YELLOW-HEADED BLACKBIRD 117 



and futile running down of the machinery. The general effect of the performance 

 may be somewhat suggested by the syllables ' Klick-kluck-klee — klo-klu-klel — 

 kriz-kri-zzzzzzz-zeeeeee.' 



Jean M. Linsdale (1938) describes the song as follows: 



The number of notes in the song of the males varied; sometimes it was only one 

 drawn out, harsh call. However, the most usual song was composed of 5 notes. 

 The first one was explosive and loud, the next two lower and shorter, followed 

 by 2 long drawn out notes at slightly higher pitch. When the males were at the 

 pond this song was given at rather regular intervals and from habitually used 

 singing perches. These were most often at exposed points where the announcing 

 bird could be seen from, and could see in, many directions. The song appeared 

 to be useful as much to repel invasion by other males as for any other possible 



service. 



* * * 



Other types of notes were heard, as follows. A series of high-pitched notes, 

 with a few guttural sounds when heard at close range, was given on the circular 

 flight made when a march hawk came near. When potential danger first appeared, 

 a plaintive whistle much like that of the red-wings was given. In flight the females 

 gave single chucks, much like the notes of red-wings. About the nesting sites 

 they had a variety of harsh, screeching notes. 



Wetmore (1920) noted that the song "was subject to much variation, 

 but ordinarily resembled the syllables Klee Klee Klee Ko-Kow-w-w, 

 the last low and much drawn out." 



Ammann (MS.) recognized two distinct types of song, the buzzing 

 and the accenting. He describes the former as follows: "The buzzing 

 song is practically the same for all males. It is begun with several 

 short, slightly descending, comparatively low-pitched, melodious 

 introductory notes (uttered with the bill closed), followed by a loud, 

 very harsh, drawn-out wavering buzz or wail, rather suddenly 

 increasing in volume at the first and held to the end. The most 

 peculiar contortions of the body accompany both parts of the song. 

 During the introductory notes the head is always turned to the left 

 so that the bill is pointing at right angles to the front. At the 

 beginning of the buzz or wail the angle of the bill to the axis of the 

 body is decreased about half and held thus throughout the rest of the 

 song; the neck is extended, bill pointed upward, the wings slightly 

 opened, tail widely spread, and the whole body made to vibrate 

 slightly, the entire procedure giving the general impression that the 

 bird is in great agony." 



Of the accenting song, he says: "This song is totally different in 

 general character from the buzzing song although it may often include 

 a short buzzing note such as that described for the latter; even 

 similar introductory notes are used. The head and neck are not 

 twisted much and the entire performance is usually shorter and more 

 precise, seeming to be delivered with less strain or agony to the bird. 

 It is also harsh and not musical but more pleasing to me than the 

 buzzing song. The various syllables are nearly always clearly defined 



