MAGNOLIA WARBLER 205 



attempted to syllabilize it quite differently; once I wrote it switter^ 

 switter, swirr, or swicher, swich, a-swirr. On another occasion it 

 sounded like wheet^ tit, chew, or wheet, wheet, tit, chew. 



Mrs. Nice (1926) noted only two songs, "the day song and perch song 

 weechy weech and the feeding and vesper song sing sweet with its 

 variation sing sing sweet. He used three different notes : tit the alarm 

 note, kree the love note, and eep, the significance of which I never 

 fathomed." 



Gerald Thayer wrote to Dr. Chapman (1907) : 



The Magnolia belongs among the full-voiced Warblers, and is a versatile singer, 

 having at least two main songs, both subject to much and notable variation. The 

 typical form of the commoner song is peculiar and easily remembered : Weeto 

 wecto weetee-eet, — or Witchi, witchi, witchi tit, — the first four notes deliberate 

 and even and comparatively low in tone, the last three hurried and higher pitched, 

 with decided emphasis on the antepenult weet or icitch. The other song has the 

 same general character, and begins with nearly the same notes, but instead of 

 ending with the sprightly, high-pitched wietee-eet' , it falls off in a single perfunc- 

 tory-sounding though emphatic note, of lower tone than the rest. In syllables it 

 is like Witti witti wit,' — weetee weetee wUr. 



He proceeds to mention some variations : 



One such variant I have fixed in my own recollection by the syllables Ter-whiz 

 wee-it ; and another, almost unrecognizable, by the syllables Wei-yer we4-yer 

 wee-yer. Still another beginning like Weechi ic6ech, ended with a hurried 

 confusion of small notes, some low, some high. But throughout these and all the 

 many other surprising variations I have heard about Monadnock, the characteris- 

 tic tone-quality was preserved unchanged, and so were certain minor tricks, 

 scarcely describable, of emphasis and phrasing. The tone is much like the Yellow 

 Warbler's and also the Chestnut-side's, though distinctly different from either. 

 In loudness it averages lower than the Yellow's and about equal to the Chestnut- 

 side's. 



Then he mentions a peculiar call note, tlep., tlep, a lisping note with a 

 slight metallic ring, that reminded him of the siskin or of Henslow's 

 sparrow. 



The following remarkable list of seven distinct songs recognized 

 by Stewart Edward White (1893) is included because it represents 

 either some very unusual variations or very keen observation : 



1. Three notes followed by one lower: che-weech che-weech che-6. 2. Three 

 sharp clear whistles with a strong r sound, then a warble of three notes, the 

 middle the highest, the latter clear and decisive: pra pra pra r-e-oo. 3. Two 

 quick sharp notes followed by a warble of three notes, the middle the highest : 

 the warble is soft and sluri-ed : prut put purreao. 4. A soft falsetto warble, 

 different in tone from any other bird song: purra-S-whuy-a. 5. Of the same 

 falsetto tone uttered rapidly : prut-ut-ut-ut-ut. 5. A harsh note like, in mini- 

 ature, the cry of a Jay: d kay kay kay. 7. A harsh k-e-e-e-dl, the last syllable 

 higher by a shade, quick, and subordinated to the first part. The alarm note is 

 a sharp zeek. 



Mr. Brewster (1877) has written his impression of the song in 

 words as, "sAe knew she was right; yes^ she knew she was right.'''' 



