, 1968 100–135 BPM

Afrobeat Brasileiro

81%

Nigeria, 1968 97–132 BPM

Afrobeat Fusion

73%

Nigeria, 1968 98–136 BPM

Afrobeats

72%

Nigeria, 2000 95–120 BPM

Afrofuturism

75%

Africa, 1960 97–133 BPM

Afrofuturismo Brasileiro

67%

Africa, 1960 92–127 BPM

Afropop

68%

Africa, 1960 95–125 BPM

Afroswing

69%

USA, 1930 119–178 BPM

Aggressive Phonk

76%

USA, 2012 127–147 BPM

Aggro Chileno

84%

Global, 1995 133–165 BPM

Aggrotech

85%

Global, 1995 131–164 BPM

Aghani Lil-atfal

40%

103–120 BPM

Agronejo

63%

Brazil, 2015 93–131 BPM

Ai

50%

Global, 2020 88–131 BPM

Ainu Folk

33%

USA/UK, 1900 85–122 BPM

Akordeon

54%

Global, 1829 93–140 BPM

Alabama Hardcore

98%

Netherlands, 1990 157–197 BPM

Alabama Indie

65%

UK, 1980 108–135 BPM

Alabama Metal

89%

UK, 1968 133–180 BPM

Alabama Rap

75%

USA, 1979 87–123 BPM

Alandsk Musik

56%

Global 90–131 BPM

Alaska Hip Hop

71%

USA, 1973 88–115 BPM

Alaska Indie

59%

UK, 1980 108–135 BPM

Albanian Alternative

73%

USA, 1980 104–136 BPM

Albanian Folk

34%

USA/UK, 1900 86–119 BPM

Albanian Hip Hop

76%

USA, 1973 86–114 BPM

Albanian Iso Polyphony

48%

Global, 1200 81–129 BPM

Albanian Pop

66%

USA, 1955 99–128 BPM

Albanian Rock

70%

USA, 1955 107–137 BPM

Albany Ny Indie

60%

UK, 1980 106–134 BPM

Alberta Country

59%

USA, 1920 95–137 BPM

Alberta Hip Hop

73%

USA, 1973 88–115 BPM

Album Rock

80%

USA, 1955 112–143 BPM

Albuquerque Indie

64%

UK, 1980 105–137 BPM

Algerian Folk

35%

USA/UK, 1900 88–120 BPM

Algorave

87%

UK, 1988 136–154 BPM

Alpenpanorama

54%

103–130 BPM

Alphorn

36%

Alps 58–111 BPM

Alpine Yodeling

68%

Alps, 1800 101–149 BPM

Alt Z

53%

USA, 2018 92–128 BPM

Alt-idol

73%

Japan, 1970 110–147 BPM

Alte

51%

Nigeria, 2014 88–119 BPM

Alternative Americana

64%

USA, 1980 106–137 BPM

Alternative Ccm

73%

USA, 1980 106–137 BPM

Alternative Country

68%

USA, 1980 103–139 BPM

Alternative Dance

73%

USA, 1980 105–140 BPM

Alternative Emo

73%

USA, 1980 105–140 BPM

Alternative Hardcore

71%

USA, 1980 106–137 BPM

Alternative Hip Hop

70%

USA, 1980 102–135 BPM

Alternative Metal

68%

USA, 1980 107–141 BPM

Alternative Metalcore

69%

USA, 1980 107–141 BPM

Alternative Pop

68%

USA, 1980 108–138 BPM

Alternative Pop Rock

67%

USA, 1980 103–139 BPM

Alternative R&b

65%

USA, 1980 104–136 BPM

Alternative Rock

70%

USA, 1980 110–140 BPM

Alternative Roots Rock

69%

USA, 1980 107–141 BPM

Amapiano

62%

South Africa, 2012 110–118 BPM

Ambeat

65%

Global, 1960 100–137 BPM

Ambient

15%

UK, 1978 60–100 BPM

Ambient Black Metal

89%

Norway, 1982 139–198 BPM

Ambient Country

20%

UK, 1978 59–98 BPM

Ambient Dub Techno

19%

UK, 1978 60–102 BPM

Ambient Folk

20%

UK, 1978 63–100 BPM

Ambient Fusion

16%

UK, 1978 57–97 BPM

Ambient Guitar

10%

UK, 1978 57–97 BPM

Ambient House

12%

UK, 1978 59–98 BPM

Ambient Idm

16%

UK, 1978 58–101 BPM

Ambient Industrial

88%

UK, 1975 120–152 BPM

Ambient Lo-fi

10%

UK, 1978 57–97 BPM

Ambient Pop

14%

UK, 1978 63–100 BPM

Ambient Post-rock

16%

UK, 1978 61–99 BPM

Ambient Psychill

12%

UK, 1978 58–101 BPM

Ambient Synth

16%

UK, 1978 58–101 BPM

Ambient Techno

12%

UK, 1978 59–98 BPM

Ambient Trance

15%

UK, 1978 62–103 BPM

Ambient Worship

14%

UK, 1978 57–97 BPM

American 21st Century Classical

41%

Europe, 1600 47–177 BPM

American Choir

36%

Europe, 590 52–133 BPM

American Classical Piano

44%

Europe, 1600 49–178 BPM

American Contemporary Classical

41%

Europe, 1600 51–179 BPM

American Early Music

33%

Europe, 800 51–119 BPM

American Folk Revival

40%

USA/UK, 1900 85–122 BPM

American Grindcore

100%

UK, 1985 183–250 BPM

American Melodeath

99%

USA, 1984 161–209 BPM

American Metalcore

97%

USA, 1990 139–178 BPM

American Modern Classical

36%

Europe, 1600 49–178 BPM

American Oi

81%

UK, 1977 137–172 BPM

American Orchestra

53%

Europe, 1600 51–159 BPM

American Post-punk

63%

UK, 1978 109–143 BPM

American Post-rock

72%

USA, 1955 107–137 BPM

American Primitive

54%

94–145 BPM

American Romanticism

50%

Europe, 1800 42–163 BPM

American Shoegaze

52%

UK, 1988 97–127 BPM

Amharic Pop

62%

USA, 1955 101–129 BPM

Anadolu Rock

77%

USA, 1955 107–137 BPM

Anarcho-punk

90%

USA/UK, 1974 153–190 BPM

Ancient Mediterranean

47%

97–140 BPM

Andalusian Classical

36%

Europe, 1600 49–178 BPM

Andean Flute

29%

Global 57–127 BPM

Anglican Liturgy

40%

106–135 BPM

Animal Singing

20%

Global, 2000 30–62 BPM

Anime

72%

Japan, 1963 120–160 BPM

Anime Cv

73%

Japan, 1963 118–161 BPM

Anime Drill

68%

USA, 2010 138–145 BPM

Anime Game

68%

Japan, 1963 118–161 BPM

Anime Latino

74%

Japan, 1963 120–162 BPM

Anime Lo-fi

25%

Japan, 2013 71–89 BPM

Anime Phonk

70%

USA, 2012 131–149 BPM

Anime Piano

69%

Japan, 1963 121–159 BPM

Anime Rap

77%

Japan, 1963 121–159 BPM

Anime Rock

68%

Japan, 1963 119–158 BPM

Anime Score

75%

Japan, 1963 118–161 BPM

Animegrind

72%

Japan, 1963 122–163 BPM

Ann Arbor Indie

56%

UK, 1980 104–133 BPM

Anthem

74%

Global, 1960 110–147 BPM

Anthem Emo

72%

USA, 1985 117–157 BPM

Anthem Worship

46%

USA, 1990 67–117 BPM

Anti-folk

39%

USA/UK, 1900 84–118 BPM

Antideutsche

59%

Germany, 1980 105–140 BPM

Antilliaanse Folklore

32%

USA/UK, 1900 83–121 BPM

Antilliaanse Rap

71%

USA, 1979 84–118 BPM

Antiviral Pop

60%

USA, 1955 100–132 BPM

Apostolic Worship

45%

USA, 1990 72–123 BPM

Appalachian Black Metal

89%

Norway, 1982 138–201 BPM

Appalachian Folk

30%

USA/UK, 1900 86–119 BPM

Appenzeller Folk

39%

USA/UK, 1900 82–117 BPM

Arab Alternative

67%

USA, 1980 105–140 BPM

Arab Electronic

80%

USA, 1982 118–141 BPM

Arab Experimental

50%

USA, 1950 59–178 BPM

Arab Folk

36%

USA/UK, 1900 88–120 BPM

Arab Groove

55%

Middle East, 1000 83–125 BPM

Arab Metal

96%

UK, 1968 128–181 BPM

Arab Pop

60%

Middle East, 1970 90–125 BPM

Arab Trap

69%

USA, 2003 130–172 BPM

Arabesk

54%

Middle East, 1000 80–127 BPM

Arabic Hip Hop

74%

USA, 1973 84–113 BPM

Arabic Instrumental

35%

Global, 1600 70–137 BPM

Arabic Jazz

46%

USA, 1900 81–159 BPM

Argentine Alternative Rock

73%

USA, 1980 107–137 BPM

Argentine Ambient

15%

UK, 1978 58–101 BPM

Argentine Hardcore

99%

Netherlands, 1990 161–199 BPM

Argentine Heavy Metal

87%

UK, 1968 129–168 BPM

Argentine Hip Hop

73%

USA, 1973 84–113 BPM

Argentine Indie

57%

UK, 1980 107–138 BPM

Argentine Indie Rock

70%

UK, 1980 107–137 BPM

Argentine Jazz

40%

USA, 1900 80–162 BPM

Argentine Metal

90%

UK, 1968 132–183 BPM

Argentine Punk

95%

USA/UK, 1974 150–192 BPM

Argentine Reggae

56%

Jamaica, 1968 73–90 BPM

Argentine Rock

78%

USA, 1955 112–143 BPM

Argentine Telepop

61%

USA, 1955 100–132 BPM

Arizona Punk

94%

USA/UK, 1974 149–188 BPM

Arkansas Country

51%

USA, 1920 94–133 BPM

Arkansas Hip Hop

67%

USA, 1973 83–116 BPM

Arkansas Indie

57%

UK, 1980 103–136 BPM

Arkansas Metal

95%

UK, 1968 130–182 BPM

Armenian Folk

37%

USA/UK, 1900 85–122 BPM

Armenian Hip Hop

71%

USA, 1973 83–116 BPM

Armenian Indie

62%

UK, 1980 104–133 BPM

Armenian Pop

66%

USA, 1955 100–132 BPM

Arpa Grande

47%

109–140 BPM

Arpa Paraguaya

40%

91–120 BPM

Arrocha

54%

Brazil, 2000 90–117 BPM

Arrochadeira

53%

Brazil, 2010 92–120 BPM

Ars Subtilior

47%

91–140 BPM

Art Pop

50%

UK, 1970 95–130 BPM

Art Punk

94%

USA/UK, 1974 153–190 BPM

Art Rock

55%

UK, 1967 90–135 BPM

Art Song

55%

Cuba, 1880 97–133 BPM

Arunachal Indie

62%

UK, 1980 104–133 BPM

Asakaa

68%

Ghana, 2019 99–123 BPM

Asbury Park Indie

56%

UK, 1980 104–133 BPM

Asheville Indie

55%

UK, 1980 104–133 BPM

Asian American Hip Hop

71%

USA, 1973 85–117 BPM

Asmr

5%

Global, 2010 20–50 BPM

Assamese Hip Hop

76%

USA, 1973 83–116 BPM

Assamese Pop

66%

USA, 1955 101–129 BPM

Assyrian Pop

64%

USA, 1955 101–129 BPM

Athens Indie

57%

UK, 1980 104–133 BPM

Atl Hip Hop

67%

USA, 1973 88–115 BPM

Atl Trap

75%

USA, 2003 129–168 BPM

Atlanta Bass

82%

UK, 1990 129–148 BPM

Atlanta Indie

61%

UK, 1980 105–137 BPM

Atlanta Metal

96%

UK, 1968 131–179 BPM

Atlanta Punk

91%

USA/UK, 1974 153–190 BPM

Atlantic Canada Hip Hop

70%

USA, 1973 85–117 BPM

Atmosphere

34%

Global, 1990 62–113 BPM

Atmospheric Black Metal

89%

Norway, 1982 142–203 BPM

Atmospheric Dnb

85%

UK, 1991 161–179 BPM

Atmospheric Doom

60%

Global, 1970 53–86 BPM

Atmospheric Post-metal

97%

UK, 1968 130–182 BPM

Atmospheric Post-rock

76%

USA, 1955 110–142 BPM

Atmospheric Sludge

77%

USA, 1989 57–97 BPM

Auckland Indie

58%

UK, 1980 103–136 BPM

Audiophile Vocal

44%

Global, 1000 80–132 BPM

Aussie Drill

76%

USA, 2010 132–142 BPM

Aussie Emo

76%

USA, 1985 117–157 BPM

Aussietronica

71%

Global, 1985 118–140 BPM

Austin Americana

47%

USA, 1990 92–128 BPM

Austin Hip Hop

70%

USA, 1973 84–113 BPM

Austin Metal

94%

UK, 1968 130–182 BPM

Austin Rock

77%

USA, 1955 107–137 BPM

Austin Singer-songwriter

42%

USA, 1960 82–123 BPM

Austindie

58%

UK, 1980 108–135 BPM

Australian Alternative Pop

65%

USA, 1980 106–137 BPM

Australian Alternative Rock

75%

USA, 1980 108–141 BPM

Australian Ambient

17%

UK, 1978 62–103 BPM

Australian Americana

46%

USA, 1990 88–126 BPM

Australian Black Metal

92%

Norway, 1982 142–203 BPM

Australian Blues

54%

USA, 1890 74–118 BPM

Australian Children's Music

57%

Global, 1900 99–133 BPM

Australian Choir

39%

Europe, 590 50–132 BPM

Australian Classical

36%

Europe, 1600 49–178 BPM

Australian Classical Piano

44%

Europe, 1600 51–179 BPM

Australian Comedy

44%

Global, 1900 77–127 BPM

Australian Country

52%

USA, 1920 95–137 BPM

Australian Dance

78%

Global, 1980 119–134 BPM

Australian Death Metal

91%

USA, 1984 160–222 BPM

Australian Electropop

70%

UK, 2000 115–137 BPM

Australian Experimental

49%

USA, 1950 62–183 BPM

Australian Garage Punk

73%

UK, 1994 131–139 BPM

Australian Hardcore

98%

Netherlands, 1990 159–198 BPM

Australian Hip Hop

71%

USA, 1973 85–117 BPM

Australian House

82%

USA, 1984 122–133 BPM

Australian Indie

64%

UK, 1980 106–134 BPM

Australian Indie Folk

38%

USA, 2000 89–118 BPM

Australian Indie Rock

64%

UK, 1980 112–143 BPM

Australian Indigenous Hip Hop

72%

USA, 1973 87–118 BPM

Australian Indigenous Music

49%

Global 69–128 BPM

Australian Jazz

47%

USA, 1900 82–163 BPM

Australian Metal

97%

UK, 1968 131–179 BPM

Australian Metalcore

95%

USA, 1990 140–182 BPM

Australian Pop

61%

USA, 1955 98–131 BPM

Australian Post-hardcore

95%

Netherlands, 1990 159–198 BPM

Australian Post-punk

62%

UK, 1978 109–143 BPM

Australian Post-rock

70%

USA, 1955 111–139 BPM

Australian Psych

55%

Global, 1965 93–136 BPM

Australian R&b

53%

USA, 1940 78–116 BPM

Australian Reggae Fusion

55%

Jamaica, 1968 68–91 BPM

Australian Rock

80%

USA, 1955 113–140 BPM

Australian Rockabilly

73%

USA, 1955 112–143 BPM

Australian Shoegaze

53%

UK, 1988 103–130 BPM

Australian Singer-songwriter

37%

USA, 1960 83–120 BPM

Australian Ska

68%

Jamaica, 1959 98–131 BPM

Australian Surf Rock

68%

USA, 1961 133–160 BPM

Australian Talent Show

66%

Global, 2000 94–133 BPM

Australian Techno

84%

USA, 1985 130–152 BPM

Australian Thrash Metal

97%

USA, 1981 161–209 BPM

Australian Trap

69%

USA, 2003 129–168 BPM

Australian Underground Hip Hop

73%

USA, 1973 84–113 BPM

Austrian Black Metal

90%

Norway, 1982 143–200 BPM

Austrian Choir

36%

Europe, 590 47–127 BPM

Austrian Classical Piano

43%

Europe, 1600 49–178 BPM

Austrian Contemporary Classical

40%

Europe, 1600 52–183 BPM

Austrian Dnb

88%

UK, 1991 163–180 BPM

Austrian Hip Hop

72%

USA, 1973 82–112 BPM

Austrian Indie

59%

UK, 1980 105–137 BPM

Austrian Jazz

45%

USA, 1900 81–159 BPM

Austrian Metal

89%

UK, 1968 128–181 BPM

Austrian Orchestra

49%

Europe, 1600 48–161 BPM

Austrian Pop

62%

USA, 1955 103–130 BPM

Austrian Punk

93%

USA/UK, 1974 149–188 BPM

Austrian Stoner Rock

71%

USA, 1990 78–121 BPM

Austrian Techno

75%

USA, 1985 132–153 BPM

Austro-german Modernism

55%

Germany, 1920 103–140 BPM

Austropop

61%

USA, 1955 99–128 BPM

Auteur-compositeur-interprete Quebecois

41%

France, 1960 83–118 BPM

Autoharp

29%

USA, 1882 72–118 BPM

Autonomous Black Metal

88%

Norway, 1982 139–198 BPM

Avant-garde

45%

Europe, 1910 40–200 BPM

Avant-garde Black Metal

93%

Norway, 1982 138–201 BPM

Avant-garde Jazz

46%

Europe, 1910 38–201 BPM

Avant-garde Metal

47%

Europe, 1910 41–199 BPM

Avant-rock

80%

USA, 1955 107–137 BPM

Axe

74%

Brazil, 1985 112–143 BPM

Azeri Alternative

72%

USA, 1980 108–138 BPM

Azeri Pop

66%

USA, 1955 98–131 BPM

Azeri Rap

77%

USA, 1979 88–120 BPM

Azeri Traditional

43%

Global 83–130 BPM

Azonto

78%

Ghana, 2011 107–128 BPM

Azontobeats

70%

Ghana, 2011 108–125 BPM

Bachata

55%

Dominican Republic, 1960 120–140 BPM

Bachata Dominicana

57%

Dominican Republic, 1960 121–139 BPM

Bachchon Ke Geet

40%

85–120 BPM

Background Jazz

43%

USA, 1900 82–163 BPM

Background Jazz Product

46%

USA, 1900 83–160 BPM

Background Music

20%

Global, 1950 70–112 BPM

Background Piano

30%

Global, 1950 71–109 BPM

Backing Track

48%

Global, 1960 84–133 BPM

Baglama

55%

Turkey 77–126 BPM

Bagpipe

66%

Scotland 80–132 BPM

Bagpipe Marching Band

75%

Global, 1800 103–145 BPM

Bahai

39%

Iran, 1844 68–107 BPM

Bahamian Folk

40%

USA/UK, 1900 88–120 BPM

Bahamian Pop

66%

USA, 1955 99–128 BPM

Baiao

62%

Brazil, 1940 102–133 BPM

Baithak Gana

47%

Global, 2020 87–127 BPM

Baja Indie

63%

UK, 1980 104–133 BPM

Bajan Soca

77%

Trinidad, 1970 133–166 BPM

Bajki

38%

Poland 79–112 BPM

Bakersfield Sound

34%

Global, 1950 57–117 BPM

Bal-musette

63%

France, 1880 98–136 BPM

Balafon

52%

Africa 85–142 BPM

Balalaika

53%

Russia, 1700 87–147 BPM

Balearic

49%

Spain, 1987 103–125 BPM

Balfolk

35%

USA/UK, 1900 88–120 BPM

Bali Indie

62%

UK, 1980 106–134 BPM

Balikpapan Indie

62%

UK, 1980 107–138 BPM

Balinese Traditional

45%

Global 83–130 BPM

Balkan Beats

77%

Balkans, 1800 99–153 BPM

Balkan Brass

74%

Balkans, 1800 102–158 BPM

Balkan Classical Piano

36%

Europe, 1600 53–180 BPM

Balkan Drill

72%

USA, 2010 136–144 BPM

Balkan Folk Metal

92%

UK, 1968 132–183 BPM

Balkan Hip Hop

70%

USA, 1973 87–118 BPM

Balkan Post-punk

68%

UK, 1978 110–147 BPM

Balkan Punk

95%

USA/UK, 1974 152–193 BPM

Balkan Trap

75%

USA, 2003 127–167 BPM

Ballet Class

41%

France, 1581 73–140 BPM

Ballroom

63%

Europe, 1850 94–143 BPM

Balochi Folk

34%

USA/UK, 1900 85–122 BPM

Balochi Pop

63%

USA, 1955 101–129 BPM

Baltic Black Metal

88%

Norway, 1982 142–203 BPM

Baltic Choir

39%

Europe, 590 49–128 BPM

Baltic Classical

41%

Europe, 1600 53–180 BPM

Baltic Classical Piano

40%

Europe, 1600 48–181 BPM

Baltic Folk

39%

USA/UK, 1900 88–120 BPM

Baltic Post-punk

62%

UK, 1978 113–145 BPM

Baltimore Hip Hop

73%

USA, 1973 83–116 BPM

Baltimore Indie

56%

UK, 1980 103–136 BPM

Band Organ

35%

Europe, 1400 53–130 BPM

Banda

72%

Mexico, 1930 110–150 BPM

Banda Carnavalera

76%

Mexico, 1930 111–149 BPM

Banda De Viento

69%

Mexico, 1930 111–149 BPM

Banda Guanajuatense

76%

Mexico, 1930 108–151 BPM

Banda Jalisciense

75%

Mexico, 1930 107–147 BPM

Banda Militar

76%

Mexico, 1930 113–150 BPM

Banda Peruana

74%

Mexico, 1930 112–153 BPM

Banda Sinaloense

71%

Mexico, 1930 109–148 BPM

Bandinhas

60%

Global, 1900 94–140 BPM

Bandolim

47%

Brazil 82–127 BPM

Bandoneon

43%

Argentina, 1846 82–133 BPM

Bandung Indie

56%

UK, 1980 103–136 BPM

Bandura

33%

Ukraine 58–111 BPM

Bangalore Indie

57%

UK, 1980 104–133 BPM

Bangla Gojol

43%

Bangladesh 83–120 BPM

Bangla Pop

69%

USA, 1955 99–128 BPM

Bangladeshi Hip Hop

75%

USA, 1973 88–115 BPM

Bangladeshi Indie

55%

UK, 1980 107–138 BPM

Bangladeshi Rock

79%

USA, 1955 108–141 BPM

Banjara Pop

64%

USA, 1955 98–131 BPM

Banjo

61%

USA, 1830 101–149 BPM

Bansuri

24%

India 52–107 BPM

Baoule

54%

88–145 BPM

Baps

47%

94–125 BPM

Baptist Gospel

61%

USA, 1930 82–133 BPM

Barbadian Pop

66%

USA, 1955 100–132 BPM

Barbershop

69%

USA, 1973 88–115 BPM

Barcadi

64%

Global 108–141 BPM

Bard

64%

Global 111–139 BPM

Bardcore

94%

Global, 1990 152–193 BPM

Barnalog

52%

Global, 1900 101–134 BPM

Barnasogur

60%

Global, 1900 97–132 BPM

Barnemusikk

48%

Global 90–131 BPM

Barnmusik

56%

Global 89–127 BPM

Barnsagor

50%

Global, 1900 101–134 BPM

Barockinterpreten

75%

USA, 1955 109–138 BPM

Baroque

42%

Europe, 1600 60–140 BPM

Baroque Brass

44%

Europe, 1600 58–141 BPM

Baroque Cello

39%

Europe, 1600 57–137 BPM

Baroque Ensemble

42%

Europe, 1600 60–142 BPM

Baroque Pop

39%

Europe, 1600 62–143 BPM

Baroque Singing

39%

Europe, 1600 57–137 BPM

Baroque Violin

42%

Europe, 1600 60–142 BPM

Baroque Woodwind

45%

Europe, 1600 61–139 BPM

Barrelhouse Piano

76%

USA, 1984 119–128 BPM

Basel Indie

63%

UK, 1980 107–138 BPM

Bases De Freestyle

77%

USA, 2000 128–151 BPM

Basque Folk

34%

USA/UK, 1900 87–123 BPM

Bass House

83%

USA, 1984 118–131 BPM

Bass Music

75%

UK, 1990 129–148 BPM

Bass Trap

71%

USA, 2003 129–168 BPM

Bass Trip

79%

UK, 1990 128–151 BPM

Basshall

78%

UK, 1990 129–148 BPM

Bassline

82%

UK, 2002 135–142 BPM

Batak

47%

103–140 BPM

Bath Indie

62%

UK, 1980 104–133 BPM

Batida

71%

Brazil, 1990 103–130 BPM

Batidao Romantico

50%

Europe, 1800 39–158 BPM

Baton Rouge Indie

59%

UK, 1980 106–134 BPM

Baton Rouge Rap

78%

USA, 1979 82–117 BPM

Batswana Traditional

46%

Global 83–130 BPM

Battle Rap

73%

USA, 1979 87–123 BPM

Bay Area Hip Hop

69%

USA, 1973 85–117 BPM

Bay Area Indie

57%

UK, 1980 107–138 BPM

Bayerischer Rap

73%

USA, 1979 86–119 BPM

Bboy

85%

USA, 1975 103–126 BPM

Bc Underground Hip Hop

75%

USA, 1973 82–112 BPM

Beach House

77%

USA, 1984 119–128 BPM

Beach Music

67%

USA, 1960 94–126 BPM

Beat Italiano

51%

Italy, 1900 87–127 BPM

Beat Poetry

35%

Global 68–111 BPM

Beatboxing

75%

Global, 1960 101–134 BPM

Beatdown

65%

Global, 1960 97–132 BPM

Beatlesque

74%

Global, 1960 102–138 BPM

Beats

73%

Global, 1960 101–134 BPM

Bebop

60%

USA, 1940 140–280 BPM

Bedroom Pop

63%

USA, 1955 99–128 BPM

Bedroom R&b

58%

USA, 1940 79–113 BPM

Bedroom Soul

61%

USA, 1950 82–117 BPM

Belarusian Electronic

75%

USA, 1982 122–143 BPM

Belarusian Hip Hop

71%

USA, 1973 82–112 BPM

Belarusian Indie

59%

UK, 1980 108–135 BPM

Belarusian Metal

93%

UK, 1968 130–182 BPM

Belarusian Pop

61%

USA, 1955 100–132 BPM

Belarusian Punk

87%

USA/UK, 1974 153–190 BPM

Belarusian Rock

77%

USA, 1955 109–138 BPM

Belfast Indie

61%

UK, 1980 103–136 BPM

Belfast Metal

95%

UK, 1968 128–181 BPM

Belgian Black Metal

87%

Norway, 1982 137–197 BPM

Belgian Blues

57%

USA, 1890 77–123 BPM

Belgian Classical Piano

36%

Europe, 1600 51–179 BPM

Belgian Contemporary Classical

36%

Europe, 1600 52–183 BPM

Belgian Dance

75%

Global, 1980 120–138 BPM

Belgian Death Metal

91%

USA, 1984 157–217 BPM

Belgian Dnb

92%

UK, 1991 157–177 BPM

Belgian Edm

89%

USA, 2010 123–147 BPM

Belgian Electronic

84%

USA, 1982 123–140 BPM

Belgian Experimental

49%

USA, 1950 60–182 BPM

Belgian Hardcore

91%

Netherlands, 1990 163–200 BPM

Belgian Hip Hop

76%

USA, 1973 88–115 BPM

Belgian Indie

55%

UK, 1980 106–134 BPM

Belgian Indie Rock

61%

UK, 1980 108–141 BPM

Belgian Jazz

50%

USA, 1900 80–162 BPM

Belgian Metal

90%

UK, 1968 128–181 BPM

Belgian Modern Jazz

48%

USA, 1900 83–160 BPM

Belgian New Wave

63%

UK, 1978 113–140 BPM

Belgian Pop

65%

USA, 1955 99–128 BPM

Belgian Post-rock

79%

USA, 1955 107–137 BPM

Belgian Punk

88%

USA/UK, 1974 150–192 BPM

Belgian Rock

75%

USA, 1955 113–140 BPM

Belgian Singer-songwriter

38%

USA, 1960 78–121 BPM

Belgian Stoner Rock

76%

USA, 1990 83–120 BPM

Belgian Techno

78%

USA, 1985 131–149 BPM

Bells

26%

Global 49–108 BPM

Belly Dance

76%

Global, 1980 120–138 BPM

Belo Horizonte Indie

62%

UK, 1980 103–136 BPM

Bemani

83%

Japan, 1997 129–168 BPM

Benga

69%

Kenya, 1950 103–128 BPM

Bengali Folk

30%

USA/UK, 1900 84–118 BPM

Beninese Pop

67%

USA, 1955 100–132 BPM

Bergamo Indie

62%

UK, 1980 102–132 BPM

Bergen Indie

57%

UK, 1980 107–138 BPM

Berlin Minimal Techno

68%

Germany, 1993 122–132 BPM

Berlin School

62%

Global, 1950 108–141 BPM

Bern Indie

60%

UK, 1980 103–136 BPM

Bernu Dziesmas

40%

106–135 BPM

Bgm

26%

Global, 1970 69–112 BPM

Bhajan

31%

India 71–109 BPM

Bhangra

82%

India/UK, 1940 110–150 BPM

Bhojpuri Folk

32%

USA/UK, 1900 87–123 BPM

Bhojpuri Pop

64%

USA, 1955 103–130 BPM

Bhutanese Pop

60%

USA, 1955 100–132 BPM

Bible

54%

100–145 BPM

Big Band

70%

USA, 1925 120–180 BPM

Big Beat

82%

UK, 1994 120–140 BPM

Big Room

86%

Netherlands, 2010 125–130 BPM

Bikutsi

77%

Cameroon, 1940 105–132 BPM

Binaural

5%

USA, 1973 20–40 BPM

Birdsong

11%

Global, 2000 30–51 BPM

Birmingham Grime

88%

UK, 2002 136–143 BPM

Birmingham Hip Hop

67%

USA, 1973 84–113 BPM

Birmingham Indie

63%

UK, 1980 108–135 BPM

Birmingham Metal

87%

UK, 1968 132–183 BPM

Birthday

69%

Global, 1900 102–138 BPM

Bisaya Indie

60%

UK, 1980 102–132 BPM

Bisaya Rap

79%

USA, 1979 87–123 BPM

Bisaya Worship

49%

USA, 1990 67–117 BPM

Bisrock

79%

USA, 1955 108–141 BPM

Bitpop

62%

USA, 1955 103–130 BPM

Black 'n' Roll

95%

Scandinavia, 1982 142–203 BPM

Black Americana

52%

USA, 1990 88–126 BPM

Black Comedy

41%

Global, 1900 78–131 BPM

Black Death

97%

USA, 1984 158–211 BPM

Black Metal

92%

Norway, 1982 140–200 BPM

Black Metal Argentino

97%

Norway, 1982 141–199 BPM

Black Noise

90%

Japan, 1960 52–203 BPM

Black Punk

85%

USA/UK, 1974 147–187 BPM

Black Sludge

79%

USA, 1989 58–101 BPM

Black Speed Metal

97%

UK, 1968 129–178 BPM

Black Thrash

91%

USA, 1981 161–199 BPM

Blackened Crust

88%

Scandinavia, 1990 142–197 BPM

Blackened Deathcore

97%

USA, 2004 142–203 BPM

Blackened Hardcore

99%

Netherlands, 1990 161–199 BPM

Blackened Screamo

85%

USA, 1991 142–183 BPM

Blackgaze

90%

Scandinavia, 1982 139–198 BPM

Blaskapelle

74%

Jamaica, 1959 101–129 BPM

Blasmusik

56%

Global 90–131 BPM

Bleakgaze

41%

UK, 1988 98–130 BPM

Bleep Techno

83%

USA, 1985 132–153 BPM

Bloco

81%

Brazil, 1980 110–142 BPM

Bluegrass

65%

USA, 1940 110–160 BPM

Bluegrass Fiddle

64%

USA, 1940 111–159 BPM

Bluegrass Gospel

64%

USA, 1940 108–161 BPM

Blues

55%

USA, 1890 75–120 BPM

Blues Band

52%

USA, 1890 73–121 BPM

Blues Latinoamericano

53%

USA, 1890 74–118 BPM

Blues Mexicano

52%

USA, 1890 72–117 BPM

Blues Rock

70%

UK, 1963 100–135 BPM

Blues-rock Guitar

53%

USA, 1890 74–118 BPM

Bmore

78%

USA, 1992 130–141 BPM

Bodo Pop

63%

USA, 1955 98–131 BPM

Boeremusiek

58%

South Africa, 1900 100–137 BPM

Bogor Indie

64%

UK, 1980 103–136 BPM

Bohemian Baroque

45%

Europe, 1600 62–143 BPM

Bohol Indie

64%

UK, 1980 106–134 BPM

Bolero

28%

Cuba, 1883 73–99 BPM

Bolero Cubano

28%

Cuba, 1883 75–100 BPM

Bolero Mexicano

61%

Mexico, 1900 95–137 BPM

Bolivian Metal

94%

UK, 1968 131–179 BPM

Bolivian Rock

76%

USA, 1955 112–143 BPM

Bolobedu House

76%

USA, 1984 118–131 BPM

Bomba

78%

Puerto Rico, 1600 103–135 BPM

Bomba Y Plena

74%

Puerto Rico, 1600 101–134 BPM

Bongo Flava

65%

Cuba, 1950 103–140 BPM

Boogaloo

40%

100–135 BPM

Boogie

73%

USA, 1970 109–138 BPM

Boogie-woogie

78%

USA, 1970 108–141 BPM

Boom Bap

68%

USA, 1986 85–100 BPM

Boom Bap Brasileiro

68%

USA, 1986 86–99 BPM

Boom Bap Espanol

68%

USA, 1986 82–97 BPM

Bornehistorier

47%

106–125 BPM

Borneo Traditional

49%

Global 82–133 BPM

Bornesange

47%

112–125 BPM

Bosnian Electronic

77%

USA, 1982 120–142 BPM

Bosnian Indie

62%

UK, 1980 106–134 BPM

Bosnian Pop

61%

USA, 1955 97–127 BPM

Bossa Nova

30%

Brazil, 1958 100–140 BPM

Bossa Nova Cover

34%

Brazil, 1958 97–137 BPM

Bossa Nova Jazz

27%

Brazil, 1958 101–139 BPM

Bossbeat

67%

Global, 1960 99–133 BPM

Bosstown Sound

31%

Global, 1950 62–123 BPM

Boston Electronic

76%

USA, 1982 122–143 BPM

Boston Folk

30%

USA/UK, 1900 88–120 BPM

Boston Hardcore

92%

Netherlands, 1990 160–202 BPM

Boston Hip Hop

70%

USA, 1973 88–115 BPM

Boston Indie

55%

UK, 1980 105–137 BPM

Boston Metal

96%

UK, 1968 129–178 BPM

Boston Punk

92%

USA/UK, 1974 153–190 BPM

Boston Rock

71%

USA, 1955 107–137 BPM

Bothy Ballad

49%

Global, 1900 88–125 BPM

Botswana Hip Hop

70%

USA, 1973 84–113 BPM

Botswana Pop

67%

USA, 1955 99–128 BPM

Bounce

82%

Global, 2000 138–161 BPM

Bouncy House

82%

USA, 1984 119–128 BPM

Bouyon

83%

Dominica, 1988 115–137 BPM

Bouzouki

59%

Greece 81–134 BPM

Bow Pop

67%

USA, 1955 99–128 BPM

Boy Band

68%

USA/UK, 1960 92–125 BPM

Boy Pop

69%

USA, 1955 103–130 BPM

Boy Soprano

40%

97–120 BPM

Bozlak

54%

94–145 BPM

Brain Waves

56%

UK, 1978 103–135 BPM

Braindance

76%

Global, 1980 119–134 BPM

Brasilia Indie

62%

UK, 1980 104–133 BPM

Brass Band

74%

Global, 1920 97–157 BPM

Brass Band Brasileiro

77%

Global, 1920 102–163 BPM

Brass Band Pop

68%

USA, 1955 99–128 BPM

Brass Ensemble

44%

Europe, 1700 64–138 BPM

Brass Quintet

37%

Europe, 1800 63–150 BPM

Brazilian Bass

65%

Brazil, 1900 92–133 BPM

Brazilian Black Metal

91%

Norway, 1982 138–201 BPM

Brazilian Blues

52%

USA, 1890 75–122 BPM

Brazilian Boogie

66%

Brazil, 1900 87–127 BPM

Brazilian Ccm

64%

Brazil, 1900 92–133 BPM

Brazilian Classical

40%

Europe, 1600 48–181 BPM

Brazilian Classical Piano

38%

Europe, 1600 52–183 BPM

Brazilian Contemporary Classical

35%

Europe, 1600 47–177 BPM

Brazilian Death Metal

94%

USA, 1984 158–221 BPM

Brazilian Dnb

88%

UK, 1991 159–178 BPM

Brazilian Doom Metal

75%

UK, 1970 63–90 BPM

Brazilian Edm

84%

USA, 2010 129–150 BPM

Brazilian Emo

74%

USA, 1985 117–157 BPM

Brazilian Experimental

52%

USA, 1950 62–183 BPM

Brazilian Gospel

66%

USA, 1930 79–128 BPM

Brazilian Grindcore

67%

Brazil, 1900 87–127 BPM

Brazilian Groove Metal

87%

UK, 1968 127–177 BPM

Brazilian Hardcore

93%

Netherlands, 1990 159–198 BPM

Brazilian Heavy Metal

86%

UK, 1968 131–169 BPM

Brazilian Hip Hop

73%

USA, 1973 87–118 BPM

Brazilian House

81%

USA, 1984 121–129 BPM

Brazilian Indie

59%

UK, 1980 103–136 BPM

Brazilian Indie Rock

63%

UK, 1980 109–138 BPM

Brazilian Jazz

43%

USA, 1900 79–158 BPM

Brazilian Lo-fi Rock

31%

Japan, 2013 68–91 BPM

Brazilian Metal

97%

UK, 1968 130–182 BPM

Brazilian Metalcore

91%

USA, 1990 139–178 BPM

Brazilian Modern Jazz

47%

USA, 1900 81–159 BPM

Brazilian Percussion

67%

Global 90–172 BPM

Brazilian Post-hardcore

100%

Netherlands, 1990 163–200 BPM

Brazilian Post-rock

75%

USA, 1955 112–143 BPM

Brazilian Power Metal

96%

UK, 1968 129–178 BPM

Brazilian Progressive Metal

75%

USA, 1985 98–161 BPM

Brazilian Punk

86%

USA/UK, 1974 150–192 BPM

Brazilian Punk Rock

93%

USA/UK, 1974 153–190 BPM

Brazilian Reggae

51%

Jamaica, 1968 68–91 BPM

Brazilian Rock

73%

USA, 1955 109–138 BPM

Brazilian Rockabilly

75%

USA, 1955 111–139 BPM

Brazilian Ska

77%

Jamaica, 1959 101–129 BPM

Brazilian Soul

62%

USA, 1950 88–120 BPM

Brazilian Stoner Rock

67%

USA, 1990 79–118 BPM

Brazilian Surf Rock

65%

USA, 1961 129–158 BPM

Brazilian Tech House

78%

UK, 1990 123–128 BPM

Brazilian Techno

81%

USA, 1985 130–152 BPM

Brazilian Thrash Metal

91%

USA, 1981 160–212 BPM

Breakbeat

78%

UK, 1990 120–140 BPM

Breakcore

88%

Global, 1990 148–191 BPM

Breaks

79%

UK, 1990 117–137 BPM

Brega

55%

Brazil, 1970 92–127 BPM

Brega Funk

81%

USA, 1965 97–122 BPM

Brega Paraense

63%

Brazil, 1970 92–127 BPM

Brega Romantico

50%

Europe, 1800 39–158 BPM

Brega Saudade

60%

Brazil, 1970 97–133 BPM

Breton Folk

32%

USA/UK, 1900 85–122 BPM

Brighton Indie

58%

UK, 1980 106–134 BPM

Brill Building Pop

70%

USA, 1955 97–127 BPM

Brisbane Hip Hop

77%

USA, 1973 85–117 BPM

Brisbane Indie

57%

UK, 1980 104–133 BPM

Brisbane Punk

95%

USA/UK, 1974 150–192 BPM

Bristol Electronic

83%

USA, 1982 122–143 BPM

Bristol Indie

65%

UK, 1980 108–135 BPM

Brit Funk

78%

USA, 1965 100–127 BPM

Britcore

94%

Global, 1990 153–190 BPM

British Alternative Rock

71%

USA, 1980 108–141 BPM

British Black Metal

92%

Norway, 1982 140–202 BPM

British Blues

60%

USA, 1890 77–123 BPM

British Brass Band

71%

Global, 1920 100–162 BPM

British Children's Music

51%

Global, 1900 101–134 BPM

British Choir

38%

Europe, 590 48–131 BPM

British Classical Piano

45%

Europe, 1600 51–179 BPM

British Comedy

42%

Global, 1900 78–131 BPM

British Contemporary Classical

44%

Europe, 1600 51–179 BPM

British Country

55%

USA, 1920 98–135 BPM

British Dance Band

73%

Global, 1980 119–134 BPM

British Death Metal

93%

USA, 1984 160–222 BPM

British Electroacoustic

83%

USA, 1982 118–141 BPM

British Experimental

45%

USA, 1950 57–177 BPM

British Folk

40%

USA/UK, 1900 84–118 BPM

British Grindcore

96%

UK, 1985 177–247 BPM

British Indie Rock

69%

UK, 1980 109–138 BPM

British Industrial

88%

UK, 1975 118–151 BPM

British Invasion

64%

UK, 1964 113–140 BPM

British Jazz

49%

USA, 1900 78–161 BPM

British Math Rock

68%

USA, 1984 123–160 BPM

British Modern Classical

40%

Europe, 1600 49–178 BPM

British Orchestra

52%

Europe, 1600 53–160 BPM

British Post-rock

73%

USA, 1955 107–137 BPM

British Power Metal

93%

UK, 1968 127–177 BPM

British Singer-songwriter

35%

USA, 1960 81–119 BPM

British Soul

62%

USA, 1950 84–118 BPM

British Soundtrack

51%

USA, 1930 63–150 BPM

Britpop

68%

UK, 1993 110–140 BPM

Britpop Revival

63%

UK, 1993 108–141 BPM

Brno Indie

58%

UK, 1980 104–133 BPM

Broadway

63%

USA, 1866 91–139 BPM

Brockton Hip Hop

69%

USA, 1973 84–113 BPM

Broken Beat

73%

Global, 1960 99–133 BPM

Broken Transmission

40%

94–135 BPM

Bronx Drill

76%

USA, 2010 136–144 BPM

Bronx Hip Hop

72%

USA, 1973 86–114 BPM

Brooklyn Drill

76%

USA, 2010 137–148 BPM

Brooklyn Indie

64%

UK, 1980 103–136 BPM

Brostep

69%

UK, 1990 127–142 BPM

Bruneian Indie

59%

UK, 1980 103–136 BPM

Bruneian Pop

61%

USA, 1955 102–133 BPM

Brutal Death Metal

90%

USA, 1984 162–223 BPM

Brutal Deathcore

97%

USA, 2004 142–203 BPM

Bubble Trance

86%

Germany, 1991 130–152 BPM

Bubblegrunge

77%

USA, 1986 109–143 BPM

Bubblegum Bass

62%

USA, 1967 113–135 BPM

Bubblegum Dance

70%

USA, 1967 107–132 BPM

Bubblegum Pop

66%

USA, 1967 109–133 BPM

Buffalo Hip Hop

74%

USA, 1973 85–117 BPM

Buffalo Ny Indie

63%

UK, 1980 102–132 BPM

Buffalo Ny Metal

91%

UK, 1968 129–178 BPM

Bulgarian Electronic

85%

USA, 1982 121–139 BPM

Bulgarian Experimental

52%

USA, 1950 63–180 BPM

Bulgarian Folk

39%

USA/UK, 1900 82–117 BPM

Bulgarian Hip Hop

67%

USA, 1973 85–117 BPM

Bulgarian Indie

64%

UK, 1980 104–133 BPM

Bulgarian Metal

91%

UK, 1968 132–183 BPM

Bulgarian Pop

65%

USA, 1955 98–131 BPM

Bulgarian R&b

50%

USA, 1940 83–115 BPM

Bulgarian Rock

77%

USA, 1955 110–142 BPM

Bulgarian Trap

74%

USA, 2003 132–173 BPM

Burkinabe Pop

61%

USA, 1955 98–131 BPM

Burkinabe Traditional

40%

Global 80–132 BPM

Burmese Pop

62%

USA, 1955 97–127 BPM

Burmese Traditional

43%

Global 82–133 BPM

Burundian Pop

65%

USA, 1955 102–133 BPM

Burundian Traditional

46%

Global 81–129 BPM

Bury St Edmunds Indie

61%

UK, 1980 103–136 BPM

Bush Ballad

43%

Global, 1900 82–122 BPM

Byzantine

30%

Byzantine Empire, 330 52–93 BPM

C-pop

55%

China/Taiwan, 1980 90–125 BPM

C-pop Girl Group

55%

China/Taiwan, 1980 87–122 BPM

C64

56%

Global, 1982 113–155 BPM

C86

58%

UK, 1986 108–141 BPM

Cabaret

44%

France, 1881 82–125 BPM

Cajun

70%

USA, 1800 103–140 BPM

Calgary Indie

64%

UK, 1980 103–136 BPM

Cali Rap

76%

USA, 1979 88–120 BPM

California Hardcore

97%

Netherlands, 1990 162–203 BPM

Calming Instrumental

36%

Global, 1600 70–137 BPM

Calypso

65%

Trinidad, 1900 100–140 BPM

Cambodian Pop

63%

USA, 1955 98–131 BPM

Cambodian Rock

73%

USA, 1955 112–143 BPM

Cambodian Traditional

49%

Global 80–132 BPM

Cambridge Choir

39%

Europe, 590 51–129 BPM

Cambridgeshire Indie

59%

UK, 1980 107–138 BPM

Cameroonian Hip Hop

76%

USA, 1973 88–115 BPM

Cameroonian Pop

62%

USA, 1955 101–129 BPM

Campursari

49%

Indonesia, 1960 87–121 BPM

Canadian Americana

53%

USA, 1990 87–122 BPM

Canadian Black Metal

89%

Norway, 1982 143–200 BPM

Canadian Blues

50%

USA, 1890 77–123 BPM

Canadian Ccm

55%

USA, 1969 84–128 BPM

Canadian Celtic

59%

Ireland, 1000 101–144 BPM

Canadian Children's Music

54%

Global, 1900 101–134 BPM

Canadian Choir

42%

Europe, 590 53–130 BPM

Canadian Classical

44%

Europe, 1600 51–179 BPM

Canadian Classical Piano

40%

Europe, 1600 53–180 BPM

Canadian Comedy

38%

Global, 1900 82–133 BPM

Canadian Contemporary Classical

42%

Europe, 1600 49–178 BPM

Canadian Contemporary Country

53%

USA, 1920 95–137 BPM

Canadian Contemporary R&b

53%

USA, 1940 83–115 BPM

Canadian Country

60%

USA, 1920 97–138 BPM

Canadian Death Metal

90%

USA, 1984 158–221 BPM

Canadian Drill

72%

USA, 2010 136–144 BPM

Canadian Electronic

81%

USA, 1982 122–143 BPM

Canadian Electropop

68%

UK, 2000 116–134 BPM

Canadian Experimental

55%

USA, 1950 63–180 BPM

Canadian Folk

38%

USA/UK, 1900 86–119 BPM

Canadian Garage Rock

80%

USA, 1963 122–153 BPM

Canadian Hardcore

96%

Netherlands, 1990 159–198 BPM

Canadian Hip Hop

74%

USA, 1973 82–112 BPM

Canadian House

75%

USA, 1984 117–127 BPM

Canadian Indie

60%

UK, 1980 107–138 BPM

Canadian Indie Folk

36%

USA, 2000 89–118 BPM

Canadian Indigenous Hip Hop

76%

USA, 1973 87–118 BPM

Canadian Indigenous Music

50%

Global 68–131 BPM

Canadian Latin

63%

Latin America, 1960 92–133 BPM

Canadian Metal

94%

UK, 1968 132–183 BPM

Canadian Metalcore

95%

USA, 1990 139–178 BPM

Canadian Modern Jazz

43%

USA, 1900 77–157 BPM

Canadian Old School Hip Hop

65%

USA, 1979 87–107 BPM

Canadian Pop

60%

USA, 1955 100–132 BPM

Canadian Pop Punk

84%

USA, 1994 139–173 BPM

Canadian Post-hardcore

98%

Netherlands, 1990 158–201 BPM

Canadian Post-punk

69%

UK, 1978 112–148 BPM

Canadian Post-rock

75%

USA, 1955 111–139 BPM

Canadian Psychedelic

52%

USA, 1965 92–132 BPM

Canadian Psychedelic Rock

60%

USA, 1965 94–133 BPM

Canadian Punk

85%

USA/UK, 1974 152–193 BPM

Canadian Rock

75%

USA, 1955 112–143 BPM

Canadian Rockabilly

70%

USA, 1955 107–137 BPM

Canadian Shoegaze

51%

UK, 1988 99–128 BPM

Canadian Singer-songwriter

33%

USA, 1960 82–123 BPM

Canadian Soundtrack

54%

USA, 1930 62–153 BPM

Canadian Stoner Rock

70%

USA, 1990 78–121 BPM

Canadian Trap

70%

USA, 2003 133–170 BPM

Canadian Underground Hip Hop

68%

USA, 1973 86–114 BPM

Canberra Indie

61%

UK, 1980 106–134 BPM

Cancion Infantil Latinoamericana

43%

USA, 1990 90–127 BPM

Cancion Infantil Mexicana

52%

Global, 1900 97–132 BPM

Cancion Melodica

37%

Spain, 1800 79–117 BPM

Cancoes Infantis

40%

112–135 BPM

Candombe

77%

Uruguay, 1800 102–138 BPM

Candomble

69%

Brazil, 1600 101–139 BPM

Candy Pop

68%

USA, 1955 98–131 BPM

Cantaditas

77%

Spain, 1990 138–148 BPM

Cantautor

35%

Spain, 1960 81–119 BPM

Cantautor Catala

37%

Spain, 1960 78–121 BPM

Cantautora Argentina

43%

Spain, 1960 81–119 BPM

Cantautora Mexicana

33%

Spain, 1960 83–120 BPM

Cante Alentejano

66%

USA/Mexico, 1950 102–143 BPM

Cante Flamenco

69%

Spain, 1700 83–140 BPM

Canterbury Scene

62%

Global, 1990 107–143 BPM

Canti Alpini

47%

94–125 BPM

Canto A Tenore

54%

100–145 BPM

Canto Popular Uruguayo

62%

USA, 1955 97–127 BPM

Cantonese Opera

54%

Italy, 1597 52–163 BPM

Cantonese Traditional

45%

Global 78–131 BPM

Cantonese Worship

45%

USA, 1990 73–120 BPM

Cantopop

52%

Hong Kong, 1970 90–125 BPM

Canzone D'autore

50%

Italy, 1800 80–122 BPM

Canzone Genovese

40%

Italy, 1800 80–122 BPM

Canzone Napoletana

45%

Italy, 1800 80–122 BPM

Canzone Siciliane

42%

Italy, 1800 78–121 BPM

Cape Breton Folk

31%

USA/UK, 1900 82–117 BPM

Cape Breton Indie

57%

UK, 1980 105–137 BPM

Cape Town Indie

55%

UK, 1980 104–133 BPM

Cape Verdean Folk

30%

USA/UK, 1900 87–123 BPM

Capoeira

76%

Brazil, 1500 98–141 BPM

Caracas Indie

60%

UK, 1980 103–136 BPM

Cardiff Indie

62%

UK, 1980 105–137 BPM

Caribbean Metal

96%

UK, 1968 133–180 BPM

Carimbo

67%

Brazil, 1900 99–128 BPM

Carnatic

43%

India 62–137 BPM

Carnatic Instrumental

37%

Global, 1600 70–137 BPM

Carnatic Vocal

37%

India 65–142 BPM

Carnaval

85%

Global, 1800 123–155 BPM

Carnaval Cadiz

81%

Global, 1800 121–154 BPM

Carnaval Limburg

85%

Global, 1800 120–157 BPM

Cartoni Animati

54%

88–145 BPM

Cartoon

61%

USA, 1930 100–152 BPM

Cascadia Psych

53%

Global, 1965 97–138 BPM

Cascadian Black Metal

91%

Norway, 1982 141–199 BPM

Catalan Folk

39%

USA/UK, 1900 84–118 BPM

Cathedral Choir

45%

Europe, 590 50–132 BPM

Caucasian Classical

36%

Europe, 1600 47–177 BPM

Caucasian Classical Piano

39%

Europe, 1600 51–179 BPM

Caucasian Folk

38%

USA/UK, 1900 86–119 BPM

Cavernous Death Metal

99%

USA, 1984 158–221 BPM

Ccm

63%

USA, 1969 83–131 BPM

Cdmx Indie

59%

UK, 1980 105–137 BPM

Cdo Indie

56%

UK, 1980 108–135 BPM

Cedm

93%

USA, 2010 125–148 BPM

Ceilidh

68%

Celtic 118–151 BPM

Cello

40%

Italy, 1600 53–130 BPM

Cello Ensemble

40%

Europe, 1700 67–143 BPM

Celtic

55%

Ireland, 1000 100–145 BPM

Celtic Harp

59%

Ireland, 1000 101–144 BPM

Celtic Metal

55%

Ireland, 1000 102–148 BPM

Celtic Punk

51%

Ireland, 1000 98–146 BPM

Celtic Rock

70%

Ireland, 1970 110–145 BPM

Central American Metal

94%

UK, 1968 131–179 BPM

Central Asian Folk

31%

USA/UK, 1900 82–117 BPM

Central Asian Hip Hop

73%

USA, 1973 82–112 BPM

Cerkes Muzikleri

58%

Global 92–133 BPM

Ceske Chvaly

46%

Czech/Slovak, 1990 82–125 BPM

Cha-cha-cha

72%

Cuba, 1950 123–130 BPM

Chaabi Algerien

66%

North Africa, 1920 91–126 BPM

Chaabi Marocain

63%

North Africa, 1920 89–125 BPM

Chabad Niggunim

54%

94–145 BPM

Chain Punk

86%

USA/UK, 1974 152–193 BPM

Chakma Pop

66%

USA, 1955 100–132 BPM

Chakra

14%

India 45–78 BPM

Chalga

68%

Bulgaria 108–141 BPM

Chamame

58%

Argentina, 1930 100–137 BPM

Chamame Brasilero

57%

Argentina, 1930 98–136 BPM

Chamber Choir

38%

Europe, 590 52–133 BPM

Chamber Ensemble

48%

Europe, 1700 67–143 BPM

Chamber Folk

38%

USA/UK, 1900 82–117 BPM

Chamber Orchestra

49%

Europe, 1600 50–162 BPM

Chamber Pop

40%

USA, 1995 90–120 BPM

Chamber Psych

57%

Global, 1965 96–134 BPM

Chamorro Pop

65%

USA, 1955 100–132 BPM

Champeta

73%

Colombia, 1970 110–131 BPM

Channel Islands Indie

62%

UK, 1980 102–132 BPM

Channel Pop

69%

USA, 1955 97–127 BPM

Chanson

35%

France, 1880 80–120 BPM

Chanson Humoristique

34%

France, 1880 81–119 BPM

Chanson Paillarde

33%

France, 1880 81–119 BPM

Chanson Quebecois

36%

France, 1880 79–118 BPM

Chanson Virale

33%

France, 1880 82–123 BPM

Chant Basque

62%

Spain 110–152 BPM

Chant Religieux

11%

Europe, 590 49–88 BPM

Chaotic Black Metal

91%

Norway, 1982 141–199 BPM

Chaotic Hardcore

97%

Netherlands, 1990 158–201 BPM

Chapman Stick

40%

100–135 BPM

Charanga

64%

Cuba, 1940 109–138 BPM

Charango

43%

Andes 89–138 BPM

Charlotte Nc Indie

62%

UK, 1980 104–133 BPM

Charlottesville Indie

60%

UK, 1980 106–134 BPM

Charred Death

93%

USA, 1984 157–207 BPM

Charva

54%

85–130 BPM

Chasidic Pop

63%

USA, 1955 102–133 BPM

Chattanooga Indie

61%

UK, 1980 103–136 BPM

Chechen Pop

70%

USA, 1955 100–132 BPM

Chennai Indie

55%

UK, 1980 102–132 BPM

Chhattisgarhi Pop

67%

USA, 1955 97–127 BPM

Chicago Blues

60%

USA, 1940 80–120 BPM

Chicago Bop

67%

USA, 1940 123–170 BPM

Chicago Drill

74%

USA, 2010 135–147 BPM

Chicago Hardcore

97%

Netherlands, 1990 159–198 BPM

Chicago House

76%

USA, 1984 118–131 BPM

Chicago Indie

63%

UK, 1980 104–133 BPM

Chicago Mexican

58%

Mexico, 1900 97–138 BPM

Chicago Pop Punk

83%

USA, 1994 143–175 BPM

Chicago Punk

87%

USA/UK, 1974 151–189 BPM

Chicago Rap

72%

USA, 1979 85–122 BPM

Chicago Soul

61%

USA, 1950 87–123 BPM

Chicano Punk

89%

USA/UK, 1974 153–190 BPM

Chicano Rap

78%

USA, 1979 87–123 BPM

Chicha

65%

Peru, 1960 103–135 BPM

Chihuahua Indie

56%

UK, 1980 106–134 BPM

Children's Choir

57%

Global, 1900 101–134 BPM

Children's Folk

56%

Global, 1900 103–135 BPM

Children's Music

54%

Global, 1900 100–137 BPM

Children's Story

60%

Global, 1900 100–137 BPM

Chilean Black Metal

96%

Norway, 1982 140–202 BPM

Chilean Hardcore

98%

Netherlands, 1990 157–197 BPM

Chilean Indie

63%

UK, 1980 107–138 BPM

Chilean Metal

93%

UK, 1968 131–179 BPM

Chilean Rock

78%

USA, 1955 108–141 BPM

Chilean Techno

84%

USA, 1985 127–147 BPM

Chilena

54%

103–130 BPM

Chill Abstract Hip Hop

73%

USA, 1973 83–116 BPM

Chill Baile

22%

Global, 1990 72–102 BPM

Chill Beats

27%

Global, 1990 74–103 BPM

Chill Breakcore

28%

Global, 1990 76–104 BPM

Chill Dream Pop

32%

UK, 1985 93–125 BPM

Chill Drill

72%

USA, 2010 132–142 BPM

Chill Groove

30%

Global, 1990 74–103 BPM

Chill Guitar

41%

Global, 1500 79–128 BPM

Chill House

81%

USA, 1984 117–127 BPM

Chill Lounge

35%

USA, 1953 84–113 BPM

Chill Out

29%

Global, 1990 72–102 BPM

Chill Phonk

76%

USA, 2012 131–149 BPM

Chill Pop

62%

USA, 1955 103–130 BPM

Chill R&b

55%

USA, 1940 83–115 BPM

Chill-out Trance

84%

Germany, 1991 131–149 BPM

Chillhop

26%

Global, 1990 75–107 BPM

Chillstep

27%

Global, 1990 78–105 BPM

Chillsynth

53%

Global, 1978 104–133 BPM

Chillwave

25%

Global, 1990 78–105 BPM

Chimurenga

66%

Zimbabwe, 1970 97–128 BPM

Chinderlieder

54%

112–145 BPM

Chinese Audiophile

36%

China, 1000 70–122 BPM

Chinese Bgm

45%

China, 1000 67–117 BPM

Chinese Black Metal

97%

Norway, 1982 139–198 BPM

Chinese Classical

45%

Europe, 1600 52–183 BPM

Chinese Classical Performance

35%

Europe, 1600 48–181 BPM

Chinese Classical Piano

36%

Europe, 1600 49–178 BPM

Chinese Drama Ost

37%

China, 1000 72–123 BPM

Chinese Electronic

83%

USA, 1982 118–141 BPM

Chinese Electropop

73%

UK, 2000 114–133 BPM

Chinese Experimental

55%

USA, 1950 59–178 BPM

Chinese Folk

31%

USA/UK, 1900 88–120 BPM

Chinese Hip Hop

70%

USA, 1973 84–113 BPM

Chinese Idol Pop

65%

USA, 1955 98–131 BPM

Chinese Indie

65%

UK, 1980 105–137 BPM

Chinese Indie Pop

56%

UK, 1980 103–131 BPM

Chinese Indie Rock

64%

UK, 1980 110–142 BPM

Chinese Instrumental

44%

Global, 1600 73–135 BPM

Chinese Jazz

41%

USA, 1900 78–161 BPM

Chinese Manyao

38%

China, 1000 73–120 BPM

Chinese Melodic Rap

71%

USA, 1979 83–121 BPM

Chinese Metal

93%

UK, 1968 127–177 BPM

Chinese Metalcore

91%

USA, 1990 139–178 BPM

Chinese Minyao

39%

China, 1000 73–120 BPM

Chinese New Year

44%

China, 1000 68–121 BPM

Chinese Opera

60%

Italy, 1597 48–161 BPM

Chinese Post-punk

68%

UK, 1978 113–145 BPM

Chinese Post-rock

80%

USA, 1955 107–137 BPM

Chinese Punk

95%

USA/UK, 1974 149–188 BPM

Chinese R&b

58%

USA, 1940 79–113 BPM

Chinese Reggae

58%

Jamaica, 1968 68–91 BPM

Chinese Singer-songwriter

42%

USA, 1960 82–123 BPM

Chinese Soundtrack

53%

USA, 1930 58–151 BPM

Chinese Talent Show

69%

Global, 2000 94–133 BPM

Chinese Traditional

45%

Global 81–129 BPM

Chinese Viral Pop

64%

USA, 1955 101–129 BPM

Chinese Wind

40%

China, 1000 73–120 BPM

Chinese Worship

51%

USA, 1990 71–119 BPM

Chip Hop

77%

USA, 1973 87–118 BPM

Chiptune

70%

Japan, 1978 120–170 BPM

Chopped And Screwed

69%

USA, 1973 87–118 BPM

Choral

40%

Europe, 590 51–129 BPM

Choro

46%

Brazil, 1870 100–152 BPM

Choro Contemporaneo

53%

Brazil, 1870 102–153 BPM

Christchurch Indie

65%

UK, 1980 106–134 BPM

Christelijk

52%

Netherlands, 1900 81–120 BPM

Christian A Cappella

46%

Global, 1000 78–141 BPM

Christian Afrobeat

50%

USA, 1960 80–127 BPM

Christian Alternative Rock

69%

USA, 1980 113–140 BPM

Christian Dance

54%

USA, 1960 79–123 BPM

Christian Death Metal

99%

USA, 1984 161–219 BPM

Christian Deathcore

93%

USA, 2004 143–200 BPM

Christian Doom Metal

74%

UK, 1970 61–89 BPM

Christian Hard Rock

86%

UK, 1968 120–152 BPM

Christian Hardcore

54%

USA, 1960 77–122 BPM

Christian Hip Hop

56%

USA, 1960 78–126 BPM

Christian Indie

51%

USA, 1960 79–123 BPM

Christian Lo-fi

48%

USA, 1960 82–128 BPM

Christian Metal

54%

USA, 1960 78–126 BPM

Christian Metalcore

96%

USA, 1990 143–180 BPM

Christian Music

51%

USA, 1960 77–122 BPM

Christian Pop

52%

USA, 1960 82–128 BPM

Christian Power Metal

54%

USA, 1960 82–128 BPM

Christian Punk

54%

USA, 1960 82–128 BPM

Christian Rock

47%

USA, 1960 80–127 BPM

Christian Symphonic Metal

52%

USA, 1960 83–125 BPM

Christian Thrash Metal

90%

USA, 1981 163–210 BPM

Christian Trap

51%

USA, 1960 81–124 BPM

Christian Uplift

52%

USA, 1960 77–122 BPM

Christlicher Rap

76%

USA, 1979 84–118 BPM

Christmas Instrumental

60%

Global, 1800 87–127 BPM

Christmas Product

57%

Global, 1800 89–128 BPM

Chutney

68%

Trinidad, 1960 105–137 BPM

Cifteli

47%

Albania 81–129 BPM

Cimbalom

45%

Hungary 82–143 BPM

Cimbalova Muzika

51%

Global 90–132 BPM

Cincinnati Indie

58%

UK, 1980 104–133 BPM

Cincinnati Rap

75%

USA, 1979 85–122 BPM

Cinematic Dubstep

52%

USA, 1930 63–150 BPM

Cinematic Post-rock

53%

USA, 1930 61–149 BPM

Circassian Folk

34%

USA/UK, 1900 82–117 BPM

Circuit

86%

USA, 1990 131–135 BPM

Circus

67%

Europe, 1860 100–147 BPM

City Pop

58%

Japan, 1978 100–125 BPM

Clap And Tap

58%

Global 101–134 BPM

Clarinet Ensemble

41%

Germany, 1700 78–141 BPM

Classic Afrobeat

78%

Nigeria, 1968 99–133 BPM

Classic Anime

74%

Japan, 1963 122–163 BPM

Classic Arab Pop

57%

Middle East, 1970 90–127 BPM

Classic Assamese Pop

61%

USA, 1955 98–131 BPM

Classic Australian Country

52%

USA, 1920 98–135 BPM

Classic Azeri Pop

64%

USA, 1955 101–129 BPM

Classic Bangla Pop

69%

USA, 1955 103–130 BPM

Classic Belgian Pop

63%

USA, 1955 97–127 BPM

Classic Bhangra

81%

India/UK, 1940 112–153 BPM

Classic Bollywood

62%

India, 1931 88–141 BPM

Classic Bulgarian Pop

70%

USA, 1955 99–128 BPM

Classic Canadian Rock

73%

USA, 1955 108–141 BPM

Classic Cantopop

48%

Hong Kong, 1970 93–125 BPM

Classic City Pop

57%

Japan, 1978 98–126 BPM

Classic Colombian Pop

63%

USA, 1955 97–127 BPM

Classic Country Pop

60%

USA, 1920 96–134 BPM

Classic Czech Pop

65%

USA, 1955 100–132 BPM

Classic Danish Pop

64%

USA, 1955 101–129 BPM

Classic Danish Rock

80%

USA, 1955 110–142 BPM

Classic Disco Polo

70%

USA, 1970 108–131 BPM

Classic Dubstep

84%

UK, 2005 138–144 BPM

Classic Dutch Pop

63%

USA, 1955 99–128 BPM

Classic Female Blues

60%

USA, 1890 75–122 BPM

Classic Finnish Pop

68%

USA, 1955 102–133 BPM

Classic Finnish Rock

74%

USA, 1955 112–143 BPM

Classic French Pop

68%

USA, 1955 103–130 BPM

Classic Garage Rock

83%

USA, 1963 118–151 BPM

Classic Girl Group

68%

USA, 1960 92–125 BPM

Classic Greek Pop

70%

USA, 1955 98–131 BPM

Classic Greek Rock

80%

USA, 1955 109–138 BPM

Classic Hardstyle

100%

Netherlands, 2000 151–159 BPM

Classic House

77%

USA, 1984 122–133 BPM

Classic Hungarian Pop

64%

USA, 1955 98–131 BPM

Classic Hungarian Rock

76%

USA, 1955 112–143 BPM

Classic Icelandic Pop

60%

USA, 1955 98–131 BPM

Classic Indo Pop

65%

USA, 1955 97–127 BPM

Classic Indonesian Rock

77%

USA, 1955 113–140 BPM

Classic Iskelma

45%

Finland, 1929 86–123 BPM

Classic Israeli Pop

67%

USA, 1955 101–129 BPM

Classic Italian Folk Pop

45%

USA, 2005 96–124 BPM

Classic Italian Pop

61%

USA, 1955 97–127 BPM

Classic J-pop

65%

Japan, 1990 107–137 BPM

Classic J-rock

80%

Japan, 1980 118–156 BPM

Classic Japanese Jazz

42%

USA, 1900 83–160 BPM

Classic K-pop

83%

South Korea, 1992 100–137 BPM

Classic Kollywood

62%

India, 1931 92–141 BPM

Classic Konkani Pop

60%

USA, 1955 102–133 BPM

Classic Korean Pop

68%

USA, 1955 103–130 BPM

Classic Latvian Pop

60%

USA, 1955 100–132 BPM

Classic Luk Thung

51%

Thailand, 1960 86–123 BPM

Classic Malaysian Pop

63%

USA, 1955 101–129 BPM

Classic Mandopop

53%

Taiwan/China, 1920 85–122 BPM

Classic Moroccan Pop

62%

USA, 1955 100–132 BPM

Classic Nepali Pop

60%

USA, 1955 103–130 BPM

Classic Norwegian Pop

68%

USA, 1955 100–132 BPM

Classic Nz Country

58%

USA, 1920 95–137 BPM

Classic Nz Pop

69%

USA, 1955 99–128 BPM

Classic Oklahoma Country

52%

USA, 1920 96–134 BPM

Classic Opm

52%

Philippines, 1960 89–123 BPM

Classic Pakistani Pop

70%

USA, 1955 98–131 BPM

Classic Persian Pop

70%

USA, 1955 101–129 BPM

Classic Peruvian Pop

62%

USA, 1955 103–130 BPM

Classic Polish Pop

61%

USA, 1955 99–128 BPM

Classic Portuguese Pop

65%

USA, 1955 97–127 BPM

Classic Praise

58%

USA, 1970 77–122 BPM

Classic Progressive House

69%

UK, 1992 126–134 BPM

Classic Psychedelic Rock

53%

USA, 1965 95–137 BPM

Classic Punjabi Pop

60%

USA, 1955 99–128 BPM

Classic Rock

72%

USA/UK, 1965 110–140 BPM

Classic Romanian Pop

69%

USA, 1955 99–128 BPM

Classic Russian Pop

63%

USA, 1955 100–132 BPM

Classic Russian Rock

78%

USA, 1955 109–138 BPM

Classic Schlager

57%

Germany, 1920 104–133 BPM

Classic Sierreno

58%

Mexico, 2000 93–131 BPM

Classic Sinhala Pop

64%

USA, 1955 101–129 BPM

Classic Soul

62%

USA, 1950 85–122 BPM

Classic Soundtrack

51%

USA, 1930 60–152 BPM

Classic Sudanese Pop

70%

USA, 1955 97–127 BPM

Classic Swedish Pop

64%

USA, 1955 101–129 BPM

Classic Texas Country

60%

USA, 1920 93–136 BPM

Classic Thai Pop

56%

Thailand, 1960 92–125 BPM

Classic Tollywood

59%

India, 1931 89–134 BPM

Classic Tunisian Pop

66%

USA, 1955 102–133 BPM

Classic Turkish Pop

62%

Turkey, 1960 97–133 BPM

Classic Uk Pop

64%

USA, 1955 97–127 BPM

Classic Ukrainian Pop

60%

USA, 1955 102–133 BPM

Classic Venezuelan Pop

68%

USA, 1955 99–128 BPM

Classical

40%

Europe, 1600 50–180 BPM

Classical Accordion

42%

Europe, 1600 53–180 BPM

Classical Baritone

41%

Europe, 1600 50–182 BPM

Classical Bass

38%

Europe, 1600 47–177 BPM

Classical Bassoon

35%

Europe, 1600 53–180 BPM

Classical Cello

44%

Europe, 1600 47–177 BPM

Classical Clarinet

36%

Europe, 1600 48–181 BPM

Classical Contralto

35%

Europe, 1600 50–182 BPM

Classical Countertenor

39%

Europe, 1600 51–179 BPM

Classical Drill

35%

Europe, 1600 50–182 BPM

Classical Era

45%

Europe, 1600 49–178 BPM

Classical Flute

40%

Europe, 1600 50–182 BPM

Classical Guitar

42%

Europe, 1600 50–182 BPM

Classical Guitar Duo

40%

Europe, 1600 52–183 BPM

Classical Guitar Quartet

39%

Europe, 1600 49–178 BPM

Classical Harp

42%

Europe, 1600 49–178 BPM

Classical Horn

40%

Europe, 1600 51–179 BPM

Classical Jazz Fusion

61%

USA, 1969 98–150 BPM

Classical Mandolin

43%

Europe, 1600 48–181 BPM

Classical Mezzo-soprano

44%

Europe, 1600 48–181 BPM

Classical Oboe

45%

Europe, 1600 49–178 BPM

Classical Organ

37%

Europe, 1600 50–182 BPM

Classical Percussion

44%

Europe, 1600 53–180 BPM

Classical Performance

36%

Europe, 1600 52–183 BPM

Classical Piano

40%

Europe, 1600 53–180 BPM

Classical Piano Duo

45%

Europe, 1600 52–183 BPM

Classical Piano Quartet

36%

Europe, 1600 48–181 BPM

Classical Piano Trio

41%

Europe, 1600 47–177 BPM

Classical Saxophone

41%

Europe, 1600 48–181 BPM

Classical Saxophone Quartet

36%

Europe, 1600 50–182 BPM

Classical Soprano

39%

Europe, 1600 48–181 BPM

Classical String Trio

41%

Europe, 1600 50–182 BPM

Classical Tenor

40%

Europe, 1600 47–177 BPM

Classical Trombone

45%

Europe, 1600 49–178 BPM

Classical Trumpet

42%

Europe, 1600 50–182 BPM

Classical Tuba

44%

Europe, 1600 53–180 BPM

Classify

54%

112–145 BPM

Clawhammer Banjo

57%

USA, 1830 103–150 BPM

Clean Comedy

35%

Global, 1900 79–128 BPM

Cleveland Indie

63%

UK, 1980 108–135 BPM

Cleveland Metal

87%

UK, 1968 128–181 BPM

Cloud Rap

45%

USA, 2009 110–140 BPM

Cloud Rap Francais

47%

USA, 2009 112–143 BPM

Coco

40%

109–120 BPM

Cocuk Masallari

41%

Global, 1900 84–108 BPM

Cocuk Sarkilari

54%

97–130 BPM

Coldwave

58%

UK, 1978 97–132 BPM

Collage Pop

68%

USA, 1955 97–127 BPM

College A Cappella

47%

Global, 1000 77–137 BPM

College Marching Band

71%

Global, 1800 102–148 BPM

Cologne Electronic

80%

USA, 1982 119–138 BPM

Cologne Hip Hop

73%

USA, 1973 85–117 BPM

Cologne Indie

62%

UK, 1980 106–134 BPM

Colombian Black Metal

87%

Norway, 1982 140–202 BPM

Colombian Death Metal

99%

USA, 1984 159–218 BPM

Colombian Electronic

81%

USA, 1982 120–142 BPM

Colombian Hardcore

92%

Netherlands, 1990 158–201 BPM

Colombian Hip Hop

73%

USA, 1973 85–117 BPM

Colombian Indie

59%

UK, 1980 104–133 BPM

Colombian Pop

61%

USA, 1955 99–128 BPM

Colombian Rock

75%

USA, 1955 107–137 BPM

Color Noise

93%

Japan, 1960 47–197 BPM

Colorado Hardcore

95%

Netherlands, 1990 157–197 BPM

Columbus Ohio Indie

61%

UK, 1980 102–132 BPM

Combos Nacionales

47%

103–140 BPM

Comedia

40%

Spain, 1900 80–129 BPM

Comedie Musicale

61%

USA/UK, 1866 86–137 BPM

Comedienne

45%

Global, 1950 79–125 BPM

Comedy

42%

Global, 1900 82–133 BPM

Comedy Rap

77%

USA, 1979 84–118 BPM

Comedy Rock

78%

USA, 1955 113–140 BPM

Comfy Synth

60%

Global, 1978 108–135 BPM

Comic

41%

Global, 1950 85–132 BPM

Comic Metal

96%

UK, 1968 129–178 BPM

Commons

47%

103–140 BPM

Complextro

84%

USA, 2010 129–132 BPM

Compositional Ambient

19%

UK, 1978 61–99 BPM

Comptine

59%

France, 1900 103–135 BPM

Comptine Africaine

54%

France, 1900 97–132 BPM

Concepcion Indie

56%

UK, 1980 103–136 BPM

Concert Band

55%

Europe, 1700 68–145 BPM

Concertina

51%

UK, 1829 86–134 BPM

Concurso De Talentos Argentino

47%

85–140 BPM

Congolese Gospel

64%

USA, 1930 79–128 BPM

Connecticut Hardcore

90%

Netherlands, 1990 159–198 BPM

Connecticut Indie

64%

UK, 1980 105–137 BPM

Conscious Hip Hop

60%

USA, 1982 80–105 BPM

Contemporary Choir

43%

Europe, 590 47–127 BPM

Contemporary Classical

44%

Europe, 1600 51–179 BPM

Contemporary Classical Piano

45%

Europe, 1600 47–177 BPM

Contemporary Country

58%

USA, 1920 94–133 BPM

Contemporary Folk

40%

USA/UK, 1900 87–123 BPM

Contemporary Gospel

60%

USA, 1930 82–133 BPM

Contemporary Jazz

48%

USA, 1900 79–158 BPM

Contemporary Post-bop

51%

Global, 1930 72–153 BPM

Contemporary R&b

50%

USA, 1940 78–116 BPM

Contemporary Vocal Jazz

49%

USA, 1900 83–160 BPM

Contra Dance

79%

Global, 1980 115–132 BPM

Contrabass

77%

UK, 1990 127–147 BPM

Convent

19%

Europe, 1000 48–90 BPM

Cook Islands Pop

64%

USA, 1955 100–132 BPM

Cool Jazz

35%

USA, 1948 90–140 BPM

Copla

58%

Spain, 1920 87–128 BPM

Coptic Hymn

34%

Global, 500 58–101 BPM

Coral Gospel

69%

USA, 1930 79–128 BPM

Cork Indie

61%

UK, 1980 104–133 BPM

Cornetas Y Tambores

59%

UK 87–138 BPM

Cornish Folk

40%

USA/UK, 1900 84–118 BPM

Cornwall Indie

59%

UK, 1980 105–137 BPM

Corrido

55%

Mexico, 1860 95–120 BPM

Corridos Adictivos

56%

Mexico, 1860 97–123 BPM

Corridos Alternativos

51%

Mexico, 1860 93–121 BPM

Corridos Belicos

53%

Mexico, 1860 93–121 BPM

Corridos Clasicos

54%

Mexico, 1860 93–121 BPM

Corridos Cristianos

52%

Mexico, 1860 92–117 BPM

Corridos Tumbados

59%

Mexico, 1860 97–123 BPM

Corrosion

86%

Global, 1990 129–168 BPM

Corsican Folk

37%

USA/UK, 1900 86–119 BPM

Cosmic American

43%

USA, 1970 89–128 BPM

Cosmic Black Metal

93%

Norway, 1982 140–202 BPM

Cosmic Death Metal

94%

USA, 1984 157–217 BPM

Cosmic Post-rock

74%

USA, 1955 113–140 BPM

Cosmic Uplifting Trance

84%

Germany, 1991 132–153 BPM

Country

55%

USA, 1920 95–135 BPM

Country Blues

54%

USA, 1920 97–138 BPM

Country Boogie

57%

USA, 1920 96–134 BPM

Country Dawn

54%

USA, 1920 94–133 BPM

Country Gospel

55%

USA, 1920 96–134 BPM

Country Pop

57%

USA, 1920 94–133 BPM

Country Quebecois

53%

USA, 1920 92–132 BPM

Country Rap

51%

USA, 1920 98–135 BPM

Country Road

54%

USA, 1920 93–136 BPM

Country Rock

60%

USA, 1966 105–135 BPM

Countrygaze

60%

USA, 1920 96–134 BPM

Coupe-decale

77%

Ivory Coast, 2003 112–131 BPM

Coventry Indie

62%

UK, 1980 103–136 BPM

Cover Acustico

54%

Global, 1950 92–138 BPM

Coverchill

24%

Global, 1990 72–102 BPM

Covertrance

80%

Germany, 1991 128–151 BPM

Covertronica

55%

Global, 1950 91–134 BPM

Cowboy Western

53%

USA, 1860 89–124 BPM

Cowpunk

94%

USA/UK, 1974 153–190 BPM

Crack Rock Steady

72%

USA, 1955 108–141 BPM

Crank Wave

57%

UK, 1978 101–134 BPM

Cristiana Para Ninos

48%

Global, 1960 79–121 BPM

Croatian Electronic

79%

USA, 1982 123–140 BPM

Croatian Folk

36%

USA/UK, 1900 87–123 BPM

Croatian Hip Hop

77%

USA, 1973 86–114 BPM

Croatian Indie

60%

UK, 1980 103–136 BPM

Croatian Metal

89%

UK, 1968 129–178 BPM

Croatian Pop

64%

USA, 1955 98–131 BPM

Croatian Rock

80%

USA, 1955 110–142 BPM

Crossover Prog

61%

UK, 1967 92–143 BPM

Crossover Thrash

85%

USA, 1984 157–198 BPM

Cruise

51%

Global, 1960 82–117 BPM

Crunk

85%

USA, 2000 130–150 BPM

Crust Punk

90%

USA/UK, 1974 149–188 BPM

Cryptic Black Metal

97%

Norway, 1982 138–201 BPM

Cuarteto

76%

Argentina, 1943 113–140 BPM

Cuatro Puertorriqueno

47%

109–140 BPM

Cuatro Venezolano

47%

97–140 BPM

Cuban Alternative

69%

USA, 1980 106–137 BPM

Cuban Electronic

85%

USA, 1982 122–143 BPM

Cuban Funk

80%

USA, 1965 97–122 BPM

Cuban Rumba

70%

Cuba, 1900 97–142 BPM

Cubaton

81%

Cuba, 2005 87–105 BPM

Cueca Chilena

56%

Chile, 1820 107–137 BPM

Cuento Infantile

59%

Global, 1900 103–135 BPM

Cumbia

65%

Colombia, 1940 88–110 BPM

Cumbia 420

66%

Colombia, 1940 86–111 BPM

Cumbia Amazonica

66%

Colombia, 1940 90–113 BPM

Cumbia Andina Mexicana

65%

Colombia, 1940 90–113 BPM

Cumbia Boliviana

62%

Colombia, 1940 87–108 BPM

Cumbia Chilena

67%

Colombia, 1940 88–112 BPM

Cumbia Colombiana Regia

70%

Colombia, 1940 87–108 BPM

Cumbia Cristiana

68%

Colombia, 1940 89–109 BPM

Cumbia Del Sureste

63%

Colombia, 1940 90–113 BPM

Cumbia Ecuatoriana

66%

Colombia, 1940 86–111 BPM

Cumbia Editada

66%

Colombia, 1940 88–112 BPM

Cumbia Funk

68%

Colombia, 1940 85–107 BPM

Cumbia Lagunera

62%

Colombia, 1940 90–113 BPM

Cumbia Paraguaya

70%

Colombia, 1940 91–110 BPM

Cumbia Peruana

67%

Colombia, 1940 89–109 BPM

Cumbia Pop

62%

Colombia, 1940 89–109 BPM

Cumbia Ranchera

69%

Mexico, 1930 93–136 BPM

Cumbia Salvadorena

62%

Colombia, 1940 91–110 BPM

Cumbia Santafesina

66%

Colombia, 1940 90–113 BPM

Cumbia Sonidera

70%

Colombia, 1940 87–108 BPM

Cumbia Sonorense

61%

Colombia, 1940 88–112 BPM

Cumbia Surena

68%

Colombia, 1940 86–111 BPM

Cumbia Uruguaya

70%

Colombia, 1940 90–113 BPM

Cumbia Villera

63%

Colombia, 1940 89–109 BPM

Cyber Metal

92%

UK, 1968 131–179 BPM

Cybergrind

98%

UK, 1985 178–251 BPM

Cyberpunk

95%

USA/UK, 1974 148–191 BPM

Cymraeg

52%

Wales 80–123 BPM

Cypriot Hip Hop

67%

USA, 1973 82–112 BPM

Cypriot Metal

88%

UK, 1968 131–179 BPM

Cypriot Pop

62%

USA, 1955 99–128 BPM

Czech Alternative Rap

73%

USA, 1980 105–140 BPM

Czech Classical

41%

Europe, 1600 53–180 BPM

Czech Classical Piano

44%

Europe, 1600 52–183 BPM

Czech Contemporary Classical

40%

Europe, 1600 50–182 BPM

Czech Country

55%

USA, 1920 95–137 BPM

Czech Drill

72%

USA, 2010 135–147 BPM

Czech Electronic

75%

USA, 1982 121–139 BPM

Czech Experimental

53%

USA, 1950 63–180 BPM

Czech Folk

30%

USA/UK, 1900 86–119 BPM

Czech Folk Rock

47%

USA, 1964 97–127 BPM

Czech Hardcore

94%

Netherlands, 1990 161–199 BPM

Czech Hip Hop

70%

USA, 1973 88–115 BPM

Czech Indie

63%

UK, 1980 103–136 BPM

Czech Jazz

48%

USA, 1900 82–163 BPM

Czech Metal

91%

UK, 1968 129–178 BPM

Czech Pop

69%

USA, 1955 100–132 BPM

Czech Pop Rock

80%

USA, 1955 113–140 BPM

Czech Psychedelic

56%

USA, 1965 96–134 BPM

Czech Punk

88%

USA/UK, 1974 152–193 BPM

Czech Rock

80%

USA, 1955 112–143 BPM

Czech Singer-songwriter

39%

USA, 1960 77–117 BPM

Czech Swing

61%

USA, 1930 123–180 BPM

Czsk Black Metal

93%

Norway, 1982 143–200 BPM

Czsk Electropop

66%

UK, 2000 115–137 BPM

Czsk Emo Rap

71%

USA, 1985 118–161 BPM

Czsk Hip Hop

71%

USA, 1973 86–114 BPM

Czsk Hyperpop

67%

USA, 1955 99–128 BPM

Czsk Reggae

56%

Jamaica, 1968 71–89 BPM

Czsk Viral Pop

64%

USA, 1955 101–129 BPM