CARDINAL. 
shreds of bark, and rootlets, lined with dried grasses and 
soft material, generally situated in low bushes. Egg, blue- 
white speckled with burnt umber or cinnamon brown. 
The song of the Cardinal is composed of a series of loud, 
clear notes many of them without overtones, some deliv- 
ered sharply staccato, and still others with a sound like 
quit-chee-ee, or, as Olive Thorne Miller describes it, ‘‘ Three 
cheers”’ but I make the song as I heard it from a caged 
bird, like this, every one of the notes in fairly accurate 
pitch, and the intervals as distinct—most of them—as 
those of the White-throated Sparrow. 
DT SL Say OREM oer Segall 
There is asweetness of tone to some of the notes resem- 
bling that in the trained whistle of the European Bullfinch— 
really a dulcet whistle, and also an overtone which is identi- 
cal with that of the Rose-breasted Grosbeak, hence the 
frequent use by different authors responsible for syllabic 
forms of the consonants ch. The Cardinal’s song is no 
doubt best studied west of the Alleghanies in Kentucky 
and Tennessee where the bird is quite common. Bradford 
Torrey, always clever in his verbal description of bird- 
song, writes, ‘‘I stopped long enough to enjoy the music 
of a master Cardinal,—a bewitching song, and, as I 
thought, original: birdy, birdy, repeated about ten times 
in the sweetest of whistles, and then a sudden descent in 
the pitch, and the same syllables over again... . If the 
Tanager could whistle like the Cardinal, our New England 
woods would have a bird to brag of.’’ Here, without 
question, is a translation of those syllables into musical 
terms—in other words two whistled notes separated by the 
interval of a minor third: 
TWO Dae Mowine M ot 
l é < A A AA —~_ WE? 
q Allegro. | 
TH 
uy Birdy, birdy, birdy, birdy, birdy, birdy, 
Qer 
