VOICE. 



The Flicker has a much greater vocabulary and more 

 modes of expression than any other of our North American 

 Woodpeckers, and while the contrast between its so-called 

 song and the inspiring melody of our tree songsters 'is ever so 

 great, its voice blends harmoniously with the many other 

 voices and sounds of nature without which the hill, meadow 

 and grove would lose much of their charms. Individuality 

 now and then cropping out during and immediately after 

 mating and the earlier part of the breeding season, appearing 

 to be constantly varying and improving, seeking to give ex- 

 pression to its feelings. 



Perhaps it is unwise to devote much space to this subject 

 however enticing it may be, for but few have given enough 

 time and thought to it to be classed as competent reporters ; 

 then the variability of the notes according to locality adds 

 another difficulty. However, as its notoriety has been largely 

 gained through its versatile voice, it would not do to pass 

 over this fascinating study without an attempt to condense 

 and render intelligible the notes in my possession. For brevit}^ 

 and convenience I have separated them under Calls, Conversa- 

 tional Notes, Common, Scythe-whetting, Flicker and Wake-up 

 Songs. 



Calls. The vocal call is usually high pitched and penetrat- 

 ing. It is a note characteristic of no particular sea.son and 

 when uttered in a startling shriek which ma}' be heard at a 

 distance of almost half a mile or subdued to a soft but im- 

 patient inquiry unnoticed a hundred yards away, it serves as 

 a call or an.swer to comrade, mate or 3'oung, challenge to rival, 

 or precedes the .song as an imperative demand for attention. 

 Ordinarily a chu. ka, che-u c/ie-a/i, or chu-ah in New York and 

 Pennsylvania, and in the northern part of the first state often 

 .sounding like clape and kee-yer. In New England — pea-itp, 

 ye-Jip, yc-a-np, yar-r-r-}(p, pee-up, kr7( and que-ah. In Georgia 



