insertion of a quarter-rest. The
editor objected that this gave the measure a three-quarter look, instead
of the proper six-eighth look. "_That is a liberty I take_," came the
answer, like a flash.

At one stage the Composer requested that a certain note should have a
"dot" added. The editor placed the dot to the right of the note, thus
lengthening its value by one-half. "_No, no_," objected the Composer;
"_put it on top, above the staff_." His intention had been, once more,
to make a note "staccato," and he had been misunderstood.

The editor, in setting down the signature of sharps on the second page
of the slate, intentionally placed the last sharp a third below its
proper position. He was at once brought to book by "Dr. Cooke," the
"control." "_We are being fair by you, and you must be fair by us._"

In the eighth and last measure, which did not appear to be
satisfactorily completed, the Composer called for the insertion of a
figure 2. This meant, as became clear enough through a subsequent
reference to his published scores, that he wished two quarter-notes to
receive the value of three eighth-notes, but was not understood at the
time by his helper. "_Never mind_," said the Composer, graciously, "_I
will write it differently_." He cancelled the figure 2, and completed
the measure with a rest.

A similar instance occurred in the fifth measure, where the Composer
called insistently for a double sharp (x). The editor ventured to
object, and the passage was tried on the piano, at the Composer's
request. The double sharp was felt by him to be unsatisfactory, and was
sacrificed. "_It won't make much difference, anyway_," was his whispered
comment.

A curious point, to finish with: On the first day the editor inquired
about doubtful notes by name, as, A, C-sharp, and the like, while the
Composer indicated their position by specifying lines and spaces--as,
third space, second line, and so on. The next day, when the editor made
his inquiries on the basis of lines and spaces, the Composer oftenest
named the notes by letter.

Toward the end of the last sitting, "Dr. Cooke" once again came to the
fore and hinted that the result of our endeavors might perhaps be not a
reproduction of one of the Composer's manuscripts, but of a mental
picture in the Composer's mind. The "picture," as secured by us, was
not, it must be admitted, without distortion. The Composer himself used
the word "scattered" in such a way as to imply tha