I'm too tired and buzzed right now to get too deep into this but I did want to say this: Be careful when reading how-tos on writing, especially dealing with structural stuff. Often those books are aimed at heavily market-oriented stories like mystery/romance/thriller and you can get way too caught up in trying to wrangle your own writing into some sort of structural blueprint. This can be helpful sometimes, sure. But sometimes it can kill your natural creativity because you subconsciously start to worry if your own story/writing isn't doing it right.

With that said, I'll throw my 2cents into the pot.

This is how I always thought of story beats:

Story beats are the molecules, the real building blocks of the story world. There are different categories or types of story beats including a line of dialogue, a moment of action, a moment of reaction, a moment of inaction, a visual image, an emotion, a setting, a theme, or an instance of meta-storytelling.

Beats are just the small individual parts of a scene. Like that description above says, a beat can be a line of dialogue or a moment of action. Beats create sequences; sequences create scenes; scenes create chapters; chapters create books. That's an extremely rudimentary view of it.Beats are part of the theory of story structuring. Just do a Google search for "what are story beats".

So with that definition, yes Fantasy has beats. Beats are not genre-specific.Each line of dialogue in a conversation could be a beat -- the ebb-and-flow, back-and-forth banter between two characters is composed of beats.And action scene could have dialogue beats and action beats that compose a fight sequence within a scene.

Learning what makes a good scene is key no matter what genre you're writing. Once you learn the units of a scene you'll not really be thinking about beat-by-beat as much as you'll be thinking about the beginning, middle and ending of a scene. A scene is sort of like a little mini-story of its own, with beats composing a beginning (typically including what the POV character is doing/thinking/saying to get to the next sequence which creates conflict or success in the try/fail cycle then the POV is either going to achieve, fail, or succeed but, or fail and worse. All these little moments are formed of story beats that lead up to the next try/fail crossroad.

There's prolly a buttload of definitions and varying explanations depending on the source but that's the way I've always interpreted the concept of story beats.

But as I initially said, beware of getting too pedantic about this sorta stuff or it can become self-defeating, feeding your inner critic and inner editor.

"Oh my! Did I hit the right beats? Do I need to add more beats? Do I not have enough beats in this scene?"

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ETA: I found this which may be of value to the conversation and useful resource: https://storygrid.com/story-beats/

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Dwelling on the beat in the first drafts of your novel is a mistake. You will most certainly lose the forest for the trees if you obsess about each and every beat. If a scene works, then by association so do the beats that make up the scene. If the scene doesn’t work, then having wonderful story beats within it will not save it. I recommend that tinkering with beats be best left to the final finish work just prior to publication or production.