WARBLING VIREO. 



the notes are closely connected together and seem to be 

 rolled around in his bill like a sugarplum, but ift spite of 

 this effect they are apparently delivered staccato; the 

 last note in particular is struck and left abruptly, as 

 though it were red-hot! Finally, it is evident that a 

 slight overtone distinguishes every note, that each note 

 gathers force as it goes, and that the last one will be 

 found to be the highest in the great majority of songs. 

 Although, note for note, the first phrase of Chopin's wild 

 but beautiful Impromptu Fantasia does not correspond 

 with this Vireo's song, it can not be denied that there is 

 a striking similarity in the construction of the two frag- 

 ments: 



ped. 



Both bits of music roll triumphantly toward a high note 

 in a sort of spontaneous ebullition of feeling, and there 

 the matter ends with the Vireo; but Chopin goes on, 

 and his sprightly embroidery of tones is ultimately suc- 

 ceeded by the more substantial form of a slow and 

 dignified melody. If we take the Vireo's song and give 

 it the advantage of a harmonious setting, the result is 

 not a bad one: 



