sprinkled with vague indications of musical script. No attempts had yet
been made to bring even the best of these various writings to order and
intelligibility. We were soon to learn that a scrap of music set down
within three or four minutes was to require as many hours for revision,
emendation, elucidation--for editing, in brief. It is but fair, however,
to state that some of this time was taken up by the registering of
irrelevant messages from other quarters and by digressions toward the
Composer's own private concerns.

The staff drawn on the wooden-framed slate had been ruled crosswise. The
Composer now directed that the new staves to be drawn on the silicon
slate should run lengthwise and should cover every page of it. This was
done by the editor. Provision was asked for seven measures, to which an
eighth was added later.

During the three minutes or so required for writing on the six pages of
the slate, the position of the slate, in reference to the editor, was as
follows: After considerable moving about beneath the top of the table,
during which time it was principally in the hands of the psychic, it
approached the writer and remained with him. The under cover of the
slate (with a bit of slate-pencil tightly enclosed) rested on his knee;
the upper cover was pressed against the frame of the table. The editor's
thumb rested rather lightly on the middle of the nearer half of the
upper cover, and his fingers assisted in supporting the nearer half of
the under cover. The psychic herself had surrendered the control of the
slate to the editor, and could have had no contact with it beyond
touching the edge farthest from him. On the second day, Saturday, during
which the bass for the last four measures was produced, the slate was in
the exclusive control of the editor, the psychic not touching it at all.
The progress of the musical writing was both felt and heard; it was a
combination of light and rapid scratching, pecking, and twitching, with
an occasional slight waving motion up and down.

The score, as first revealed, consisted of open-headed notes with curved
stems. They gave no indications of varying values; it was impossible to
distinguish quarter-notes from eighth-notes, sixteenth-notes, or
grace-notes; and no rests were set down. The notes were placed but
approximately as regarded lines and spaces. No stems, save in one or two
instances, united the chords, the notes of which were written more or
less above on