412 The Ohio Naturalist. [Vol. Ill, No. 6, 



The second theme (B) illustrates this variety. I have five or six 

 independent songs among my notes, but every one contains that 

 particvilar sequence. 



The tempo was decidedly rapid, the eight bars not occupying 

 over four seconds in utterance and producing an impression of 

 vigor and dash. During this livel}^ delivery the loudness was 

 noticeably modified. In the connnon form of the song there was 

 a sharp crescendo on the first two bars to a maxium on the high 

 notes followed by a diminution on the fifth, then a slighter rise 

 and lastly a diminuendo on the final bars. This feature is char- 

 acteristic of the sparrows and is one of the chief charms of their 

 singing. 



The fox sparrow sings, it is clear, a real " tune" with expres- 

 sion and variet}', a rapid little melody suggesting dance music of 

 a pastorial character. But were this the only charm to notice he 

 could not be ranked above the song, vesper or field sparrows, and 

 in fact as ordinarially heard the fox sparrow dpes not produce any 

 impression of superiority. As a rule during the migrations — 

 always, as far as I have observed, in autumn — the fox sparrow 

 sings in a half voice with perfect distinctness, but without volume 

 or resonance. He gives the notes above figured with a somewhat 

 chirping articulation, although never sharply staccato, .sometimes 

 twittering and occasionally trilling a little toward the end. 

 Heard when singing in this fashion simultaneously with the song 

 and vesper sparrows he is more flowing but not superior in form 

 and is less brilliant in execution. But let the fox sparrow be 

 moved to u.se his full voice and the whole song is transformed. 

 Three times only have I heard this happen, but the effect was 

 decidedly startling and it made a lasting impression. On two of 

 these occasions the birds remained in full song for several minutes 

 and from these my observations are taken. In the first place the 

 whole enunciation is altered, the notes are no longer chirped but 

 poured out in a series of full sustained tgnes which run into one 

 another so that the song becomes a legato warble. The form 

 remains unaltered, the tempo the same, the pitch is not changed 

 but the different delivery makes it seem like a wholly new song. 

 Under this form of utterance the vocal modulation becomes much 

 more noticeable, the crescendo to the high notes and the quick 

 drop after them more effective. It is this feature which gives a 

 decidedly emotional qualit}- to the song. It suggests the human 

 voice for it surpa,sses in range and suddeness of change anything 

 in the power of a wind instrument. 



The voice of the fox sparrow in its full power is clear, sustained 

 and rendered rich b}' overtones. It has not of course the metallic 

 vibrant ring of the thrushes or the bobolink, it is rather the 

 sparrow or finch voice at its best, a whistle full of sweetness with 

 continual accompanying changes in timbre. 



