BIRDS OF NEW YORK 417 



and the Hudson valley it is recorded as common or abundant; during 

 other seasons as uncommon, and sometimes as rare. During 15 years of 

 observation in western New York, however, my experience indicates that 

 it is nearly as common as the Blackburnian warbler and almost as regular 

 in migration. The dates of arrival range from May 3 to 16, May 12 being 

 about the average. An exceptionally early date of April 30 is recorded 

 at Branchport. The last migrant is usually seen between the 25th and 31st 

 of May. In the fall they make their appearance from the i6th to the 

 24th of September and pass southwaird from the i8th to the loth of October. 

 The average date of spring arrival in southeastern New York is recorded 

 by Cook and Chapman as May 8. 



Haunts and habits. The Bay-breasted warbler usually frequents the 

 tops of deciduous trees during migration, being especially fond of chest- 

 nuts, oaks and hickories just as the leaves are bursting. It is also found 

 in orchards and about the shade trees of the streets and parks as well as 

 in the midst of woodlands. Like the Black-poll, in my experience, how- 

 ever, it prefers the upper portions of trees except in cold or stormy weather 

 when they descend and feed among the underbrush. 



The song is described by Farwell as a " weak, monotonous, saw-filing 

 note." Gerald Thayer says: " It varies greatly, from the bases of at 

 least 2 and probably 3 clearly distinct main songs. One of these — 6 or 

 more barely separated lisping notes — are all alike in volume, accentuation, 

 tone and speed. They are slightly louder than the avetage Black-poll 

 notes and not quite so smooth in tone. Another song begins in about 

 the same way but ends with 3 or 4 clearly separated, louder notes which 

 have a more nearly full-voiced ring. The third uncommon song which 

 I have all but surely traced to the Bay-breast is louder throughout and 

 otherwise very different, begins with about 10 penetrating notes in close- 

 knit couplets like those of the Black and white's shorter song, and much 

 the same tone but louder, and it ends abruptly with a single lower toned, 



much richer note, like a fragment of the Ovenbird's song." 

 27 



