[Illustration: THE STUDIO IN THE STEINWAY BUILDING--WEST SIDE] The power of positive pitch has been regarded by many as a very desirable gift, but judging from the experience of the pupil of whom I am writing, it would appear to be just the other way. This young lady, to whom I had also given the task of transposition into various keys, complained, on coming for her next lesson, that the effect upon her was very disagreeable, in fact, extremely painful. She explained that she was obliged to look at the music on the pianoforte-desk while transposing, and that on account of her quick perception of positive pitch she heard in companionship both the tones of the original key and those of the key to which she was transposing, thus producing a jargon and discord which was distressing. This at first seemed very strange to me, indeed almost incredible, but not having an ear for positive pitch myself, either by nature or through cultivation, I could not judge from personal experience, so, having confidence in her sincerity, simply gave her assertion credence. Later on, however, her statement received confirmation through the authentic testimony of a German musician and conductor of high eminence. At the time this gentleman came to our country, somewhat over fifteen years ago, the standard of concert pitch was slightly lower in Europe than with us. Since then it has been adjusted and is now uniform the world over. This discrepancy caused our German friend extreme annoyance, for having an acute and delicate perception of positive pitch, it pained and confused him to hear the familiar symphonies and other works of the great masters played in a higher pitch than that to which he had become accustomed. This is, therefore, the penalty for an ear for positive pitch. Some of the greatest musicians have possessed this faculty, notably Mozart, but others of equal rank were without it. Of course a musical ear of the most delicate sensibility as to relative pitch is common to all of them, and this by the grace of God, as the Germans happily express it. Another case is that of a lady having by nature an ear for positive pitch, who occasionally attends church with me. She is constantly disturbed by the difference of pitch between the tones of the organ and the pitch indicated by the notes of the tones in the hymn-book. She reasons that either the tones of the organ are above standard pitch or else the organist transposes the music. At any rate, the two vary by the interval of a semitone. Theodore Thomas is not only able to detect the disagreement, but at the same time perceives whether it is by reason of transposition from the original key or on account of the tones of the organ differing from standard pitch. APPLEDORE, ISLES OF SHOALS