V«'-XXXinj Correspondence. 107 



Whether the trills of birds are caused in this way or by rapid repetition of a 

 note is hard to say. There seem to be reasons for thinking that trills are 

 caused in both ways in bird song. But Mr. Moore's shake must be rare 

 in bird music, and is certainly not worth bothering our heads about. 

 Ornithological literature abounds in the use of the word trill, describing 

 these phenomena of bird songs. Yet our critic considers these writers all 

 wrong because this trill is not one in the strict, narrow, musical use of the 

 term. He further concludes that my records are rendered inaccurate for 

 the same reason, although even to Mr. Moore, who supposed all trills were 

 shakes, what I meant by trill was perfectly plain. 



Mr. Moore objects to the term "graphic method" because the old system 

 is also graphic. In the broadest sense of the word "graphic" he is right. 

 But "graphic method" has become particularly associated in recent years 

 with methods of recording various facts, mathematical and otherwise, by 

 the use of coordinates. In that sense this title is particularly appropriate. 



My aim in introducing the graphic method was to show that more 

 accurate methods than the old system of musical notation could be devised. 

 The old method, when applied to bird songs has been almost universally 

 recognized as a failure. A familiar bird song, written on the musical scale, 

 looks unfamiliar, even to the man who understands musical symbols. 

 The result when it is played on the piano with an accompaniment of chords 

 is absolutely ludicrous. Anyone can see that the reason for this is the 

 inaccuracy of the old method, in its attempts to put together a method and 

 a variety of music that were not made for each other. The graphic method 

 does away with these difficulties, as well as the temptation to write chord 

 accompaniments and to play the song on the piano. It records the song 

 simply and naturally, and so graphically that anyone can see its meaning 

 at a glance. It becomes familiar after very little study, and its use in the 

 field is much easier than the intricate system of symbols of the old method. 

 In a word it is far more accurate, far more comprehensive and far more 

 simple. 



I do not wish to convey the impression that I believe the graphic method 

 perfect. Seldom if ever is a new idea brought out by one person that 

 cannot be improved by someone else. I would gladly welcome suggestions, 

 criticisms or improvements that are constructive in nature, and not based 

 on misinterpretation, or evident wish to make unqualified condemnation. 

 I believe thoroughly in the principle back of the graphic method, and I am 

 willing to leave its fate to the test of time, having confidence that the old 

 method with its inaccuracies and complications must go, and that in the 

 future either this method or something based on similar ideas will be 

 generally used by students of bird song. I hope in some future time to 

 present more studies of bird song based on the graphic method, and after 

 further field study to go into the subjects of intensity and pronunciation 

 more deeply. 



Aretas a. Saunders. 

 New Haven, Conn. 



Oct. 30, 1915. 



