ROSE-BREASTED GROSBEAK. 
cally agree with what Mr. Chapman has to say about 
this bird’s song, but at the same time venture to suggest 
that notations of Robin and Grosbeak songs should 
not necessarily show that similarity of form which he 
seems to think is inevitable. He says (I quote from the 
Handbook of Birds): *‘The song of the Rose-breasted 
Grosbeak is generally compared to that of the Robin, and 
.musical notations would doubtless show that the com- 
parison is not misleading. But the similarity is largely 
one of form; in expression there is no more resemblance 
in their voices than there is between the birds them- 
selves.” That is true, yet it is nothing less than an 
enigma to find out precisely where the difference lies; I 
should certainly say it was pretty close to form, expres- 
sion, and something else besides ! 
The form of the Robin’s song may be definitely repre- 
sented by er there is no question about his triplets: 
ages .. »... I suppose it would be safe 
td a ere are ten triplets to each doublet. In other 
words, the abiding characteristic of the Robin’s song is 
his triple note. On the contrary no such rule will hold 
with reference to the Rose-breasted Grosbeak’s song; the 
triplets which he sings are not by any means distinctly 
separate groups. It is perfectly apparent toan attentive 
ear that the song of this bird flows with a certain degree 
of smoothness, or evenness which is not characteristie of 
the Robin’s jerky efforts. Here is an ocular proof of 
BISON ts (ge des bs Se ts .— .—. Thesedotsshow 
two things quite plainly: first, that the song is almost, if 
not quite continuous, and second, that some of the tones 
are sustained longer than others, thus: 
Again, there are other significant points about this bird’s 
music which dots and dashes can not show. Few, if any, 
of his notes are rendered staccato, many with remark- 
able expression glide up or down the scale a whole mu- 
sical third and even a fifth, and all, or nearly all, are 
131 
