SONG SPARROW. 
identification, it is too variable to be depended upon. 
Jne song is likely to be in two-four and another in 
three-four time, and the listener is compelled, rather, to 
listen to those striking mannerisms of the singer, which 
will none the less surely reveal his identity. 
Now the style of the Song Sparrow is unmistakably 
evident, he devotes himself to pure, simple melody, and 
is in consequence the best exponent of the song motive 
among all the members of the feathered tribe. The 
Oriole may sometimes equal, but he can never excel him 
in this respect; moreover, the Oriole lacks versatility. 
It is short work to make such a statement, but it takes 
a month’s study of the Song Sparrow to establish the 
fact beyond peradventure and produce a sufficient num- 
ber of incontestable proofs. Here is the song of a bird 
who, like the rest of his tribe, knows all about the dotted 
note which adds half again to its value: 
Here the bird sang octaves eves higher) 
422 
Fitz! fitz! fitz! wee sir-wee sir-wits wits! 
These first three notes 
ae were beyond the keyboara!, 
peda. 
The records that foltow are also pitched in the same highest octave, 
There are swing and accent to these few tones which 
perfectly express an exultant feeling, something akin to 
that so eloquently given in the first bars of Siegmund’s 
Love Song in the Nibelungen Lied: 
To be sure I enlarge the musical significance of the 
Sparrow’s song by setting it to a piano accompaniment, 
III 
