SOINU SPARROW. 



identification, it is too variable to be depended upon. 

 One song is likely to be in two-four and another in 

 three-four time, and the listener is compelled, rather, to 

 listen to those striking mannerisms of the singer, which 

 will none the less surely reveal his identity. 



Now the style of the Song Sparrow is unmistakably 

 evident, he devotes himself to pure, simple melody, and 

 is in consequence the best exponent of the song motive 

 among all the members of the feathered tribe. The 

 Oriole may sometimes equal, but he can never excel him 

 in this respect; moreover, the Oriole lacks versatility. 

 It is short work to make such a statement, but it takes 

 a month's study of the Song Sparrow to establish the 

 fact beyond peradventure and produce a sufficient num- 

 ber of incontestable proofs. Here is the song of a bird 

 who, like the rest of his tribe, knows all about the dotted 

 note which adds half again to its value: 





Here the birdsang2octa.ves higher' 



Ee5 



AA/V VNA/V 



fe 



=B*=5 



Fitzl ftiijitzl wee sir -wee sir -wits wits! 



These fmt three notes 





ped. 

 records that ~httow &!*& sku jrifchf'd in ~the 537ff& highest oetctv&. 



There are swing and accent to these few tones which 

 perfectly express an exultant feeling, something akin to 

 that so eloquently given in the first bars of Siegmund's 

 Love Song in the Nibelungen Lied : 



To be sure I enlarge the musical significance of the 



Sparrow's song-by setting it to a piano accompaniment, 



in 



