CHESTNUT-SIDED WARBLER. 
in that case he is practically rounding out the song with- 
out the suspicion of the pause noted in my previous 
record. Here isanother form in which he retains both 
pause and extra note: 
7 /7A~_ “SEE 
F, =e 
These are subile differences which only a quick ear can 
detect and musical notation accurately express! As 
I have said in the beginning of this book, time is an all- 
important element of music, and there is no denying the 
fact that it occupies a very important place in precisely 
this part of the Chestnut-sided’ssong. Often when time 
is not concerned with difference in bird song, this differ- 
ence becomes apparent in a certain method of delivery. 
For instance, the following transcription was obtained in 
Campton, June 26, 1899: 
Nearly a year later, May 23, 1900, practically the same 
song was differently rendered by another bird in Arling- 
ton Heights, Mass., fully one hundred and thirty miles 
farther south; this song is my first notation herewith. 
A comparison of the two records will show that one bird » 
pitched his first four notes higher than the other bird 
and at the same time slurred each one. But these fine 
points do not represent the only variations in this War- 
bler’s song; there are some uncommon forms which 
doubtless should be referred to eccentric individuals. 
Here is one which came from a bird which also sang 
the form which I have at first given: 
This type is so nearly like one belonging to the Yellow 
185 
