OLIVE-BACKED THRUSH. 
deliberately chooses a series of even intervals and climbs 
up the scale with a thought entirely single to harmoni- 
ous results. Technically the song is compassed by a di- 
minished seventh; it ascends in two-note groups, the notes 
evidently separated by minor third intervals with each 
second note the lower of the two; it might be repre- 
sented by a zigzag line thus: 
crescendo. 
lL“ lovel lovel love I love you! 
Constructively considered the music strongly resembles 
these somewhat meandering but soothing phrases in the 
first movement of Beethoven’s Moonlight Sonata: 
The Bea ceinaieedts however, goes slow and continues the 
theme; the bird does not, but after giving the third or 
fourth rapid group of notes, is dissatisfied with the pitch 
and tries a lower or a higher one, thus: 
Q) D 
ee. ST 
pg Sor oo he eo eae 
ya oe ee 
EOS es Gino = TD CREE = ———___ A RE 
IT love, I love, Ilove, I loveyou! Ilove,! love, l love, I love yout! 
Like all the northern Thrushes, he is a transcendentalist, 
who is never satisfied with a creditable effort, but must 
try for something better and then “goes to pieces” in 
the attempt! Here is as near a representation of that 
idea as it is possible to get; notice how the bird continu- 
ally tries for something on a higher key, and finally ends 
with a jumble of high notes: 
253 
