My mother was a very wise woman. And she once told me, son, never build a bridge until you know what land masses it's going to join. Because if you just go building a bridge without knowing how long it should be, what size it should be, then it's going to be very cumbersome. Putting it on a bunch of trucks and going all over the country trying to find a river that it will fit. So that before you build your bridge, know what land masses you're going to join. Wise words. And so, we're skipping the bridge. And let's just go onto verse three. Where we're saying [SOUND], take me with you, oh, wind, take me with you. Bada, da, da, da, da, da, bada, da, da, da, da. Well, going back now to my worksheet, which I constantly refer to, in all of this. By the way, note how useful this worksheet is, has been so far in creating that three-lined rhyme in lines three, four and five of of each verse. That without the worksheet, I probably wouldn't have been able to go there, at least as easily, and with so much meaning. If I had just written a line and said, okay, okay, I need a rhyme for this and start looking for rhymes, now talk about interrupting the process. Let's not interrupt the process, having this worksheet available. Allows us just to refer to it as we go without having to stop and do the very cumbersome tour of the rhyming dictionary to see or else to say, wait, let's see, what's the rhyme here? A, b, c, d, e, and using the, and coming up with just something that, oh, it rhymes, I'll put that in. So, that again, as a worksheet is so useful in this situation. Even though, it seems like it's stopping you, what it's really doing is it's holding you back, holding you back, holding you back, so that when you start the process, you'll fly toward it. Wandering. The wind is a wanderer. I wish you'd take me wandering. And now, here comes the big rhyme for wind that I've been waiting for. I wish you'd take me wandering, to join you in your hymns. There's the wind as a singer. Oh, okay. The wind is a singer. Alright. That's a pretty big landmass. So, maybe one of the functions of my bridge might have to be to recognize the wind which I haven't really done yet as this singer of songs. mark that down. Back to my worksheet again. working with this short u sound that has just populated the entire second verse, Where am I going? Of course, that's one of the questions. Where do I want to go? Well, I want to see what you see. I, I, I I want to I want to see your mountains. I want to see the ocean. And so, join you in your hymns. I was looking for a good verb to start out with duh, duh, your mountains. And again, looking at my worksheet, I got brush. I thought that was nice. Brush your mountains, touch your shores. So now, I'm committing to the or rhymes there. Brush your mountains, touch your shores. Slide through valleys. Lush, shore. Lush and clear? Maybe? Do I really want the ush? It's not so sense bound, maybe it's brush your mountains, touch your shores, slide, slide through valleys green and clear. Big line, the whole why of the song. Anywhere but here. Which now brings the whole why of the song in. That I, oh wind, am not happy here. And I want to join you in your wanderings. Anywhere but here, oh hobo wind, hobo wind. So, I want to go singing the hymns of traveling with you. [NOISE] And that seems to work. At least for me, as the why of the song. Who's talking? Me. Who am I talking to? The wind. Why? because I want to get out of this place and go wherever you go. I want to be as free as the wind. There's a cliche for you. But, I hope said in a relatively non-cliche way. Alright, back to the bridge. All a bridge has to be is a contrasting device. Now, I'm not sure whether I want to try working with the bridge before I've worked with melodic rhythm here or afterwards. Because I do know that one of the things that I want the bridge to do is to contrast in terms of it's note lengths. And perhaps, even to contrast in where it starts in the bar. So, in order to create that contrast, and in order really to write a bridge that works, I probably should take a look at what might be possible for running these verses through a melodic rhythm. Note that because the verses are the same. In terms of their number of lines, length of lines, rhythms of lines and rhyme scheme. That whatever melodic rhythm I write for one of the verses will work for all of them. [LAUGH] That should be easy. Well, that should be fun. That should be hard and frustrating. That should be full of decisions. All of the above. So, we'll do that in the next segment.