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       In the song Waltz: I have such a refrain: in wich I don’t sing words: but I do: Taaadadída -
for mysterious reasons: something always whispered me - you must to finalize it somehow. Taaadadí -
I guess: it seemed to me childishly undone: and  actually now I think:     when I was performing in
several literary events: during my blitz career: as a folk singer:  mostly for twelve people:   who
also performed shyly - I've always been very ashamed for this chorus: and I blushed whole from nice
embarrassment: that what a kind of jazz: I'm going to interpret it here.   Then I also rustled this
Taaadadi so quietly: and without the joyous enthusiasm: what the topic - Wind - deserves. 
       In the beginning: I tried to learn to play Casio keys for a while:    which my dad discarded
for the children to play: because he bought already: a more unsynthetic-sounding Yamaha:  but after
a brief: two days period of hauled trinity-sounds: I had to admit: t  hat my genius is not going in
this direction yet.
       Then I tried to record again myself: as a whistle: into the chorus and one more guitar: solo
on the string E: but it was worth shit: maybe because:    I didn't have the necessary studio mixing
equipment.
       Finally: I came to the conclusion: that the Taaadadí: either let Taaadadí:      or I write a
normal refrain in the song: it really pinched me still: so I started writing - then it went quickly
- the chorus was finished in an hour: and then one more stanza and another on top and astride: one-
two-three: two-two-three: well: but after three hours:       the
rhymes disappeared somewhere: even the wind blew only at the end:   and from eight verses was a new
song.
       This is how I wrote Testament: it's my only song: in which verses don't rhyme: it's a chorus
now living alone: has become independent:   but somehow it still remained the refrain     - this is
confirmed by a special thing: that I can't play it without the song from wich it originate      - I
can’t hit the melody at all: I always have to play it after the Waltz. 
       Maybe it is because: there is some musical crime inside:    it's definitely somewhat off the
scale: some submissively dominant: or atonal false: or excessively below tone.
       I don't know: it doesn't look false to me:      but I've always been a cheeky and bigmouthed
amateur: as far as these things are concerneds - so I apologize sincerely: for the anger: and pain:
that I cause also in other places: to more educated artists.
       I can't say that The Waltz is my most favorite song: but it's definitely in the top ten: and
that: Taaadadí belongs there - because whenever at home: alone: fool on the hill: I sing it happily
- closed in the bedroom - I hear huge strings in my head: violins: violas: pam pam:   violoncellos:
slightly straddled women - women in rippling clothes with pearls above the white neckline:    women
women shimmering to the beat  - the waltz always talks a bit about the wind