WARBLING VIREU. 
the notes are closely connected together and seem tc be 
rolled around in his bill like a sugarplum, but in spite of 
this effect they are apparently delivered staccato; the 
last note in particular is struck and left abruptly, as 
though it were red-hot! Finally, it is evident that a 
slight overtone distinguishes every note, that each note 
gathers force as it goes, and that the last one will be 
found to be the highest in the great majority of songs. 
Although, note for note, the first phrase of Chopin’s wild 
but beautiful Impromptu Fantasia does not correspond 
with this Vireo’s song, it can not be denied that there is 
a striking similarity in the construction of the two frag- 
ments: 
Both bits of music roll triumphantly toward a high note 
in a sort of spontaneous ebullition of feeling, and there 
the matter ends—with the Vireo; but Chopin goes on, 
and his sprightly embroidery of tones is ultimately suc- 
ceeded by the more substantial form of a slow and 
dignified melody. If we take the Vireo’s song and give 
it the advantage of a harmonious setting, the result is 
not a bad one: 
Allegro 
LA bh, OS 
pO 1+ 
