New suggestions, aroused by the clavier, are constantly being introduced. Prelude xxiv. has a stiff structure. The Passamezzo-Pavan and Galliard (Nos. 56 and 57) present broken chords as a genuine clavier-motif, and the most delicate canonic repetitions by means of a thematic modulation from the key of F to that of G. Very neat is the descending D C A in the seventh galliard-variation alternating with E D B. Bird is particularly fond of writing a passage based on a chord of F, and immediately followed by another based on G. This is akin to the practice of the drone in bagpipes, and has analogy with the ancient “Pes,” or “pedal” two-part vocal accompaniment in “Sumer is icumen in.” The similarity to the bagpipe drone is rather striking in “The woods so wild” (Fitzwilliam Virginal Book, No. 67) or in “The Bells,” where the lower bell voices repeat themselves in a way that reminds us of the pedal bass of Chopin’s Berceuse. The rich technique of “Fortune” (No. 65), the wealth of figures in “O Mistress Mine” (No. 66), the harmonies of the Passamezzo dances (Nos. 56 and 57), cling to the memory. But chief are his two most modern clavier-pieces--the variations on “The Carman’s Whistle” (No. 58) and “Sellinger’s Round” (No. 64, where the piece is complete, not abridged as in Pauer’s edition). These have often been issued in popular form, and in Pauer’s collection are provided with modern execution marks. “The Carman’s Whistle” is a perfected popular melody, one of those tunes which will linger for days in our ears. At the beginning of the third and fourth bars Bird sets the first and second bars in canon, in the simplest and most straightforward style. Next come harmonies worthy of a Rameau, with the most delicate passing notes. In the variations certain figures are inserted which are easily worked into the canonic form, now legato with the charm of the introduction of related notes, now diatonic scales most gracefully introduced, now staccato passages which draw the melody along with them like the singing of a bird. Finally fuller chords appear, gently changing the direction of the theme. From first to last there is not a turn foreign to the modern ear.