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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.
Heywood balanced a pencil, twirled it, and at last took to drawing. On the polished wood he scratched, with great pains, the effigy of a pig, whose snout blared forth a gale of quarter-notes. "Whistle away!" he muttered; then resumed, as if no one had interrupted: "Very good of you, Gilly. But with your permission, I see five points. Here's a rough sketch, made some time ago."
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.
This meant, as became clear through a subsequent reference to his printed scores, the playing of two quarter-notes in the time of three eighth notes, but was not understood at the moment by Blake. "'Never mind, said 'E. A., pleasantly, 'I will write it differently. The figure '2' was cancelled, and the measure was completed by a rest.
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.
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