My next ventures were of a musical nature, as I thought it might be easiest to achieve something in this direction. Lola knew the letters that are associated with the different tones (_c_, _d_, _e_, _f_, _g_, _a_, _h_[15], _e_), having learnt these in her alphabet, so I only had to strike the keys (and I confined myself to the _white_ ones, as involving fewer difficulties), telling her their names. I began by saying: "Lola, you are going to learn something quite new and very beautiful; you must listen to these sounds and tell me the names of each." Then I played the notes over several times from c to c, saying clearly and slowly: "c, d, e, f, g, a, h." Then I paused and played them over again--both the ascending and descending scale. [15] _h_ is the term used in Germany for the note we call _b_. Then I struck "c," saying, "What note is that?" She answered "c." I struck "e," but she rapped "no." I therefore played from c to e, accentuating e in particular. "Do you know now?" I asked, and she replied, "yes: e." I struck "a," and the answer came at once, "a." This seemed enough for one day, for I wished to keep her interest fresh. So we then went over some arithmetic. The next day I played only _once_ from c to c, asking the names of the notes out of their order, and Lola was right in all her replies with the exception of "h," and this she soon identified after a comparison with the other notes. I tried whether she could recognize the number of notes in a chord. First I struck two, asking her the number; she replied "2." I then struck four--and she replied "4" without any hesitation. Then I struck five together, _c_ being associated with them twice. At this Lola rapped "4," so I said: "You are to tell me _every_ note I strike," at the same time putting down the chord again, after which she replied "5." This had been an experiment for which I had made few preparations and I marvelled at such obvious evidences of musical comprehension. But I felt that I should nevertheless test her more closely still, and so I told my experiences to a friend, a woman composer of great professional distinction. This lady was both interested and surprised, and seating herself at the piano, she struck some notes. I placed myself so as not to see the keyboard and tried to guess their pitch, yet I have no "ear" in this way. I had in 1915 attended a course of Delcroze lessons (given at Stuttgart by Fraeulein Steiner) and had tried to acquire the faculty to distinguish the basic tone of any chord given at random--for this can be acquired if one is to some extent musical, yet could I but seldom succeed. I would hover in doubt between c and d, and so on, without sensing any connexion with the other tones. Here, too, with one single note being struck I was unequal to the test, but Lola's replies were excellent, yet was it again the novelty that gave zest to the affair, for later on her answers were good only when she was inclined to take trouble.