pe ess Newly revised TUTOR 5 + atl SDITION nith Appendix Selected compiled and arranged by oT ce HARRY PRENDIVILLE. FE i ae : als < Carl Fischer. 7) Say Nl NEW aa xX mK 6 a AVE. oe apyright@2by Cart je _FL1 LUTE. | je ——— >INDEX. ye Page. Rudiments of music. Duration of notes... Comparative table of the duration ‘Triplets, double Triplets and group. Time.. Instruction for the Flute. How to hold the Flute. P Keeping a Flute in order... ion of the Fingers...... How to produce a sound. The Stur.. The Pause.. Sharps. Syncopated notes Exercises with triplets. Single tongueing. Different shades of tone... Scale: Scales on intervals... Taking breath. The double Sharp.. The double Flat. Exercises in all Keys. Pinger exercises, The Appogiatura... The Gruppetto or turn. The passing Shake. The Shake Chromatic Seales. Exercises for all Keys. Sonate, Double tongueing. Triple tonguein; Abbreviations. Rest: Harmonic Scale: Exercises for long breath. Exercises for sluring octaves. Fiats.. Various exercises.. 4 The Natural. Flute Solo in the Ouverture W™ Tell. Rossini... 98 Minor Scales. Swiss Air Varie. Motr..... 99 APPENDIX. Ave Maria. Wilh.Popp. ©. 0.26 eeeeeee es. 100 Grand brill: Variation. Risk. Heckberger.......108 Call me thine own. £.C.Cox.. 000.6202. -+ MOH List of English and Foreign words. . 102 e With Popp... 108 Andante Pastorale. & 4.Lefebre. Home sweet Home Grd.Fantais 16 used in modern musi Copyright 1589 by Cark Fischer New York, at-t16RUDIMENTS OF MUSIC. - Before the student can commence to play on any Instrument it is necessary that he should be ac- quainted with the rudiments of musical Notation. ‘The signs, which indicate pitch and duration of a musical sound, are called Notes figured ms 0 1 DAE we They are named after seven letters of the alphabet; C. D. E. F. G. A. B. and are written on, be - tween, above or below five parallel lines, — called the Stave, the names of which are determi - ned by Clefs, placed on different lines. For this instrument, only the treble or G clef The names of the notes on the five lines are: EGBDF cof the four ay sec een eae SPI oe toate nd ow hie = FACE These eleven notes are insufficient to indicate the full compass of Sounds in use. Ledger lines have therefore to he added, above and below the stave in order to signify higher and deeper sounds. EFS A # Notes of the ledger lines above the stave $. Notes of the Ledges tines below the stave & : ic R= ae 7 GA DURATION OF NOTES. Notes may be of longer or shorter Duration which is shown by the peculiar form of each note. Forms of different notes. Whole note; Half note; Quarter note; Bighth notes Sixteenth notes Thirty second note; Several of the fatter three specimens = — combined my aise be wre hee, Se Eighth notes; Sisteenth notes; Thirty second notes; 1884-993 COMPARATIVE TABLE OF THE RELATIVE VALUE OF NOTES, A Whole note 2 Half notes or 4 Quarter notes on & Kighth notes or 16 Sixteenth notes or 32 Thirty second notes: BARS. Notes are arithmeticatly divided into bars marked by one or two lines drawn across the stave. One line is placed after each bar and each bar contains the same numbcr or value of Notes, and each bar must last precisely the same length of time. Ai the end of a part of a composition, two lines or a double Bar is placed, and if either two or four dots are found by the side of the double bar the whole part from the preceding double bar, or if there is no earlier double bar then from the beginning of the piece is to be played again. This is called a Repeat. RESTS. of an equal value can be placed. Instead of a Note a Rest Rest fora Whole notes Half note; Quarter wate; Bighth note; Sixteenth note; Thirty second mote DOTS. A Dot placed after any note increases its value one half Thus: SS is equal to Ff | or ‘Two dots placed after a note increase its value one half anda quarter or feTRIPLETS, DOUBLE TRIPLETS AND GROUP. ‘Triplets are marked by a 3 being put over a group of three notes. Double Triplets are marked by <> a 6 being put over a group of six notes. Three quarter notes marked thus =*-#-# must be played in the same time as two quarternotes of four eighth notes. not so markedor six eighth notes BSS not so marked. ‘There are also groups of five & TIME. in the time In order to know how many quarter noteseighth notes or sixteenth notes a bar contains, special figuresare placed at the beginning of a movement. Common Time. Three four Time. Two fir Time. = = = > F [Contains fourquarter notes or the Jsame value in longer or shor- ter notes or rests and four 1.2.8.4. have to be counted in Single common Times. TABLE OF TIMES. Contains three quarter notes orthe ‘same value of longer or shorter notes or rests and three 1.2.3. have to be counted. Compound Common Times. Single Triple Times. [Contains twoquarter notes etc. two 1.2. have to be counted, Compound Triple Times. ‘When a line is drawn through the € thus ¢ which is called Alla breve, two are counted ina bar. 1534-99Instructions for the Flute. HOW TO PUT THE FLUTE TOGETHER. Screw the joints carefully together, so that the finger holes and embouchure (i.e. mouthhole)are in a straight line; the latter may, if found convenient be turned slightly inwards. Arrange the foot joint so that the littlé finger may have easy access to the lowest Keys. HOW TO HOLD THE FLUTE. Take the Flute with both hands and place the upper part of the middle joint on the bottom part of the third joint of the first finger of the left hand, about an inch above the hofe for that finger. Place the ‘embouchure against the hollow of the’ chin, neas the under {ip, and the thumb of the right hand against the instrument, nearly under the hole for the first finger. Hold the Flute nearly horizontal, the foot part slightly declining. POSITION OF THE FINGERS. LEFT HAND. RIGHT HAND.. at Finger, bent. 4st Finger, slightly bent. am, bent. gad, a fittle more bent, ad, nearly straight. até, slightly bent. ae above the GF Key, ready to at, over the D? Key, ready to open that Key when required. open that of the other foot Keys when required. The thumb gently resting against the side The thumb as mentioned above. of the instrument, just above the Bb Key. MN: See Scales how to apply the Fingers. KEEPING A FLUTE IN ORDER. Always after playing, wipe the wet out of the Flute by means of a soft piece of silk passed in witha cleaning stick. Grease the joints sometimes with a mixture of melted bees wax and tallow. Oil the points of each spring and also the screw of the Key occasionally. Should the Keys not act properly, take the screw out carefully and clean it with a piece of leather. HOW TO PRODUCE A SOUND. can scarcely be explained without the assistance of a teacher; the only rules given here, are that the under lip should cover the embouchure a little less than a half, the mouth drawn as though being in the act of smiling, but the lips must be still pressed firmly together except just in the middle, from whence the current of air must be directed against the inner surface of that part of the embouchure which is op- posite the aperture in the lips. The tone is prodyced by directing the air against the mouthhole andsiik ing the tongue against the palate as though pronouncing the letters Tor D according to the quality of tone required. 1684-99"THE FIRST EXERCISES. Breath the sylfable “Too” against the mouthhole. 2. : —s= “3 & = == == E a ‘One, to, thrée, four, ont, twos three,four, one ete Gart Fischer New Fork.SCALES. ‘The ladder like succession of eight sounds. starting tones and semitanes in regular order, is ealled a tween these eight degrees there aré seven interv: semitones. There are two principal kinds of Scales. termed Major and Minor, whose ascension or descension is diatonical i.e. in tones and semitones, and a third kind, whose ascension or descension is chromatic- ali. only in semitones. For the present only the Major Scale will be treat. won. In the major seale the semitones are sit- uated between the third and fourth, and the seventh cad vighth degrees of the Scale. EXAMPLE. cimitone [fone [tone | tone [semitone | iseeinet from any note and ascending or descending by le and each note of a scale is called a Degree. Be- Is or distances five of which are whole tones and two ie oS AN Each diatonic scate derives its name from the name of the note on the first degree__ or the root There are twelve major and twelve minor scales; but not to burden the student with their combinations at present, only the scale of C major will be given. The distance from one note to another is called an Inte: do not produce any interval, they are said to be in Unison. val. Two notes placed on the same degree The intervals are named: the Second, the Third, the Fourth, the Fifth, the Sixth, the Seventh andthe Octave ete. EXAMPLE. Degrees. 1534-9915. In Fourths. One, two, three. 17. IS. With vighth’notes. One, two, three, four. * ao THE SLUR. A slur —drawn over two or more notes, binds'the same, for which only one stroke of the tongue is applied. ‘ 19. Too Too Too reo Too Too ees 1339-99)RIAL. A stroke of the tongue for each note. ‘One, two, th 22. two, and three, four and 8. A slur for four notes. Too Too Too ir. PS THE PAUSE. This sign @ is called a Pause. When it is placed over a note, the Same is sustained to an indefinite length, at the peformers pleasure, the counting being interrupted. 2a. —— PS a When a dot is placed over a note it must be played very short, which is done by pronouncingashort T. this articulation is called staccato. a a One,two three, four,five,six. EXERCISES for observing the Rests. tsi-980 2Y. Sixteenth notes, 32. Dotted notes. SHARPS. ‘A Scale may be formed on any note but in order to produce semitones between the third and fourth and the seventh and eighth degree in any other but the scale of C major, it is required to employ certain characters, which raise, depress or restore any note of the scale, One of these characters is called the Sharp #, which,when prefixed to a note, raises it half a tone. The number of sharps employed in a seale, Gependsupon which note the scale is founded. ‘The sharps succeed each other in the following order. bt Fsharp; Csharp; G sharp; Dsharp; A sharp; arp; B sharp. ‘Thus it will be seen that if one sharp is employed it must be prefixed to F, consequently all: F's in that pieec must be raised half a tone. When two sharps are employed ali F's and C’s must be raised, and when three sharps all F's, C’s and G's ete. ‘The sharps marked at the commencement are called the Signattre, while any which are markedin the course of the composition, are called accidentals, TABLE OF SIGNATURES OF SHARP KEYS. mos of the Keys. cn A E B Ft ct mber of Sharps. é 1 isa oeScale of G major, semitone semitone | es PUPIL. (| ‘MASTER. | 1933-99,> Beat ‘ooo 6 SchottScale of D major. A soft tongueing is applied in passages marked thus: 4A. Air, Blue Bells of Scotland. 1834-99nw FLATS. A flat b prefixed to a note lowers it half a tone. They succeed each other in the following order: | F flat. The same rule concerning Signature as with Sharps is to be observed here TABLE OF SIGNATURES OF FLAT KEYS. Number of Flats. Names of the Keys. N. Bousquet. A List of Foreign & English words used in modern music is given on page 16.1x32-99)16 THE NATURAL}. In order to restore a note, which has been raised by a sharp ¢ or depressed by a flat b,a Natural! is employed, which restores it to its natural position. nse raised by a sharp, is restored by the natural 6 7 oe 2 a to ETRE w naturale. MINOR SCALES. Every major scale has its relative minor, the root note of which is to be found on the sixth degree of the major scale. Both scales bear the same signature. There are two kinds of minor scales, the Har. monic and the Melodic form, of which the latter now will be explained. The ascending of the melodic minor scale differs from the descending; the former having its sixth and seventh raised by accidentals not essential to the Key.— In the ascending, semitones are situated between the second and third, and the seventh and eighth degrees; and in the descending be- tween the sixth and fifth and the third and second degree: SCALE OF A MINOR, without signature, relative to C major. tone emitone | tone ~ [tone tone tone tone [semitone —————— — a 7A aN aA [semitone | tone tone Pemitone [ tone | tone zo = =. ——— = | aN “py AS fe TABLE OF MINOR KEYS WITH THEIR RELATION TO MAJOR A MINOR. E MINOR. B MINOR. F# MINOR. C# MINOR. G# MINOR. D# MINOR. A# MINOR. to to to to to to to to ¢ MAJORIG MAJOR. /D MAJOR. |A MAJOR. |/E MAJOR.||B MAJOR. |F? MAJOR|C# MAJOR. MINOR. G MINOR. G MINOR. _F MINOR. Bb MINOR. Ep MINOR. Ab MINOR- 7 4 bs = BE = SS oto oetaie aeaieo ~ to to to” F MAJOR. || Bb’ MAJOR. | Ab MAJOR. || Db MAJOR. |/Gb MAJOR. |Cb MAJOR. y she ete bkt—— = fa ieee =| o 1934-99)7 le of A minor. Ba. aoa N. Bousquet. Scales of G major in two Octaves. 55. Allegro molto. Pras$e ; Scale of E minor. sst-9960. Andante. e io 1884-99Scale of D minor. 63. Cantabile. L. Dronet. Inga-99)1x34-99- DIFFERENT SHADES OF TON p means: pious, or soft. pp» Pianissimo,very soft. Fos forte, loud. Uf» Fortissima, very loud. nf» mezzo forte, moderately loud. evexc. OF—= means: crescendo, inereasiny the sound. dim. decrese. or=——means: diminuends, decrescendo, diminishing the sound fi rf or=means: sfirzando, rinforzando, sharply accentuated. fp means: forte piano, loud and immediately soft again. Scale of Bb major. a a esis = fp PP=f-PP- = ma aS a a io & 5 2 a £ i = a a R a 1834-99BB N. Bousquet. 66. Allegretto. Ct “i499U4 Scate of G minor, eo N. Bousquet. 68. Andantino. pie 69. EXERCISE with dotted notes. {00 too 00 too SSeS doodoo oe Allegro agitato. 1838-991984-991834-99SCALES. . B minor. Ab major. F minor. DE major. Bb minor. F¢ major. B major, t, ett isan - 99)“s Scales upon intervals. In THIRDS. D major. ae == a= = G fate In FIFTHS. ee o In SIXTHS. ge’ 1931-09EXERCISE for the tow Keys of € and C$ or Db Li eet = = Prmtreetrcre age? C major, = L te * ee at 2 f 1924-99.30 TAKING BREATH. In playing a wind instrument it is very important to take breath at the proper time, which should be done quietly without noise and without any motion of the body, As musical compositions consist of phrases, care should he taken, that such phrases are not interrupted. Much. however, depends on the construction of the body, for many players can keep the breath fonger than others, therefore no strict rules can be given,where to take fresh breath.Some composers have the places marked by a» where to take breath and an example of it is given in the following exercise. 71, RONDO. Presto. ‘7e 1 porus. D1 mI ol? 2 a5? = Mi eS Ist 991834-99THE DOUBLE SHARP:,. By prefixing a double sharp % to a note, the same must be raised a whole tone. Thus F double sharp will sound like G natural N. Bousquet. 72. Moderato. ay C# minor. Asta 99RUSSIAN SONG, N, Bousquet. ———~ 73. Andantino. 1Rta-99)TA. Adagio. 1954-99G major. ATs & oa t, eases ve peng eres,36 ef> rrti be gptp, Sh erieees Y Tres.Adagio), G minor. oe Sf a rene. The double flatt >>. A double flat b» prefixed to a note lowers the same a whole tone 76. Andant: ee ae potas t of. = ss — Issa -99aN 77. EXERCISE in all Keys with a variety of articulations. L.DORUS. HS 4 5 : 1834-9978. 1. DORUS. 1834-9940 FINGER EXERCISES in all major Keys. € major. D major. ee A major. ___—— bitin casa 7 #2 opreree ts 1834-99,Bb major. él aeePepe eer Ebmajot, ~ Db major. ee at retstorh oy 80 Moderato. Lg Pp Pp oe oe 4 : —7 $i zo FE Oe 1834-99a Graces, Embellishments or Ornaments of Melody. THE APPOGGIATURA. The appoggiatura is a grace note placed above or below a principal note,When it is placed above. it is always at the interval of either a tone or a semitone,When it is placed below the Principal note it should be at the interval of a semitone. When the appoggiatura is written so %°*+2=] the value of it is one half of the fallowing note, When crossed by a ‘small Tine, thus: eA its value is but one fourth of the note that follows it. Example. te oo} 4, te de. teded As written, As played| There is also a double appoggiatura,which is composed of two grace notes placed: the first, one degree below the principal note, and the second, one degree above. EXAMPLE. As written. As played. 8h Allegretto. i — ! le 1884-99a3 The gruppetto or turn is composed of three grace notes placed between or after a principal note.The turn is marked thus: % A small sharp placed under some of the signs thus ¥is to indicate that the lowest of the three grace notes is sharpened. Should the sharp be placed above the sign thus & the upper grace note must be sharpened; or in case of a sharp above and below the signé the upper and lower grace notes must be sharpened. The same rule applies to flats. only” that the grace notes must be depressed half a tone in that case. Example. é ef As written As played 8 A. Struth, Co tte 1884-99THE PASSING SHAKE. The passing shake, often written thus sv, must be played quick and round in the following manner: As written. As played THE SHAKE. The shake or trillo, marked thus & consists in the alternate repetition of the note marked, with the note im the next degree above it. Example. As written. As played Chain of Shakes. o o S83 Allegrett 7 oS eae ny 1924-991854-996 EXERCISE FOR ALL KEYS. EXERCISE for the Eb or Df Key. Ge. ==] = Se 3 5 Geeta, i z tater e! eres 4 For the 6$ or 4b Ker ulin ea oe1934-99as SONATE. L.DORUs, S4 Allegro poco vivace. s : tN; > -. => 1834-99Me — as —_ (= tea50 1834-995L 1x34-99dolee. 1534-99Largo. dolee 1834-991834-0956 FINALE. Air with Variations. Grazios 20 Verge + 5ore ry coke, phoptestetss, “eo... 1834-993s 4 Var. & dolee| con gusto,6 Var, 1834-9960 DOUBLE TONGUEL This articulation must only be applied in very rapid passages. The tongue has to make two stro kes, one forward and une backwards on the word Tue-key. Great care should be taken to produce an equal sound with both strokes of the tongue. 85. Exercises on double Tongueing. Tuckey Tuckey, it _ Petes Tucke =e SS Seo te luke ac Fotuctey gah Tuckey... - Bopiiei pig 7 Todee 86. Allegro. ” G,Scholl. ps (PRR RRARER ooo oo 5> efit ePtteaeeaate eo “Too Tuckey Tuckey See gee e ote: 1834-99ol C.Scholl, Tue key tee Tuckey tee ets Tuckey tee : : C. Scholl. page taptet , ctf ee A ogee Tuckey tee Begg ‘key Tuckey teeAnother kind of double Tongueing. Due key Due key Duc key Duckey DuckeyDuekey -. - - - Allegro. . Tuckey teeTuckeytee--- ge HE \ pe } Dag P lebtignissina. 1834-99$, | | | ! 1884-9992. Allegretto con moto, (L’Elisire d’ amore} Donizetti, : ey om nf Duckey Duckey fj te doo doo doo Duc key (3 oe 1884-99)65 ABBREVIATIONS. Abbreviations are employed in written music to avoid repetitions of a single note ar passage. Thus instead of writing four eighth notes on a haif note marked with a thick line —=72— will in- Givate the same, ana Or instead of repeat. ing a bar alike, a sign marked thus 2r is used. When a composition requires an instrament to remain silent, it is indicated by numbered rests thus: ov This means so many bars of that movement should be quietly counted. ete. Isa 9866 THE HARMONIC MINOR SCALE. The harmonic minor scale differs from the melodic, as only the seventh degree is raised byan accidental, which remains, whether ascending ot descending. EXAMPLES. te oat A-minor Etee « F¢-minor CB-minor G$-minor Eb-minor D-minor 1nsa-9967 Exercises for acquiring a long breath dnd a full Tone. 94. Adagio. i == = ee ee 2 oa = a = = 2 Q SSS Adagio. a io <> a ee aA cS ~~ a SSS 2S SS 8 SS SS a fa) a a a a i = x cm sor SSS OSS Lento. 3 a a a P= f= = PI PO A oe 1854-996s 95 Allegro, — ra oett =e as aan < rm 2 EEEES. ietent St0EEteee,, 1884-99® ‘evenc. 1834-9920 Exercises for sluring octaves. teo(@ 96. (2 PFET ee(t(t Eee BR ere PRE TE, Eee e = = ee fg (a(t (2 C8 p> ace(ee(e(? (E(t ae acon QlEle (EE rt (era e, 20 = 1834-99bet, ee ye\e acne (HElelt DE) (ee 480 Ge Get 1882-99ve 99. Moderato. 1882-99salt ‘ wtettets Zee taty 8 a~ ir ghebetatios —; 88 pe ites aee : 1834-99a Various exercises for the tone, the Keys and the tongue. 102. Allegro. L. Drouet. < Ff —— 1834-99103. Allegro. ares rp # 1834-99L.Drouet. ee tha 4-99)7 105.Allegro. 106. Allegro. tnt -99)108. Poco Andante. Inga 99,are Fantasia. 11004 eee Soussmann. PEED 1834-99Allegro. . eae # 1834-99sz a. ee oath te, £ — yet *, ie é 7 Ses ae é 2 = tab tees “¥fa, tee ffiteieticentes ine ——— o 1854-99,j DALE Lye he) me 1894-99si M4. Andante. . 6 i oe —r ryt Gaseeess = oe —S— a Oo vn L.Drouet. ee mate et io tts és: og Pt wiper tte tee tet ot = ———e ee ee — = — ts 99115, Allegro. eee rere eee L.Drouet. 18349956 : 116. Allegro. ee ,, -__CF : eetetiotterteion oai4 = 1894-98sz Allegro moderato. L, Drouet, —_h. 1824-99Ss us Allegretto. 1934-99,89 119, Allegro. L.Drouet. 1834-9990 120. Allegro moderato. > oem Ty g ni a L.Drouet Vv Vv 1884-99a earn gees go ce ae) oats g tosigeet no MAeteted Heerepete tite eikeiee ? — Tigo evetiengadl = SS SSE 1894-99,oe L. Drouet. 122, Adagio. — —~E-Prow ee Pe 1834-9993 123. a L.Drouet. Allegro. ° o> 1934-991 = L. Drouet. 124. Moderato. cs oe sostig 1884-99‘The appoggiatura must be softly done with a tongue stroke and the half note softly sustained, % Adagio. 125. CT ¢ fie 1834-991894-99"7 # & # Se Sli SUM, oy Sil, SNM, Stee ot of of of, 9: ae oP ete tim, myytire +) St means: To be played one octave higher than actually written. 1834-99os ‘The celebrated Flute Solo in the Overture “William Tell” by Rossini, gy Allegro. 6 a Allegro? vivaSWISS AIR VARIE. 9 “La Fianeée d’ Appenzel, Andante. flee THEMA. ts 99)= APPENDIX, Selected, compiled and arranged by Harry Prendiville. AVE MARIA. W.Popp, Op.aaa, Andante religioso, = (p con devozione, mos molto rit, —= fae decrese, —— p dim. dolce. o~ é : orese. tf —Call me thine Own. ‘ Andantino espressivo. 10. SOLO. P a temps, -~ . ia Pane ge ae wert Copyright 1x9 by Carl Fischer New York.we ANDANTE PASTORALE. Andante. EA. LEFEBRE, tt z lento, ifaaaieenius Andt. Mod’? pes 4 wean104 “HOME SWEET HOME? Allegro risoluto Siisse Heimath, WILH, POPP, Op.267. os pig £2, $8279 ee ep sts Oh, HERA 3 Tee ee Sa ere ee sipeee es epddeses ee ier as405 Shee: THEMA. Andante cantabile, be pistsioeVAR “Ua melodia ben murento108 GRAND VARIATION. Andante con moto. Richard Hochberger. THEMA. Allegrettino. et pe P409 Leggieramente. VARI. Leel 7 Nau Aw tel att Ae : : AS i Aa Ti A Alt alt ii A i i if ist aatt aR alt ag 4) 7 zr : ‘at anf t 4 ! he ‘Aah Ae + As. df 4 Aw Aw i ‘f \ pease oer pe pet 29-99-0999 0-9 99-999 0-0: ¢ As peers ee sp see ps esi oe Awl epee: pevceeOomu absVaR. II. Con gusto. eee.3, tsa4-us114 VAR.IV. Finale sempre staccato. : : £ e : Aatetetetatarat aS tee test 55, ‘ : : : : ‘ Este steleeefete Eafe zfel ppatatetesctefets ote A s- = =MODERN MUSIC. With their Abbreviations and Explanations. he toyin, or at; a tempo in time. Accelerando. Gradually increasing the speed. Adagio... Nery slow. [strict time. Ad libitum As the performer pleases; not in agitate «Restless with agitation Al or Alia ‘To or inthe style of a March. ‘Ala Marcia. ‘In the style of a March. Mlegretto. Moderately quick Allegro... Quick and tively. Andante. In moderately slow time. “Andantino. ‘A little less slow than Andante. ‘Amoroso + Affectionately. tnima, con : Mien .. With animation. A piacere .)......... At pleasure. Appassionato. ...... Impassioned. [chord Arpeggio Separating or breaking the notes of a Assai. Very. A tempo. In time. [ movement. Attacea. + Proceed at once to the following Barearolle... ‘A boating song. Ben...

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