ons be
forthcoming. In cases where corrections were made by the writer, the
Composer often watched the progress of the slate-pencil (a longer one
than that which was used between the leaves) and gave directions: "_Not
there_"; "_Yes, here_," and the like; and he would often acknowledge a
correction with a "_Thank you_," or meet a suggestion with a "_Yes, if
you please_." On these occasions the slate was some four feet distant
from the psychic, and practically out of her sight.

Repeated attempts were made on both sides to get down the name of the
composition. Various related versions of the word appeared, none of them
quite satisfactory. The Composer seemed to acquiesce in our attempts to
relate his title to different Slavic and Italian words for "gypsy," but
no importance can be attached, of course, to such a piece of direct
suggestion.

The final version of this brief but laborious score has been preserved,
and all the stages in its progress have been abundantly annotated. To
follow it through in detail, however, would be but weariness. All the
salient points in its production fall under one of three heads. There
are, first, the passages that seem to have been produced in co-operation
with the sitters. There are, second, the passages that seem to have been
produced in independence of the sitters. And there are, third, the
passages that seem to have been produced in direct opposition to the
sitters. Examples of all three classes follow; perhaps only those of the
third and last class are really important.

1. The Composer in Co-operation. The piece, in three sharps, opened on
the tonic, yet the very first note in the bass was a G-sharp. The
following colloquy ensued: Editor: "Does the piece begin with the tonic
chord of A?" Composer: "_Yes._" Editor: "Is the G-sharp, then, to be
regarded as a suspension?" Composer: "_Of course. That makes it right.
How could it be correct otherwise?_"

Another example. In the second bar a note which the editor had taken for
an eighth-note was explained by the Composer as being a grace-note. The
editor pointed out that this left only five eighth-notes to fill a
six-eight measure. The Composer directed the insertion of an eighth-rest
at the beginning of the bar.

In the fourth bar there was a partial chord, E-B--a fifth. The
Composer's attention was drawn to this blemish. He requested the
insertion of a G-sharp between, thus completing his triad.

But the above examples, and others