The Wren-Tits 
that defining consonants would be meaningless— lido — hoo — hoo—hoo hoo 
hoo hoo hoo hoo. The tempo is sharply accelerated after the three or 
four leisurely opening notes; but the concluding portion scarcely attains 
the speed of a trill. The effect, whether of antiphony or medley, produced 
by two or more singers seated on opposite sides of a brushy draw, is 
charming in the extreme. 
A variant of this major call consists of an unmodified series of the 
same staccato notes without the accelerando, but the tempo of the whole 
is faster than the opening of the first series hoo hoo hoo hoo, etc., to a 
dozen or more. 
A third series, also musical, seem intended for more domestic uses, 
since it is more restrained in volume and is delivered ofttimes in close 
proximity to fellows. After three or four preliminary notes the “main¬ 
spring” seems to break, and the whole works run down suddenly in 
a slurred trill, and with a slight loss of pitch, thus: tic-tic-tic- 
tic trrrrr. 
Fourth, a faint single note of inquiry—oftenest passed between 
birds who are quietly investigating a would-be investigator. 
Fifth, a faint low “chuck” of apprisal or reassurance exchanged 
between birds hunting together. This is also the note used by the 
parent bird in approaching her young. 
Sixth, the ratchet and pawl, or wooden clicking notes delivered 
in contiguous succession of series, dididididit, dididididit, dididididit. 
This is a note of concern, a protest against an intruder, or an adverse 
report made by the investigating committee. 
Seventh, notes of about the same quality as the last, uttered in 
unbroken series—evidently delivered under high stress of emotion, 
but the exciting cause oftenest non-human. 
Eighth, a hissing churr, very difficult of description, which the 
bird utters only at close range in defense of her nest. 
Besides these regular numbers there are individual variations galore, 
and special outcries which merit further study. 
The problem of the derivation of Chamcea is one which challenges 
speculation. The taxonomic placing of the Chamceidce has been the 
despair of American ornithologists ever since its discovery, and it owes 
its present position (vide A. O. U. Check-List), between the Paridce and the 
Sylviidce, to indolence or extremity rather than to inspiration. “Wren- 
Tit” may pass as a nickname, but the bird resembles neither a Wren 
nor a Titmouse, either in voice, appearance, or action. It is not vivacious 
or “nervous” like the Wren, and if it carries its tail loosely as does a 
Gnatcatcher, it is the only habit shared in common with the Sylviidce; 
while as to the Paridce, the Wren-Tit never indulges the upside-down 
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