THE MUSICAL SCALES OF THE THRUSHES. 



a most admirable example of the pentatonic .scale in its 

 crooning street call of the old-time negro chimney-sweep 

 of that city: 



Observe the G sharp in the ascending scale which replaces 

 the F in the descending scale. That is an absolutely con- 

 sistent pentatonic variation which is employed by the 

 Thrush in themes 1 and 3 where he sings the semitone E 

 instead of the tone D in scales one would be justified in 

 thinking should consist of C, D, F, A, C and F, A, C, D, F, 

 (see also theme 1 and other pentatonic forms on page 260). 



Although the Nightingale frequently touches upon this 

 expressively scale there is no evidence that he is able to 

 amplify it with the ability which distinguishes the Hermit 

 Thrush. The foreign songster possesses a wonderful voice, 

 the American songster a wonderfully constructed song. 



Often the Wood Thrush resorts to the pentatonic form 



applause by Mrs. C. E. Horn. The words written expressly for her 

 by G. P. Morris. Esq. The melody and arrangement composed and 

 respectfully dedicated to The St. Nicholas Society by Charles E. 

 Horn, New York. Published by Davis & Horn, 1838." Horn in 

 those days was a celebrated musician and composer formerly con- 

 nected with the Princess's Theatre, London. He was finally conduc- 

 tor of the Handel and Haydn Society, Boston. George Pope Morris 

 was none other than the poet who wrote the famous "Woodman, 

 Spare that Tree." 



xl 



