FAMILY Mniotiltldas. 



te-dum', te-di&dle-te-dee ! Langille compares the first 

 half of the song to that of the Black and White Warbler, 

 and the last half to that of the Chipping Sparrow, which, 

 as the saying goes, is not half bad! But a full knowl- 

 edge of time in music, and the comparative vali 

 notes, knocks all comparisons like that endways. Com 

 pare my notations of the Black and White Warbler's 

 music with those of the Nashville, further on, and the 

 difference will become apparent at a glance. One bird 

 tsips back and forth evenly, the other does not; one 

 goes with a measured pace, the other, so to speak, lame- 

 legged! Perhaps some will think this is a bit of hair-split- 

 ting discrimination, but it is nothing of the kind; on the 

 contrary, it is a simple elucidation of one of those subtile 

 differences in bird songs (particularly Warbler's songs) 

 upon which we must depend for a more perfect knowl- 

 edge of bird music. Here is my notation of the song 

 previously expressed in the series of dots: 

 ?sto 3-timn Sva. 



a 



frr-che per-che per-chf per-c/re per-chipy-cherpcf. 

 There are few varieties to this form. Rev. J. H. Lan- 

 gille represents the song in syllables thus: " Ke-tsee, ke- 

 tsee, ke-tsee, chip-ee~chip-ee-chip-ee-chip," which shows 

 that his bird sang only three slurred double chirps, but 

 added two more trill notes to the tail end of the song 

 than my bird did. But I have also another form where 

 the trilled notes are low instead of high, thus: 

 Presto. 



i 



7e-dum, te-aurn, te-d&m, te-dS.ni, te-did-d/e-te-de-de 

 and still another where the bird "doubled-up" on the 

 two first rapid trill notes in this fashion: 



Prfjto. 





170 



