The songs in this book are available in two forms: .pdf (high-quality
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All references to “permission”, “copyright” and similar are from the
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A few photographs were printed out of sequence, probably for reasons
of space. For this e-text they have been placed in their appropriate
locations, retaining the original “See page N” notation.
DRAMATIZED
RHYTHM PLAYS
MOTHER GOOSE AND TRADITIONAL
BY
JOHN N. RICHARDS, B.P.E.
ASSISTANT SUPERVISOR OF PHYSICAL EDUCATION
NEWARK, N.J.
NEW YORK
A. S. BARNES AND COMPANY
1931
Copyright, 1922,
by
A. S. BARNES AND COMPANY
This book is fully protected by copyright and nothing that appears
in it may be reprinted or reproduced in any manner, either wholly or in
part, for any use whatever, without special written permission of the
copyright owner.
Printed in the United States of America
3
PREFACE
The following rhythmic plays compiled by Mr. John N. Richards of the
Newark Department of Physical Education have been devised to meet the
needs in the transition of Physical Education activities between the
kindergarten and the first few years of the primary school.
The physiologist tells us that the nervous organism of early
childhood is injured by the strain of strict, immobile attention
required in formal gymnastics. Therefore it is wise to hold the child’s
interest and attention by means of dramatized nursery plays. These make
little strain on mental application and the child is able to dramatize
in motion the words and music which are planned to develop his motor
co-ordination. In this way the child is gradually and interestingly led
from the freedom of expression, characteristic of babyhood to the more
specialized formal activities of the third and fourth years in the
school.
Mr. Richards’ contribution merits widespread usage because he has
clearly and definitely described his rhythm plays so that the classroom
teacher can easily make use of them without having to draw on her
imagination or having to guess at the written explanation.
The book should be useful and welcomed too, not only by the classroom
teacher but also by the specialist and supervisor of Physical
Education.
Randall D. Warden
Director of Physical Education, Newark, N.J., Public Schools
5
INTRODUCTION
The young people of to-day are most fortunate in their opportunities
and advantages. The home, the school, the shop, social life and play
offer increasing fields for service. The ever increasing number of
problems which must be faced, in this reconstruction period of our
nation’s life, demands leaders of broad intellect, clear vision and
sound judgment. Coupled with these qualifications there must be
developed a moral earnestness which will make for better
citizenship.
The trend of society movement is undoubtedly toward congested city
life. There is lamentable lack of playgrounds and properly equipped
gymnasiums. The school buildings are crowded to capacity and there is a
rush and hurry of life which challenges the attention of all educators
who are interested in the physical well-being of children.
The priceless assets of our communities are the boys and girls who
are growing into manhood and womanhood. We should spare neither expense
nor energy in fitting them physically, mentally and spiritually for the
great problems which will all too soon be theirs.
Exercise habits and a spirit of fair play must be a part of their
training from the early school days. There is no better way of
inculcating these lessons than through story plays and games during
their first school years.
The material contained in this book is practical. The exercise
movements have been set to music which is popular both in the schools
and in the homes. It is carefully graded and should prove to be of great
assistance to the teachers in the lower grades. It tends to bridge over
the gap between the Kindergarten and the Primary Grade activities.
There is need for a manual of this type in our Physical Training
literature and it is hoped that this material will be used generally
throughout the schools of our country.
F. W. Maroney, M.D.
Director of Physical Education and Medical Inspection
Atlantic City, N.J., Public Schools
7
ACKNOWLEDGMENTS
The author wishes to express his thanks to F. W. Maroney, M.D.,
formerly Director of Physical Education of the State of New Jersey and
now Director of Physical Education and Medical Inspection of the Public
Schools of Atlantic City, N.J., for the Introduction.
To Mr. Randall D. Warden, Director of Physical Education, Public
Schools, Newark, N.J., for the Preface.
Special acknowledgment and thanks are due Miss A. E. Barth of the
Charlton Street School, Newark, N.J., for her contribution of “Rhythm
Plays” and to Miss Louise Westwood, Director of Music, Newark Public
Schools, as hereinafter stated.
Thanks are also due to McLoughlin Bros. for permission to use the
words and music of the following songs found in J. W. Elliott’s
book entitled, “Nursery Rhymes, Set to Music”:
Little Jack Horner | Dickory, Dickory, Dock |
| Humpty Dumpty | |
To D. Appleton & Company for permission to use the words and
music of the following songs found in “Songs the Whole World Sings”:
Rock-a-bye, Baby | Little Boy Blue |
To Miss Lydia Clark, author of “Physical Training for Elementary
Schools,” and to B. H. Sanborn & Company, for permission to use the
words and music of the following songs:
Where Has My Little Dog Gone? | Baa, Baa, Black Sheep |
| Looby Loo | |
J. N. Richards
9
ALPHABETICAL INDEX
Aisles of Classroom
| Page | |
|---|---|
| Bye O Baby Bunting | 29 |
| Bean Porridge | 37 |
Dickory, Dickory, Dock, 1st and 2nd verses | 25, 26 |
Diddle, Diddle, Dumpling | 39 |
Fly Away Jack and Jill | 38 |
| Humpty Dumpty | 24 |
| Hey, Diddle, Diddle | 32 |
Jack Be Nimble, No. 1 | 22 |
Jack Be Nimble, No. 2 | 23 |
| Jack and Jill | 28 |
| Little Jack Horner | 20 |
| Little Miss Muffet | 27 |
| Little Boy Blue | 30 |
| Pat-a-cake | 36 |
| Rock-a-bye, Baby | 21 |
| Ride a Cock-horse | 34 |
Sing a Song of Sixpence, 1st and 2nd verses | 40, 41 |
| See Saw, Marjory Daw | 42 |
| The Band | 19 |
| Wee Willie Winkie | 31 |
Where Has My Little Dog Gone? | 33 |
Yankee Doodle, verse and chorus | 35 |
Circle
| Page | |
|---|---|
Baa, Baa, Black Sheep | 50 |
| Bean Porridge | 51 |
| Dapple Grey | 54 |
Dickory, Dickory, Dock | 48 |
Fly Away Jack and Jill | 52 |
| Jack and Jill | 47 |
| Little Jack Horner | 45 |
| Little Miss Muffet | 46 |
| Looby Loo | 49 |
Pop Goes the Weasel, verse and chorus | 55 |
Sing a Song of Sixpence, 1st and 2nd verses | 57 |
10
GRADATION INDEX
First Grade
| Aisle | Page |
|---|---|
| 1. The Band | 19 |
2. Little Jack Horner | 20 |
3. Rock-a-bye Baby | 21 |
4. Jack Be Nimble, No. 1 | 22 |
5. Humpty Dumpty | 24 |
6. Dickory, Dickory, Dock, 1st and 2nd verses | 25, 26 |
7. Little Miss Muffet | 27 |
8. Jack and Jill | 28 |
9. Bye O Baby Bunting | 29 |
| 10. Little Boy Blue | 30 |
11. Wee Willie Winkie | 31 |
12. Jack Be Nimble, No. 2 | 23 |
| Circle | |
1. Little Jack Horner | 45 |
2. Little Miss Muffet | 46 |
3. Jack and Jill | 47 |
4. Dickory, Dickory, Dock | 48 |
Second Grade
| Aisle | Page |
|---|---|
1. Hey, Diddle, Diddle | 32 |
2. Where Has My Little Dog Gone? | 33 |
3. Ride a Cock-horse | 34 |
4. Yankee Doodle, verse and chorus | 35 |
| 5. Pat-a-cake | 36 |
6. Bean Porridge | 37 |
7. Fly Away Jack and Jill | 38 |
8. Sing a Song of Sixpence, 1st and 2nd verses | 40, 41 |
9. Diddle, Diddle, Dumpling | 39 |
10. See Saw, Marjory Daw | 42 |
| Circle | |
| 1. Looby Loo | 49 |
2. Baa, Baa, Black Sheep | 50 |
3. Bean Porridge | 51 |
4. Fly Away Jack and Jill | 52 |
Third Grade
| Circle | Page |
|---|---|
| 1. Dapple Grey | 54 |
2. Pop Goes the Weasel, verse and chorus | 55 |
3. Sing a Song of Sixpence, 1st and 2nd verses | 57 |
11
INDEX OF PROGRESSION
Aisles of Classroom
| Page | ||
|---|---|---|
| 1. The Band | (File Alignment) | 19 |
2. Little Jack Horner | ” “ | 20 |
3. Rock-a-bye, Baby | ” “ | 21 |
4. Jack Be Nimble, No. 1 | ” “ | 22 |
5. Humpty Dumpty | ” “ | 24 |
6. Dickory, Dickory, Dock, 1st and 2nd verses | ” “ | 25, 26 |
7. Little Miss Muffet | ” “ | 27 |
8. Jack and Jill | ” “ | 28 |
9. Bye O Baby Bunting | ” “ | 29 |
| 10. Little Boy Blue | ” “ | 30 |
11. Wee Willie Winkie | ” “ | 31 |
12. Jack Be Nimble, No. 2 | ” “ | 23 |
13. Hey, Diddle, Diddle | ” “ | 32 |
14. Where Has My Little Dog Gone? | ” “ | 33 |
15. Ride a Cock-horse | ” “ | 34 |
16. Yankee Doodle, verse and chorus | ” “ | 35 |
| 17. Pat-a-cake | (Open line formation, partners facing) | 36 |
| 18. Bean Porridge | ” ” ” ” “ | 37 |
19. Fly Away Jack and Jill. | ” ” ” ” “ | 38 |
20. Sing a Song of Sixpence, 1st and 2nd verses | ” ” ” ” “ | 40, 41 |
21. Diddle, Diddle, Dumpling | ” ” ” ” “ | 39 |
22. See Saw, Marjory Daw. | ” ” ” ” “ | 42 |
Circle
(Outer aisles of classroom)
| Page | |
|---|---|
1. Little Jack Horner | 45 |
2. Little Miss Muffet | 46 |
3. Jack and Jill | 47 |
4. Dickory, Dickory, Dock | 48 |
| 5. Looby Loo | 49 |
6. Baa, Baa, Black Sheep | 50 |
7. Bean Porridge | 51 |
8. Fly Away Jack and Jill | 52 |
9. Dapple Grey | 54 |
10. Pop Goes the Weasel, verse and chorus | 55 |
11. Sing a Song of Sixpence, 1st and 2nd verses | 57 |
13
SUGGESTIONS FOR THE TEACHING OF THE GYMNASTIC ACTIVITY
1. Teach the words of the rhyme to the class, keeping in mind the
rhythm.
2. If in presenting the action, the movement is based upon certain
words as cues, present by imitation the activity as applied to the
words, i.e., Little Jack Horner; Little Miss Muffet, etc.
3. If the movement is based on a time element (rhythm), present the
activity content, line by line, i.e., Yankee Doodle; Pat-a-cake,
etc.
4. Be sure the rhyme and activity has been thoroughly mastered before
adding the song element.
5. If a dancing movement is involved, present same to the class as a
unit before combining with other movements, i.e., Fly Away Jack
and Jill; Diddle, Diddle, Dumpling, etc.
The author wishes to express thanks to Miss Louise Westwood,
Director of Music of the Newark Public Schools, for the following
suggestions as to the teaching of the song element:
1. Pitch-pipes:
No song under any condition should be sung without the pitch of the
first word being given; using the pitch-pipe to get the key in which the
song is written.
2. Range of Songs:
All songs should be sung not lower than the first line E or higher
than the fifth line F of the staff. If songs are scored in another
range, transpose the song by changing the pitch of the first
word.
3. Quality of Tone:
All singing should be in a soft, light, head tone. Half-tone
quality.
No loud singing should be allowed at any time.
PROCEDURE IN TEACHING
1. Teach the rhyme. 2. Combine rhyme with the gymnastic
activity.
3. Teach the song. 4. Combine No. 1, No. 2 and
No. 3.
COMMANDS USED TO PRESENT THE GYMNASTIC ACTIVITY AND SONG
1. Determine key in which the song is written and find starting
note.
2. Teacher sounds keynote of first syllable or word.
Command:—Pitch—Sing!
Examples:
(a) Yankee Doodle. The first syllable of the word, “Yankee,”
which is “Yank,” is sung to establish the pitch.
(b) Oh, where, oh where has my little dog gone? The first
word, “Oh,” is sung to establish the pitch.
3. In order to insure united action, the following command is
used:
Ready—Begin!
14
RHYTHMIC STEPS
1. The Point Step, Forward:
Point foot forward with outside edge of toes touching the floor; the
heel is raised and turned inward toward the other foot. (No weight
transference, the weight being on the stationary foot.)
2. Closing Step, Sideward:
Step sideward, right, maintaining the weight equally to both
feet (1). Close left foot to right (2).
Note.—Counterlike for movement
in the forward and backward direction.
3. Chasse or Gliding Step, Sideward:
Raise heels and slide sideward, right, immediately closing left to
right. A light, quick movement requiring only one count for
completion.
4. Step Throw or Step Hop Swing, Sideward:
Step sideward, right (1). Hop on right, and swing left leg diagonally
forward across (2). (Knee slightly flexed with ankle extended.)
5. Schottische Step, Sideward:
Step sideward, right (1). Cross step left to rear of right (2).
Step sideward, right (3). Hop on right, swinging left leg
diagonally forward across (4). (Knee slightly flexed with ankle
extended.)
6. Two Step or Change Step, Forward:
Step forward, right (1). Close left instep to right heel (and) Step
forward, right (2).
7. The Step Dip, Sideward:
Step sideward, right, with transference of body weight to the right
foot (1). Place left toe behind right heel (heel raised) with the
knee turned sideward (and) Bend and stretch right knee slightly with
trunk bending sideward, left (2).
Hand clapping occurs on counts one and two.
8. Encircle to left with partner kneeling.
(Partners.)
Stationary pupil.—Pupil extends leg backward, lowering
knee to floor. The trunk is erect; left hand on hip with the right arm
stretched upward, supporting encircling partner’s left hand.
Dancing pupil.—The encircling pupil grasps with the left
hand the kneeling partner’s right hand and performs the dance movement
in given direction.
15
DIAGRAMMATIC FORMATIONS
| Classroom | Classroom |
| Standing in the right aisle facing front of room. | Standing in the right aisle in OPEN LINE FORMATION, partners facing. |
![]() |
![]() |
| Six rows of seats; six pupils per row. |
Seven rows of seats; six pupils per row. Note:—When executing partner plays, children in extreme row on the right (odd row) form in partner formation in open area. |
Circular
CLASSROOM
Aisle Alignment:—Single and partner formation.
Note:—May also be used to
advantage in any open area or gymnasium with exception of several in the
First Grade which are essentially classroom in type. (Desks are used as
part of the rhythmic action.)
THE BAND

MIDI (sound file)
pdf (music and
lyrics)
Oh I can play on a big bass drum,
And this is the way I do it.
Boom, Boom, Boom goes the big bass drum,
Boom, Boom, Boom goes the big bass drum,
And this is the way I do it.
DESCRIPTION
Miss A. E. Barth.
Formation;—Children seated in their seats.
| 1st Line;— | Oh I can play on a big bass drum, |
| Interpretation;— | No activity. |
| 2nd Line;— | And this is the way I do it. |
| Inter.;— | No activity. |
| 3rd Line;— | Boom, Boom, Boom goes the big bass drum, |
| Inter.;— | Beat hands vigorously upon top of desks, suiting action to the |
| 4th Line;— | Boom, Boom, Boom goes the big bass drum. |
| Inter.;— | Repeat the activity of the third line. |
| 5th Line;— | And this is the way I do it. |
| Inter.;— | Repeat the activity of the fourth line. |
Introduce the following activities, suiting the action to the words
in imitation of the suggested activity.
| Little Snare Drum (“Trum”) | Big Brass Horn (“Toot”) |
| Little Gay Flute (“Whistle”) | |

OH I CAN PLAY ON A BIG BRASS HORN
LITTLE JACK HORNER
Permission to use words and music:—McLoughlin Bros.
J. W. Elliott

MIDI (sound
file)
pdf (music and
lyrics)
Little Jack Horner sat in a corner,
Eating a Christmas pie;
He put in his thumb, and pulled out a plum,
And said, “What a good boy am I!”
Nice Plum! Nice Plum! Nice Plum! Nice Plum!
DESCRIPTION
Miss A. E. Barth
Formation;—Children remain seated and move to the right side of
seat.
| 1st Line;— | Little Jack Horner sat in a corner, |
| Interpretation;— | Upon the word, “sat,” pupils move to the left side of |
| 2nd Line;— | Eating a Christmas pie; |
| Inter.;— | Upon the word, “eating,” pupils encircle imaginary plate with the |
| 3rd Line;— | He put in his thumb, And pulled out a plum, |
| Inter.;— | Upon the word, “put,” pupil imitates the action of putting thumb |
| 4th Line;— | And said, “What a good boy am I!” |
| Inter.;— | Proudly pats the chest with the left hand. |
| Conclusion;— | Nice Plum! Nice Plum! Nice Plum! Nice Plum! |
| Inter.;— | Lowers plum until it disappears in the mouth, imitating eating, |

HE PUT IN HIS THUMB, AND PULLED OUT A PLUM
ROCK-A-BYE, BABY
Permission to use words and music:—D. Appleton and Co.

MIDI (sound file)
pdf (music and
lyrics)
Rockabye, baby in the tree top,
When the wind blows the cradle will rock;
When the bough breaks the cradle will fall,
And down will come baby cradle and all.
DESCRIPTION
Miss A. E. Barth
Formation;—Standing in the right aisle at attention.
| 1st Line;— | Rock-a-bye, baby in the tree top, |
| Interpretation;— | Hold baby in the arms, looking down at it, and sway gently to and |
| 2nd Line;— | When the wind blows the cradle will rock; |
| Inter.;— | Rock more vigorously. |
| 3rd Line;— | When the bough breaks the cradle will fall, |
| Inter.;— | Upon the word, “breaks,” children clap hands |
| 4th Line;— | And down will come baby, cradle and all. |
| Inter.;— | Upon the word, “down,” children spring into the air and |
Position.

ROCKING THE BABY
JACK BE NIMBLE—No. 1
Arr. by J. N. Richards
![]()
MIDI (sound
file)
pdf (music and
lyrics)
Jack be nimble, Jack be quick;
Jack jump’d over the candle stick.
DESCRIPTION
Miss A. E. Barth
Formation;—Standing in the right aisle with hands on hips.
| 1st Line;— | Jack be nimble, Jack be quick; |
| Interpretation;— | Marking time, in place. (Seven counts.) |
| 2nd Line;— | Jack jumped over the candle stick. |
| Inter.;— | Upon the word, “jumped,” the children face to the left and vault |
Repeat rhyme and activity back to former aisle.

JACK JUMPED OVER THE CANDLE STICK
JACK BE NIMBLE—No. 2
Music—See Jack Be Nimble—No. 1
DESCRIPTION
Formation;—Standing in the right aisle with hands on hips.
| 1st Line;— | Jack be | nimble |
| Interpretation;— | With a jump execute 1/4 turn to the left. | With a jump execute 1/4 turn to the right. (Front.) |
| 2nd Line;— | Jack be | quick; |
| Inter.;— | With a jump execute 1/4 turn to the right. | With a jump execute 1/4 turn to the left. (Front.) |
| 3rd Line;— | Jack | jumped over |
| Inter.;— | One-quarter turn to the left, placing hands on the near edge of | Vault over the seat; replace hands to hips and execute 1/4 turn |
| 4th Line;— | The candle stick. | |
| Inter.;— | Mark time, in place, three counts. (Left; right and | |
Repeat back to original position.
HUMPTY DUMPTY
Permission to use words and music:—McLoughlin Bros.
J. W. Elliott

MIDI (sound file)
pdf (music and
lyrics)
Humpty Dumpty sat on a wall,
Humpty Dumpty had a great fall;
All the King’s horses and all the King’s men,
Couldn’t put Humpty Dumpty together again.
DESCRIPTION
Miss A. E. Barth
Formation;—Standing in the right aisle at attention.
| 1st Line;— | Humpty Dumpty sat on a wall, |
| Interpretation;— | Upon the word, “sat,” pupils sit upon own desks; feet hanging in |
| 2nd Line;— | Humpty Dumpty had a great fall; |
| Inter.;— | Upon the word, “fall,” pupils jump into the right aisles; bending |
| 3rd Line;— | All the King’s horses and all the King’s men, |
| Inter.;— | Assume position of attention with arms stretched forward holding |
| 4th Line;— | Couldn’t put Humpty Dumpty together again. |
| Inter.;— | Shaking the head in sorrow; right, left, right and front. Hands |

HUMPTY DUMPTY SAT ON A WALL
DICKORY, DICKORY, DOCK
First Verse
Permission to use words and music:—McLoughlin Bros.
J. W. Elliott

MIDI (sound file)
pdf (music and
lyrics)
Dickory, dickory, dock;
The mouse ran up the clock;
The clock struck, One. The mouse ran down;
Dickory, dickory, dock.
DESCRIPTION
Formation;—Standing in the right aisle at attention.
| 1st Line;— | Dickory, dickory, dock; |
| Interpretation;— | Hands clasped overhead; swaying right, left and erect. |
| 2nd Line;— | The mouse ran up the clock; |
| Inter.;— | Upon the word, “ran,” stand in own seats with the arms stretched |
| 3rd Line;— | The clock struck, One, |
| Inter.;— | Upon the word, “One,” clap hands overhead and lower arms |
| The mouse ran down; | |
| Inter.;— | Upon the word, “ran,” jump into the left aisle with hands clasped |
| 4th Line;— | Dickory, dickory, dock. |
| Inter.;— | Swaying right, left and erect. |
Repeat activity to the right, bringing all pupils back to former
aisles.

THE PENDULUM
DICKORY, DICKORY, DOCK
Second Verse—Music on Page 25
DESCRIPTION
Formation;—Standing in the right aisle at attention.
| 1st Line;— | Dickory, dickory, dock, | ||
| Interpretation;— | Hands clasped overhead; swaying right, left and | ||
| 2nd Line;— | “Why scamper,” said the clock. | ||
| Inter.;— | Place hands on hips; execute six running steps | ||
| 3rd Line;— | You scared | me so, | |
| Inter.;— | Execute 1/2 turn right about. | ||
I’ll have to go; | |||
| Inter.;— | Execute three running steps forward. (Four counts.) (Left; right; | ||
| 4th Line;— | Dickory, dickory, dock. | ||
| Inter.;— | Hands clasped overhead; swaying right, left and | ||
Repeat to bring the class back to the original position.
LITTLE MISS MUFFET
Arr. by J. N. Richards

MIDI (sound
file)
pdf (music and
lyrics)
Little Miss Muffet sat on a tuffet, eating of curds and whey,
Along came a spider
And sat down beside her;
And frighten’d Miss Muffet away.
Dear me! Dear me! Dear me! Dear me!
DESCRIPTION
Miss A. E. Barth
Formation;—Standing in the right aisle at attention. Alternate
aisles act as Miss Muffet; other aisles act as the Spider. (Count off
from left flank by twos. No. 1—Miss Muffet. No. 2—The
Spider.)
| 1st Line;— | Little Miss Muffet sat on a tuffet, eating of curds and |
| Interpretation;— | Upon the word, “sat,” Little Miss Muffet climbs into her own |
| 2nd Line;— | Along came a spider |
| Inter.;— | Upon the word, “Along,” the Spider hastens over own seat and Miss |
| 3rd Line;— | And sat down beside her; |
| Inter.;— | Completion of second line activity. |
| 4th Line;— | And frighten’d Miss Muffet away. |
| Inter.;— | Upon the word, “frighten’d,” children return to own |
Upon returning to their own seats the children sing—
Dear me! Dear me! Dear me! Dear me!

ALONG CAME A SPIDER
(Spiders vaulting seats)
JACK AND JILL
Arr. by J. N. Richards

MIDI (sound file)
pdf (music and
lyrics)
Jack and Jill went up the hill,
to fetch a pail of water;
Jack fell down and broke his crown,
And Jill came tumbling after,
Boohoo! Boohoo! Boohoo! Boohoo!
DESCRIPTION
Miss A. E. Barth
Formation;—Standing in the right aisle at attention. Alternate
aisles act as Jack. (Girls and boys.) Other aisles act as Jill. (Girls
and boys.) Count off from left flank by twos. No. 1—Jill. No.
2—Jack.
| 1st Line;— | Jack and Jill went up the hill, |
| Interpretation;— | Upon the word, “up,” Jack and Jill take hold of hands and climb |
| 2nd Line;— | To fetch a pail of water; |
| Inter.;— | No activity. |
| 3rd Line;— | Jack fell down and broke his crown, |
| Inter.;— | Upon the word, “fell,” Jack falls (jumps) into own aisle, bends |
| 4th Line;— | And Jill came tumbling after. |
| Inter.;— | Upon the word, “tumbling,” Jill falls (jumps) into the same aisle |
Upon completion of the song all children return to their own seats,
singing—
Boo-hoo! Boo-hoo! Boo-hoo! Boo-hoo!

JACK AND JILL WENT UP THE HILL
BYE O BABY BUNTING
Arr. by J. N. Richards

MIDI (sound
file)
pdf (music and
lyrics)
Bye O Baby Bunting,
Daddy’s gone a-hunting;
To fetch a little rabbit skin
To wrap the Baby Bunting in.
DESCRIPTION
Formation;—Standing in the right aisle at attention.
| 1st Line;— | Bye O | |||
| Interpretation;— | Hold the baby in the arms, looking down at it, and | |||
| Baby- | Bunt- | ing | ||
Sway gently to the left. | Sway gently to the right. | Assume stationary position. | ||
| 2nd Line;— | Daddy’s gone a-hunting; | |||
| Inter.;— | Mark time, in place, seven counts; carry gun over | |||
| 3rd Line;— | To fetch a little rabbit skin | |||
| Inter.;— | Kneel on left knee and extend the right arm | |||
| 4th Line;— | To wrap the Baby Bunting in. | |||
| Inter.;— | Assume erect position; bend forward and encircle | |||

AIMING THE GUN
LITTLE BOY BLUE
Permission to use words and music:—D. Appleton and Co.

MIDI (sound file)
pdf (music and
lyrics)
Little Boy Blue, come blow up your horn,
There’s sheep in the meadow and cows in the corn;
Where is the boy that looks after the sheep?
He’s under the haycock fast asleep.
DESCRIPTION
Formation;—Standing in the right aisle at attention with hands
on hips.
| 1st Line;— | Little Boy Blue, come blow up your horn, |
| Interpretation;— | Mark time, in place. (Four counts.) Upon the word, “blow,” hands |
| 2nd Line;— | There’s sheep in the meadow and cows in the corn; |
| Inter.;— | Upon the word, “sheep,” point to the right and look in direction |
| 3rd Line;— | Where is the boy that looks after the sheep? |
| Inter.;— | Upon the word, “where,” shade the eyes with the right hand and |
| 4th Line;— | He’s under the haycock fast asleep. |
| Inter.;— | Upon the word, “under,” resume seats and lower head to desks upon |

THERE’S SHEEP IN THE MEADOW
WEE WILLIE WINKIE
Arr. by J. N. Richards

MIDI (sound
file)
pdf (music and
lyrics)
Wee Willie Winkie runs thru the town,
Upstairs and downstairs in his nightgown;
Rapping at the window,
Crying thru the lock:—
Are all the children in their beds?
Now ’tis eight o’clock.
DESCRIPTION
Formation;—Standing in the right aisle with hands on hips.
| 1st Line;— | Wee Willie Winkie runs through the town, | ||||
| Interpretation;— | Mark time, in place. (Knees waist high.) (Seven | ||||
| 2nd Line;— | Upstairs | and | downstairs | ||
| Inter.;— | Heels raised. | Bend knees deeply. | |||
in his night- | gown; | ||||
| Inter.;— | Stretch knees, lower heels and bow. | Assume erect position. | |||
| 3rd Line;— | Rapping at the window, | ||||
| Inter.;— | With hands clenched, stretch arms upward and tap | ||||
Crying through the lock:— | |||||
| Inter.;— | Cup hands and carry to mouth as if calling, bending | ||||
| 4th Line;— | “Are all the children | in their beds? | |||
| Inter.;— | Turn head to the right. | Turn head to the left. | |||
Now ’tis eight o’clock.” | |||||
| Inter.;— | Stretch the knees and lower heels. | ||||
HEY, DIDDLE, DIDDLE
Arr. by J. N. Richards

MIDI (sound file)
pdf (music and
lyrics)
Hey, diddle, diddle, the cat and the fiddle,
The cow jump’d over the moon;
The little dog laughed to see such sport,
And the dish ran away with the spoon.
DESCRIPTION
Formation;—Standing in the right aisle at attention with hands
on hips.
| 1st Line;— | Hey, diddle, diddle, | the cat and | the fiddle, |
| Interpretation;— | Mark time, in place, five counts. | Imitate the action of playing the fiddle. One upward stroke of | One downward stroke of the bow. |
| 2nd Line;— | The cow | jumped over | the moon; |
| Inter.;— | Turn to the left; place hands on edge of desk and back of seat | Vault over the seat. | Turn to the right (front); stretch knees, lower heels and place |
| 3rd Line;— | The little dog | laughed to see | such sport, |
| Inter.;— | Bend trunk forward, hugging self, imitating great | Assume erect position with hands on hips. | |
| 4th Line;— | And the | dish ran away with the spoon. | |
| Inter.;— | Execute a complete turn to the right with seven | ||
Stamp feet twice, in place, at the completion of the entire
activity.
WHERE HAS MY LITTLE DOG GONE?
Permission to use words and music:—Miss Lydia Clark and Benj.
H. Sanborn & Co.
Arr. by Fannie Robertson

MIDI (sound file)
pdf (music and
lyrics)
Oh where, oh where has my little dog gone?
Oh where, oh where has he gone?
With his tail cut short and his ears cut long,
Oh where, oh where has he gone?
DESCRIPTION
Formation;—Standing in the right aisle at attention with hands
on hips.
| 1st Line;— | Oh where, | oh where |
| Interpretation;— | Shade eyes with the right hand and with a jump execute 1/4 turn | With a jump execute 1/4 turn to the left. (Front.) |
| has my little | dog gone? | |
With a jump execute 1/4 turn to the left. | With a jump execute 1/4 turn to the right. (Front.) | |
| 2nd Line;— | Oh where | oh where |
| Inter.;— | Replace right hand to hip; shade eyes with the left hand and with | With a jump execute 1/4 turn to the right (Front.) |
| has he g- | one? | |
With a jump execute 1/4 turn to the right. | With a jump execute 1/4 turn to the left (Front.) | |
| 3rd Line;— | With his tail cut short and his ears cut | |
| Inter.;— | Upon the word, “tail,” bend forward, placing hands behind back (palms Upon the words, “and his,” assume erect position with hands at Upon the word, “ears,” raise arms sideward, placing thumbs in ears | |
| 4th Line;— | Oh where, | oh where |
| Inter.;— | Replace left hand to hip; shade eyes with the right hand and with | With a jump execute 1/2 turn right about. (Front.) |
| has he | gone? | |
Replace right hand to hip, bow and assume erect | ||

LOOKING FOR THE DOG
RIDE A COCK-HORSE
Arr. by J. N. Richards

MIDI (sound file)
pdf (music and
lyrics)
Ride a Cock-horse to Banbury Cross,
To see a fine lady upon a white horse,
Rings on her fingers and bells on her toes,
She shall have music wherever she goes.
DESCRIPTION
Formation;—Standing in the right aisle at attention with hands
on hips.
| 1st Line;— | Ride a Cock-horse to Banbury Cross, |
| Interpretation;— | Stretch arms forward, holding imaginary reins; bending and |
| 2nd Line;— | To see a fine lady upon a white horse, |
| Inter.;— | Replace left hand to hip; shade the eyes with the right hand and |
| 3rd Line;— | Rings on her fingers and bells on her toes, |
| Inter.;— | Raise arms forward, palms forward, fingers and thumbs extended |
| 4th Line;— | She shall have music wherever she goes. |
| Inter.;— | Wave the baton with the right hand (forefinger extended; thumb Replace the right hand to hip, bow and assume erect position upon the |

THE RIDING OF THE HORSE
YANKEE DOODLE

MIDI (sound
file)
pdf (music and
lyrics)
Yankee Doodle came to town,
A riding on a pony,
He stuck a feather in his hat,
And called it Macaroni.
Yankee Doodle, Ha! Ha! Ha!
Yankee Doodle Dandy;
Mind the music and your step
And round the house be handy.
DESCRIPTION
Formation;—Standing in the right aisle at attention with hands
on hips.
Verse | ||
| 1st Line;— | Yankee Doodle came to town, | |
| Interpretation;— | Children mark time, in place. (Seven | |
| 2nd Line;— | A riding on a pony, | |
| Inter.;— | Stretching arms forward as if holding imaginary | |
| 3rd Line;— | He stuck a feather in his hat, | |
| Inter.;— | Upon the word, “stuck,” take off the hat with the | |
| 4th Line;— | And called it Macaroni. | |
| Inter.;— | Mark time, in place. (Eight counts.) | |
Chorus | ||
| 1st Line;— | Yankee Doodle, | Ha! Ha! Ha! |
| Inter.;— | Mark time, in place. (Four counts.) | Clap hands, three times. Finish with hands on hips. |
| 2nd Line;— | Yankee Doodle | Dandy. |
| Inter.;— | Mark time, in place. (Four counts.) | Bow and assume erect position. |
| 3rd Line;— | Mind the music | and your step |
| Inter.;— | Wave the baton with right hand (forefinger extended) left, right, | Mark time, in place. (Three counts.) |
| 4th Line;— | And round the house be handy. | |
| Inter.;— | Upon the word, “round,” execute a half turn to the | |

THE SALUTE
(See page 35)
PAT-A-CAKE
Arr. by J. N. Richards

MIDI (sound file)
pdf (music and
lyrics)
Pat-a-cake, Pat-a-cake, Baker’s Man,
Stir it and stir it as fast as you can;
Roll it and prick it and mark it with “B,”
And put in the oven for baby and me.
DESCRIPTION
Formation;—Standing in the right aisle at attention with hands
on hips. Count off by twos from left to right and have “ones” face to
the right and “twos” face to the left. (Open line formation; partners
facing each other.)
| 1st Line;— | Pat-a-cake, | Pat-a-cake, | Baker’s Man, |
| Interpretation;— | Clap own hands three times. | Clap partner’s hands three times. | Hands hips; bow and assume erect position. |
| 2nd Line;— | Stir it and stir it as fast as you can; | ||
| Inter.;— | Hold imaginary bowl in the left arm (shoulder | ||
| 3rd Line;— | Roll it and prick it and mark it with “B”; | ||
| Inter.;— | Upon the words, “roll it,” raise hands (palms together; right hand on Upon the words, “prick it,” suit action to the words and prick cake, Upon the words, “mark it,” join forefingers with thumbs, raising to | ||
| 4th Line;— | And put in the oven for baby and me. | ||
| Inter.;— | Upon the word, “put,” imitate the action of placing Upon the word, “baby,” bow and assume erect position. Upon the word, “me,” raise the right arm (shoulder height) and place | ||
Position.

PAT-A-CAKE
BEAN PORRIDGE
Arr. by J. N. Richards

MIDI (sound
file)
pdf (music and
lyrics)
Bean porridge hot,
Bean porridge cold,
Bean porridge in the pot,
Nine days old;
Some like it hot,
And some like it cold,
Some like it in the pot,
Nine days old.
DESCRIPTION
Formation;—Standing in the right aisle in partner formation
(open line formation; partners facing), with hands on hips.
Files numbered from the left flank by twos. No. Ones face to the
right; No. Twos face to the left.
| 1st Line;— | Bean | porridge | hot, |
| Interpretation;— | Clap hands to thighs. | Clap own hands. | Clap partner’s hands. |
| Bean | porridge | cold, | |
| Inter.;— | Clap hands to thighs. | Clap own hands. | Clap partner’s hands. |
| 2nd Line;— | Bean | porridge | |
| Inter.;— | Clap hands to thighs. | Clap own hands. | |
in the | pot, | ||
With right hand clap partner’s right hand. | Clap own hands. | ||
| Nine | days | old; | |
| Inter.;— | With left hand clap partner’s left hand. | Clap own hands. | Clap partner’s hands. |
Description of pupil;—Number Two.
Number One;—Counterlike.
| 3rd Line;— | Some | like it | hot, And |
| Inter.;— | Clasp partner’s hands and raise arms to shoulder height. Step | Close left to right. | Step dip, right. |
| some | like it | cold, | |
| Inter.;— | Step sideward left. | Close right to left. | Step dip, left. |
| 4th Line;— | Some | like it | |
| Inter.;— | Face to the right; place right hand on hip, inner | Step forward, left. | |
in the | pot, | ||
Step forward, right. | Close left to right and place left hand on | ||
Nine days | old. | ||
| Inter.;— | With a jump execute a half turn right about. | With a jump execute a half turn right | |
FLY AWAY JACK AND JILL
Arr. by J. N. Richards

MIDI (sound file)
pdf (music and
lyrics)
Two little blackbirds,
Sitting on a hill,
One named Jack,
And the other named Jill;
Fly away Jack And fly away Jill;
Come again Jack And come again Jill.
DESCRIPTION
Formation;—Standing in the right aisle in partner formation
(open line formation; partners facing each other); arms raised forward
(shoulder height) and clasp partner’s hands.
Note.—If desk width is too great
have pupils place hands on hips.
“Count off” from the left flank by twos.
No. 1:—Jack. No. 2:—Jill.
| 1st Line;— | Two | little | |
| Interpretation;— | Left file (Jack); Step sideward, left. | Close right to left, | |
| Inter.;— | Right file (Jill); Step sideward, right. | Close left to right. | |
| black- | birds | ||
Step sideward, left. | Close right to left. | ||
Step sideward, right. | Close left to right. | ||
| 2nd Line;— | Sitting | on | |
| Inter.;— | Left file (Jack); Stamp left. | Stamp right. | |
| Inter.;— | Right file (Jill); Stamp right. | Stamp left. | |
a hill, | |||
Replace hands to hips and bend knees | |||
Replace hands to hips and bend knees | |||
| 3rd Line;— | One named | Jack, | |
| Inter.;— | Left file (Jack); Stretch knees and turn to the | Bow and assume erect position. | |
| Inter.;— | Right file (Jill); No activity. | No activity. | |
| 4th Line;— | And the | ||
| Inter.;— | No activity for either files. | ||
other named | Jill; | ||
Right file (Jill); Stretch knees and turn to the | Bow and assume erect position. | ||
Left file (Jack); No activity. | Left file (Jack); No activity. | ||
| 5th Line;— | Fly away, Jack | And | fly away, Jill, |
| Inter.;— | Left file (Jack); face to the right and execute | Right file (Jill); face to the left and execute three chasses to | |
| Inter.;— | Right file (Jill); No activity. | Left file (Jack); No activity. | |
| 6th Line;— | Come again, Jack | And | come again, Jill. |
| Inter.;— | Left file (Jack); Three chasses to the | Right file (Jill); Three chasses to the left. | |
| Inter.;— | Right file (Jill); No activity. | Left file (Jack); No activity. | |
DIDDLE, DIDDLE DUMPLING

MIDI (sound
file)
pdf (music
and lyrics)
Diddle, Diddle Dumpling, my son John;
Went to bed with his trousers on.
One shoe off and one shoe on.
Diddle, Diddle Dumpling, my son John.
DESCRIPTION
Formation;—Standing in the right aisle in partner formation.
Open line formation; partners facing each other; arms raised forward
(shoulder height) and clasp partner’s hands.
Note.—If
desk width is too great have pupils place hands on hips.
Note.—Description of movement of pupil facing
to the left. Movements of partner;—reverse.
| 1st Line;— | Diddle, Diddle Dumpling, | my son John; | ||
| Interpretation;— | Step throw, right and left. (Four counts.) | Stamp feet; right, left, right and hold. (Four | ||
| 2nd Line;— | Went to bed with his | trousers on. | ||
| Inter.;— | Step throw, left and right. (Four counts.) | Replace left foot, bend knees deeply; lower arms | ||
| 3rd Line;— | One shoe off and | one shoe on, | ||
| Inter.;— | Arms raised forward (shoulder height) and clasp | Step left sideward and close right to left and step | ||
| 4th Line;— | Diddle, Diddle | Dumpling | my son John. | |
| Inter.;— | Jump, in place, once. (Two counts.) | Jump, in place, once. (Two counts.) | Jump, in place, three times and hold. (Four counts.) | |
SING A SONG OF SIXPENCE
Permission to use words and music:—McLoughlin Bros.
J. W. Elliot
1st Verse.

MIDI (sound file)
pdf (music and
lyrics)
Sing a song of sixpence,
A pocket full of Rye;
Four and twenty Blackbirds
bak’d in a Pie.
When the Pie was open’d,
The Birds began to sing;
Wasn’t that a dainty dish
to set before a King!
DESCRIPTION
Formation;—Standing in the right aisle facing each other with
hands on hips. (Open line formation; partners facing each other.)
| 1st Line;— | Sing a song of sixpence, |
| Interpretation;— | Step to the right, place left toe behind right heel, bending both |
| 2nd Line;— | A pocket full of Rye; |
| Inter.;— | Execute three slides to the right and bring heels together on the |
| 3rd Line;— | Four and twenty Blackbirds, |
| Inter.;— | Repeat the activity of the first line, starting to the |
| 4th Line;— | Bak’d in a Pie. |
| Inter.;— | Repeat activity of the second line to the left. |
| 5th Line;— | When the Pie was open’d, |
| Inter.;— | Pupils face forward; raise arms forward (shoulder height) in |
| 6th Line;— | The Birds began to sing; |
| Inter.;— | Fluttering of arms up and down, imitating the flying of |
| 7th Line;— | Wasn’t that a dainty dish |
| Inter.;— | Replace both hands to hips on the word, “dainty.” Upon the word, |
| 8th Line;— | To set before a King! |
| Inter.;— | Step sideward to the right, close feet and bow with arms |

SING A SONG OF SIXPENCE
(See page 40)
SING A SONG OF SIXPENCE
(Continued)
J. W. Elliott
2nd Verse.

MIDI (sound file)
pdf (music and
lyrics)
The King was in the counting house,
Counting out his money;
The Queen was in the parlour,
Eating bread and honey;
The maid was in the garden,
Hanging out the clothes;
There came a little Dicky Bird And popp’d upon her nose.
DESCRIPTION
Formation;—Standing in the right aisle with hands on hips,
facing the front of room.
| 1st Line;— | The King | was in |
| Interpretation;— | Jump, in place, with a quarter turn to the right. | Jump, in place, with a quarter turn to the left. |
| the counting | house, | |
| Inter.;— | Place left foot in seat area. | Sit in seat. |
Counting out his money; | ||
| Inter.;— | Suit activity to words, holding imaginary coins in | |
| 2nd Line;— | The Queen | was in |
| Inter.;— | Stand in the right aisle; face to the left and immediately place | Vault over seat, (Upon completion of vault, the hands assume |
the parlour, | ||
| Inter.;— | Face to the right; place right foot in seat area | |
Eating bread and honey; | ||
| Inter.;— | Suit activity to words, encircling imaginary plate | |
| 3rd Line;— | The maid | was in |
| Inter.;— | Place right foot in right aisle. | Stand in right aisle and place hands on hips. |
the garden, | ||
| Inter.;— | Bow and assume erect position. | |
| Hanging | out | |
| Inter.;— | Bend trunk forward downward; stretch arms downward, grasping | Raise trunk, stretch arms upward and grasp imaginary |
the clothes; | ||
| Inter.;— | Using right hand, take clothes-pin out of mouth and | |
| 4th Line;— | There came a little Dicky Bird, | |
| Inter.;— | Replace hands to hips and mark time, in place. | |
| And popped | upon her | |
| Inter.;— | Jump, in place, and clap hands once. | Replace hands to hips; step right sideward and close left to |
| nose! | ||
| Inter.;— | Bow and assume erect position. | |
SEE SAW, MARJORY DAW
Permission to use words and music:—McLoughlin Bros.
J. W. Elliott

MIDI (sound file)
pdf (music and
lyrics)
Seesaw, Marjory Daw,
Jack shall have a new master,
He shall have but a penny a day,
Because he won’t work any faster.
DESCRIPTION
Formation;—Arrange class so that three aisles may work
together.
Center aisle;—Jump to stride stand with arms raised
sideward.
Outer aisles;—Face the center and grasp with both hands the
outstretched hand of pupil in center.
The center player acts as the Board; outer players as riders.
| 1st Line;— | See Saw, Marjory Daw, | |
| Interpretation;— | Center activity;— | Pupil bends trunk to the right, left, right and left. |
| Outer aisles;— | When center pupils bend to the right, the children on the right | |
| 2nd Line;— | Jack shall have a new master, | |
| Inter.;— | Center and outer aisles activity;—Continue | |
| 3rd Line;— | He shall have but a penny a day, | |
| Inter.;— | Outer aisles;— | Placing left hand to right elbow, shake index finger three times |
| Center activity;— | Nod to the right upon the words, “he shall have”; assume erect | |
| 4th Line;— | Because he won’t work any faster. | |
| Inter.;— | Repeat activity of first line. (Center and outer | |
Circle
(Outer aisles of classroom or in open area.)
Note.—The following Rhythm Plays
are suitable to any open area.
LITTLE JACK HORNER
Permission to use words and music:—McLoughlin Bros.
Arr. by J. W. Elliott

MIDI (sound
file)
pdf (music and
lyrics)
Little Jack Horner sat in a corner,
Eating a Christmas pie;
He put in his thumb,
And pulled out a plum,
And said, “What a good boy am I!” Nice Plum!
Nice Plum! Nice Plum! Nice Plum!
DESCRIPTION
Formation;—Single circle formation facing line of direction
with hands on hips.
| 1st Line;— | Little | Jack Horner | sat in a | corner, |
| Interpretation;— | Step forward, right. | Step forward, left. | Step forward, right, turn to the left, closing left foot to right | Bend knees deeply. |
| 2nd Line;— | Eating a Christmas pie; | |||
| Inter.;— | Upon the word, “eating,” children encircle | |||
| 3rd Line;— | He put in his thumb, And pulled out a | |||
| Inter.;— | Upon the word, “put,” children imitate the action | |||
| 4th Line;— | And said, “What a good boy am I!” | |||
| Inter.;— | Proudly pats the chest with the left hand. | |||
| Conclusion;— | Nice Plum! | Nice Plum! | Nice Plum! | Nice Plum! |
| Inter.;— | Lowers plum to mouth, imitating eating, tapping the | |||
LITTLE MISS MUFFET
Arr. by J. N. Richards

MIDI (sound
file)
pdf (music and
lyrics)
Little Miss Muffet sat on a tuffet, eating of curds and whey,
Along came a spider
And sat down beside her;
And frighten’d Miss Muffet away.
DESCRIPTION
Formation;—Double circle formation facing line of direction
with hands on hips.
Inner circle:—The Spider.
Outer circle:—Miss Muffet.
Suggestion;—In so far as possible have the boys form the inner
circle and the girls the outer circle.
| 1st Line;— | Little Miss Muffet sat on a | tuffet, | |
| Interpretation;— | Outer circle (Miss Muffet); starting with the right | Bend knees deeply. | |
| Inter.;— | Inner circle (Spider); No activity. | ||
eating of curds and whey, | |||
| Inter.;— | Hold imaginary plate in the left hand (palm up) and | ||
| Inter.;— | Inner circle (Spider); No activity. | ||
| 2nd Line;— | Along came a spider | ||
| Inter.;— | Inner circle (Spider); Starting with the left foot | ||
| Inter.;— | Outer circle (Miss Muffet); No activity. | ||
| 3rd Line;— | And | sat | down beside her; |
| Inter.;— | Inner circle (Spider); Bend knees slightly. | Spring upward and upon return bend knees deeply and face partner. | |
And sat down beside her; | |||
| Inter.;— | Outer circle (Miss Muffet); Turns head to the left, holds hands in | ||
| 4th Line;— | And frighten’d Miss Muffet | ||
| Inter.;— | Outer circle (Miss Muffet); Place hands on hips; stretch knees and | ||
| Inter.;— | Inner circle (Spider); No activity. | ||

THE SPIDER FRIGHTENING MISS MUFFET
(See page 46)
JACK AND JILL
Arr. by J. N. Richards

MIDI (sound file)
pdf (music and
lyrics)
Jack and Jill went up the hill,
To fetch a pail of water;
Jack fell down and broke his crown,
And Jill came tumbling after.
Boohoo! Boohoo! Boohoo! Boohoo!
DESCRIPTION
Formation;—Double circle formation. Children bend knees deeply;
place outside hand on hip and clasp partner’s hand.
Inner circle:—Jill.
Outer circle:—Jack.
| 1st Line;— | Jack and Jill went up the hill, | |
| Interpretation;— | Starting with the left foot marching in line of | |
| 2nd Line;— | To fetch a pail of wa- | ter; |
| Inter.;— | Bend trunk forward, stretching left arm (hand clenched) downward, | Assume erect position with hands on hips. |
| 3rd Line;— | Jack fell down and broke his crown, | |
Activity as applied to children representing Jack. | ||
| Inter.;— | Upon the word, “Jack,” bend knees slightly; upon | |
| 4th Line;— | And Jill came tumbling after. | |
Activity as applied to children representing Jill. | ||
| Inter.;— | Upon the word, “Jill,” bend knees slightly; upon | |
Upon completion of the song all children gradually stretch the knees,
shaking the head in sorrow as they sing—Boo-hoo! Boo-hoo! Boo-hoo!
Boo-hoo!
Cover the face with the hands.
Movement of head;—Right; left; right; left; right; left; right
and front.

PUMPING A PAIL OF WATER
DICKORY, DICKORY, DOCK
Permission to use words and music:—McLoughlin Bros.
J. W. Elliott

MIDI (sound file)
pdf (music and
lyrics)
Dickory, dickory, dock;
The mouse ran up the clock;
The clock struck One,
The mouse ran down;
Dickory, dickory, dock.
DESCRIPTION
Formation;—Single circle facing line of direction with hands on
hips.
| 1st Line;— | Dickory, | dickory, | dock; |
| Interpretation;— | Arms stretched overhead with hands clasped. Bend trunk to the | Bend trunk to the right. | Assume erect position. |
| 2nd Line;— | The | mouse ran up the clock; | |
| Inter.;— | Place hands on hips; turn to the left and starting with the left foot | ||
| 3rd Line;— | The clock | struck | One, |
| Inter.;— | Turn right about. | Clap hands overhead and replace to hips. | |
The mouse ran | down; | ||
| Inter.;— | Three running steps forward. (Left; right and left.) | Step forward, right, and turn to the left, closing left foot to | |
| 4th Line;— | Dickory, | dickory, | dock. |
| Inter.;— | Arms stretched overhead with hands clasped. Bend trunk to the | Bend trunk to the right. | Assume erect position. |
| Position! | |||
LOOBY LOO
Permission to use words and music:—Miss Lydia Clark and Benj.
H. Sanborn & Co.
Arr. by Fannie Robertson

MIDI (sound file)
pdf (music and
lyrics)
Here we dance Looby Loo,
Here we dance Looby light,
Here we dance Looby Loo,
All on a Saturday night,
I put my right hand in,
I put my right hand out,
I give my right hand a shake, shake, shake,
And turn myself about, Oh!
DESCRIPTION
Formation;—Single circle formation, facing counter clock-wise
(right), in close order formation. Hands are placed upon the shoulders
of the pupil in front.
Note.—In classroom:—Single circle around
one row of seats.
Verse Here we dance Looby Loo, Here we dance Looby Light, Here we dance Looby Loo, Every Saturday night. | |
| Interpretation;— | Children march in line of direction, starting with inside foot |
Chorus I put my right hand in, I put my right hand out, I give my right hand a shake, shake, shake, And turn myself about. Oh! | |
| Inter.;— | Imitate activity as suggested and in turning execute same by |
Chorus 2nd;—I put my left hand in, etc. 3rd;—I put my right foot in, etc. 4th;—I put my left foot in, etc. 5th;—I put my little head in, etc. 6th;—I put my whole self in, etc. |
BAA, BAA, BLACK SHEEP
Permission to use words and music:—Miss Lydia Clark and Benj.
H. Sanborn & Co.
Arr. by Fannie Robertson

MIDI (sound
file)
pdf (music and
lyrics)
Baa, baa, Black Sheep, have you any wool?
Yes, sir; yes, sir! Three bags full;
One for my master, One for my dame.
But none for the little boy That cries in the lane.
DESCRIPTION
Formation;—Children form a single circle with hands joined.
(The Sheep.) A boy is chosen who stands in the center of the
circle. (The little boy in the lane.) Outer, front and rear aisles of
room utilized.
| 1st Line;— | Baa, Baa, Black Sheep, have you any wool? |
| Interpretation;— | Seven quick slides to the right, ceasing movement on the eighth |
| 2nd Line;— | Yes, sir; yes, sir! |
| Inter.;— | Those in the circle (The Sheep), place hands on hips and nod |
| Three bags full; | |
| Inter.;— | Place right elbow in left hand with three fingers extended, |
| 3rd Line;— | One for my master, |
| Inter.;— | Step sideward to the right and close feet; bow and assume erect |
| One for my dame, | |
| Inter.;— | Step sideward to the left and close feet; bow and assume erect |
| 4th Line;— | But none for the little boy |
| Inter.;— | Mark time, in place; (right; left; right; left); turning head to |
That cries in the lane. | |
| Inter.;— | Place right elbow in the left hand with forefinger extended, |

THE LITTLE BOY CRYING IN THE LANE
BEAN PORRIDGE
Arr. by J. N. Richards

MIDI (sound
file)
pdf (music and
lyrics)
Bean porridge hot,
Bean porridge cold,
Bean porridge in the pot,
Nine days old;
Some like it hot,
And some like it cold,
Some like it in the pot,
Nine days old.
DESCRIPTION
Formation;—Double circle formation facing partners with hands
on hips.
Suggestion:—In so far as possible have the sex units divided;
the boys forming the inner circle and the girls forming the outer
circle.
| 1st Line;— | Bean | porridge | hot, | |
| Interpretation;— | Clap hands to thighs. | Clap own hands. | Clap partner’s hands. | |
| Bean | porridge | cold, | ||
| Inter.;— | Clap hands to thighs. | Clap own hands. | Clap partner’s hands. | |
| 2nd Line;— | Bean | porridge | ||
| Inter.;— | Clap hands to thighs. | Clap own hands. | ||
in the | pot, | |||
| Inter.;— | With right hand, clap partner’s right | Clap own hands. | ||
| Nine | days | old; | ||
| Inter.;— | With left hand clap partner’s left hand. | Clap own hands. | Clap partner’s hands. | |
Description of pupil; Outer circle. Counterlike as to movement for
pupils of inner circle.
| 3rd Line;— | Some | like it | hot, And |
| Inter.;— | Clasp partner’s hands and raise arms to shoulder height. Step | Close left to right. | Step dip, right. |
| Some | like it | cold, | |
| Inter.;— | Step sideward, left. (In reverse line of direction.) | Close right to left. | Step dip, left. |
| 4th Line;— | Some like it in the pot, | ||
| Inter.;— | Four chasse steps in line of direction. | ||
| Nine days | old. | ||
| Inter.;— | Jump, in place, once. | Jump, in place, once. | |
FLY AWAY JACK AND JILL
Arr. by J. N. Richards

MIDI (sound file)
pdf (music and
lyrics)
Two little blackbirds,
Sitting on a hill,
One named Jack And the other named Jill;
Fly away, Jack and fly away, Jill;
Come again, Jack And come again, Jill.
DESCRIPTION
Formation;—Double circle facing counter clockwise (line of
direction); inside hands joined and raised shoulder height; outside
hands on hips.
Inner circle:—Jack. Outer
circle:—Jill.
Suggestion;—In so far as possible have the sex units divided,
the boys forming the inside circle and the girls forming the outside
circle.
Start the dance movement with the outside foot. (Boys beginning with
the left foot; girls beginning with the right foot.)
| 1st Line;— | Two little blackbirds, | |||
| Interpretation;— | Three steps in line of direction. Inner circle (Jack);—(Left; right, left and close right to Outer circle (Jill);—(Right; left, right and close left to | |||
Sitting on a hill, | ||||
| Inter.;— | Bend knees deeply. Outer and inner | |||
| 2nd Line;— | One named | Jack | ||
| Inter.;— | Inner circle (Jack); place hands on hips, stretch | Bow and assume erect position. | ||
| One | named Jack | |||
| Inter.;— | Outer circle (Jill); | Replace left hand to hip and remain in deep knee | No activity. | |
| And the | other named | Jill; | ||
| Inter.;— | No activity for either circles. | Outer circle (Jill); stretch knees and turn to | Bow and assume erect position. | |
| Inter.;— | Inner circle;—No activity. | |||
| 3rd Line;— | Fly away, Jack | And | fly away, Jill; | |
| Inter.;— | Inner circle (Jack); Three chasses in line of | Outer circle (Jill); Three chasses in line of | ||
| Inter.;— | Outer circle (Jill); No activity. | Inner circle; (Jack); No activity. | ||
| 4th Line;— | Come again, Jack | And | come again, Jill. | |
| Inter.;— | Inner circle (Jack); Three chasses in reverse line | Outer circle (Jill); Three chasses in reverse line | ||
| Inter.;— | Outer circle (Jill); No activity. | Inner circle (Jack); No activity. | ||

TWO LITTLE BLACK BIRDS SITTING ON A HILL
(See page 52)
This page had photographs for “Fly Away Jack and Jill” (above) and
“Dapple Grey” (page 56).
POP GOES THE WEASEL

MIDI (sound file)
pdf (music and
lyrics)
A sixpence for a spool of thread,
A penny for a needle;
That’s the way the money goes;
Pop goes the weasel.
Watch how the needle does fly,
Nimble hands to guide it;
Every time the wheel goes round,
Pop goes the weasel.
DESCRIPTION
Formation;—Double circle formation, partners facing; hands
joined and raised shoulder height.
Suggestion;—In so far as possible have the sex units divided,
the boys forming the inner circle and the girls forming the outer
circle.
Description of the pupils occupying the outer circle (girls); inner
circle (boys); counterlike.
| Verse | ||||
| 1st Line;— | A sixpence for | a spool of thread, | ||
| Interpretation;— | Step dip, right. (In line of direction.) | Step dip, left. (In reverse line of | ||
| 2nd Line;— | A penny for a needle; | |||
| Inter.;— | Four chasse steps in line of direction. Note.—On the fourth chasse | |||
| 3rd Line;— | That’s | the way | the money | goes; |
| Inter.;— | Face line of direction; inner hands joined and outer hands on | Step forward, right. | Step forward, left. | Close right to left and place inner hand to hip. |
| 4th Line;— | Pop | goes the | weasel. | |
| Inter.;— | With a jump, execute a turn right about and clap hands | With a jump, execute a turn right about, and clap | ||
POP GOES THE WEASEL
(Continued)
| Repeat Verse | ||||
| 1st Line;— | A sixpence for | a spool of thread, | ||
| Interpretation;— | Two step, right. (In line of direction.) | Two step, left. (In line of direction.) | ||
| 2nd Line;— | A penny | for a | needle; | |
| Inter.;— | Step forward, right. | Step forward, left. | Step forward, right and close left to right. | |
| 3rd Line;— | That’s the way | the money goes; | ||
| Inter.;— | Two step, left. (In line of direction.) | Two step, right. (In line of direction.) | ||
| 4th Line;— | Pop | goes the | weasel. | |
| Inter.;— | Step forward, left. | Step forward, right. | Step forward, left and close right to the left. Finish with hands | |
| Chorus | ||
| 1st Line;— | Watch how | the needle does fly, |
| Inter.;— | Turn to partner and step dip, right. (In line of direction.) Clap | Step dip, left. (In reverse line of direction.) Clap hands three |
| 2nd Line;— | Nimble hands to guide it; | |
| Inter.;— | Encircle to the right with three walking steps. | |
| 3rd Line;— | Every time | the wheel goes round, |
| Inter.;— | Step dip, left. (In reverse line of direction.) Clap hands three | Step dip, right. (In line of direction.) Clap hands three |
| 4th Line;— | Pop goes the weasel. | |
| Inter.;— | Encircle to the left with three walking steps. | |
DAPPLE GREY
Arr. by J. N. Richards

MIDI (sound
file)
pdf (music and
lyrics)
I had a little pony
And his name was Dapple Grey;
I lent him to a lady,
To ride a mile away.
She whipped him and she slashed him,
She rode him through the mire;
I would not lend my pony now
For all the lady’s hire.
DESCRIPTION
Formation;—Children arranged in double circle formation, facing
counter clockwise (line of direction); outside hands placed on hips;
inside hands joined and raised shoulder height.
Suggestion;—In so far as possible have the sex units divided,
the boys forming the inside circle and the girls forming the outside
circle.
Start the dance movement with the outside foot. (Boys beginning with
the left foot; girls beginning with the right foot.)
Description of pupils in outer circles. (Girls.)
Counterlike—Inner
| 1st Line;— | I had | a little | pony | |
| Interpretation;— | Point step forward, right. | Point step backward, right. | Three steps forward and hold. (Right; left and right.) | |
Cues;—Point and point and step, step, step. | ||||
| And his name | was Dapple | Grey; | ||
| Inter.;— | Swing left forward and point step forward, left. | Point step backward, left. | Three steps forward and hold. (Left; right and left.) | |
Cues;—Point and point and step, step, step. | ||||
| 2nd Line;— | I lent | him to | a lady, | |
| Inter.;— | With a jump, face partner; clasp outside hands and raise both | Jump, in place, once. | Step throw, right and step throw, left. | |
To ride a mile away. | ||||
Inter.;—Seven chasses in line of direction, | ||||
| 3rd Line;— | She whipped him and she slashed | |||
| Inter.;— | Replace left hand to hip. Grasp imaginary whip with the right hand Note.—The downward movement of | |||
She rode him through the | ||||
| Inter.;— | Clasp partner’s hands, raising arms to shoulder height and bend and | |||
| 4th Line;— | I would | not lend | my pony now | |
| Inter.;— | Step dip, right, clapping hands three times. | Step dip, left, clapping hands three times. | Face line of direction; replace hands to hips and | |
| For all | the lady’s | hire. | ||
| Inter.;— | Step throw, right. | Step throw, left. | Mark time, in place, three counts. (Right; left and | |

I HAD A LITTLE PONY
(See page 56)
SING A SONG OF SIXPENCE
Permission to use words and music:—McLoughlin Bros.
Arr. by J. W.
Elliott

MIDI (sound file)
pdf (music and
lyrics)
Sing a song of sixpence,
A pocket full of Rye;
Four and twenty Blackbirds Bak’d in a Pie.
When the Pie was open’d,
The Birds began to sing;
Wasn’t that a dainty dish To set before a King.
DESCRIPTION
Formation;—Single circle formation facing counter clockwise
(right) in close order formation. Hands are placed upon the shoulders of
the pupil in front.
| 1st Verse | ||
| 1st Line;— | Sing a song of sixpence, A pocket full of | |
| Interpretation;— | Starting with the inside foot (left) moving in line Cues;—Point and step; point and step; point and step; point and | |
| 2nd Line;— | Four and twenty Blackbirds | |
| Inter.;— | Turn the head to the left; step sideward, left and Cue;—Step and close; step and close. | |
Bak’d in a Pie. | ||
| Inter.;— | Turn the head to the right; step sideward, right Cue;—Step and close; step and close. | |
| 3rd Line;— | When the Pie was open’d, | |
| Inter.;— | Facing inward (left); clasp hands to the right and Cues;—Step; step; step and close. | |
The Birds began to sing; | ||
| Inter.;— | Three chasse steps in line of direction. (To the | |
| 4th Line;— | Wasn’t that a dainty dish | |
| Inter.;— | Extend arms forward slightly flexed, clapping hands | |
| To set before | a King? | |
| Inter.;— | Replace hands to hips; step sideward, left and close right to | Bow and assume erect position. |
SING A SONG OF SIXPENCE (Continued)
Second Verse
J. W. Elliott

MIDI (sound file)
pdf (music and
lyrics)
The King was in the counting house,
Counting out his money;
The Queen was in the parlour,
Eating bread and honey;
The maid was in the garden,
Hanging out the clothes;
There came a little Dicky Bird,
And popp’d upon her nose.
DESCRIPTION
Formation;—Single circle facing inward with hands on hips.
| 1st Line;— | The King was in the counting house, | ||
| Interpretation;— | Starting with the left foot execute three steps | ||
Counting out his money; | |||
| Inter.;— | Bend knees deeply and suit activity to the words, | ||
| 2nd Line;— | The Queen was in the parlour, | ||
| Inter.;— | Stretch the knees, lower heels; facing to the | ||
Eating bread and honey; | |||
| Inter.;— | Hold imaginary plate in the left hand (palm up) and | ||
| 3rd Line;— | The maid was in | the garden, | |
| Inter.;— | Extend arms forward slightly flexed, clapping hands | ||
| Hanging | out | the clothes; | |
| Inter.;— | Replace left foot; stretch the knees; bending trunk forward, | Stretching the trunk; raise arms forward upward to imaginary | Take clothespin out of mouth with right hand and pin clothes to |
| 4th Line;— | There came a little Dicky Bird, | ||
| Inter.;— | Replace hands to hips, execute four hops | ||
And popp’d | upon her nose. | ||
| Inter.;— | Clap hands, replacing same to hips, and execute | Bow and assume erect position. | |







