The Computer is Thinking

The foundational pitch center is A Major (three sharps (F♯, C♯, G♯)). Here, A serves as the primary resting point, while modulations into F-sharp Minor and dominant tensions in E Major shape the emotional contour. Harmonically, the progression A → G → Am → F → Dm → G7 suspends tension over an active dominant chord awaiting tonal release. At the keyboard, A Major provides a sparkling tonal environment where the trio of sharps elevates hand position toward the black-key cluster.

Assigned an overall Intermediate rating (transitional keyboard syllabus (ABRSM Grade 4 to Trinity Grade 5)), the composition exercises manual independence. The central obstacle centers on coordinating independent dynamic levels between hands while maintaining steady metric propulsion. In performing contemporary broken triad ostinatos and resonant pedal points, keep finger knuckles rounded and poised. For acoustic hygiene, execute full pedal clears at dynamic changes to highlight intimate moments. Preparatory Exercise: record your practice with emphasis on listening for crisp pedal releases on each harmonic pivot.

The rhythmic foundation is anchored in 4/4 (simple quadruple meter), yielding a balanced metric groundwork providing grounded stability with primary weight on beat one and secondary stress on beat three. Paced at ♩ = 77 BPM (Andante), the tempo projects a flowing at a graceful walking pace musical mood. To refine rhythmic clarity, listen for the overarching four-bar hypermeter to keep phrases singing rather than measure-bound.

The Computer is Thinking, credited to Faybaird, occupies an established chapter within the popular pop sheet music repertoire. this 5-page transcription spans 102 measures, drawing from accurate modern sheet transcriptions. Rights records link the piece to ISWC `T-D76.2ED.46-1` and bibliographic identifier `mbid-d762ed46-sheetpdf`.

When programming this selection, music educators frequently schedule The Computer is Thinking for community music performances and versatile studio accompaniment. To accommodate diverse vocal registers, accompanists can transpose the A Major score: baritones rest easily in G Major, while lyric tenors and high soloists project effortlessly in B Major. From an attribution perspective: Historical copyright on this musical work has expired globally, permitting unrestricted educational and concert use.