2. The Composer in Independence. Under this head may be placed his various instructions relative to tempo, expression, and the like. The signature, three sharps, was set down by the editor, as the result of an answer to his inquiry. But the time--six-eight--was written in (on the editor's request) by the Composer himself. It was a distinct and separate effort, for which the pencil was put in the slate and the slate placed beneath the table. The time was set down before the notes themselves were secured. The six-eight sign was clearly and neatly written on the proper staff, in correct relation to the G-clef and to the signature; and the two figures were also in correct relation to each other. The word "Moderato" was written in by the Composer's direction, without any request from the editor. Later, the words "With feeling" and the mark of expression "pp," were obtained in the same way. Ties, grace-notes, and staccato-marks were insisted upon, here and there, with great vigor and earnestness. Two further examples of the Composer's independence will perhaps suffice. In the sixth measure there was a run of three eighth-notes in the treble, exactly above a corresponding run of three eighth-notes in the bass. In making his revision the Composer directed that each of these three pairs of notes should be joined by stems. This took the treble notes down to the bass, and left the last half of the treble bar empty--a fact unnoticed by the editor and beyond the purview of the psychic. The Composer, however, observed the hiatus, and directed the insertion of two rests. One other instance: The bar at the end of the first measure, as originally drawn by the Composer, cut off two notes on leger-lines and gave them to the succeeding measure. Another little colloquy: Editor: "Shall I draw the bar where it belongs?" Composer: "_Yes, if you please._" Editor: "Here?" Composer: "_No._" Editor: "There?" Composer: "_Yes. Thank you._" 3. The Composer in Opposition. Numerous interesting cases of cross-purposes between the Composer and the circle developed during these two days. A number of salient examples follow: On the first opening of the slate, the seventh measure of the treble contained but two notes, which the Composer presently declared to be quarter-notes. This left the first third of the measure vacant; and the Composer, interrogated, directed the 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.