412 
The Ohio Naturalist. 
[Vo]. HI, No. 6, 
The second theme (£) illustrates this variety. I have five or six 
independent songs among my notes, bnt every one contains that 
particular sequence. 
The tempo was decidedly rapid, the eight bars not occupying 
over four seconds in utterance and producing an impression of 
vigor and dash. During this lively delivery the loudness was 
noticeably modified. In the common form of the song there was 
a sharp crescendo on the first two bars to a maxium on the high 
notes followed by a diminution on the fifth, then a slighter rise 
and lastly a diminuendo on the final bars. This feature is char- 
acteristic of the sparrows and is one of the chief charms of their 
singing. 
The fox sparrow sings, it is clear, a real “ tune ” with expres- 
sion and variety, a rapid little melody suggesting dance music of 
a pastorial character. But were this the only charm to notice he 
could not be ranked above the song, vesper or field sparrows, and 
in fact as ordinarially heard the fox sparrow does not produce any 
impression of superiority. As a rule during the migrations — 
always, as far as I have observed, in autumn— the fox sparrow 
sings in a half voice with perfect distinctness, but without volume 
or resonance. He gives the notes above figured with a somewhat 
chirping articulation, although never sharply staccato, sometimes 
twittering and occasionally trilling a little toward the end. 
Heard when singing in this fashion simultaneously with the song 
and vesper sparrows he is more flowing but not superior in form 
and is less brilliant in execution. But let the fox sparrow be 
moved to use his full voice and the whole song is transformed. 
Three times only have I heard this happen, but the effect was 
decidedly startling and it made a lasting impression. On two of 
these occasions the birds remained in full song for several minutes 
and from these my observations are taken. In the first place the 
whole enunciation is altered, the notes are no longer chirped but 
poured out in a series of full sustained tones which run into one 
another so that the song becomes a legato warble. The form 
remains unaltered, the tempo the same, the pitch is not changed 
but the different delivery makes it seem like a wholly new song. 
Under this form of utterance the vocal modulation becomes much 
more noticeable, the crescendo to the high notes and the quick 
drop after them more effective. It is this feature which gives a 
decidedly emotional quality to the song. It suggests the human 
voice for it surpasses in range and suddeness of change anything 
in the power of a wind instrument. 
The voice of the fox sparrow in its full power is clear, sustained 
and rendered rich by overtones. It has not of course the metallic 
vibrant ring of the thrushes or the bobolink, it is rather the 
sparrow or finch voice at its best, a whistle full of sweetness with 
continual accompanying changes in timbre. 
