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Updated: May 19, 2025
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.
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.
It was far into the night when the brethren went home. As they passed along through the streets they bellowed their nocturnal serenades at the windows of the otherwise peaceful houses. As the hilarious laughter and vocal rowdyism reached Daniel’s ear, he detected from out of the hubbub a gentle voice in E-flat minor, accompanied by the inexorable eighth-notes sung with impressive vigour.
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.
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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