79 
The Brown Creeper 
repeatedly heard the whole, (a) to (/) inclusive. There are 
several enharmonic notes, but they are unfalteringly sung; the 
whole song is full and confident, the only traces of hesitancy 
being in the diminuendo in the almost chromatic runs in (c) 
and (/), and this is probably hesitancy only in appearance. 
There is a strong vibrato on the crotchet of each slur; and the 
accent which falls on the third note of the triplets in (a) and 
(&), is transferred to the first note in (d) and (e). When 
singing the full song, the bird moves its head from side to side 
as it sings, its tail quivering with each vibrato. The call (2) is 
uttered with no melody preceding or following. 
On one occasion, there being little bird song sounding, I was 
playing Schubert’s ‘'Fisher Maiden” to myself, when four 
creepers perched close beside me singing most energetically; and 
the louder I whistled, the louder and faster they sang, throats 
throbbing, tails quivering—so delightful a sight that I was loth 
to discontinue. When I desisted, they did also, and went about 
their ordinary business. 
A graceful variation is shown in (3), where twos take the 
place of triplets, as often happens, too, in the song of the 
warbler. The vibrato is on a curiously slurred note, and the 
