Page:Popular Science Monthly Volume 39.djvu/263

From Wikisource
Jump to navigation Jump to search
This page has been proofread, but needs to be validated.
THE MUSIC OF THE BIRDS.
251

the family was instantaneous; not another move or peep. The descent noted is similar to that made by the screech-owl. The intervals are identical; but the hen slides down with an oily smoothness, while the owl, as elsewhere shown, comes trembling, shivering down.

Being an hour late with their breakfast one morning, I was received by the feathered supplicants with unusual demonstra-tions. They crowded about me so closely I could hardly step without treading on their toes. With heads lifted much higher than one would think they could be, and eyes shining, their tones and inflections were exceedingly human. Like all birds, wild or tame, hens employ, ascending and descending, the intervals of our scale, except in cases as above described; they use the half-step and whole step, the major and minor thirds, the fourth, fifth, and sixth, with a good sprinkling of chromatics. In this instance, every degree of the staff was brought into requisition, the slide of a fourth upward occurring oftenest.

{ \override Score.TimeSignature #'stencil = ##f \relative f'' { \cadenzaOn f8. f16 f8 f r\fermata d d r\fermata a d r a16 a a d8 \bar "||" }
\addlyrics { Wait, wait, wait, wait, wait, wait, ok, ik, ok, ok, ok, ik. } }


The notes of one hen were all the same, and piano:

{ \override Score.TimeSignature #'stencil = ##f \key f \major \repeat volta 2 { \autoBeamOff bes'16\p bes' bes' bes' bes'8 r } }
{ \override Score.TimeSignature #'stencil = ##f \key f \major \relative c' { \cadenzaOn c8\( f4->\) r8 c8\( f4->\) r8 a16 a a a a r8 f r r f1\fermata\startTrillSpan s8\stopTrillSpan \bar "||" }
\addlyrics { o -- ark, o -- ark, ark, ark, ark, ark, ark, ark, ark. } }
{ \override Score.TimeSignature #'stencil = ##f \relative e' { \cadenzaOn ees8( aes) ees aes ees aes r ees1 \bar "||" } }


But the rooster's petition "led all the rest." Striding about in the rear, an occasional brief command attesting his title of "captain," at length he burst out into this sonorous strain:

{ \override Score.TimeSignature #'stencil = ##f \key bes \major \relative d' { \cadenzaOn d4\fermata^"m" d8 d4\fermata r1\fermata ees4 ees r1\fermata d4\fermata\glissando f\fermata f8 r1\fermata d4^"cres."\glissando g8. g16 g8 r2\fermata bes8.^"f" bes16 bes8 \bar "||" }
\addlyrics { Wauk, wauk, wauk, wauk, wauk, wauk, _ wauk, wauk, _ wauk, wauk, wauk, wauk, wauk. } }


The captain's voice was round and powerful, and his intonation perfect. The slides of the third and fourth were carried up with a noble crescendo; and, when he rose to the tonic at the close, the effect was thrilling as that of a clarion blast. What