The importance of the inferior singers in making up a general chorus is not always appreciated. In an artificial musical composition, as in an oratorio or an anthem, though there is a leading part, which is commonly the air, that gives character to the whole, yet this principal part would often be a very indifferent piece of melody, if performed without its accompaniments. These accompaniments by themselves would seem still more unimportant and trifling. Yet if the composition be the work of a master, however trifling and comparatively insignificant these brief strains or snatches, they are intimately connected with the harmony of the piece, and could not be omitted without a serious derangement of the grand effect. The inferior singing-birds, on the same principle, are indispensable as aids in giving additional effect to the notes of the chief singers. Though the Robin is the principal musician in the general orison of dawn, his notes would become tiresome, if heard without accompaniments. Nature has so arranged the harmony of this chorus, that one part shall assist another; and so exquisitely has she combined all the different voices, that the silence of any one can never fail to be immediately perceived. The low, mellow warble of the Blue-Bird seems a sort of echo to the louder voice of the Robin; and the incessant trilling or running accompaniment of the Hair-Bird, the twittering of the Swallow, and the loud and melodious piping of the Oriole, frequent and short, are sounded like the different parts of a regular band of instruments, and each performer seems to time his part as if by design. Any discordant sound, that may happen to be made in the midst of this performance, never fails to disturb the equanimity of the singers, and some minutes must elapse before they recommence their parts. It would be difficult to draw a correct comparison between the different birds and the various instruments in an orchestra. It would be more easy to signify them by notes on the gamut. But if the Robin were supposed to represent the German flute, the Blue-Bird might be considered as the flageolet, frequently, but not incessantly, interposing a few mellow strains, the Swallow and the Hair-Bird the octave flute, and the Golden Robin the bugle, sounding occasionally a low but brief strain. The analogy could not be carried farther without losing force and correctness.