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at all times, this miftake of the pitch can never hap- 
pen in them. 
Few fingers again can continue their own part, 
whilft the fame paflages are fung by another in a 
different kev ; or if the fame or other p adages are 
fung, fo as not to coincide with the mufical bar, or 
time of the firft finger. 
As birds however adhere fo fledfaftly to the fame 
precife notes in the fame paffages, though they never, 
trouble themfelves about what is called time in mufic ; 
it follows that a compofition may be formed for two 
piping bulfinches, in two parts, fo as to conftitute 
true harmony, though either of the birds may hap- 
pen to begin, or flop, when they pleafe. 
I have therefore procured fuch an ingenious com- 
pofition, by a very able mufician *, which 1 fend 
herewith j and it need fcarcely be obferved, that 
there cannot poffibly be much variety in the part of 
the fecond bulfinch. [See Tab. XT.] 
Though feveral birds have great mufical powers, 
yet they feem to ’have no delicacy of fenfations, as 
the human finger hath ; and therefore the very bed 
of them cannot be taught to exceed the infipidity of 
the upper part of the flute flop of an organ -f*, which 
hath not the modern improvement of a fwell. 
* Mr. Zeidler, who plays the violincello at Covent Garden 
theatre. 
f Lord Bacon mentions, that in the inftrument called a regall 
(which was a fpecies of portable organ), there was a nightingale 
flop, in which water was made ufe of to produce the Wronger 
imitation of this bird’s tone. See Cent. ii. exper. 172. Though 
this inftrument, as well as its Nightingale ftop, is now difufed, 
I have procured an organ pipe to be immerfed partly in water, 
which, when blown into, hath produced a tone very fimilar to 
that of birds. 
They 
