This clergyman wished to compare the cheerless days of man's life with something and said they were like a musical book, in which commonly more black than white notes are to be found; his opinion was that similarly we encounter more misfortune than fortune in our lives. Mattheson is presumably referring to a meditation by Samuel von Butschky, which can be found as number 250 with the title Menschliches Leben (Man's Life) in his Wohl-Bebauter Rosen-Thal, Nuremberg 1679. Whether or not the simile is lopsided, we will leave to rest. To me it appeared very ridiculous. For black notes imply a quick way of playing, signifying something cheerful rather than something sad. However, if the black colour merely indicates an image of misery, one should rather choose a church or another assembly of the clergy than a music book since there are always found more black than white clothes. I elaborate on this so that nobody thinks he will be led into the school of fear or of the cross due to the slightly black notes in that class. Not at all, nobody should be afraid: for our notes are typical features of a cheerful temper, of a brisk mind and of a happy heart. Cheer up, that is the best advice.

The quavers or plain notes in the sixteenth, seventeenth and eighteenth measure indicate by themselves that something varying might be applied in the right hand. How exactly it has to be done should be derived from the previous material. For this work is disposed in such a way, that everything in the piece has either already been there or it will soon appear, what unique thing might be done. Thus, everything coheres so naturally and differs so little from the main theme that it is rather easy to get the point. In order not to be accused once more of speaking in riddles, the following may give instructions for further reflection:

It hopefully has been said often enough that the left hand has to play the figures and chords when playing this figuration. I would often have liked to put it down in the bass just as it should be, if only the notes could be printed together as they can be written or engraved on copper.

The same instance occurs in the 23rd measure, so that the previous can be taken for advice. In the 24th measure thirds can be played, together with a full-voice texture. In the 25th measure it is done as before. The 29th, 30th and 31st measure allow for an alternation as the right hand imitates the left and modulates on the quarter notes according to the motive. If it seems incomprehensible, look at this line:Here, Mattheson mistakenly shifted the bar line for a quarter note.

In the 33rd measure it might not sound bad, if the chords, including sixths and fifths, were played and syncopated a little more than usual, approximately as below: In the following example, Mattheson changed the left-hand-motive into a dactylic rhythm.

There is nothing more to remember or to facilitate in this piece.