Fly Me to the Moon: Which recording suits the Slow Foxtrot?

Note the artist, album or recording type, and duration for all three versions. For Sinatra, distinguish the Basie studio recording from live versions and edited audio: the same cover image does not make them the same recording.

For classic Slow Foxtrot, write down 112 to 120 BPM. For this social dance Foxtrot test, initially use 120 to 132 BPM as your working range, not as a binding upper limit, so you can compare the recordings against a target you set in advance.

In a clearly accompanied section, count the quarter-note beats for 30 seconds and double the number. Around 60 beats counted gives you around 120 BPM; if you're well above that in the Basie recording, check whether you counted embellishments.

Listen to the same excerpt again and orient yourself by the bass and drums instead of Sinatra’s vocal delays. With Julie London, pay attention to whether you can keep the pulse despite the displaced accompaniment accents; in the dance orchestra version, listen for melody instruments that drown them out.

Repeat the measurement in the middle and in the last section with clear accompaniment. Similar results indicate a stable underlying pulse; listen again to sections with noticeable deviations. Mark slowdowns at the end and free sections separately instead of including them in an average.

Dance the same familiar section with each remaining version, without adding any figures. Watch for rushed weight changes or long waits. For social dancing, a familiar connection is Foxtrot figures without an extra step.

Write one result for each version: “Slow Foxtrot fits,” “Foxtrot fits,” “worth testing for both,” or “set aside for now.” Add a measurement and a specific reason, such as “116 BPM, clear bass” or “tempo fits, but the pulse gets lost under the vocals.”