Dr. Coues found this species a common and permanent resident in Arizona, and he pronounces its habits, manners, and voice precisely like those of _M. melodia_. This species, he states, occurs throughout New Mexico, Arizona, and a part of Southern California, and is particularly abundant in the valley of the Colorado. Dr. Kennerly observed this species only along Pueblo Creek, in the month of January. It did not confine itself to the open valley, but was often seen among the thick bushes that margined the creek, far up into the Aztec Mountains, where the snow covered the ground. In its habits it resembled the _Poospiza belli_, being very restless and rapid in its motions, accompanying them with a short chirp, feeding upon the seeds of the weeds that remained uncovered by the snow. Its flight was also rapid and near the earth. The bird being very shy, Dr. Kennerly found it difficult to procure many specimens. According to Mr. Ridgway, the Western Song Sparrow is one of the most abundant of the resident species inhabiting the fertile portions of the Great Basin. It principally occupies the willows along the streams, but is also found in _tulé_ sloughs of the river valleys. From a long acquaintance with the Western Song Sparrows, Mr. Ridgway is fully convinced of the propriety of recognizing this as a distinct variety from the eastern _M. melodia_. In all respects, as to habits, especially in its familiarity, it replaces at the West the well-known Song Sparrow of the East. When first heard, the peculiar measure and delivery of its song at once attracts attention. The precision of style and method of utterance are quite distinct and constant peculiarities. The song, though as pleasing, is not so loud as that of the eastern Song Sparrow, while the measure is very different. He noted the syllables of its song, and found them quite uniform. He expresses the song thus: _Cha-cha-cha-cha-cha—wit’—tur’-r-r-r-r-r—tut_. The first six syllables as to accent are exactly alike, but with a considerable interval or pause between the first and second notes. The second to the fifth follow in rapid succession, each being uttered with deliberation and distinctness. Then comes a pause between the last “cha” and the “wit,” which is pronounced in a fine metallic tone with a rising inflection, then another pause, and a liquid trill with a falling inflection, the whole terminating abruptly with a very peculiar “tut,” in an entirely different key from the other notes.