Following the premiere in June 1899, Elgar added 97 measures to the Finale to produce a more artistically satisfying ending. My melodic analysis reveals 43 of those 97 measures are inactive, meaning 44% of those measures lack a discernable counterpoint with Ein feste Burg. Elgar did not find it necessary to continue with the counterpoint in the appended ending, a treatment found in II, III, VIII, IX, X, XI, XII, and XIII. This makes perfect sense from a cryptographic standpoint because concluding the counterpoint before a movement ends makes it far more difficult to work backward and interpolate the notes of the hidden theme. The same holds true for not consistently starting the counterpoint at the beginning of a movement, a phenomenon present in I, II, III, VII, and XII. With no predictable start and end points, detecting a counterpoint becomes far more daunting and uncertain. With the Enigma Theme Elgar does not present a discernible counterpoint to the opening phrase of Ein feste Burg until the bridge after the ending. Such an unconventional approach hardened the cipher because it deprives investigators of an obvious starting point from which to assess a counterpoint. The beginning counterpoint is not presented until the extended ending phrase marked by the ties between measures 17 and 18. Rather counterintuitively Elgar places his counterpoint to the Principal Theme's opening phrase at the end, and conversely the ending counterpoint at the beginning.
Table 23.1 identifies 204 melodic note conjunctions between Ein feste Burg and Variation XIV present in 85 or 53% of all active measures (160). There are 12 not types with frequencies ranging from 1 (B-flat) to 45 (G).
Table 23.2 identifies 464 harmonic note conjunctions between Ein feste Burg and Variation XIV present in 148 or 93% of all active measures (160). There are 12 not types with frequencies ranging from 1 (F) to 164 (G). The number 12 is a multiple of 6.
Table 23.3 summarizes 666 note matches between Ein feste Burg and the piano reduction of Variation XIV. The total number of matching notes is remarkable since Elgar draws special attention to the number six throughout the Variations. There are 12 note types with frequencies ranging from 3 (B flat) to 209 (G). The number 12 is a multiple of 6.
 Strachey, Lytton. Eminent Victorians: Cardinal Manning, Dr Arnold, Florence Nightingale, General Gordon. New York: Modern Library, 1918, p. 297.
 Elgar, E. (1965). Letters to Nimrod: Edward Elgar to August Jaeger, 1897-1908. London: Dobson, 1965, p. 33.
 Matthew 6:1-3 says, “Be careful not to practice your righteousness in front of others to be seen by them. If you do, you will have no reward from your Father in heaven. So when you give to the needy, do not announce it with trumpets, as the hypocrites do in the synagogues and on the streets, to be honored by others. Truly I tell you, they have received their reward in full. But when you give to the needy, do not let your left hand know what your right hand is doing, so that your giving may be in secret. Then your Father, who sees what is done in secret, will reward you.”
 Rushton, Julian. Elgar: Enigma Variations (Cambridge Music Handbooks). New York: Cambridge University Press, 1999, p. 65.