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A Hybrid Hummingbird?

A Hybrid Hummingbird?

Rich Hoyer has posted photos and spectrograms of an apparent Calypte x Archilochus hummingbird at his blog this morning.  He’s also posted a sound file in the “mysteries” section of Xeno-Canto.

I’m no expert in the visual identification of female hummingbirds, so I can’t make too many comments on his photographs, but the vocalizations of hybrid birds are of long-standing interest to me, so his sound files and spectrograms certainly got my attention.  A morning’s investigation convinced me that the sound file he posted does indeed provide good evidence that the bird at his feeder could be a hybrid, probably the progeny of a Black-chinned Hummingbird and a Costa’s Hummingbird.

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Female Black-chinned Hummingbird, Moab, Utah, June 2006. Wikimedia.org (Creative Commons 3.0).Male Costa's Hummingbird, 16 April 2009. Photo by Chris Fritz (Creative Commons 2.0).

According to the excellent Hybrid Hummingbirds page at Trochilids.com, the hybrid combination of Black-chinned x Costa’s (which seems most likely for Rich’s bird given his comments on its plumage) was documented by Short & Phillips (1966), so if the bird is confirmed to be of that mix, I believe it would be the third documented such hybrid and the second known female.

Rich has already posted some spectrograms over at his place, but I’m going to go ahead and supplement his with some of my own.  Since the fine details of hummingbird chips are pretty fine indeed, I’ve zoomed these things in MUCH farther than usual and widened the filter bandwidth for better time resolution.

First, here’s the typical chip of a female Black-chinned Hummingbird:

Black-chinned Hummingbird call, Pima County, AZ, 5/13/2009.
Black-chinned Hummingbird call, Pima County, AZ, 5/13/2009.

Note the downslurred intonation and the strong partials, with the third one strongest.  If this call lasted 20 times longer, we would hear its nasal tone quality.  Since it’s so brief, we just hear a high-pitched, fairly clear downslurred “squeak.”

Here’s the standard call of the female Costa’s Hummingbird, first at the same zoom level as above, then zoomed out to a slightly more sane perspective:

Costa's Hummingbird calls, Maricopa County, AZ, 12/24/1988. Recording by S. Gaunt. Borror Library #16973.
Costa's Hummingbird calls, Maricopa County, AZ, 12/24/1988. Recording by Sandra Gaunt. Borror Library #16973.
Same as above, zoomed out slightly in the time axis.
Same as above, zoomed out in the time axis.

(Click here to listen to the audio at the Borror Lab’s website. It takes a bit for the bird to call.)

Obviously, the calls of Costa’s and Black-chinned Hummingbirds are extremely different on the spectrogram, and they can even be distinguished easily by ear with experience.  As Rich’s spectrograms show (and my research has so far corroborated), Costa’s is the only hummingbird in the Calypte/Archilochus group with an upslurred call note (actually an overslur, as you can see above) — and the upslurred beginning of the Costa’s call is often perceptible to the ear.  Black-chinned, Ruby-throated, and Anna’s all have perceptibly downslurred calls.

The calls of Black-chinned and Ruby-throated are by far the lowest-pitched, with many harmonics visible; they are less sharply inflected and therefore more musical than the calls of Anna’s Hummingbird, which start at a far higher pitch (around 9 kHz) and descend much more quickly, giving them a less musical “ticking” quality.

The hybrid at Rich’s feeder has downslurred calls with many visible harmonics, much like a Black-chinned Hummingbird, except higher-pitched and more sharply inflected:

Possible hybrid hummingbird, Tucson, AZ, November 2009. Recording by Rich Hoyer.
Possible hybrid hummingbird, Tucson, AZ, November 2009. Recording by Rich Hoyer.

(again, click here for Rich’s audio at Xeno-Canto.)

By itself, the higher pitch and sharper inflection (noted by Rich’s keen ears as “too high and percussive for Black-chinned”) didn’t at first convince me the bird was a hybrid.  A careful reading of Rusch et al. 1996 finds mention of a rather similar vocalization from Black-chinned Hummingbird, which the authors called the “E note,” but even this note is not high-pitched enough to match the hybrid, and it is apparently never given outside the complicated chatters that hummingbirds make when sparring with each other.  The same apparently holds true for Ruby-throated Hummingbirds (Rusch et al. 2001).  So Rich’s recording is at least suggestive of hybridity.

But here’s something even more interesting: not every note on Rich’s recording is identical.  Most of the calls on the cut actually start with a slight but noticeable upslur:

Same bird as above.
Same bird as above.

And sometimes it is very pronounced:

Same bird as above.
Same bird as above.

Although I don’t think it constitutes proof, this definitely suggests to me that the bird has some Costa’s Hummingbird genes.  Rich, I think it’s time to contact your friendly neighborhood hummingbird bander.  And keep that microphone running!

Learn to Record Birds

Learn to Record Birds

When I took the Sound Recording Workshop in 2004, Evening Grosbeaks were everywhere. Photo by Jean-Guy Dallaire (Creative Commons 2.0).
During the Sound Recording Workshop in 2004, Evening Grosbeaks were everywhere. Photo by Jean-Guy Dallaire (Creative Commons 2.0).

Some people have asked how I learned to record bird sounds.  The answer is simple: in 2004, I took the Macaulay Library’s annual Nature Sound Recording Course in California.  If you’re interested in getting into audio recording in nature, I can’t recommend this course more highly.

The price ($945 in 2010) is tremendously reasonable, given that it includes all the personal attention, intensive training, transportation to local recording locations, amazing (though rustic) accommodations, and great food that you get for the entire week of the course.  It’s held in a spectacular area of the country that allows participants to record in at least four completely different habitats in as many days, all the way from the sagebrush steppe and cattail marshes of the valley floor to the high-elevation spruce-fir forest and willow carrs of Yuba Pass and vicinity.

I arrived at the Sierra Nevada Field Campus never having wielded a microphone of any kind, never having worn recordist’s headphones, never having analyzed a single bird sound spectrographically.  I didn’t own a single piece of recording equipment.  Luckily, however, the Library was able to lend me some.  In fact they lent me several different rigs over the course of the week, so that I gained experience recording in both analog and digital formats, through both parabolic and shotgun microphones.  In a way, since I had already decided I wanted to save money to buy equipment, the workshop turned into a kind of extended test drive of potential future purchases.  I was able to keep all the recordings I made, and they became the nucleus of the recording library I’ve been compiling since then.

If you get a chance to participate in this workshop, jump at it.  If there’s one thing this world definitely does need in my opinion, it’s more people running around pointing microphones at birds!

How to Read Spectrograms: Polyphony

How to Read Spectrograms: Polyphony

Well, the cycle is complete: Lesson Six on Polyphony is up.  I’d love feedback from experts in audiospectrographic analysis in particular, because I may have messed up on some of the details this time around.

Of course, no sooner do I finish my lesson than I think of all the ways in which I could improve and expand it.  I may work on that down the road.  Meanwhile, the six-part series on this site will teach you basically everything you need to know about reading avian audio spectrograms.  Enjoy!

How to Read Spectrograms: Nasality

How to Read Spectrograms: Nasality

I’ve finally posted Lesson Five on Nasality.  It’s a bit of a doozy, but I’m proud of it, especially since it’s getting into some territory that nobody’s really published on before, at least vis-a-vis psychoacoustics, since Peter Marler’s classic 1969 article “Tonal Quality of Bird Sounds“.

For that reason, and because I’m afraid I may have made it a little overly complex, I’m particularly interested in getting feedback on this page.  Let me know how it treats you.  One more installment is planned after this one, on polyphony…and then we’ll have covered it all!

Pacific Wren, Part One

Pacific Wren, Part One

Pacific Wren, Seattle, Washington. Photo by Tom Talbott (Creative Commons license 2.0).
Pacific Wren, Seattle, Washington. Photo by Tom Talbott (Creative Commons license 2.0).

The American Ornithologists’ Union Checklist Committee recently updated its slate of taxonomic proposals.  Lots of exciting stuff here, including proposed species status for our old friend, the South Hills Crossbill, and a split of Western Scrub-Jay.  The proposed split I want to focus on today, though, is one that’s long in coming, and quite likely to pass, in my opinion: the split of Winter Wren into eastern and western North American species.

Why split the Winter Wren?  For starters, eastern and western populations are 8.8% divergent in their mitochondrial DNA.  (Trust me, that’s a lot.)  Songs and calls differ diagnosably.  Furthermore, the two forms nest side-by-side in the northern Canadian Rockies without interbreeding.  Analysis of vocalizations and genetics haven’t turned up anything that really looks like a hybrid.  Really, this looks like a pretty straightforward split, even by the “old” biological species criteria.

So, it looks like come next summer, we’ll probably have a new taxonomy in the genus:

  • Winter Wren, Troglodytes troglodytes: breeding from east-central British Columbia east across Canada and down through the Appalachians; wintering in the eastern United States, mostly east of the Great Plains.  It’s highly likely that this species will eventually be split from the Eurasian birds, in which case the scientific name of our Winter Wren would revert to Troglodytes hiemalis, a direct translation of its common name in America (Eurasian birds are usually just called “Wren”).
  • Pacific Wren, Troglodytes pacificus: breeding in Alaska through the northern Rockies to the Yellowstone area and down the Pacific coastline to Central California; mostly non-migratory, though wandering casually southward in winter.  The distinctive Aleutian birds would be included in this species.

How do you tell the two apart by sound?  For today, we’ll look at the calls, which is the easiest way to identify them, especially in winter.

Calls

Winter Wren calls, Phillips County, Arkansas, 30 March 2006.
Winter Wren calls, Phillips County, Arkansas, 30 March 2006.
Pacific Wren calls, Humboldt County, California, 28 March 2009.
Pacific Wren calls, Humboldt County, California, 28 March 2009.

With direct comparison of soundtracks and spectrograms, the differences are obvious.  The Winter Wren’s call is much clearer, with discrete harmonic bands; both spectrographically and aurally it is reminiscent of the call of Song Sparrow.  The Pacific Wren, by contrast, has a call that is much noisier and higher-pitched, and, on average, slightly briefer.  It is often compared to the call of Wilson’s Warbler.  Although the call may not look higher-pitched on the spectrogram (since the minimum and maximum frequencies of both calls are about the same), note that the darkest part of the Pacific Wren spectrogram (and therefore the loudest part of the call) tends to concentrate around 6-7 kHz, while the darkest part of the Winter Wren spectrogram comes in at about half that.  This accounts for the perceptual difference in pitch.

In my next post I’ll look at how to tell these two species apart by song.  As these two are both fantastic singers, it will be a melodious post indeed!

Speaking of Quizzes

Speaking of Quizzes

Jason Beason just informed me of a brand new biweekly audio quiz set up by Rocky Mountain Bird Observatory at http://rmboaudio.blogspot.com.  I think this is a marvelous idea.  In fact I once harbored aspirations of running an online audio quiz of my own, but now that I actually have the means to run one (via this blog), I find myself reluctant to do it.  You can expect an occasional quiz like the one I just ran on crossbills, but I’m not planning on it as a regular feature.

The RMBO quiz will be the only regular, moderated bird sound quiz on the web, as far as I can tell.   There are certainly automated quizzes on the web — the Patuxent Bird Sound Quiz is fun — but I don’t know of any other blog-style audio quizzes whose challenges change on a regular basis.  Let me know if I’m missing any!

I find it odd that audio quizzes are so rare, but then I find it odd that photo quizzes are so rare also. I disagree with Kenn Kaufmann’s assertion that online photo quizzes are “legion.”  It’s quiz photos that are legion, not photo quizzes.  Anybody can post a photo of a mystery bird to the web, but it’s rare to find an outlet with the discipline to do it regularly, publish the answers with educational explanations, and keep track of the winners’ scores.

By the standard I’ve just laid out, for my money, the best moderated photo quiz in the world is Mr. Bill’s Mystery Quiz, now known as the Colorado Field Ornithologists Photo Quiz, which was started by Bill Maynard in 2003.  The ABA Online Bird Photo Quiz is also venerable, dating from the same year, but it only changes monthly, which means they’ve only published 78 quizzes so far.  Mr Bill is run weekly, so it’s on quiz 318, believe it or not!  If these are the two best and most regular photo quizzes on the web, can it be coincidence that Tony Leukering is moderating both of them at the moment?  The man is remarkable.

In addition to their audio quiz, RMBO is starting a photo quiz as well.  The CFO/Mr. Bill and ABA quizzes are geared towards intermediate to expert birders, while both RMBO quizzes are going to serve easier fare.  And I think that’s appropriate, especially on the sound side, since I find that sound quizzes tend to be harder than photo quizzes — particularly in the absence of information about the time and place of the recording.  I look forward to seeing (and hearing) what they post!

The Crossbill Quiz

The Crossbill Quiz

Last week I facilitated the Sound Identification Panel at the Western Field Ornithologists Conference, which is a wonderful privilege I have been treated to for each of the last four years.  For those who don’t know, the Sound ID Panel is an annual WFO tradition started by Sylvia Gallagher. In front of a large live audience, a moderator (that’s me) quizzes an expert panel on the identification of mystery bird sounds.  This year our panelists were Ted Floyd, Oscar Johnson, Jon Feenstra, Rich Hoyer, and Tayler Brooks, and I must say they did an outstanding job.  In collaboration with each other, and notwithstanding the occasional wrong answer, they managed to identify almost every mystery sound in the end, and believe me, that’s not an easy feat.

In 2009 I decided to cross a line I’ve been reluctant to cross in the past.  I put Red Crossbills in the mix.  It seemed natural, since the conference was in Idaho, home to the endemic South Hills Crossbill, and our keynote speaker was crossbill guru Craig Benkman.  I gave the panel the following quiz:

Red Crossbill Call Types: Matching

In this quiz you’ll hear one example of each of the four most common and widespread crossbill types in the western United States, listed below with the tree species they are believed to specialize on:

  • Type 2 (Ponderosa Pine)
  • Type 3 (Western Hemlock)
  • Type 4 (Douglas-Fir)
  • Type 5 (Lodgepole Pine, Rocky Mountain variety)

Plus, given the location of the conference, we’re tossing in the sedentary and range-restricted South Hills Crossbill, endemic to Idaho, which has been proposed as a separate species, Loxia sinesciuris:

  • Type 9 (Lodgepole Pine, South Hills variety)

Here are the sound clips in random order.

a.

b.

c.

d.

e.

How well can you do?  Answers will be posted in a subsequent message.

Back from Prewitt, Off to Boise

Back from Prewitt, Off to Boise

The Labor Day weekend was a busy, sleepless one for me: I helped Ted Floyd lead a three-day workshop on nocturnal migration for the ABA’s Institute for Field Ornithology.  We got up early all three days (ridiculously early on Monday, so that we could head two hours east to Prewitt Reservoir on the Colorado plains) and listened for the microscopic (microsonic?) flight calls of warblers and sparrows overhead in the dark.  Then, after it got light, we did some birding to correlate what we had heard with what we could see on the ground, and we fired up my computer for some spectrographic analysis of the morning’s “take.”  A good time was had by all.

I’d love to recap in more detail and post some of the weekend’s sounds, but that will have to wait until I get back from the Western Field Ornithologists Conference in Boise, tomorrow through Sunday.  Appropriately enough for a conference in Idaho, the keynote speaker is crossbill expert Craig Benkman, and at least one field trip will head to the South Hills for the endemic crossbill there.  I hope to return with better recordings of the elusive “Loxia sinesciuris” than I was able to get in April.  And, for the fourth year in a row, I’ll be chairing the Sound ID panel, which is always among the highlights of my year.

Look for more postings from me next week!

The Coolest Bird Sound

The Coolest Bird Sound

In the opinion of the late Rich Levad, the Black Swift was The Coolest Bird, and in his still-unpublished manuscript of that name, he advanced a pretty strong argument for its coolness.  This is a bird that spends much of its time foraging so high in the air that nobody ever sees it.  It nests in the spray zone of waterfalls, so that a juvenile may never have dry feathers between hatching and fledging.  And it is poorly understood: to this day we really have nothing but educated guesses as to where the species spends the winter.

It appears that will change soon. My friend Jason Beason of Rocky Mountain Bird Observatory sent me this announcement:

As of the evening of August 24th there are three Black Swifts in Colorado wearing light-level geolocators! On that evening, Kim Potter, Carolyn Gunn, Todd Patrick, Chuck Reichert, and myself caught ten adult Black Swifts using mist-nets in the Flat Top Mountains in western Colorado. The locators were placed on two females and one male, all of which weighed greater than 50 grams (the minimum cutoff to stay less than 2% of total body weight). In just a few weeks the swifts will begin their migration to locations unknown. With string and ribbon included the total weight we added to the birds was only 1.8 grams! With luck, this time next year we will be able to report where these birds spent the winter of 2009-2010. If not for the help of Carolyn Gunn, a trained veterinarian with very nimble hands, we could not have placed these devices on the swifts in a reasonable amount of time. We are very thankful that she agreed to help with this project!

Black Swift in hand with geolocator. Photo by Carolyn Gunn.
Black Swift in hand with geolocator. Photo by Carolyn Gunn.

The light-level geolocators that Jason referred to are the same technology used by Stutchbury et al. 2009 to estimate the migratory paths of Wood Thrushes and Purple Martins, birds too small to carry the satellite transmitters like those the Pacific Shorebird Migration Program has placed on Bristle-thighed Curlews and Bar-tailed Godwits in recent years.  Jason later reported to me in a follow-up email that a fourth Black Swift was outfitted with a geolocator at Box Canyon, near Ouray, on 29 August.  Unlike the satellite transmitters, the geolocators do not send data in realtime; it will be lost unless the birds are recaptured next year and the data downloaded.  Since Black Swifts are extremely faithful to their nesting sites, the team thinks there is a good chance they will be able to retrieve one or more of their geolocators a year from now.

One of the reasons Black Swifts are so little known is that they are rarely observed, even near their nest sites.  I believe that one of the reasons they are rarely observed is that most people don’t know what they sound like.  Unfortunately, one of the reasons why most people don’t know what they sound like is that they’re devilishly difficult to record.  Over the past couple of years I’ve found that Black Swifts are actually quite vocal, particularly near the nest — but the nests are usually so near waterfalls that recording is basically impossible.

Thanks to Rich Levad and his army of Black Swift volunteers, the number of known nesting sites in Colorado has more than tripled in the last decade, and at some of these sites, it’s possible to get a reasonable recording.  With better recordings comes a greater chance of detecting Black Swifts when they are overhead.  I have sometimes been able to find this species by ear when I wasn’t expecting it or looking for it, and I’m not the only one.  So let’s spend some time on identification by ear.

The individual “pip” notes of the Black Swift are extremely similar to the “pips” of Pygmy Nuthatches, and they can sound similar to some notes of Red Crossbill.  Rarely, the swifts will make a longer, higher-pitched “squeak” noise.

Black Swift vocalizations, Larimer County, CO, 23 August 2007.
Black Swift pip & squeak calls, Larimer County, CO, 23 August 2007.

Sometimes Black Swifts give a relatively stereotyped “extended call” that starts with a rapid twittering series of “pips” and culminates in a clear “squeak.”  This is often followed by a decelerating series of “pips.”

Black Swift extended call, Larimer County, CO, 23 August 2007.
Black Swift extended call, Larimer County, CO, 23 August 2007.

Black Swift vocalizations in general, and the extended call in particular, appear to be correlated with aerial chases, although all vocalizations are also given by some solo flying swifts and by perched individuals at or near the nest.  Nor are these vocalizations limited to the daytime: at least at their nesting sites, Black Swifts will vocalize throughout the night.

You can hear more examples of Black Swift recordings in Xeno-Canto’s collection.