APPENDIX. 6$$ 



under him, I always found that the notes reducible 

 to our intervals of the o&ave were precifely the 

 fame j which is another proof that birds fing al- 

 ways in the fame key. 



In this circumftance, they differ much from the 

 human finger -, becaufe they who are not able to 

 fing from the notes, often begin a fong either a- 

 bove or below the compafs of their voice, which 

 they are not therefore able to go through with. 

 As birds, however, form the fame paffages with 

 the fame notes, at all times, this miftake of the 

 pitch can never happen in them. 



Few fingers again can continue their own part, 

 whilft the fame paffages are fung by another in a 

 different key ♦, or if other paffages are played, 

 though they may agree both in harmony and time. 



As birds however adhere fo ftedfaftly to the fame 

 precife notes in the fame paffages, though they 

 never trouble themfelves about what is called time 

 or harmony in mufic ; it follows that a compofition 

 may be formed for. two piping bulfinches, in two 

 parts, fo as to conftitute true harmony, though ei- 

 ther of the birds may happen to begin, or flop, 

 when they pleafe. 



I have therefore procured fuch an ingenious 

 compofition, by a very able mufician*, which I 

 fend herewith \ and it need fcarcely be obferved, 



* Mr. Zeidkr, who plays, the violincello at Covert Garden 

 theatre, 



that 



