    Ŀ 
      from the introduction to TINWHISTLE BASIC                 Screen 3    
    
     Plainly, I  had  come  to  the end of my talents, such as they were, and
     because  I  had neither the interest nor the zeal to master the complexi-
     ties that confronted me, the flute spent less and less of its time in my
     hands and more and more time in its case.
          And  then  the happy ending, albeit with an ironic twist.  One fine
     summer evening my wife presented me with a  tin  whistle  that  she  had
     picked  up  in  an  Irish  gift  shop.  It was a humble configuration of
     tubular sheet metal with six holes and  a  plastic  mouthpiece, but  its
     tone was surprisingly good and after a little exploratory fingering, the
     old  rapport  between  my ear and my fingers returned and I found myself
     belting out tune after tune with the most delicious ease.
          This didn't make sense then and it doesn't  completely  make  sense 
     now.  Because  the  flute can be played in any  key imaginable, it would
     seem that all I would  have  to  do to replicate the whistle would be to
     get into the key of D and stay there.  That is fine as far  as  it  goes;
     the  problem  is  that  it is all too easy to sharp this or to flat that
     and then another sharp and then another flat and pretty soon  you're  in
     key zero. The whistle allows no such liberties; if a progression doesn't
      
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