FAMYLY Mniotiltide. 
te-dum', te-did-dle-te-dee! Langille compares the first 
half of the song to that ot the Black and White Warbler, 
and the last half to that of the Chipping Sparrow, which, 
as the saying goes, is not half bad! Buta full knowl- 
edge of time in music, and the comparative values of 
notes, knocks all comparisons like that endways. Com- 
pare my notations of the Black and White Warbler’s 
music with those of the Nashville, further on, and the 
difference will become apparent at a glance. One bird 
tsips back and forth evenly, the other does not; one 
goes with a measured pace, the other, so to speak, lame- 
legged! Perhaps some will think this is a bit of hair-split- 
ting discrimination, but it is nothing of the kind; on the 
contrary, it is a simple elucidation of one of those subtile 
differences in bird songs (particularly Warbler’s songs) 
upon which we must depend for a more perfect knowl- 
edge of bird music. Here is my notation of the song 
previously expressed in the series of dots: 
Pres to 3times 8va. 
to —?-»—f » fo» {ff ff — 
2 eR ee 
Per-che perche perche perce per-chipy-cher pee, 
There are few varieties to this form. Rev. J. H. Lan- 
gille represents the song in syllables thus: ‘‘ Ke-tsee, ke- 
tsee, ke-tsee, chip-ee-chip-ee-chip-ee-chip,” which shows 
that his bird sang only three slurred double chirps, but 
added two more trill notes to the tail end of the song 
than my bird did. But I have also another form where 
the trilled notes are low instead of high, thus: 
Presto. 
~, 4 
Te-dum, te-dum, te-dum, tedium, te-did-dle-te-de-de. 
and still another where the bird ‘‘doubled-up” on the 
two first rapid trill notes in this fashion: 
