123 
The Honey-eaters : The Tui 
flute-tones, but they were unmistakably call-notes. In (29), 
too, the call-notes followed others;—the opening notes uttered 
at the rate of three quavers a second—that is, quaver, rest, and 
quaver—sounded like the ring of a bell through the horn of a 
gramophone; these were heard occasionally in January, 1917. 
In (30), heard on Banks Peninsula at the end of 1913, the 
call-notes were combined with other sounds and notes, making a 
simple song. The full theme was sung only a few times, being 
more often discontinued at bar 3, this portion of the song occu¬ 
pying from three to four seconds in utterance. Less often it 
included all up to bar 4. The sound of all the notes was flute¬ 
like, the concluding ones only lending themselves to vocalization. 
The notes in bars 3 and 4 were varied a great deal; instead of 
e four times repeated, they might open on /, a ninth higher, and 
run f, a, g, f, or other intervals. Whilst singing the bird sat with 
head thrust out and upwards, until the kraw was uttered, when 
the head was lowered and thrust downwards, and held so during 
the utterance of the second four notes. In bar 4 the second note 
was varied, occupying any position in the octave between 
e and e 1 . At times the low notes of bar 3 were preceded by 
runnel-notes in triplets, as in (31). Even the pure bell-notes vary 
in the way in which they are uttered. In December, 1908, a 
single note, f 1 , was uttered as a call-note, one single note, 
sounded at intervals. It was explosive, but very clear and bell¬ 
like; and if the pop of a cork could be imagined as a clear 
sound, it was as if the note popped like a cork from a bottle. 
There is a series of jangles that the tui often sang at Stony 
Bay on Banks Peninsula in January, 1912, either during flight, 
or immediately before or after, as if to announce his coming and 
going. The jangle shewn in (32) was often confused from a 
beautiful jangle to an elfin juggle of bells, when it was difficult 
to distinguish either pitch or interval, though the last long- 
drawn note was usually definite, and often remarkably sweet. 
The jangle (33) was very often heard, the whole lasting little 
over a second, the sound being open and bell-like, yet faintly 
vocalized: the second e was often d. This jangle varied slightly 
and was often confused almost to a juggle by the introduction 
