THE WESTERN MEADOWLARK. 65 



Bird song never exactly conforms to our musical notation, and there is 

 no instrument save the liuman "whistle" which will even passably reproduce 

 the quality of the Aleadowlark's song. Nevertheless, many interesting ex- 

 periments have been made in recording these songs and a little attention will 

 convince tiie least accomplished musician that there is a fascinating field for 

 study here. 



A formal song of the Western Meadowlark comprises from four to a 

 dozen notes, usually six or seven. The song phrases vary endlessly in detail, 

 yet certain types are clearly distirtguishable, types w'hich reappear in different 

 parts of the country, apparently without regard to local traditions or suppo- 

 sitional schools of song. Thus a Chelan singer says, "Oku wheeler, ku 

 ti'heel'er, and he may not have a rival in a hundred miles; yet another bird 

 on the University campus in Seattle sings, Eh hen, zvheel'iky, zvheel'iky, or 

 even Eh hen wheel'iky, zvheel'iky, zolu-cl'iky. and you recognize it instantly 

 as belonging to the same type. In like manner Oziyhee, recitative was heard 

 with perfect distinctness both at Wallula and in Okanogan County. 



Each bird has a characteristic song-phrase by which he may be recognized 

 and traced thru a season, or thru succeeding years. One boisterous spirit 

 in Chelan I shall never forget for he insisted on shouting, hour after hour, 

 and day after day, "Hip! Hip! Hurrah! boys; three cheers!" Yet, while 

 this is true, no bird is confined to one style of song. An autumnal soloist 

 in Ravenna Park rendered no less than six distinct songs or song-phrases 

 in a rehearsal lasting five minutes. He gave them without regard to sequence, 

 now repeating the same phrase several times in succession, now hurrying on 

 to new forms, pausing only after each utterance for breath. 



Nor is the effort of the Western Meadowlark confined to the formal 

 song for he often pours out a flood of warbling, chattering and gurgling notes 

 which at close range are very attractive. Not infrequently he will interrupt 

 one of these meditative rhapsodies with the clarion call, and return immedi- 

 ately to his minor theme. 



In the presence of a stranger the lark serves frequent notice of intended 

 departure in a vigorous toop. or toob, accompanying the sound with an 

 em])hatic flirt of the wings and jerk of the tail. Now and then the actual 

 departure is accompanied by a Ijeautiful yodelling song. After several pre- 

 liminary toobs the bird launches himself with fantastic exaggeration of effort 

 and rolls out, O'ly o'ly o'ly o'ly o'ly. witli ravisliing sweetness. 



At nesting time the parent Ijirds have many causes for appreiiension, 

 and as they move alx)Ut in search of fr>od they give vent to the toob note of 

 distrust in a fashion which soon becomes chronic. In Douglas Countv this 

 note is doul)led. tn-o' bit, or two' zdiit, and one cannot recall the varied life of 

 the sage in June without hearing as an undertone the half melancholy two' hit 

 of a motlier Meadowlark as she works her \\a\- liMmewnrd bv fearful stages. 



