The songs in this book are available in two forms: .pdf (high-quality
image), and MIDI (sound file). When a song is presented more than once,
the same files are used for both. Depending on your browser, these files
may open directly, or may need to be downloaded for use with another
application.

All references to “permission”, “copyright” and similar are from the
original text. They are retained solely for informational purposes.

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
See Saw, Marjory Daw

Dickory, Dickory, Dock
Sing a Song of Sixpence

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 Bunting29
Bean Porridge37

Dickory, Dickory, Dock, 1st and 2nd verses

25,
26

Diddle, Diddle, Dumpling

39

Fly Away Jack and Jill

38
Humpty Dumpty24
Hey, Diddle, Diddle32

Jack Be Nimble, No. 1

22

Jack Be Nimble, No. 2

23
Jack and Jill28
Little Jack Horner20
Little Miss Muffet27
Little Boy Blue30
Pat-a-cake36
Rock-a-bye, Baby21
Ride a Cock-horse34

Sing a Song of Sixpence, 1st and 2nd verses

40,
41
See Saw, Marjory Daw42
The Band19
Wee Willie Winkie31

Where Has My Little Dog Gone?

33

Yankee Doodle, verse and chorus

35
Circle
Page

Baa, Baa, Black Sheep

50
Bean Porridge51
Dapple Grey54

Dickory, Dickory, Dock

48

Fly Away Jack and Jill

52
Jack and Jill47
Little Jack Horner45
Little Miss Muffet46
Looby Loo49

Pop Goes the Weasel, verse and chorus

55

Sing a Song of Sixpence, 1st and 2nd verses

57

10


GRADATION INDEX


First Grade
AislePage
  1. The Band19

  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

2526

  7. Little Miss Muffet

27

  8. Jack and Jill

28

  9. Bye O Baby Bunting

29
10. Little Boy Blue30

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
AislePage

  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-cake36

  6. Bean Porridge

37

  7. Fly Away Jack and Jill

38

  8. Sing a Song of Sixpence, 1st and 2nd verses

4041

  9. Diddle, Diddle, Dumpling

39

10. See Saw, Marjory Daw

42
Circle
  1. Looby Loo49

  2. Baa, Baa, Black Sheep

50

  3. Bean Porridge

51

  4. Fly Away Jack and Jill

52
Third Grade
CirclePage
  1. Dapple Grey54

  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

 ” “2526

  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

 ” ” ”  ”  “4041

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 Loo49

  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.
see caption see caption
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

SINGLE

Facing, line of direction.

Facing, inward.

Facing, reverse line of direction.

see caption see caption see caption
Counter-clockwise Clockwise
DOUBLE

Facing, line of direction.

Facing, reverse line of direction.

see caption see caption

Partner formation, facing each other.

see caption

17

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.)


19

THE BAND

musical notation with lyrics below

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
words.

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”)

see caption

OH I CAN PLAY ON A BIG BRASS HORN

20

LITTLE JACK HORNER

Permission to use words and music:—McLoughlin Bros.
J. W. Elliott

musical notation with lyrics below

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
seat.

2nd Line;—

Eating a Christmas pie;

Inter.;—

Upon the word, “eating,” pupils encircle imaginary plate with the
left arm and imitate eating with the right hand.

3rd Line;—

He put in his thumb, And pulled out a plum,

Inter.;—

Upon the word, “put,” pupil imitates the action of putting thumb
in pie and pulling out a plum, making the action vigorous upon the word,
“pulled,” stretching the arm overhead. Looks at the plum.

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,
tapping his chest the while.

see caption

HE PUT IN HIS THUMB, AND PULLED OUT A PLUM

21

ROCK-A-BYE, BABY

Permission to use words and music:—D. Appleton and Co.

musical notation with lyrics below

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
fro. (Right; left; right and left.)

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
overhead—partially dropping the baby.

4th Line;—

And down will come baby, cradle and all.

Inter.;—

Upon the word, “down,” children spring into the air and
immediately assume deep knee bending position.

Position.

see caption

ROCKING THE BABY

22

JACK BE NIMBLE—No. 1

Arr. by J. N. Richards

musical notation with lyrics below

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
over their own seats; finish facing the front of room with hands on
hips.

Repeat rhyme and activity back to former aisle.

see caption

JACK JUMPED OVER THE CANDLE STICK

23

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 benimble
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 bequick;
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
desk and back of seat, bending knees slightly.

Vault over the seat; replace hands to hips and execute 1/4 turn
to the right (Front.)

4th Line;—

The candle stick.

Inter.;—

Mark time, in place, three counts. (Left; right and
left.)

Repeat back to original position.

24

HUMPTY DUMPTY

Permission to use words and music:—McLoughlin Bros.

J. W. Elliott

musical notation with lyrics below

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
aisle.

2nd Line;—

Humpty Dumpty had a great fall;

Inter.;—

Upon the word, “fall,” pupils jump into the right aisles; bending
knees deeply, facing the front of the room.

3rd Line;—

All the King’s horses and all the King’s men,

Inter.;—

Assume position of attention with arms stretched forward holding
imaginary reins, at the same time “marking time” (ten counts), raising
knees waist high.

4th Line;—

Couldn’t put Humpty Dumpty together again.

Inter.;—

Shaking the head in sorrow; right, left, right and front. Hands
are placed upon hips during this movement.

see caption

HUMPTY DUMPTY SAT ON A WALL

25

DICKORY, DICKORY, DOCK

First Verse

Permission to use words and music:—McLoughlin Bros.

J. W. Elliott

musical notation with lyrics below

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
sideward.

3rd Line;—

The clock struck, One,

Inter.;—

Upon the word, “One,” clap hands overhead and lower arms
sideward.

The mouse ran down;
Inter.;—

Upon the word, “ran,” jump into the left aisle with hands clasped
overhead.

4th Line;—

Dickory, dickory, dock.

Inter.;—

Swaying right, left and erect.

Repeat activity to the right, bringing all pupils back to former
aisles.

see caption

THE PENDULUM

26

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
erect.

2nd Line;—“Why scamper,” said the clock.
Inter.;—

Place hands on hips; execute six running steps
forward. (Seven counts.) (Left; right; left; right; left; right; close
left to right, completing the movement.)

3rd Line;—You scaredme so,
Inter.;—

Execute 1/2 turn right about.

I’ll have to go;

Inter.;—

Execute three running steps forward. (Four counts.) (Left; right;
left, and close right to left, completing the movement.)

4th Line;—

Dickory, dickory, dock.

Inter.;—

Hands clasped overhead; swaying right, left and
erect.

Repeat to bring the class back to the original position.

27

LITTLE MISS MUFFET

Arr. by J. N. Richards

musical notation with lyrics below

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
whey.

Interpretation;—

Upon the word, “sat,” Little Miss Muffet climbs into her own
seat, faces back of room and sits upon the right side of desk. Hold
imaginary plate in left arm and imitate eating.

2nd Line;—Along came a spider
Inter.;—

Upon the word, “Along,” the Spider hastens over own seat and Miss
Muffet’s aisle; climbs upon seat and sits with Miss Muffet.

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
seats.

Upon returning to their own seats the children sing—
Dear me! Dear me! Dear me! Dear me!

see caption

ALONG CAME A SPIDER
(Spiders vaulting seats)

28

JACK AND JILL

Arr. by J. N. Richards

musical notation with lyrics below

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
into same seats. (The climbing of the hill.)

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
knees, deeply covering his face with his hands, imitating
crying.

4th Line;—

And Jill came tumbling after.

Inter.;—

Upon the word, “tumbling,” Jill falls (jumps) into the same aisle
as Jack; bends knees, deeply covering her face with her hands, imitating
crying.

Upon completion of the song all children return to their own seats,
singing—
Boo-hoo! Boo-hoo! Boo-hoo! Boo-hoo!

see caption

JACK AND JILL WENT UP THE HILL

29

BYE O BABY BUNTING

Arr. by J. N. Richards

musical notation with lyrics below

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
sway gently to the right.

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
the right shoulder (flex right arm; place hand on shoulder with fingers
clenched, forefinger extended to represent barrel of gun.)

3rd Line;—

To fetch a little rabbit skin

Inter.;—

Kneel on left knee and extend the right arm
forward, representing the aiming of a gun. (Fingers of the right hand
clenched, with forefinger extended; left hand resting on right upper
arm.)

4th Line;—

To wrap the Baby Bunting in.

Inter.;—

Assume erect position; bend forward and encircle
body with arms and return hands to hips upon completion of the
sentence.

see caption

AIMING THE GUN

30

LITTLE BOY BLUE

Permission to use words and music:—D. Appleton and Co.

musical notation with lyrics below

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
clenched, elbows raised high, imitate the blowing of the horn. Finish
with hands on hips.

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
pointed. Upon the word, “cows,” replace right hand to hip; point to the
left and look in direction pointed. Finish with hands on hips and eyes
front.

3rd Line;—

Where is the boy that looks after the sheep?

Inter.;—

Upon the word, “where,” shade the eyes with the right hand and
look to the right. Upon the word, “looks,” replace right hand to hip;
shade the eyes with the left hand and look to the left. Finish with left
hand on hip and eyes front.

4th Line;—

He’s under the haycock fast asleep.

Inter.;—

Upon the word, “under,” resume seats and lower head to desks upon
folded arms.

see caption

THERE’S SHEEP IN THE MEADOW

31

WEE WILLIE WINKIE

Arr. by J. N. Richards

musical notation with lyrics below

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
counts.)

2nd Line;—Upstairsanddownstairs
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
imaginary window. (Four times.)

Crying through the lock:—

Inter.;—

Cup hands and carry to mouth as if calling, bending
knees deeply.

4th Line;—“Are all the childrenin 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.

32

HEY, DIDDLE, DIDDLE

Arr. by J. N. Richards

musical notation with lyrics below

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 andthe fiddle,
Interpretation;—

Mark time, in place, five counts.

Imitate the action of playing the fiddle. One upward stroke of
the bow.

One downward stroke of the bow.

2nd Line;—The cowjumped overthe moon;
Inter.;—

Turn to the left; place hands on edge of desk and back of seat
and bend knees slightly.

Vault over the seat.

Turn to the right (front); stretch knees, lower heels and place
hands on hips.

3rd Line;—The little doglaughed to seesuch sport,
Inter.;—

Bend trunk forward, hugging self, imitating great
hilarity.

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
running steps, terminating action upon the word, “spoon.”

Stamp feet twice, in place, at the completion of the entire
activity.

33

WHERE HAS MY LITTLE DOG GONE?

Permission to use words and music:—Miss Lydia Clark and Benj.
H. Sanborn & Co.

Arr. by Fannie Robertson

musical notation with lyrics below

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
to the right.

With a jump execute 1/4 turn to the left. (Front.)

has my littledog 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 whereoh where
Inter.;—

Replace right hand to hip; shade eyes with the left hand and with
a jump execute 1/4 turn to the left.

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
long,

Inter.;—

Upon the word, “tail,” bend forward, placing hands behind back (palms
together; fingers extended.)

Upon the words, “and his,” assume erect position with hands at
sides.

Upon the word, “ears,” raise arms sideward, placing thumbs in ears
(fingers extended.)

4th Line;—Oh where,oh where
Inter.;—

Replace left hand to hip; shade eyes with the right hand and with
a jump execute 1/2 turn right about.

With a jump execute 1/2 turn right about. (Front.)

has hegone?

Replace right hand to hip, bow and assume erect
position.

see caption

LOOKING FOR THE DOG

34

RIDE A COCK-HORSE

Arr. by J. N. Richards

musical notation with lyrics below

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
stretching knees. (Three times.)

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
rotate the body to the right upon the word, “To.” Replace the right hand
to hip; shade the eyes with the left hand and rotate the body to the
left upon the word, “upon.” Replace the left hand to hip and turn the
body forward upon the word, “horse.”

3rd Line;—

Rings on her fingers and bells on her toes,

Inter.;—

Raise arms forward, palms forward, fingers and thumbs extended
upon the word, “Rings.” Bend the trunk slightly forward and lower arms
(palms forward), looking at the toes, upon the word, “bells.” Assume
erect position with hands on hips, upon the word, “toes.”

4th Line;—

She shall have music wherever she goes.

Inter.;—

Wave the baton with the right hand (forefinger extended; thumb
and remaining fingers clenched) to the left, right, left, right and
left, upon the words, “She shall have music.” (Five counts.)

Replace the right hand to hip, bow and assume erect position upon the
words, “wherever she goes.”

see caption

THE RIDING OF THE HORSE

35

YANKEE DOODLE

musical notation with lyrics below

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
counts.)

2nd Line;—

A riding on a pony,

Inter.;—

Stretching arms forward as if holding imaginary
reins; bend and stretch knees (four times), finishing with hands on
hips.

3rd Line;—

He stuck a feather in his hat,

Inter.;—

Upon the word, “stuck,” take off the hat with the
left hand and upon the word, “in,” insert the feather. Finish with hands
on hips.

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 DoodleDandy.
Inter.;—

Mark time, in place. (Four counts.)

Bow and assume erect position.

3rd Line;—Mind the musicand your step
Inter.;—

Wave the baton with right hand (forefinger extended) left, right,
left and right. (Four counts.) Finish with hands on hips.

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
right about by jumping. Upon the word, “house,” execute a half turn to
the right about by jumping. Upon the word, “handy,” jump, in place,
three times and salute with the right hand.

see caption

THE SALUTE
(See page 35)

36

PAT-A-CAKE

Arr. by J. N. Richards

musical notation with lyrics below

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
high), stirring with the right hand, increasing revolutions upon the
word, “fast.” Upon the word, “can,” the hands return to hips.

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
top) shoulder height, and roll it by a sliding movement.

Upon the words, “prick it,” suit action to the words and prick cake,
using forefinger of right hand, pressing same into left palm.

Upon the words, “mark it,” join forefingers with thumbs, raising to
eye height and form letter “B.” (Deaf and dumb alphabet.)

4th Line;—

And put in the oven for baby and me.

Inter.;—

Upon the word, “put,” imitate the action of placing
the cake in the oven by extending arms forward (palms up) and bending
knees. Assume erect position with hands on hips upon the word,
“oven.”

Upon the word, “baby,” bow and assume erect position.

Upon the word, “me,” raise the right arm (shoulder height) and place
forefinger on chest.

Position.

see caption

PAT-A-CAKE

37

BEAN PORRIDGE

Arr. by J. N. Richards

musical notation with lyrics below

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;—Beanporridgehot,
Interpretation;—

Clap hands to thighs.

Clap own hands.

Clap partner’s hands.

Beanporridgecold,
Inter.;—

Clap hands to thighs.

Clap own hands.

Clap partner’s hands.

2nd Line;—Beanporridge
Inter.;—

Clap hands to thighs.

Clap own hands.

in the

pot,

With right hand clap partner’s right hand.

Clap own hands.
Ninedaysold;
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
sideward right.

Close left to right.

Step dip, right.
some

like it

cold,
Inter.;—Step sideward left.

Close right to left.

Step dip, left.
4th Line;—Somelike it
Inter.;—

Face to the right; place right hand on hip, inner
hands joined and raised shoulder height. Step forward, right.

Step forward, left.

in the

pot,

Step forward, right.

Close left to right and place left hand on
hip.

Nine days

old.
Inter.;—

With a jump execute a half turn right about.

With a jump execute a half turn right
about.

38

FLY AWAY JACK AND JILL

Arr. by J. N. Richards

musical notation with lyrics below

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;—Twolittle
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;—Sittingon
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
deeply.

Replace hands to hips and bend knees
deeply.

3rd Line;—

One named

Jack,
Inter.;—

Left file (Jack); Stretch knees and turn to the
left.

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
right.

Bow and assume erect position.

Left file (Jack); No activity.

Left file (Jack); No activity.

5th Line;—Fly away, JackAndfly away, Jill,
Inter.;—

Left file (Jack); face to the right and execute
three chasses to the left.

Right file (Jill); face to the left and execute three chasses to
the right.

Inter.;—

Right file (Jill); No activity.

Left file (Jack); No activity.

6th Line;—Come again, JackAndcome again, Jill.
Inter.;—

Left file (Jack); Three chasses to the
right.

Right file (Jill); Three chasses to the left.

Inter.;—

Right file (Jill); No activity.

Left file (Jack); No activity.

39

DIDDLE, DIDDLE DUMPLING

musical notation with lyrics below

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
counts.)

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
with hands clenched. Stretch knees, pulling trousers on and place hands
on hips. (Two counts per movement; four counts in all.)

3rd Line;—

One shoe off and

one shoe on,
Inter.;—

Arms raised forward (shoulder height) and clasp
partner’s hands. Step right sideward and close left to right and step
throw, right. (Schottische.) (Four counts.)

Step left sideward and close right to left and step
throw, left. (Schottische.) (Four counts.)

4th Line;—Diddle, DiddleDumplingmy son John.
Inter.;—

Jump, in place, once. (Two counts.)

Jump, in place, once. (Two counts.)

Jump, in place, three times and hold. (Four counts.)

40

SING A SONG OF SIXPENCE

Permission to use words and music:—McLoughlin Bros.

J. W. Elliot

1st Verse.

musical notation with lyrics below

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
knees slightly. Repeat to the left. (Cues:—Step and bend and step
and bend.)

2nd Line;—

A pocket full of Rye;

Inter.;—

Execute three slides to the right and bring heels together on the
fourth count. (Cues; Slide, slide, slide and heels.)

3rd Line;—

Four and twenty Blackbirds,

Inter.;—

Repeat the activity of the first line, starting to the
left.

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
circle form and then extend sideward, imitating the opening of the
pie.

6th Line;—

The Birds began to sing;

Inter.;—

Fluttering of arms up and down, imitating the flying of
birds.

7th Line;—

Wasn’t that a dainty dish

Inter.;—

Replace both hands to hips on the word, “dainty.” Upon the word,
“dish,” stretch the right hand forward as if holding the dish and nod
the head in approval.

8th Line;—

To set before a King!

Inter.;—

Step sideward to the right, close feet and bow with arms
stretched sideward.

see caption

SING A SONG OF SIXPENCE
(See page 40)

41

SING A SONG OF SIXPENCE
(Continued)

J. W. Elliott

2nd Verse.

musical notation with lyrics below

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 Kingwas in
Interpretation;—

Jump, in place, with a quarter turn to the right.

Jump, in place, with a quarter turn to the left.
(Front.)

the countinghouse,
Inter.;—

Place left foot in seat area.

Sit in seat.

Counting out his money;

Inter.;—

Suit activity to words, holding imaginary coins in
palm of left hand and count with the right hand.

2nd Line;—The Queenwas in
Inter.;—

Stand in the right aisle; face to the left and immediately place
hands in support on back of seat and edge of desk.

Vault over seat, (Upon completion of vault, the hands assume
normal position.)

the parlour,

Inter.;—

Face to the right; place right foot in seat area
and become seated.

Eating bread and honey;

Inter.;—

Suit activity to words, encircling imaginary plate
with left arm and imitate eating with the right hand.

3rd Line;—The maidwas 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.

Hangingout
Inter.;—

Bend trunk forward downward; stretch arms downward, grasping
clothes.

Raise trunk, stretch arms upward and grasp imaginary
clothesline.

the clothes;

Inter.;—

Using right hand, take clothes-pin out of mouth and
pin clothes on the line.

4th Line;—

There came a little Dicky Bird,

Inter.;—

Replace hands to hips and mark time, in place.
(Left, right, left and right.)

And poppedupon her
Inter.;—

Jump, in place, and clap hands once.

Replace hands to hips; step right sideward and close left to
right.

nose!
Inter.;—

Bow and assume erect position.

42

SEE SAW, MARJORY DAW

Permission to use words and music:—McLoughlin Bros.

J. W. Elliott

musical notation with lyrics below

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
act as riders on board, bending and stretching knees. In reversing the
movement, similar activity for those on the left.

2nd Line;—

Jack shall have a new master,

Inter.;—

Center and outer aisles activity;—Continue
movement as described for the first line, finishing in erect position
with hands on hips.

3rd Line;—

He shall have but a penny a day,

Inter.;—Outer aisles;—

Placing left hand to right elbow, shake index finger three times
upon the words, “he shall have”; repeat motion with the left hand upon
the words, “but a penny a day.” Finish with hands on hips.

Center activity;—

Nod to the right upon the words, “he shall have”; assume erect
position and nod to the left upon the words, “but a penny a day.” Finish
with hands on hips.

4th Line;—

Because he won’t work any faster.

Inter.;—

Repeat activity of first line. (Center and outer
aisles.)


43

Circle

(Outer aisles of classroom or in open area.)

Note.—The following Rhythm Plays
are suitable to any open area.


45

LITTLE JACK HORNER

Permission to use words and music:—McLoughlin Bros.

Arr. by J. W. Elliott

musical notation with lyrics below

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;—LittleJack Hornersat in acorner,
Interpretation;—Step forward, right.Step forward, left.

Step forward, right, turn to the left, closing left foot to right
foot.

Bend knees deeply.
2nd Line;—

Eating a Christmas pie;

Inter.;—

Upon the word, “eating,” children encircle
imaginary plate with the left arm and imitate eating with the right
hand.

3rd Line;—

He put in his thumb, And pulled out a
plum,

Inter.;—

Upon the word, “put,” children imitate the action
of putting thumb in pie and pulling out a plum, making the action
vigorous upon the word, “pulled,” stretching the arm overhead. Look at
plum.

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
chest the while.

46

LITTLE MISS MUFFET

Arr. by J. N. Richards

musical notation with lyrics below

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
foot execute three steps in line of direction. (Right; left; right and
close left to 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
imitate eating. Hands are replaced to hips upon the completion of the
word, “whey.”

Inter.;—

Inner circle (Spider); No activity.

2nd Line;—

Along came a spider

Inter.;—

Inner circle (Spider); Starting with the left foot
execute five running steps in line of direction. (This should bring
partners together.)

Inter.;—

Outer circle (Miss Muffet); No activity.

3rd Line;—Andsatdown beside her;
Inter.;—

Inner circle (Spider); Bend knees slightly.

Spring upward and upon return bend knees deeply and face partner.
Raise hands, fingers extended and flexed. (Eye height.)

And     sat down beside her;

Inter.;—

Outer circle (Miss Muffet); Turns head to the left, holds hands in
position to ward off attack of the Spider.

4th Line;—

And     frighten’d Miss Muffet
away.

Inter.;—

Outer circle (Miss Muffet); Place hands on hips; stretch knees and
with six running steps encircle the Spider and return to place.

Inter.;—

Inner circle (Spider); No activity.

see caption

THE SPIDER FRIGHTENING MISS MUFFET
(See page 46)

47

JACK AND JILL

Arr. by J. N. Richards

musical notation with lyrics below

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
direction execute three steps, closing right foot to left upon
completion of movement. As the steppings are taken, the knees are
stretched gradually until reaching erect position.

2nd Line;—

To fetch a pail of wa-

ter;
Inter.;—

Bend trunk forward, stretching left arm (hand clenched) downward,
holding imaginary pail under spout of pump. Bend right arm (hand
clenched) to thrust, grasping the imaginary pump handle. Imitate pumping
of water (Three times.)

Assume erect position with hands on hips.

3rd Line;—

Jack fell down and broke his crown,

Activity as applied to children representing Jack.
(Outer circle.)

Inter.;—

Upon the word, “Jack,” bend knees slightly; upon
the word, “fell,” pupils spring lightly upward and assume deep knee
position, placing right hand upon the head (the crown) and left hand
upon the floor. (The hand on floor is in the forward plane.)

4th Line;—And Jill came tumbling after.

Activity as applied to children representing Jill.
(Inner circle.)

Inter.;—

Upon the word, “Jill,” bend knees slightly; upon
the word, “came,” spring lightly upward and assume deep knee position,
covering face with right hand (crying) and placing left hand on floor.
(The hand on floor is in the forward plane.)

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.

see caption

PUMPING A PAIL OF WATER

48

DICKORY, DICKORY, DOCK

Permission to use words and music:—McLoughlin Bros.
J. W. Elliott

musical notation with lyrics below

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
left.

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
execute six running steps forward, closing left foot to right,
completing the movement. (Seven counts.)

3rd Line;—The clockstruckOne,
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
right foot.

4th Line;—Dickory,dickory,dock.
Inter.;—

Arms stretched overhead with hands clasped. Bend trunk to the
left.

Bend trunk to the right.

Assume erect position.

Position!

49

LOOBY LOO

Permission to use words and music:—Miss Lydia Clark and Benj.
H. Sanborn & Co.

Arr. by Fannie Robertson

musical notation with lyrics below

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
(left), swaying inward (left) and outward (right). Upon the completion
of the verse, the children immediately cease the movement and face the
center of the circle.

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
spinning about upon the right foot to the right. Upon completion of the
turn immediately face line of direction, placing hands upon pupil’s
shoulders in front in readiness for the verse action.

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.

50

BAA, BAA, BLACK SHEEP

Permission to use words and music:—Miss Lydia Clark and Benj.
H. Sanborn & Co.

Arr. by Fannie Robertson

musical notation with lyrics below

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
count.

2nd Line;—Yes, sir; yes, sir!
Inter.;—

Those in the circle (The Sheep), place hands on hips and nod
their heads twice emphatically.

Three bags full;
Inter.;—

Place right elbow in left hand with three fingers extended,
shaking same three times vigorously.

3rd Line;—One for my master,
Inter.;—

Step sideward to the right and close feet; bow and assume erect
position. Hands are placed upon the hips.

One for my dame,
Inter.;—

Step sideward to the left and close feet; bow and assume erect
position. Hands are placed upon hips.

4th Line;—

But none for the little boy

Inter.;—

Mark time, in place; (right; left; right; left); turning head to
the right, left, right and front. Hands are placed on hips.

That cries in the lane.

Inter.;—

Place right elbow in the left hand with forefinger extended,
shaking same three times vigorously at the little boy in the center of
the circle.

see caption

THE LITTLE BOY CRYING IN THE LANE

51

BEAN PORRIDGE

Arr. by J. N. Richards

musical notation with lyrics below

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;—Beanporridgehot,
Interpretation;—

Clap hands to thighs.

Clap own hands.

Clap partner’s hands.

Beanporridgecold,
Inter.;—

Clap hands to thighs.

Clap own hands.

Clap partner’s hands.

2nd Line;—Beanporridge
Inter.;—

Clap hands to thighs.

Clap own hands.

in the

pot,
Inter.;—

With right hand, clap partner’s right
hand.

Clap own hands.

Ninedaysold;
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;—Somelike ithot, And
Inter.;—

Clasp partner’s hands and raise arms to shoulder height. Step
sideward, right. (In line of direction.)

Close left to right.Step dip, right.
Somelike itcold,
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 daysold.
Inter.;—

Jump, in place, once.

Jump, in place, once.

52

FLY AWAY JACK AND JILL

Arr. by J. N. Richards

musical notation with lyrics below

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
left.)

Outer circle (Jill);—(Right; left, right and close left to
right.)

Sitting on a hill,

Inter.;—

Bend knees deeply. Outer and inner
circles.

2nd Line;—

One named

Jack
Inter.;—

Inner circle (Jack); place hands on hips, stretch
knees and turn to partner. (Right.)

Bow and assume erect position.

Onenamed Jack
Inter.;—

Outer circle (Jill);

Replace left hand to hip and remain in deep knee
position.

No activity.
And the

other named

Jill;
Inter.;—

No activity for either circles.

Outer circle (Jill); stretch knees and turn to
partner (Left.)

Bow and assume erect position.

Inter.;—Inner circle;—No activity.
3rd Line;—Fly away, JackAndfly away, Jill;
Inter.;—

Inner circle (Jack); Three chasses in line of
direction.

Outer circle (Jill); Three chasses in line of
direction.

Inter.;—

Outer circle (Jill); No activity.

Inner circle; (Jack); No activity.
4th
Line
;—
Come again, JackAndcome again, Jill.
Inter.;—

Inner circle (Jack); Three chasses in reverse line
of direction.

Outer circle (Jill); Three chasses in reverse line
of direction.

Inter.;—

Outer circle (Jill); No activity.

Inner circle (Jack); No activity.

see caption

TWO LITTLE BLACK BIRDS SITTING ON A HILL
(See page 52)

53

This page had photographs for “Fly Away Jack and Jill” (above) and
“Dapple Grey” (page 56).

54

POP GOES THE WEASEL

musical notation with lyrics below

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
direction.)

2nd Line;—

A penny for a needle;

Inter.;—

Four chasse steps in line of direction.

Note.—On the fourth chasse
step do not close left foot to the right.

3rd Line;—That’sthe waythe moneygoes;
Inter.;—

Face line of direction; inner hands joined and outer hands on
hips. Step forward, left.

Step forward, right.Step forward, left.

Close right to left and place inner hand to hip.

4th Line;—Popgoes theweasel.
Inter.;—

With a jump, execute a turn right about and clap hands
once.

With a jump, execute a turn right about, and clap
hands once. Finish with inner hands joined and outer hands on hips.
Facing in line of direction.

55

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
on hips.

Chorus
1st Line;—Watch howthe needle does fly,
Inter.;—

Turn to partner and step dip, right. (In line of direction.) Clap
hands three times.

Step dip, left. (In reverse line of direction.) Clap hands three
times.

2nd Line;—

Nimble hands to guide it;

Inter.;—

Encircle to the right with three walking steps.
(Right; left; right and close left to right.) As the first step is taken
clap hands once and replace hands to hips.

3rd Line;—Every time

the wheel goes round,

Inter.;—

Step dip, left. (In reverse line of direction.) Clap hands three
times.

Step dip, right. (In line of direction.) Clap hands three
times.

4th Line;—

Pop goes the weasel.

Inter.;—

Encircle to the left with three walking steps.
(Left; right; left and close right to the left.) As the first step is
taken clap hands once and replace hands to hips.

56

DAPPLE GREY

Arr. by J. N. Richards

musical notation with lyrics below

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 hada littlepony
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 namewas DappleGrey;
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 lenthim toa lady,
Inter.;—

With a jump, face partner; clasp outside hands and raise both
arms to shoulder height.

Jump, in place, once.

Step throw, right and step throw, left.

To ride a mile away.

Inter.;—Seven chasses in line of direction,
closing left to right, completing movement.

3rd Line;—

She     whipped him and she slashed
him,

Inter.;—

Replace left hand to hip. Grasp imaginary whip with the right hand
and with a vigorous motion imitate whipping. (Three times replacing hand
to hip upon the word, “him.”) Mark time, in place, six counts. (Right;
left; right; left; right and left.)

Note.—The downward movement of
whipping takes place as the right foot is lowered to the floor.

She     rode him through the
mire;

Inter.;—

Clasp partner’s hands, raising arms to shoulder height and bend and
stretch knees six times.

4th Line;—I wouldnot lendmy 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
execute two steps forward. (Right; left and close light to
left.)

For allthe lady’shire.
Inter.;—Step throw, right.Step throw, left.

Mark time, in place, three counts. (Right; left and
right.)

see caption

I HAD A LITTLE PONY
(See page 56)

57

SING A SONG OF SIXPENCE

Permission to use words and music:—McLoughlin Bros.
Arr. by J. W.
Elliott

musical notation with lyrics below

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
Rye;

Interpretation;—

Starting with the inside foot (left) moving in line
of direction execute point step forward and step, left; right; left and
right. During this movement, bend the trunk slightly to the left and
right as the activity proceeds.

Cues;—Point and step; point and step; point and step; point and
step.

2nd Line;—

Four and twenty Blackbirds

Inter.;—

Turn the head to the left; step sideward, left and
close right to left and repeat.

Cue;—Step and close; step and close.

Bak’d in a Pie.

Inter.;—

Turn the head to the right; step sideward, right
and close left to the right and repeat.

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
left and starting with the right foot execute three steps backward.
(Right; left; right and close left to the right.)

Cues;—Step; step; step and close.

The Birds began to sing;

Inter.;—

Three chasse steps in line of direction. (To the
right.)

4th Line;—

Wasn’t that a dainty dish

Inter.;—

Extend arms forward slightly flexed, clapping hands
seven times, and step bend, left and right. (Step to the left; place the
right toe behind the left heel, bending both knees slightly. During this
movement the head is turned to the left, the trunk bending slightly as
the knee bending occurs. (Counterlike as to movement of head and trunk
when executed to the right.)

To set beforea King?
Inter.;—

Replace hands to hips; step sideward, left and close right to
left.

Bow and assume erect position.

58

SING A SONG OF SIXPENCE (Continued)
Second Verse

J. W. Elliott

musical notation with lyrics below

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
forward. (Left; right; left and close right to the left.)

Counting out his money;

Inter.;—

Bend knees deeply and suit activity to the words,
holding imaginary coins in the palm of the left hand, counting with the
right hand. (Six counts.)

2nd Line;—

The Queen was in the parlour,

Inter.;—

Stretch the knees, lower heels; facing to the
right, start with the right foot, execute three chasse steps to the
right, with arms raised sideward.

Eating bread and honey;

Inter.;—

Hold imaginary plate in the left hand (palm up) and
suit activity to words, imitating eating with the right hand. (Six
counts.)

3rd Line;—The maid was inthe garden,
Inter.;—

Extend arms forward slightly flexed, clapping hands
seven times, and step bend, left and right. (Step to the left, place
right toe behind the left heel, bending both knees slightly. During this
movement the head is turned to the left, the trunk bending slightly as
the knee bending occurs. (Counterlike as to movement of head and trunk
when executed to the right.)

Hangingoutthe clothes;
Inter.;—

Replace left foot; stretch the knees; bending trunk forward,
downward grasping clothes with hands.

Stretching the trunk; raise arms forward upward to imaginary
clothesline.

Take clothespin out of mouth with right hand and pin clothes to
line.

4th Line;—

There came a little Dicky Bird,

Inter.;—

Replace hands to hips, execute four hops
forward.

And popp’d

upon her nose.
Inter.;—

Clap hands, replacing same to hips, and execute
one-quarter turn to the left by hopping.

Bow and assume erect position.

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