74 Bird- Song : and New Zealand Song Birds 
of (2) and (3) ; it is as though another bird concluded with 
(4) on the white-head opening with (2), but I have many times 
watched the bird whilst singing the two parts combined. I 
have heard one sit warbling (2) and (3), another answering 
with (2) alone. The notes of (2) are, in quality and fall, almost 
like the song of the chaffinch; and the combined call (2) (4) 
is on the same model as the song of the chaffinch,—a falling 
opening with a flourish at the close. When the combination 
(2) (3) (5) is sung, the result is rather plaintive, owing to the 
slurred crotchets at the close; usually the calls are loud, bright, 
vigorous, and cheerful. The combination call (2) (3) is uttered 
in about a second and a half; but it must be remarked that the 
tempo varies exceedingly,—from about 5 to 10 quavers a 
second,—and that, too, within very short intervals of time; 
the bird would appear to become momentarily excited, when 
the notes increase both in tempo and in loudness. The com¬ 
bination (3) (4) may be varied as (6) where again the low 
notes are clear whistles. The slur enters into other calls, as 
(7). This may be sung, at intervals, many times in succession, 
occupying a second and a half; at times there is a vibrato on 
the slur. The slur of (8) is at times sung as (11), being pre¬ 
ceded by fuller, slower whistles, notes richer and more 
deliberate than the ordinary impatient warble-notes. The time 
taken by (11) is from a second and a half to two seconds. The 
opening notes are occasionally sung alone, the e flat being from 
one to three in number. The half-song (8) is also, at times, 
followed by the higher down slurs (9) and (10), sometimes one, 
sometimes both; and (8) may then be repeated. The full 
phrase (11), (9), (10), (9), (8 ), or like combination, forms 
the rudiment of an agreeable song. The number of semiquavers 
in (8) and (11) is quite indefinite. The notes of (12) and (13) 
make up phrases that suit well for song-building; the lower 
notes, as usual, are fuller and richer than the upper, and (13) 
has a plaintive close;—the notes b and g are not slurred, though 
they seem connected in the phrasing, as if an intended slur were 
broken by a momentary closure, keeping both notes pure. There 
is a faint vibrato on the g, though not always present. 
