WORLD CONFEDERATION OF ORNITHOLOGY
(COM)
World Order of Judges
SONG STANDARD OF THE
WATERSLAGER/MALINOIS CANARY
Preface
to this American Edition
The
present document was re-edited from the translation received by Richard Rolloff
from European sources. It has been
adapted to be more readable by English speakers in America. The adaptations do
not change the basic meaning of the original document but are intended to make
it more clear and accessible to readers.
To the best of our knowledge, this is the first English version to be
made widely available to English speakers and the first to be posted on the
internet.
Sebastian
Vallelunga, editor
* * * * *
Norms
of Judgment for Waterslagers/Malinois
The
waterslager is descended from the SAXON canary which, in point of fact, was not
a roller bird but truly a slagvogel (a beat bird).
(In
this vocabulary, a beat bird is one that emphasizes discontinuous or beaten
tours rather than rolled or continuous tours—editor).
This
was a big yellow, strong bird that was highly appreciated in Belgium. It was the Belgians who tried to teach
this bird the song of the nightingale.
Early on, there was no official system of evaluating these birds, but
each breeder separately endeavored to perfect what he liked best in their song.
This is how different stams (in this context, song
strains—editor)
with very different interpretations of the repertoire were formed.
With
the application of a system of selection (in the same way the Germans have
practiced it with their harzers), at the beginning of the last century there
occurred the creation of distinct stams of waterslagers with specific
differences in their song tonalities.
Also at this time, the first associations were founded and the beginning
of the waterslager fancy occurred.
The
breeders of harzers didnŐt appreciate the waterslagers with their sharp pitched
sounds and always endeavored to exclude them from their song contests (song
contests outside of Belgium were inevitably roller contests at one point
historically—editor).
At
that time, those who admired waterslagers had to go to Belgium in order to get
their judgeŐs certificate. In the
beginning, they had to adopt one of the various systems of judgment then
existing in Belgium. However,
after some time and many difficult debates, success was reached in the
implementation of a unified system of judgment. The bird was also named at this time and continues to use
the name currently:
waterslager/malinois.
It
has been a very popular cage bird, especially because of its robust type and
the impression of vitality that it gives.
The song of the waterslager compared to that of the harzer is like the
sound of the piano compared to that of the organ.
Both
are magnificent instruments that, in the hands of artists, can touch their
listeners. The organ and the
harzer produce relatively slow, nostalgic, and soft accents; the piano and the
waterslager/malinois produce a more animated rhythm with detached musical chords
(i.e., when an organ is played the vibrato of the sound serves to connect
the notes into one humming sound while the notes of the piano are more
individually distinct—editor).
Fortunately
nowadays, the breeders of harzers no longer fear that their birds will copy the
song of the waterslager/malinois.
At present the two races meet side by side at exhibitions.
One
harzer breeder commented in the following way: ŇNone of my birds picked up the sound of the waterslager
although they were amongst them.Ó
Questions and Responses
Where
does the waterslager come from? From the SAXON, a slagvogel
How
were the first stams created? By selection in Belgium
What
were harzer breeders afraid of? That their birds would copy
waterslagers
Is
there still a difference in the systems of judgment? No,
the COM unified the different systems
How
does one express the difference between the song of the harzer and that of the
waterslager? By the sound of the organ for the
harzer and that of the piano for the waterslager
What
must be eliminated in the song of the waterslager? All
song tonalities that continue too long
Generalities
Without
sufficient knowledge of the song, a breeder may be able to produce some good
birds, but he will never be able to become a judge.
Knowledge
of the song is useful and necessary, but it doesnŐt have any value without the
faculty to appreciate the harmony of the sounds.
It
is good to listen to many birds in order to refine theory into
appreciation. Yet theoretical
knowledge is also indispensable of one wants to judge a bird as to its real
value. One will be able to verify
the following assertion with experience:
often while listening to a certain sound, the theory comes to mind and
one arrives at the correct appreciation of it.
One
must also learn to recognize the possible deviations.
In
summary, it is indispensable to:
It
appears that the song of the canary cannot be easily transposed into musical
notation not only due to its semi-intervals but also because of its quarter,
eighth, and sixteenth notes.
Phonetic induction consists of describing song tones in vowels and
consonants, as it is done with the harzer. Different consonants can be used to this end and, with the
choice of different vowels, the structure of specific chords can be expressed.
The
tonal basis is always a vowel that, because of its movement, expresses a
certain accent.
The
value of a chord is based on divisablility by three.
This
divisibility means that it is satisfactory, good, or very good.
This
same divisibility also applies to the assignment of possible penalties: slight faults, serious faults, and very
serious faults.
To
reduce some obvious difficulties, we can represent the value of a song in
general as falling into one of three degrees:
a.
loud,
sharp, or hard
b.
middle or
average
c.
low and
deep
This
means:
In
addition to the three degrees of tonality stated above, there are also the
rhythm and the movement.
We
must observe the way the song is executed, whether the tempo is slow, fairly
fast, or partially or totally fast.
In addition to this, the main tonal structure must be
distinguished: complex, middle, or
simple.
Main
tonalities that are complex will harvest, so to speak, more points than simple
ones.
In
the song of the waterslager/malinois some parts are of uninterrupted tempo,
interrupted tempo, and composed tempo (rolled tempo, beaten tempo, and
combined tempo—editor).
We
will approach this topic when we describe the tours.
When
one is listening to a bird, it is important to recognize the recitalŐs quality
and to label it. The valuation
takes place thereafter because it is necessary to first observe the way in
which the bird presents the sound.
It is necessary to verify the tonality and to note undesirable sounds.
At
the time of the assessment of the tonality, it is necessary to compare the bird
being judged to an ideal.
If
the song is precisely performed, including possible variations named in theory,
and exploits proper length and repetition, only then may the judge consider the assignment
of the maximum points.
It
is also necessary for the basis of the tour to be correct and for one to be
able to discern the exact consonants as they have been determined phonetically.
One
only meets a bird of this class very rarely because perfection does not exist
in our waterslagers and it is indispensable to have a good ear and to interpret
the theory correctly.
Attentive
listening and critical judgment are necessary to avoid the consecration of an
unworthy ŇchampionÓ.
Questions and Responses
On
what evidence is the system of judgment considered very tight and logical in
structure? All the different musical tendencies
find their place and the beauty of the song is encouraged when using the system
What
is the basis of the system? Divisibility by three: satisfactory, good, and very good
What
are the composed tours? Those that contain water sounds: beaten, bubbling, and rolling
What
are uninterrupted tours? The knorr and the belrol
What
are the interrupted tours? The metallic sounds, the tjoks, the soutes, and the waterschokkel
What
is the waterslag or
water beat? It is a tonality in which the sound of water
dominates the tonal base
What
principle must a judge observe in his evaluation? He
must start with an image of an ideal bird singing a determined tour
The
Water Beat
Several
sounds in the song of the waterslager can present aqueous accents which donŐt
have anything in common with the water beat.
The
following definition may help.
The
water beats consist of all those tonalities in which the aqueous features
dominate the tonal base.
By
aqueous in
the song of the canary, we mean the sound produced within a tone which is
reminiscent of moving water, like boiling, splashing, etcÉ
It
is necessary to make an exception, however, for the waterrol because this tonality is not beaten;
it is rolling.
Due
to the domination of the rolled tempo and of the watery tone of the base, one
stretches to give equal standing as a water ŇbeatÓ to this tour, in that which
concerns its musical value.
The
water beats are divided into the following main kinds: interrupted, boiling, and rolled.
All
these kinds have a point in common:
the sound of water; the differences are to be found in the rhythm and
the tempo of the beats. We must
distinguish between them and recognize them immediately.
As
a starting point, let us take the interrupted water beat: the beats are detached
here. The strokes donŐt have any
link between them; there is a space and a curved water sound is located in the
tonal base.
In
the bubbling beat, the beats have a faster cadence and follow each other more
closely; there is less curve in the basic tone and the beats are less detached
than in the interrupted version.
In
the rolling water beat, the beats are presented even more closely together and
the basic tonality is even less bent.
The
judge must be determined not only to really know the water beats but to also be
able to differentiate between the three immediately.
He
must never lose sight of the fact that the water beat is a main tonality that
can be produced in an interrupted or in a bubbling manner.
The
bubbling water beat is easily identified:
it is sung with deep, well-detached beats that rise up from the bottom
of the throat.
Its
value is attributable to the musical pleasure they give to the hearer. The tonal base of the water beats must
be expressed as OUILLE, AULLE, OU, or OO.
All other vowel forms lessen the quality of the water beats.
A
bent water beat that intensifies in sound to a crescendo and then moves from
strong to piano (soft) or to pianissimo (very soft), waving or rocking back and
forth, has more value.
Questions and Responses
What
is the water beat? It is a main tonality that can be sung
in different ways
How
can it be sung? Interrupted, bubbling, or rolled
What
are the best tonal bases? OUILLE, AULLE, OU, OO
What
quality increases the value of a song?
When it begins
in a soft way and passes in crescendo toward forte
What
else increases the value? A waving or rocking aspect to the beats
What
is the definition of water beat? The water beat is the tonality in which
the aqueous feature dominates the sound of the tonal base
DEFINITIONS
OF THE TOURS
Interrupted
Water Beats (Klokkende—editor):
The
special character of the interrupted or tolled water beat is the rhythm which
is different from that heard with the bubbling water beat.
The
basic tones are: OUILLE, AULLE,
OU, and OO. Sometimes A, E, I and
U are used, but these are of lower value.
The consonants DL, BL, WL, and GL are used. In this form the tonality is presented in its best
aspect. Sharp or hard vowels
attached to the good basic tonalities can also devalue this sound.
It
is better with good basic tonality and a good form.
We
must realize that there are both wavy interrupted water beats and hammered
ones. The hammered sound is
quicker but must not be of lower quality than the wavy.
The
hammered beat will have vowels like KL or GL. The birds that present us with hammered beats have, in
general, a lot of water beats in their songs. The tour looses value when the beats are only
semi-interrupted. It also looses,
in this case, its great suppleness and richness of sounds, and this must be
considered a drawback.
Questions and Responses
How
does one recognize the interrupted water beat? Deep
beats and detached rhythm, with soft but vigorous beats giving a more valuable
sound; it should come from the depth of the throat as a sort of gargle; it is
pleasant to listen to
What
are the consonants which are part of the interrupted water beat? KL, DL, WL, HL, GL
What
water beats are less good? Those with the basic tones A, E, I, and
U
When
is the interrupted water beat at its best? When
it is beautifully rounded, full, and deep; it should be distinct and complete
What
is a bent water beat? A water beat that swells to a crescendo
and then falls from strong to pianissimo; rocking and wavy
When
should a higher score be assigned?
When the beats
of a normal water beat are sung in a wavy way and are rocking in a repetitive
manner
When
can one assume that the sounds are pure and clean? When
they are sung with a closed beak
When
are they nearly valueless, with some exceptions? When
they are sung with an open beak
Bubbling
Water Beat (Bollende—editor)
á
satisfactory,
1 to 9 points
á
good, 10
to 18 points
á
very
good, 19 to 27 points
The
bubbling water beat is the second main tonality in the song of the waterslager;
it is not merely a distortion of the interrupted water beat. There are many birds that are able to
present beats of impeccable bubbling water.
It
seems like a rolled water beat but possesses a rising tone. One may describe the tonal base of this
tour as bubbling. Because each
beat is shorter in duration, the rhythm of this tour is more accelerated than
in the preceding.
The
essential difference between this and the interrupted sound resides in the fact
that the beats are less detached.
Although the bubbling tour is classified among the uninterrupted tones,
there are very short interruptions between the beats. The value of the tour depends on the aqueous sound being
produced with the correct basal tone.
The tour is sung with the vowels O, OU, and U and the consonants B, W,
H, and D. It should be obvious
that the vowel U is of lesser value than the vowels O or OU.
When
the aqueous effect is not emphasized, one speaks of a dry water beat and the
sound looses its value.
Questions and Responses
Is
it difficult to distinguish between the tours? ItŐs
difficult to distinguish the bubbling water beat from the interrupted. With the interrupted water beat one
hears: BLOU – BLOU, LOUILLE
– LOUILLE, BOUILLE – BOUILLE, KLOUILLE – KLOUILLE; with the
bubbling water beat the sounds are:
WOU – WOU, BOU – BOU, HOU – HOU, DOU – DOU
What
is the big difference between an interrupted water beat and the bubbling water
beat? In the interrupted water beat one hears
an L sound formed by the tongue.
This is not the case with the bubbling water beat.
What
are the consonants of the bubbling water beat? W,
B, H, and sometimes D
What
are the basal tones of the bubbling water beat? OU,
O, U, and sometimes E and A; the last two vowels lower the value of the tour
How
many beats must be included when interrupted or bubbling water beats are sung
in order for them to be considered valuable? As
long as they are watery, 3 to 7 beats are sufficient for them to be valuable
When
can a bubbling water beat be called hard?
When it has a
deep, profound aqueous sound but a basal tone that is of a hard form and
presented in a faster rhythm
How
does the bubbling water sound, in form and rhythm, compare to the sound of
interrupted water? A bubbling water sound can be very pure
and clean of rhythm to the extent that it is so pleasant to the ear that it
outclasses the interrupted water sound.
Must
one penalize a waterslager for singing a sharp sound? Most
waterslagers can produce sharp tones; it is not sanctionable
Rolling
Water Beat (Rollende—editor)
satisfactory,
1 to 6 points
good,
7 to 12 points
very
good, 13 to 18 points
As
is the case with the interrupted and bubbling water tours, the rolling water
tour is composed of a series of beats.
The difference is due to an accelerated rhythm. The intervals between the tones are
shorter than those between the tones of the bubbling water tour.
As
for the rest, the structure of the rolling water tour looks a lot like that of
the bubbling water tour; it uses the vowels O, OU, and U and the consonants W,
G, D, L, R, and B.
Here,
too, the aqueous effect has a big influence on the value.
Identification
of this tour depends on the length of the basal tone and the speed of the
succession of the sounds.
It
can be presented in high or low musical pitch, except the highest pitch using
the vowel I. The tour can also
come in variations which decrease its value, for example: high, flat, dry, and splattered.
Hard
consonants make the tour less pleasant to hear while the vowel A devalues it.
Questions and Responses
What
is a rolling water tour like? It can be compared to the interrupted
and bubbling sounds but is remarkable for the density (uninterrupted
rhythm—editor)
of the rolling sound; the tones melt away until the vowels are not heard
anymore
What
are the consonants of this water beat?
The consonants
are W, G, D, L, R, and B
What
are the basal tones? OU, O, and U
Does
this tour have a greater continuity?
Yes
What
are its phonetic sounds? LOULOULOULOULOU, LOLOLOLOLO,
WOUWOUWOUWOU, WOWOWOWO, LULULULULU, WUWUWUWUWU
How
is the tour held for a longer time than the interrupted tour? The sound is less deep and requires less effort
What
are the possible values for the tour?
Satisfactory, 1
to 6 points; good, 7 to 12 points; very good, 13 to 18 points
The
waterrol is
classified with the rolling water beat.
The
waterrol is
a rolled sound in which, in addition to other consonants, R is used. While listening to a good waterrol, one may imagine being near a
splashing stream where the water runs in swirls around obstacles like stones or
other objects. One has the
impression that the unpredictable waves are whispering vaguely with their
splashing.
Here
there is no question of water beats because the tour is made up of an
uninterrupted rolling.
The
base tones of the waterrol
are the same as those of the bubbling water tour: OU, O, and in certain cases A.
The
consonants are barely audible and consist of the letters R, W, L, G, D, and
B. These consonants are used in
combination with the vowels in a double or triple shape.
It
is essential for the letter R to me mingled somewhere into the sound of the waterrol. The waterrol is scored like the rolled water beat.
Questions and Responses
Is
there any question of water beats in the waterrol? No,
it is all about rolls and not about water beats
What
are the basal tones of the waterrol? The good tones are OU, O, and U; a
sloshing waterrol
sometimes uses an E
What
consonants are used with these tones?
W, G, D, L, R,
and B; the R is the main characteristic and must always be present
What
is the value of the waterrol? The same as that of the rolled water beat
Chor
The
chor is an
interrupted tour; the vowel sound is short and the intervals between sounds are
distinctly audible. It sounds more
or less like ŇCHOR CHORÓ. The
vowel is O and the consonants are CH and R with a distinct tremolo.
Sometimes
the lead consonants are SJ (probably SH in English—editor). There are deviations concerning the consonants and the use
of the vowel A which are faulty.
The chor
has not been presented anymore in the last few years.
The
nightingale sings this tour and for this reason it is to be preferred in the
song of our waterslagers once again.
A
lot of breeders no longer recognize this tour at present. They take it for a knor even when it is clearly sung as a chor.