This is a modern-English version of Dramatized Rhythm Plays: Mother Goose and Traditional, originally written by Richards, John N.. It has been thoroughly updated, including changes to sentence structure, words, spelling, and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.

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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.

The songs in this book are available in two formats: .pdf (high-quality image) and MIDI (sound file). When a song appears 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 app.

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

All mentions of "permission," "copyright," and similar terms are from the original text. They are kept only 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.

A few photos were printed out of order, likely due to space constraints. For this e-text, they have been moved to their correct spots, keeping 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.

This book is completely protected by copyright, and nothing in it may be reprinted or reproduced in any way, either in whole or in part, for any purpose, without the explicit written permission of the copyright owner.

Printed in the United States of America

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 following rhythmic plays put together by Mr. John N. Richards of the Newark Department of Physical Education have been designed to address the needs during the shift of Physical Education activities between kindergarten and the early years of 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.

The physiologist tells us that the nervous system of early childhood is harmed by the pressure of strict, focused attention needed in formal gymnastics. So, it’s smart to capture the child’s interest and attention with dramatized nursery plays. These require little mental effort, allowing the child to bring to life through movement the words and music designed to enhance their motor skills. This way, the child is gradually and engagingly guided from the free expression typical of babyhood to the more structured activities of the third and fourth years in 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.

Mr. Richards' contribution deserves to be widely used because he has clearly and specifically described his rhythm activities, making it easy for classroom teachers to use them without relying on their imagination or trying to interpret 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.

The book should be helpful and appreciated not just by the classroom teacher but also by the Physical Education specialist and supervisor.

Randall D. Warden

Director of Physical Education, Newark, N.J., Public Schools

Director of Physical Education, Newark, NJ, Public Schools

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 young people today are really lucky to have so many opportunities and advantages. Home, school, work, social life, and play provide more chances for service than ever. The growing number of challenges we need to tackle during this time of rebuilding our nation calls for leaders with broad minds, clear vision, and good judgment. Along with these qualities, there needs to be a strong sense of morality that contributes to 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 trend in society is definitely moving towards crowded city living. There's a regrettable shortage of playgrounds and well-equipped gyms. School buildings are filled to capacity, and there's a fast-paced, hectic lifestyle that demands the attention of all educators concerned with the physical health 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.

The invaluable resources of our communities are the young boys and girls who are maturing into adulthood. We should invest both time and money into preparing them physically, mentally, and spiritually for the significant challenges that will 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.

Exercise habits and a sense of fair play need to be part of their training from an early age. There’s no better way to teach these lessons than through engaging stories, plays, and games during their initial 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.

The content in this book is practical. The exercise movements are matched with music that’s popular in both schools and homes. It is carefully organized and should be very helpful to teachers in lower grades. It helps bridge the gap between Kindergarten and 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.

There is a need for a manual like this in our Physical Training literature, and we hope that this material will be widely used across schools in our country.

F. W. Maroney, M.D.

Dr. F. W. Maroney

Director of Physical Education and Medical Inspection

Director of Physical Education and Health Services

Atlantic City, N.J., Public Schools

Atlantic City, NJ Public Schools

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.

The author wants to thank F. W. Maroney, M.D., who was previously the Director of Physical Education for the State of New Jersey and is now the Director of Physical Education and Medical Inspection for 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.

Special acknowledgment and thanks go to 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 mentioned later.

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":

Thanks are also owed to McLoughlin Bros. for allowing us to use the words and music of the following songs from J. W. Elliott's book titled, "Nursery Rhymes, Set to Music":

Little Jack Horner See Saw, Marjory Daw Little Jack Horner See Saw, Marjory Daw	Dickory, Dickory, Dock Sing a Song of Sixpence 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:

To Miss Lydia Clark, author of "Physical Training for Elementary Schools," and to B. H. Sanborn & Company, for allowing the use of the lyrics and music of the following songs:

Where Has My Little Dog Gone? Where has my little dog gone?	Baa, Baa, Black Sheep Baa, Baa, Black Sheep
Looby Loo

J. N. Richards

J.N. Richards

ALPHABETICAL INDEX

Aisles of Classroom

	Page
Bye O Baby Bunting	29
Bean Porridge	37
Dickory, Dickory, Dock, 1st and 2nd verses Dickory, Dickory, Dock, 1st and 2nd verses	25, 26
Diddle, Diddle, Dumpling Diddle, Diddle, Dumpling	39
Fly Away Jack and Jill Fly Away, Jack and Jill	38
Humpty Dumpty	24
Hey, Diddle, Diddle	32
Jack Be Nimble, No. 1 Jack Be Quick, No. 1	22
Jack Be Nimble, No. 2 Jack Be Quick, 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 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? Where Did My Little Dog Go?	33
Yankee Doodle, verse and chorus Yankee Doodle, song and chorus	35

Circle

	Page
Baa, Baa, Black Sheep Baa, Baa, Black Sheep	50
Bean Porridge	51
Dapple Grey	54
Dickory, Dickory, Dock Dickory, Dickory, Dock	48
Fly Away Jack and Jill 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 Pop Goes the Weasel, verse and chorus	55
Sing a Song of Sixpence, 1st and 2nd verses Sing a Song of Sixpence, 1st and 2nd verses	57

GRADATION INDEX

First Grade

Aisle	Page
1. The Band	19
2. Little Jack Horner Little Jack Horner	20
3. Rock-a-bye Baby Rock-a-bye Baby	21
4. Jack Be Nimble, No. 1 4. Jack Be Nimble, No. 1	22
5. Humpty Dumpty Humpty Dumpty	24
6. Dickory, Dickory, Dock, 1st and 2nd verses 6. Dickory, Dickory, Dock, 1st and 2nd verses	25, 26
7. Little Miss Muffet 7. Little Miss Muffet	27
8. Jack and Jill Jack and Jill	28
9. Bye O Baby Bunting 9. Bye, Baby Bunting	29
10. Little Boy Blue	30
11. Wee Willie Winkie 11. Little Willie Winkie	31
12. Jack Be Nimble, No. 2 12. Jack Be Nimble, No. 2	23
Circle
1. Little Jack Horner Little Jack Horner	45
2. Little Miss Muffet 2. Little Miss Muffet	46
3. Jack and Jill Jack and Jill	47
4. Dickory, Dickory, Dock 4. Hickory, Dickory, Dock	48

Second Grade

Aisle	Page
1. Hey, Diddle, Diddle Hey, Diddle, Diddle	32
2. Where Has My Little Dog Gone? 2. Where Has My Little Dog Gone?	33
3. Ride a Cock-horse 3. Ride a hobbyhorse	34
4. Yankee Doodle, verse and chorus 4. Yankee Doodle, verse and chorus	35
5. Pat-a-cake	36
6. Bean Porridge 6. Bean Soup	37
7. Fly Away Jack and Jill 7. Fly Away Jack and Jill	38
8. Sing a Song of Sixpence, 1st and 2nd verses 8. Sing a Song of Sixpence, 1st and 2nd verses	40, 41
9. Diddle, Diddle, Dumpling 9. Diddle, Diddle, Dumpling	39
10. See Saw, Marjory Daw See-Saw, Marjory Daw	42
Circle
1. Looby Loo	49
2. Baa, Baa, Black Sheep Baa, Baa, Black Sheep	50
3. Bean Porridge 3. Bean Soup	51
4. Fly Away Jack and Jill 4. Fly Away Jack and Jill	52

Third Grade

Circle	Page
1. Dapple Grey	54
2. Pop Goes the Weasel, verse and chorus 2. Pop Goes the Weasel, verse and chorus	55
3. Sing a Song of Sixpence, 1st and 2nd verses 3. Sing a Song of Sixpence, 1st and 2nd verses	57

INDEX OF PROGRESSION

Aisles of Classroom

		Page
1. The Band	(File Alignment)	19
2. Little Jack Horner Little Jack Horner	" "	20
3. Rock-a-bye, Baby 3. Rock-a-bye, Baby	" "	21
4. Jack Be Nimble, No. 1 4. Jack Be Nimble, No. 1	" "	22
5. Humpty Dumpty Humpty Dumpty	" "	24
6. Dickory, Dickory, Dock, 1st and 2nd verses 6. Dickory, Dickory, Dock, 1st and 2nd verses	" "	25, 26
7. Little Miss Muffet 7. Little Miss Muffet	" "	27
8. Jack and Jill Jack and Jill	" "	28
9. Bye O Baby Bunting 9. Bye, Baby Bunting	" "	29
10. Little Boy Blue	" "	30
11. Wee Willie Winkie 11. Little Willie Winkie	" "	31
12. Jack Be Nimble, No. 2 12. Jack Be Nimble, No. 2	" "	23
13. Hey, Diddle, Diddle 13. Hey, Diddle, Diddle	" "	32
14. Where Has My Little Dog Gone? 14. Where Did My Little Dog Go?	" "	33
15. Ride a Cock-horse 15. Ride a toy horse	" "	34
16. Yankee Doodle, verse and chorus 16. Yankee Doodle, verse and chorus	" "	35
17. Pat-a-cake	(Open line formation, partners facing) (Open line formation, partners facing)	36
18. Bean Porridge	" " " " "	37
19. Fly Away Jack and Jill. 19. Fly Away Jack and Jill.	" " " " "	38
20. Sing a Song of Sixpence, 1st and 2nd verses 20. Sing a Song of Sixpence, 1st and 2nd verses	" " " " "	40, 41
21. Diddle, Diddle, Dumpling Diddle, Diddle, Dumpling	" " " " "	39
22. See Saw, Marjory Daw. See Saw, Marjory Daw.	" " " " "	42

Circle
(Outer aisles of classroom)

	Page
1. Little Jack Horner Jack Horner	45
2. Little Miss Muffet Little Miss Muffet	46
3. Jack and Jill Jack and Jill	47
4. Dickory, Dickory, Dock 4. Hickory Dickory Dock	48
5. Looby Loo	49
6. Baa, Baa, Black Sheep Baa, Baa, Black Sheep	50
7. Bean Porridge Bean Soup	51
8. Fly Away Jack and Jill 8. Fly Away Jack and Jill	52
9. Dapple Grey Dapple Gray	54
10. Pop Goes the Weasel, verse and chorus 10. Pop Goes the Weasel, verse and chorus	55
11. Sing a Song of Sixpence, 1st and 2nd verses 11. Sing a Song of Sixpence, 1st and 2nd verses	57

SUGGESTIONS FOR THE TEACHING OF THE GYMNASTIC ACTIVITY

1. Teach the words of the rhyme to the class, keeping in mind the rhythm.

1. Teach the class the words of the rhyme, paying attention to 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.

2. If when presenting the action, the movement is based on specific words as cues, demonstrate the activity by mimicking how it relates 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.

3. If the movement is based on timing (rhythm), present the activity content, line by line, e.g., Yankee Doodle; Pat-a-cake, etc.

4. Be sure the rhyme and activity has been thoroughly mastered before adding the song element.

4. Make sure the rhyme and activity have been completely 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.

5. If a dance move is involved, show it to the class as a complete unit before mixing it with other moves, 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:

The author would like to thank Miss Louise Westwood, Director of Music for the Newark Public Schools, for the following suggestions on teaching the song element:

1. Pitch-pipes:

1. Tuning 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.

No song should ever be sung without first noting the pitch of the opening word, using the pitch pipe to determine the key in which the song is written.

2. Range of Songs:

2. Variety 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.

All songs should be sung no lower than the first line E or higher than the fifth line F of the staff. If songs are scored in a different range, transpose the song by changing the pitch of the first word.

3. Quality of Tone:

3. Tone Quality:

All singing should be in a soft, light, head tone. Half-tone quality.

All singing should be in a soft, light, head voice. Half-tone quality.

No loud singing should be allowed at any time.

No loud singing is 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.

1. Teach the rhyme. 2. Combine the rhyme with the gymnastic activity.
3. Teach the song. 4. Combine steps 1, 2, and 3.

COMMANDS USED TO PRESENT THE GYMNASTIC ACTIVITY AND SONG

1. Determine key in which the song is written and find starting note.

1. Identify the key of the song and find the starting note.

2. Teacher sounds keynote of first syllable or word.

2. The teacher sounds the keynote of the first syllable or word.

Command:—Pitch—Sing!

—Pitch—Sing!

Examples:

(a) Yankee Doodle. The first syllable of the word, "Yankee," which is "Yank," is sung to establish the pitch.

(a) Yankee Doodle. The first syllable of the word, "Yankee," which is "Yank," is sung to set the pitch.

(b) Oh, where, oh where has my little dog gone? The first word, "Oh," is sung to establish the pitch.

(b) Oh, where, oh where has my little dog gone? The first word, "Oh," is sung to set the tone.

3. In order to insure united action, the following command is used:

3. To ensure coordinated action, the following command is used:

Ready—Begin!

Understood! I'm ready. Please provide the text to modernize.

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.)

Point your foot forward with the outer edges of your toes touching the floor; the heel is lifted and turned inward toward the other foot. (Don’t shift your weight; keep it on the stationary foot.)

2. Closing Step, Sideward:

2. Closing Step, Sideways:

Step sideward, right, maintaining the weight equally to both feet (1). Close left foot to right (2).

Step to the side, right, keeping your weight balanced on both feet (1). Bring your left foot next to your right (2).

Note.—Counterlike for movement in the forward and backward direction.

Note.—Counter for movement in both forward and backward directions.

3. Chasse or Gliding Step, Sideward:

3. Chasse or Gliding Step, Sideways:

Raise heels and slide sideward, right, immediately closing left to right. A light, quick movement requiring only one count for completion.

Raise your heels and slide to the right, then quickly bring your left foot to meet your right. It's a light, fast movement that only takes one count to complete.

4. Step Throw or Step Hop Swing, Sideward:

4. Step Throw or Step Hop Swing, Sideways:

Step sideward, right (1). Hop on right, and swing left leg diagonally forward across (2). (Knee slightly flexed with ankle extended.)

Step to the right (1). Hop to the right, and swing your left leg diagonally forward across (2). (Keep your knee slightly bent and your ankle extended.)

5. Schottische Step, Sideward:

5. Schottische Step, Side:

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.)

Step to the right (1). Cross step to the left behind the right foot (2). Step to the right (3). Hop on the right foot while swinging the left leg diagonally forward across (4). (Knee slightly bent with the ankle extended.)

6. Two Step or Change Step, Forward:

Step forward, right (1). Close left instep to right heel (and) Step forward, right (2).

Step forward with your right foot (1). Bring your left foot to touch your right heel (and) step forward with your right foot (2).

7. The Step Dip, Sideward:

7. The Step Dip, Sideways:

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).

Step to the right, shifting your weight onto your right foot (1). Position your left toe behind your right heel (with your heel raised) and turn your knee to the side. Bend and slightly straighten your right knee while leaning your torso to the left (2).

Hand clapping occurs on counts one and two.

Clapping happens on counts one and two.

8. Encircle to left with partner kneeling. (Partners.)

8. Circle to the left with your 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.

Stationary pupil.—The pupil extends their leg backward, lowering the knee to the floor. The torso is upright; the left hand is on the hip while the right arm is stretched upward, supporting the 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.

Dancing pupil.—The surrounding pupil takes the kneeling partner's right hand with their left hand and executes the dance move in the specified direction.

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

	SINGLE
Facing, line of direction. Facing, direction line.	Facing, inward. Facing inward.		Facing, reverse line of direction. Facing, reverse direction.

Counter-clockwise			Clockwise
	DOUBLE
Facing, line of direction. Facing direction.		Facing, reverse line of direction. Turn around.

	Partner formation, facing each other. Partner formation, facing each other.

CLASSROOM
Aisle Alignment:—Single and partner formation.

CLASSROOM
Aisle Setup:—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.)

Note:—It can also be beneficial in any open area or gym, except for a few in First Grade that are primarily classroom-like. (Desks are used as part of the rhythmic action.)

THE BAND

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (song and lyrics)

Oh I can play on a big bass drum,

Oh, I can play on a big bass drum,

And this is the way I do it.

And this is how I do it.

Boom, Boom, Boom goes the big bass drum,

And this is the way I do it.

And this is how I do it.

DESCRIPTION

Miss A. E. Barth.

Ms. A. E. Barth.

Formation;—Children seated in their seats.

Seating arrangement;—Kids in their seats.

1st Line;—	Oh I can play on a big bass drum, Oh, I can play a big bass drum,
Interpretation;—	No activity.
2nd Line;—	And this is the way I do it. And this is how I do it.
Inter.;—	No activity.
3rd Line;—	Boom, Boom, Boom goes the big bass drum, Boom, Boom, Boom goes the big bass drum,
Inter.;—	Beat hands vigorously upon top of desks, suiting action to the words. Beat your hands hard on the tops of the desks, matching your actions to your words.
4th Line;—	Boom, Boom, Boom goes the big bass drum. Boom, Boom, Boom goes the big bass drum.
Inter.;—	Repeat the activity of the third line. Repeat the task from the third line.
5th Line;—	And this is the way I do it. And this is how I do it.
Inter.;—	Repeat the activity of the fourth line. Repeat the activity from the fourth line.

Introduce the following activities, suiting the action to the words in imitation of the suggested activity.

Introduce the following activities, matching 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

LITTLE JACK HORNER

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

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

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Little Jack Horner sat in a corner,

Eating a Christmas pie;

Eating a holiday pie;

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

He stuck in his thumb and pulled out a plum,

And said, "What a good boy am I!"

And said, "What a good boy I am!"

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.

Formation;—Children stay seated and shift to the right side of their seats.

1st Line;—	Little Jack Horner sat in a corner, Little Jack Horner sat in a corner,
Interpretation;—	Upon the word, "sat," pupils move to the left side of seat. Upon the word, "sat," students shift to the left side of their seats.
2nd Line;—	Eating a Christmas pie; Eating a holiday pie;
Inter.;—	Upon the word, "eating," pupils encircle imaginary plate with the left arm and imitate eating with the right hand. Upon the word "eating," students circle an imaginary plate with their left arm and mimic eating with their right hand.
3rd Line;—	He put in his thumb, And pulled out a plum, He stuck 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. Upon the word, "put," the student copies the action of putting their thumb in a pie and pulling out a plum, making the action energetic on the word, "pulled," stretching their arm overhead. They look at the plum.
4th Line;—	And said, "What a good boy am I!" And said, "What a good boy I am!"
Inter.;—	Proudly pats the chest with the left hand. Proudly pats the chest with the left hand.
Conclusion;—	Nice Plum! Nice Plum! Nice Plum! Nice Plum! Nice Plum! Nice Plum! Nice Plum! Nice Plum!
Inter.;—	Lowers plum until it disappears in the mouth, imitating eating, tapping his chest the while. Lowers the plum until it disappears in his mouth, pretending to eat, tapping his chest the whole time.

see caption

HE PUT IN HIS THUMB, AND PULLED OUT A PLUM

HE PUT IN HIS THUMB AND PULLED OUT A PLUM

ROCK-A-BYE, BABY

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

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Rockabye, baby in the tree top,

Rockabye, baby in the tree,

When the wind blows the cradle will rock;

When the wind blows, the cradle will sway;

When the bough breaks the cradle will fall,

When the branch breaks, the cradle will fall,

And down will come baby cradle and all.

And down will come the 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, Rock-a-bye, baby in the tree,
Interpretation;—	Hold baby in the arms, looking down at it, and sway gently to and fro. (Right; left; right and left.) Hold the baby in your arms, look down at them, and sway gently back and forth. (Right; left; right and left.)
2nd Line;—	When the wind blows the cradle will rock; When the wind blows, the cradle will rock;
Inter.;—	Rock more vigorously. Rock harder.
3rd Line;—	When the bough breaks the cradle will fall, When the branch breaks, the baby cradle will fall,
Inter.;—	Upon the word, "breaks," children clap hands overhead—partially dropping the baby. Upon the word, "breaks," kids clap their hands overhead—almost dropping the baby.
4th Line;—	And down will come baby, cradle and all. And down will come the baby, cradle and all.
Inter.;—	Upon the word, "down," children spring into the air and immediately assume deep knee bending position. Upon hearing the word "down," children leap into the air and instantly drop into a deep knee-bending stance.

Position.

Role.

see caption

ROCKING THE BABY

Rocking the baby

JACK BE NIMBLE—No. 1

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Jack be nimble, Jack be quick;

Jack be quick, Jack be smart;

Jack jump'd over the candle stick.

Jack jumped over the candlestick.

DESCRIPTION

Miss A. E. Barth

Formation;—Standing in the right aisle with hands on hips.

1st Line;—	Jack be nimble, Jack be quick; Jack be quick, Jack be swift;
Interpretation;—	Marking time, in place. (Seven counts.) Marking time, standing still. (Seven counts.)
2nd Line;—	Jack jumped over the candle stick. Jack jumped over the candlestick.
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. Upon the word, "jumped," the children turn to the left and leap over their own seats; they end up facing the front of the room with their hands on their hips.

Repeat rhyme and activity back to former aisle.

Repeat the rhyme and activity back to the previous aisle.

see caption

JACK JUMPED OVER THE CANDLE STICK

Jack jumped over the candlestick.

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, make a 1/4 turn to the left.	With a jump execute 1/4 turn to the right. (Front.) With a jump, make a 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, make a 1/4 turn to the right.	With a jump execute 1/4 turn to the left. (Front.) With a jump, turn a quarter turn to the left. (Front.)
3rd Line;—	Jack	jumped over leaped over
Inter.;—	One-quarter turn to the left, placing hands on the near edge of desk and back of seat, bending knees slightly. One-quarter turn to the left, placing hands on the edge of the desk and the back of the seat, bending knees slightly.	Vault over the seat; replace hands to hips and execute 1/4 turn to the right (Front.) Vault over the seat; place your hands on your hips and make a 1/4 turn to the right (Front.)
4th Line;—	The candle stick. The candlestick.
Inter.;—	Mark time, in place, three counts. (Left; right and left.) Mark time, staying still, for three counts. (Left; right; and left.)

Repeat back to original position.

HUMPTY DUMPTY

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

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

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Humpty Dumpty sat on a wall,

Humpty Dumpty had a great fall;

Humpty Dumpty fell really hard;

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

All the king's horses and all the king's men,

Couldn't put Humpty Dumpty together again.

Couldn't put Humpty Dumpty back together again.

DESCRIPTION

Miss A. E. Barth

Ms. A. E. Barth

Formation;—Standing in the right aisle at attention.

1st Line;—	Humpty Dumpty sat on a wall, Humpty Dumpty sat on a wall,
Interpretation;—	Upon the word, "sat," pupils sit upon own desks; feet hanging in aisle. Upon the word "sat," students sit at their desks, feet dangling in the aisle.
2nd Line;—	Humpty Dumpty had a great fall; Humpty Dumpty fell down hard;
Inter.;—	Upon the word, "fall," pupils jump into the right aisles; bending knees deeply, facing the front of the room. Upon the word, "fall," students jump into the correct aisles, bending their knees deeply while facing the front of the room.
3rd Line;—	All the King's horses and all the King's men, 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. Assume a standing position with your arms extended forward as if holding imaginary reins while simultaneously marching in place for ten counts, lifting your knees to waist height.
4th Line;—	Couldn't put Humpty Dumpty together again. Couldn't put Humpty Dumpty back together again.
Inter.;—	Shaking the head in sorrow; right, left, right and front. Hands are placed upon hips during this movement. Shaking the head in sadness; right, left, right, and forward. Hands are placed on hips during this motion.

see caption

HUMPTY DUMPTY SAT ON A WALL

DICKORY, DICKORY, DOCK

First Verse

Opening Verse

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

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

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Dickory, dickory, dock;

The mouse ran up the clock;

The clock struck, One. The mouse ran down;

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; Dickory, dickory, dock;
Interpretation;—	Hands clasped overhead; swaying right, left and erect. Hands clasped above; swaying side to side and standing tall.
2nd Line;—	The mouse ran up the clock; The mouse ran up the clock;
Inter.;—	Upon the word, "ran," stand in own seats with the arms stretched sideward. Upon the word, "ran," stand in your own seats with your arms stretched out to the sides.
3rd Line;—	The clock struck, One, The clock struck one.
Inter.;—	Upon the word, "One," clap hands overhead and lower arms sideward. Upon the word, "One," clap your hands above your head and then lower your arms to the sides.
	The mouse ran down;
Inter.;—	Upon the word, "ran," jump into the left aisle with hands clasped overhead. Upon the word, "ran," jump into the left aisle with your hands clasped overhead.
4th Line;—	Dickory, dickory, dock. Dickory, dickory, dock.
Inter.;—	Swaying right, left and erect. Swaying right, left, and upright.

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

Repeat the activity to the right, guiding all students back to their previous aisles.

see caption

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, Dickory, dickory, dock,
Interpretation;—	Hands clasped overhead; swaying right, left and erect. Hands clasped overhead; swaying to the right, to the left, and standing tall.
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.) Place your hands on your hips and take six running steps forward. (Seven counts.) (Left; right; left; right; left; right; close left to right, finishing the movement.)
3rd Line;—	You scared	me so,
Inter.;—	Execute 1/2 turn right about. Make a 180-degree turn right.
	I'll have to go; I have to go;
Inter.;—	Execute three running steps forward. (Four counts.) (Left; right; left, and close right to left, completing the movement.) Execute three running steps forward. (Four beats.) (Left; right; left, and close right to left, finishing the movement.)
4th Line;—	Dickory, dickory, dock. Dickory, dickory, dock.
Inter.;—	Hands clasped overhead; swaying right, left and erect. Hands clasped above; swaying right, left, and standing tall.

Repeat to bring the class back to the original position.

Repeat to bring the class back to its original position.

LITTLE MISS MUFFET

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (track and lyrics)

Little Miss Muffet sat on a tuffet, eating of curds and whey,

Little Miss Muffet sat on a grassy seat, eating curds and whey,

Along came a spider

A spider approached

And sat down beside her;

And sat down next to her;

And frighten'd Miss Muffet away.

And scared 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.)

Formation;—Standing in the right aisle at attention. Alternate aisles represent Miss Muffet; other aisles represent the Spider. (Count off from the left side in pairs. No. 1—Miss Muffet. No. 2—The Spider.)

1st Line;—	Little Miss Muffet sat on a tuffet, eating of curds and whey. Little Miss Muffet sat on a little hill, eating 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. Upon the word, "sat," Little Miss Muffet climbs into her seat, faces the back of the room, and sits on the right side of the desk. She holds an imaginary plate in her left arm and pretends to eat.
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. Upon hearing the word, "Along," the Spider quickly moves across its own seat and Miss Muffet's aisle; it climbs onto the seat and sits with Miss Muffet.
3rd Line;—	And sat down beside her; And sat down next to her;
Inter.;—	Completion of second line activity. Completion of second line task.
4th Line;—	And frighten'd Miss Muffet away. And scared Miss Muffet away.
Inter.;—	Upon the word, "frighten'd," children return to own seats. Upon hearing the word "frightened," the children go back to their own seats.

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

Upon returning to their own seats, the kids sing—
Oh my! Oh my! Oh my! Oh my!

see caption

ALONG CAME A SPIDER
(Spiders vaulting seats)

ALONG CAME A SPIDER
(Spiders jumping over seats)

JACK AND JILL

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Jack and Jill went up the hill,

Jack and Jill climbed up the hill,

to fetch a pail of water;

to get a bucket of water;

Jack fell down and broke his crown,

Jack fell down and hurt his head,

And Jill came tumbling after,

And Jill came falling after,

Boohoo! Boohoo! Boohoo! Boohoo!

DESCRIPTION

Miss A. E. Barth

Ms. 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.

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 the left side by twos. No. 1—Jill. No. 2—Jack.

1st Line;—	Jack and Jill went up the hill, 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.) Upon the word "up," Jack and Jill grab each other's hands and climb into the same seats. (The climbing of the hill.)
2nd Line;—	To fetch a pail of water; To get a bucket of water;
Inter.;—	No activity.
3rd Line;—	Jack fell down and broke his crown, Jack fell down and hurt his head,
Inter.;—	Upon the word, "fell," Jack falls (jumps) into own aisle, bends knees, deeply covering his face with his hands, imitating crying. Upon the word, "fell," Jack jumps into his own aisle, bends his knees, and covers his face with his hands, pretending to cry.
4th Line;—	And Jill came tumbling after. And Jill tumbled 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 hearing the word "tumbling," Jill jumps into the same aisle as Jack; bends her knees, deeply covering her face with her hands, pretending to cry.

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

Upon finishing the song, all the kids go back to their seats, singing—
Boo-hoo! Boo-hoo! Boo-hoo! Boo-hoo!

see caption

JACK AND JILL WENT UP THE HILL

BYE O BABY BUNTING

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Bye O Baby Bunting,

Bye, baby bunting,

Daddy's gone a-hunting;

Dad's gone hunting;

To fetch a little rabbit skin

To get a small rabbit fur

To wrap the Baby Bunting in.

To wrap up the Baby Bunting in.

DESCRIPTION

Formation;—Standing in the right aisle at attention.

1st Line;—	Bye O Bye O
Interpretation;—	Hold the baby in the arms, looking down at it, and sway gently to the right. Hold the baby in your arms, look down at them, and sway gently to the right.
	Baby-	Bunt-	ing
	Sway gently to the left. Sway gently to the left.	Sway gently to the right. Sway softly to the right.	Assume stationary position. Assume a stationary position.
2nd Line;—	Daddy's gone a-hunting; Dad's gone 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.) Mark time, in place, for seven counts; hold the gun over your right shoulder (bend your right arm; rest your hand on your shoulder with fingers clenched, and extend your forefinger to represent the gun's barrel.)
3rd Line;—	To fetch a little rabbit skin To grab a small rabbit fur
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.) Kneel on your left knee and stretch your right arm forward, mimicking the aim of a gun. (Keep the fingers of your right hand clenched, with your index finger extended; your left hand should rest on your right upper arm.)
4th Line;—	To wrap the Baby Bunting in. To wrap the baby blanket in.
Inter.;—	Assume erect position; bend forward and encircle body with arms and return hands to hips upon completion of the sentence. Assume a standing position; lean forward and wrap your arms around your body, then bring your hands back to your hips once you've finished the sentence.

see caption

AIMING THE GUN

Aiming the gun

LITTLE BOY BLUE

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

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Little Boy Blue, come blow up your horn,

Little Boy Blue, come blow your horn,

There's sheep in the meadow and cows in the corn;

There's sheep in the field and cows in the corn;

Where is the boy that looks after the sheep?

Where is the boy who takes care of the sheep?

He's under the haycock fast asleep.

He's fast asleep under the haystack.

DESCRIPTION

Formation;—Standing in the right aisle at attention with hands on hips.

1st Line;—	Little Boy Blue, come blow up your horn, Little Boy Blue, come blow 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. Mark time, standing still. (Four counts.) On the word "blow," clench your fists, raise your elbows high, and mimic blowing the horn. End with your hands on your hips.
2nd Line;—	There's sheep in the meadow and cows in the corn; There's sheep in the field 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. Upon the word, "sheep," point to the right and look in that direction. Upon the word, "cows," place your right hand on your hip; point to the left and look in that direction. Finish with your hands on your hips and your eyes facing forward.
3rd Line;—	Where is the boy that looks after the sheep? Where is the boy who takes care of 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. Upon the word, "where," shade your eyes with your right hand and look to the right. Upon the word, "looks," move your right hand to your hip; shade your eyes with your left hand and look to the left. Finish with your left hand on your hip and your eyes facing forward.
4th Line;—	He's under the haycock fast asleep. He's fast asleep under the haystack.
Inter.;—	Upon the word, "under," resume seats and lower head to desks upon folded arms. Upon the word, "under," take your seats and lower your heads to your desks on folded arms.

see caption

THERE'S SHEEP IN THE MEADOW

There are sheep in the meadow.

WEE WILLIE WINKIE

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (song and lyrics)

Wee Willie Winkie runs thru the town,

Wee Willie Winkie runs through the town,

Upstairs and downstairs in his nightgown;

Upstairs and downstairs in his pajamas;

Rapping at the window,
Crying thru the lock:—

Rapping at the window,
Crying through the lock:—

Are all the children in their beds?

Are all the kids in their beds?

Now 'tis eight o'clock.

Now it's eight o'clock.

DESCRIPTION

Formation;—Standing in the right aisle with hands on hips.

1st Line;—	Wee Willie Winkie runs through the town, Wee Willie Winkie runs through the town,
Interpretation;—	Mark time, in place. (Knees waist high.) (Seven counts.) Mark time, standing still. (Knees up to your waist.) (Seven counts.)
2nd Line;—	Upstairs	and	downstairs
Inter.;—	Heels raised.		Bend knees deeply.
	in his night- in his nighttime		gown;
Inter.;—	Stretch knees, lower heels and bow. Stretch your knees, lower your heels, and bow.		Assume erect position. Assume upright position.
3rd Line;—	Rapping at the window, Knocking on the window,
Inter.;—	With hands clenched, stretch arms upward and tap imaginary window. (Four times.) With your hands clenched, reach your arms up and tap an imaginary window. (Four times.)
	Crying through the lock:— Crying through the keyhole:—
Inter.;—	Cup hands and carry to mouth as if calling, bending knees deeply. Cup your hands and bring them to your mouth as if you're calling out, bending your knees deeply.
4th Line;—	"Are all the children		in their beds?
Inter.;—	Turn head to the right. Turn your head to the right.		Turn head to the left. Turn your head left.
	Now 'tis eight o'clock." Now it's eight o'clock.
Inter.;—	Stretch the knees and lower heels. Stretch your knees and lower your heels.

HEY, DIDDLE, DIDDLE

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Hey, diddle, diddle, the cat and the fiddle,

The cow jump'd over the moon;

The cow jumped over the moon;

The little dog laughed to see such sport,

The little dog laughed to see such fun,

And the dish ran away with the spoon.

And the dish ran off 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. Mark time, staying in place, for five counts.	Imitate the action of playing the fiddle. One upward stroke of the bow. Imitate the motion of playing the violin. One upward stroke of the bow.	One downward stroke of the bow. 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 and bend knees slightly. Turn to the left; place your hands on the edge of the desk and the back of the seat, and bend your knees slightly.	Vault over the seat.	Turn to the right (front); stretch knees, lower heels and place hands on hips. Turn to the right (facing forward); straighten your knees, lower your heels, and put your hands on your hips.
3rd Line;—	The little dog	laughed to see	such sport,
Inter.;—		Bend trunk forward, hugging self, imitating great hilarity. Bend your trunk forward, hug yourself, and mimic great laughter.	Assume erect position with hands on hips. Assume a standing position with your hands on your hips.
4th Line;—	And the	dish ran away with the spoon. dish ran away with the spoon.
Inter.;—		Execute a complete turn to the right with seven running steps, terminating action upon the word, "spoon." Execute a full turn to the right with seven running steps, stopping when you hear the word, "spoon."

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

Stamp your feet twice, staying in place, when you finish the whole 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

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (track 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,

With his tail cropped 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. Shade your eyes with your right hand and jump to execute a quarter turn to the right.	With a jump execute 1/4 turn to the left. (Front.) With a jump, make a 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, make a 1/4 turn to the left.	With a jump execute 1/4 turn to the right. (Front.) With a jump, make a 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 a jump execute 1/4 turn to the left. Replace your right hand on your hip; shield your eyes with your left hand and with a jump, make a 1/4 turn to the left.	With a jump execute 1/4 turn to the right (Front.) With a jump, turn 1/4 to the right (Front).
	has he g-	one?
	With a jump execute 1/4 turn to the right. With a jump, make a 1/4 turn to the right.	With a jump execute 1/4 turn to the left (Front.) With a jump, turn 1/4 to the left (Front).
3rd Line;—	With his tail cut short and his ears cut long, With his tail trimmed short and his ears left long,
Inter.;—	Upon the word, "tail," bend forward, placing hands behind back (palms together; fingers extended.) Upon the word "tail," lean forward, putting your hands behind your back (palms together; fingers extended). Upon the words, "and his," assume erect position with hands at sides. Upon the words, "and his," stand up straight with your hands at your sides. Upon the word, "ears," raise arms sideward, placing thumbs in ears (fingers extended.) Upon the word, "ears," raise your arms to the sides, putting your thumbs in your ears (with 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. Replace your left hand on your hip; shield your eyes with your right hand and with a jump, make a half turn to the right.	With a jump execute 1/2 turn right about. (Front.) With a jump, do a half turn to the right. (Front.)
	has he	gone?
		Replace right hand to hip, bow and assume erect position. Replace your right hand to your hip, bow, and stand up straight.

see caption

LOOKING FOR THE DOG

SEARCHING FOR THE DOG

RIDE A COCK-HORSE

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (tune and lyrics)

Ride a Cock-horse to Banbury Cross,

Ride a horse to Banbury Cross,

To see a fine lady upon a white horse,

To see a beautiful woman on a white horse,

Rings on her fingers and bells on her toes,

She shall have music wherever she goes.

She will 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, Ride a horse to Banbury Cross,
Interpretation;—	Stretch arms forward, holding imaginary reins; bending and stretching knees. (Three times.) Stretch your arms forward as if holding imaginary reins; bend and straighten your knees. (Do this three times.)
2nd Line;—	To see a fine lady upon a white horse, To see a lovely woman on 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." Replace your left hand to your hip; shade your eyes with your right hand and twist your body to the right when you say the word, "To." Move your right hand to your hip; shade your eyes with your left hand and twist your body to the left when you say the word, "upon." Move your left hand to your hip and face forward when you say the word, "horse."
3rd Line;—	Rings on her fingers and bells on her toes, 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." Raise your arms forward, palms facing forward, fingers and thumbs extended at the word "Rings." Lean your torso slightly forward and lower your arms (palms facing forward), looking at your toes at the word "bells." Stand up straight with your hands on your hips at the word "toes."
4th Line;—	She shall have music wherever she goes. She will 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.) Wave the baton with your right hand (index finger extended; thumb and other fingers clenched) to the left, right, left, right, and left, on 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." Replace your right hand on your hip, bow, and stand up straight when you hear the words, "wherever she goes."

see caption

THE RIDING OF THE HORSE

RIDING A HORSE

YANKEE DOODLE

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Yankee Doodle came to town,

A riding on a pony,

Riding a pony,

He stuck a feather in his hat,

He put a feather in his hat,

And called it Macaroni.

And named it Macaroni.

Yankee Doodle, Ha! Ha! Ha!

Yankee Doodle, Haha!

Yankee Doodle Dandy;

Yankee Doodle Dandy

Mind the music and your step

And round the house be handy.

And be useful around the house.

DESCRIPTION

Formation;—Standing in the right aisle at attention with hands on hips.

Formation;—Standing in the right aisle, ready with hands on hips.

Verse Song
1st Line;—	Yankee Doodle came to town, Yankee Doodle came to town,
Interpretation;—	Children mark time, in place. (Seven counts.) Children keep track of time, right where they are. (Seven counts.)
2nd Line;—	A riding on a pony, Riding a pony,
Inter.;—	Stretching arms forward as if holding imaginary reins; bend and stretch knees (four times), finishing with hands on hips. Stretch your arms forward like you're holding invisible reins; bend and stretch your knees (four times), ending with your hands on your hips.
3rd Line;—	He stuck a feather in his hat, He put 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. Upon the word, "stuck," take off the hat with your left hand and upon the word, "in," insert the feather. Finish with your hands on your hips.
4th Line;—	And called it Macaroni. And named it Macaroni.
Inter.;—	Mark time, in place. (Eight counts.) Mark time, right here. (Eight counts.)
Chorus Chorus
1st Line;—	Yankee Doodle, Yankee Doodle,	Ha! Ha! Ha!
Inter.;—	Mark time, in place. (Four counts.) Mark time, standing still. (Four counts.)	Clap hands, three times. Finish with hands on hips. Clap your hands three times. End by placing your hands on your hips.
2nd Line;—	Yankee Doodle	Dandy.
Inter.;—	Mark time, in place. (Four counts.) Mark time, standing still. (Four counts.)	Bow and assume erect position. Bow and stand tall.
3rd Line;—	Mind the music	and your step
Inter.;—	Wave the baton with right hand (forefinger extended) left, right, left and right. (Four counts.) Finish with hands on hips. Wave the baton with your right hand (forefinger extended) to the left, right, left, and right. (Four counts.) End with your hands on your hips.	Mark time, in place. (Three counts.) Mark time, stay in position. (Three counts.)
4th Line;—	And round the house be handy. And be useful around the house.
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. Upon the word, "round," make a half turn to the right by jumping. Upon the word, "house," make a half turn to the right by jumping. Upon the word, "handy," jump in place three times and salute with your right hand.

see caption

THE SALUTE
(See page 35)

PAT-A-CAKE

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Pat-a-cake, Pat-a-cake, Baker's Man,

Stir it and stir it as fast as you can;

Stir it and stir it as quickly as you can;

Roll it and prick it and mark it with "B,"

Roll it, poke it, and label it with "B,"

And put in the oven for baby and me.

And put it in the oven for the 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.)

Formation;—Stand in the right aisle at attention with your hands on your hips. Count off by twos from left to right, having "ones" face right and "twos" face 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 your hands three times.	Clap partner's hands three times. Clap your partner's hands three times.	Hands hips; bow and assume erect position. Hands on hips; bow and stand upright.
2nd Line;—	Stir it and stir it as fast as you can; Stir it and stir it as quickly 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. Hold an imaginary bowl in your left arm (shoulder high), stirring with your right hand and speeding up the stirring when you say the word, "fast." When you say the word, "can," bring your hands back to your hips.
3rd Line;—	Roll it and prick it and mark it with "B"; Roll it, poke it, and label 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, "roll it," raise your hands (palms together; right hand on top) to shoulder height, and roll them using a sliding motion. 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, "prick it," follow through and prick the cake, using the forefinger of your right hand to press it into your left palm. Upon the words, "mark it," join forefingers with thumbs, raising to eye height and form letter "B." (Deaf and dumb alphabet.) Upon the words, "mark it," connect your index fingers with your thumbs, raising them to eye level to form the letter "B." (Deaf and mute alphabet.)
4th Line;—	And put in the oven for baby and me. And put it in the oven for me and the baby.
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 hearing the word "put," mimic the action of placing the cake in the oven by reaching your arms forward (palms up) and bending your knees. Stand up straight with your hands on your hips when you hear the word "oven." Upon the word, "baby," bow and assume erect position. Upon the word, "baby," bow and stand up straight. Upon the word, "me," raise the right arm (shoulder height) and place forefinger on chest. Upon saying the word, "me," raise your right arm to shoulder height and place your forefinger on your chest.

Position.

Role.

see caption

PAT-A-CAKE

Pat-a-cake

BEAN PORRIDGE

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Bean porridge hot,

Hot bean porridge,

Bean porridge cold,

Cold bean porridge,

Bean porridge in the pot,

Porridge in the pot,

Nine days old;

Some like it hot,

Some prefer it hot,

And some like it cold,

And some prefer it cold,

Some like it in the pot,

Some prefer 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.

Files numbered from the left side in pairs. No. Ones face to the right; No. Twos face to the left.

1st Line;—	Bean	porridge	hot,
Interpretation;—	Clap hands to thighs. Clap thighs with hands.	Clap own hands. Clap your hands.	Clap partner's hands. Clap your partner's hands.
	Bean	porridge	cold,
Inter.;—	Clap hands to thighs. Clap hands on thighs.	Clap own hands. Clap your own hands.	Clap partner's hands. Clap your partner's hands.
2nd Line;—	Bean		porridge
Inter.;—	Clap hands to thighs. Clap hands on thighs.		Clap own hands. Clap your hands.
	in the in the		pot,
	With right hand clap partner's right hand. With your right hand, clap your partner's right hand.		Clap own hands.
	Nine	days	old;
Inter.;—	With left hand clap partner's left hand. With your left hand, clap your partner's left hand.	Clap own hands. Clap your own hands.	Clap partner's hands. Clap your partner's hands.

Description of pupil;—Number Two.
Number One;—Counterlike.

Description of student;—Number Two.
Number One;—Counterpart.

3rd Line;—	Some	like it like it	hot, And
Inter.;—	Clasp partner's hands and raise arms to shoulder height. Step sideward right. Clasp your partner's hands and raise your arms to shoulder height. Step to the right.	Close left to right. Close from left to right.	Step dip, right.
	some	like it love it	cold,
Inter.;—	Step sideward left.	Close right to left. Close from right to left.	Step dip, left.
4th Line;—	Some		like it
Inter.;—	Face to the right; place right hand on hip, inner hands joined and raised shoulder height. Step forward, right. Face to the right; put your right hand on your hip, with your inner hands joined and raised to shoulder height. Step forward with your right foot.		Step forward, left.
	in the in the	pot,
	Step forward, right. Step forward, right.	Close left to right and place left hand on hip. Close your left side to the right and place your left hand on your hip.
	Nine days Nine days	old.
Inter.;—	With a jump execute a half turn right about. With a jump, do a half turn to the right.	With a jump execute a half turn right about. With a jump, make a half turn to the right.

FLY AWAY JACK AND JILL

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Two little blackbirds,

Two small blackbirds,

Sitting on a hill,

Chilling on a hill,

One named Jack,

A guy named Jack,

And the other named Jill;

And the other one is Jill;

Fly away Jack And fly away Jill;

Fly away, Jack, and fly away, Jill;

Come again Jack And come again 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.

Formation;—Standing in the right aisle in partner formation (open line formation; partners facing each other); arms raised forward (shoulder height) and clasp each other's hands.

Note.—If desk width is too great have pupils place hands on hips.

Note.—If the desk is too wide, have students place their hands on their hips.

"Count off" from the left flank by twos.
No. 1:—Jack. No. 2:—Jill.

"Count off" from the left side by twos.
No. 1:—Jack. No. 2:—Jill.

1st Line;—	Two		little
Interpretation;—	Left file (Jack); Step sideward, left. Left file (Jack); Step sideways, left.		Close right to left,
Inter.;—	Right file (Jill); Step sideward, right. Right file (Jill); Step to the side, right.		Close left to right.
	black-		birds
	Step sideward, left. Step left.		Close right to left.
	Step sideward, right. Step to the right.		Close left to right.
2nd Line;—	Sitting		on
Inter.;—	Left file (Jack); Stamp left. Left file (Jack); Stamp left.		Stamp right.
Inter.;—	Right file (Jill); Stamp right. Correct file (Jill); Stamp correctly.		Stamp left.
	a hill, a hill,
	Replace hands to hips and bend knees deeply. Replace hands on your hips and bend your knees deeply.
	Replace hands to hips and bend knees deeply. Replace hands on hips and bend your knees deeply.
3rd Line;—	One named One named		Jack,
Inter.;—	Left file (Jack); Stretch knees and turn to the left. Left file (Jack); Stretch your knees and turn to the left.		Bow and assume erect position. Bow and stand up straight.
Inter.;—	Right file (Jill); No activity. Right file (Jill); No action.		No activity.
4th Line;—	And the And the
Inter.;—	No activity for either files. No activity for either file.
	other named other named		Jill;
	Right file (Jill); Stretch knees and turn to the right. Right file (Jill); Stretch your knees and turn to the right.		Bow and assume erect position. Bow and stand up straight.
	Left file (Jack); No activity. Left file (Jack); No action.		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 three chasses to the left. Left file (Jack); face right and perform three chasses to the left.		Right file (Jill); face to the left and execute three chasses to the right. Right file (Jill); turn left and perform three chasses to the right.
Inter.;—	Right file (Jill); No activity. Right file (Jill); No action.		Left file (Jack); No activity. Left file (Jack); No action.
6th Line;—	Come again, Jack	And	come again, Jill.
Inter.;—	Left file (Jack); Three chasses to the right. Left file (Jack); three chassis to the right.		Right file (Jill); Three chasses to the left. Right file (Jill); Three chassis to the left.
Inter.;—	Right file (Jill); No activity. Right file (Jill); No action.		Left file (Jack); No activity. Left file (Jack); No action.

DIDDLE, DIDDLE DUMPLING

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (song and lyrics)

Diddle, Diddle Dumpling, my son John;

Went to bed with his trousers on.

Went to bed wearing his pants.

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.—If the desk width is too wide, have students place their hands on their hips.

Note.—Description of movement of pupil facing to the left. Movements of partner;—reverse.

Note.—Description of pupil movement facing to the left. Partner movements;—reverse.

1st Line;—	Diddle, Diddle Dumpling, Diddle, Diddle Dumpling,		my son John;
Interpretation;—	Step throw, right and left. (Four counts.) Step throw, right and left. (Four counts.)		Stamp feet; right, left, right and hold. (Four counts.) Stamp your feet; right, left, right, and hold. (Four counts.)
2nd Line;—	Went to bed with his Went to bed with his		trousers on.
Inter.;—	Step throw, left and right. (Four counts.) Step to the left, then to the right. (Four beats.)		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.) Replace left foot, bend knees deeply; lower arms with hands clenched. Straighten knees while pulling up your pants and place your hands on your hips. (Two counts per movement; four counts total.)
3rd Line;—	One shoe off and 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.) Arms raised in front at shoulder height and hold partner's hands. Step to the right and bring your left foot to meet your right, then step and throw to the right. (Schottische.) (Four counts.)		Step left sideward and close right to left and step throw, left. (Schottische.) (Four counts.) Step to the left and bring your right foot next to your left, then step and toss with your left. (Schottische.) (Four counts.)
4th Line;—	Diddle, Diddle	Dumpling		my son John.
Inter.;—	Jump, in place, once. (Two counts.) Jump in place once. (Two counts.)	Jump, in place, once. (Two counts.) Jump in place once. (Two counts.)		Jump, in place, three times and hold. (Four counts.) Jump in place three times and hold. (Count to four.)

SING A SONG OF SIXPENCE

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

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

1st Verse.

Verse 1.

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Sing a song of sixpence,

A pocket full of Rye;

A pocketful of rye;

Four and twenty Blackbirds

Twenty-four Blackbirds

bak'd in a Pie.

baked in a pie.

When the Pie was open'd,

When the pie was opened,

The Birds began to sing;

The birds started to sing;

Wasn't that a dainty dish

Wasn't that a fancy dish?

to set before a King!

to present to 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, 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.) Step to the right, put your left toe behind your right heel, and bend both knees a little. Do the same to the left. (Cues:—Step and bend and step and bend.)
2nd Line;—	A pocket full of Rye; 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.) Execute three slides to the right and bring your heels together on the fourth count. (Cues: Slide, slide, slide, and heels.)
3rd Line;—	Four and twenty Blackbirds, Twenty-four blackbirds,
Inter.;—	Repeat the activity of the first line, starting to the left. Repeat the action from the first line, starting on the left.
4th Line;—	Bak'd in a Pie.
Inter.;—	Repeat activity of the second line to the left. Repeat the action from the second line to the left.
5th Line;—	When the Pie was open'd, When the pie was opened,
Inter.;—	Pupils face forward; raise arms forward (shoulder height) in circle form and then extend sideward, imitating the opening of the pie. Pupils face forward; raise arms forward (shoulder height) in a circular shape and then extend them sideways, mimicking the opening of a pie.
6th Line;—	The Birds began to sing; The birds started to sing;
Inter.;—	Fluttering of arms up and down, imitating the flying of birds. Fluttering arms up and down, mimicking the flight of birds.
7th Line;—	Wasn't that a dainty dish Wasn't that a fancy 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. Replace both hands on your hips when you say "dainty." When you say "dish," stretch your right hand forward as if you're holding the dish and nod your head in approval.
8th Line;—	To set before a King! To be presented to a King!
Inter.;—	Step sideward to the right, close feet and bow with arms stretched sideward. Step to the right, bring your feet together, and bow with your arms stretched out to the sides.

see caption

SING A SONG OF SIXPENCE
(See page 40)

SING A SONG OF SIXPENCE
(Continued)

J. W. Elliott

J.W. Elliott

2nd Verse.

Second Verse.

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

The King was in the counting house,

Counting out his money;

Counting his cash;

The Queen was in the parlour,

The Queen was in the sitting room,

Eating bread and honey;

The maid was in the garden,

Hanging out the clothes;

Putting out the laundry;

There came a little Dicky Bird And popp'd upon her nose.

There came a little bird and landed on her nose.

DESCRIPTION

Formation;—Standing in the right aisle with hands on hips, facing the front of room.

Formation;—Standing in the right aisle with hands on hips, facing the front of the room.

1st Line;—	The King	was in
Interpretation;—	Jump, in place, with a quarter turn to the right. Jump in place and turn a quarter turn to the right.	Jump, in place, with a quarter turn to the left. (Front.) Jump in place, turning a quarter turn to the left. (Front.)
	the counting	house,
Inter.;—	Place left foot in seat area. Place your left foot in the seat area.	Sit in seat.
	Counting out his money; Counting his cash;
Inter.;—	Suit activity to words, holding imaginary coins in palm of left hand and count with the right hand. Suit activity to words, holding imaginary coins in the palm of your left hand and counting with your right hand.
2nd Line;—	The Queen	was 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. Stand in the right aisle; turn left and quickly place your hands on the back of the seat and the edge of the desk for support.	Vault over seat, (Upon completion of vault, the hands assume normal position.) Vault over the seat. (Once the vault is finished, the hands return to the normal position.)
	the parlour, the lounge,
Inter.;—	Face to the right; place right foot in seat area and become seated. Face to the right; place your right foot in the seat area and sit down.
	Eating bread and honey; Eating bread and honey;
Inter.;—	Suit activity to words, encircling imaginary plate with left arm and imitate eating with the right hand. Suit activity to words, circling an imaginary plate with your left arm and pretend to eat with your right hand.
3rd Line;—	The maid	was in
Inter.;—	Place right foot in right aisle. Place your right foot in the right aisle.	Stand in right aisle and place hands on hips. Stand in the right aisle and put your hands on your hips.
	the garden, the garden,
Inter.;—	Bow and assume erect position. Bow and stand up straight.
	Hanging	out
Inter.;—	Bend trunk forward downward; stretch arms downward, grasping clothes. Bend your trunk forward and down; stretch your arms down to grab your clothes.	Raise trunk, stretch arms upward and grasp imaginary clothesline. Raise your trunk, stretch your arms up, and grab an imaginary clothesline.
	the clothes; the outfits;
Inter.;—	Using right hand, take clothes-pin out of mouth and pin clothes on the line. Using your right hand, take the clothespin out of your mouth and pin the clothes on the line.
4th Line;—	There came a little Dicky Bird, There came a little Dicky Bird,
Inter.;—	Replace hands to hips and mark time, in place. (Left, right, left and right.) Replace your hands on your hips and march in place. (Left, right, left and right.)
	And popped	upon her
Inter.;—	Jump, in place, and clap hands once. Jump in place and clap your hands once.	Replace hands to hips; step right sideward and close left to right. Replace hands on hips; step to the right side and bring left foot next to right.
	nose!
Inter.;—	Bow and assume erect position. Bow and stand up straight.

SEE SAW, MARJORY DAW

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

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

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (song and lyrics)

Seesaw, Marjory Daw,

Jack shall have a new master,

Jack will have a new master,

He shall have but a penny a day,

He will only get a penny a day,

Because he won't work any faster.

DESCRIPTION

Formation;—Arrange class so that three aisles may work together.

Formation;—Set up the class so that three aisles can collaborate.

Center aisle;—Jump to stride stand with arms raised sideward.

Center aisle;—Jump to a standing position with arms raised out to the sides.

Outer aisles;—Face the center and grasp with both hands the outstretched hand of pupil in center.

Outer aisles;—Face the center and grab with both hands the outstretched hand of the student in the center.

The center player acts as the Board; outer players as riders.

The center player represents the Board; the outer players are the riders.

1st Line;—	See Saw, Marjory Daw, See-Saw, Marjorie Daw,
Interpretation;—	Center activity;—	Pupil bends trunk to the right, left, right and left. Pupil bends their body 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. When the center pupils lean to the right, the kids on the right act like riders on board, bending and stretching their knees. When reversing the movement, the same activity happens for those on the left.
2nd Line;—	Jack shall have a new master, Jack will 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. Center and outer aisles activity;—Keep moving as described for the first line, finishing in an upright position with hands on hips.
3rd Line;—	He shall have but a penny a day, He will only get 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. Placing your left hand on your right elbow, shake your index finger three times when saying, "he shall have"; repeat the motion with your left hand while saying, "but a penny a day." Finish by putting your hands on your 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. Nod to the right when you hear "he shall have"; stand up straight and nod to the left when you hear "but a penny a day." End by placing your hands on your hips.
4th Line;—	Because he won't work any faster. Because he won’t work any faster.
Inter.;—	Repeat activity of first line. (Center and outer aisles.) Repeat the activity from the first line. (Center and outer aisles.)

Circle

(Outer aisles of classroom or in open area.)

Circle

(Outer aisles of the classroom or in an open space.)

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

Note.—The following Rhythm Plays work well in any open space.

LITTLE JACK HORNER

Permission to use words and music:—McLoughlin Bros.

Arr. by J. W. Elliott

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Little Jack Horner sat in a corner,

Eating a Christmas pie;

Eating a holiday pie;

He put in his thumb,

He used his thumb,

And pulled out a plum,

And took out a plum,

And said, "What a good boy am I!" Nice Plum!

And said, "What a good boy I am!" Nice Plum!

Nice Plum! Nice Plum! Nice Plum!

DESCRIPTION

Formation;—Single circle formation facing line of direction with hands on hips.

Formation;—Single circle formation facing the direction of movement 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 foot. Step forward, right, turn left, bringing your left foot to meet your right foot.	Bend knees deeply.
2nd Line;—	Eating a Christmas pie; Eating a holiday pie;
Inter.;—	Upon the word, "eating," children encircle imaginary plate with the left arm and imitate eating with the right hand. Upon hearing the word "eating," children wrap their left arm around an imaginary plate and mimic eating with their right hand.
3rd Line;—	He put in his thumb, And pulled out a plum, He stuck 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. Upon the word, "put," children imitate the action of putting their thumb in the pie and pulling out a plum, making the action vigorous at the word, "pulled," stretching their arm overhead. Look at the plum.
4th Line;—	And said, "What a good boy am I!" And said, "What a good boy I am!"
Inter.;—	Proudly pats the chest with the left hand. 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. Lowers the plum to their mouth, pretending to eat, while tapping their chest.

LITTLE MISS MUFFET

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (song and lyrics)

Little Miss Muffet sat on a tuffet, eating of curds and whey,

Little Miss Muffet sat on a small stool, eating curds and whey,

Along came a spider

A spider showed up

And sat down beside her;

And sat down next to her;

And frighten'd Miss Muffet away.

And scared Miss Muffet away.

DESCRIPTION

Formation;—Double circle formation facing line of direction with hands on hips.

Formation;—Double circle formation facing the 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.

Suggestion;—As much as possible, have the boys form the inner circle and the girls the outer circle.

1st Line;—	Little Miss Muffet sat on a 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.) Outer circle (Miss Muffet); beginning with the right foot, take three steps in the direction indicated. (Right; left; right and close left to right.)		Bend knees deeply.
Inter.;—	Inner circle (Spider); No activity. Inner circle (Spider); No action.
	eating of curds and whey, eating 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." Hold an imaginary plate in your left hand (palm up) and pretend to eat. Your hands are moved to your hips after saying the word, "whey."
Inter.;—	Inner circle (Spider); No activity. Inner circle (Spider); No activity.
2nd Line;—	Along came a spider A spider showed up
Inter.;—	Inner circle (Spider); Starting with the left foot execute five running steps in line of direction. (This should bring partners together.) Inner circle (Spider); Starting with your left foot, take five running steps in the direction you're facing. (This should bring partners together.)
Inter.;—	Outer circle (Miss Muffet); No activity. Outer circle (Miss Muffet); No activity.
3rd Line;—	And	sat	down beside her;
Inter.;—	Inner circle (Spider); Bend knees slightly. Inner circle (Spider); Slightly bend your knees.	Spring upward and upon return bend knees deeply and face partner. Raise hands, fingers extended and flexed. (Eye height.) Spring up and when you land, bend your knees deeply and face your partner. Raise your hands, with fingers extended and relaxed. (At eye level.)
	And sat down beside her; And sat down next to her;
Inter.;—	Outer circle (Miss Muffet); Turns head to the left, holds hands in position to ward off attack of the Spider. Outer circle (Miss Muffet); Turns head to the left, holds hands out to block the Spider's attack.
4th Line;—	And frighten'd Miss Muffet away. And scared 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. Outer circle (Miss Muffet); Place hands on hips; stretch knees and with six running steps circle around the Spider and return to your spot.
Inter.;—	Inner circle (Spider); No activity. Inner circle (Spider); No activity.

see caption

THE SPIDER FRIGHTENING MISS MUFFET
(See page 46)

THE SPIDER SCARES MISS MUFFET
(See page 46)

JACK AND JILL

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Jack and Jill went up the hill,

To fetch a pail of water;

To get a bucket of water;

Jack fell down and broke his crown,

Jack fell down and broke his head,

And Jill came tumbling after.

And Jill came tumbling down.

Boohoo! Boohoo! Boohoo! Boohoo!

DESCRIPTION

Formation;—Double circle formation. Children bend knees deeply; place outside hand on hip and clasp partner's hand.

Formation;—Double circle formation. Kids bend their knees deeply; place their outside hand on their hip and hold their partner's hand.

Inner circle:—Jill.
Outer circle:—Jack.

1st Line;—	Jack and Jill went up the hill, 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. Starting with the left foot, march in a straight line and take three steps, bringing your right foot to close next to your left once you've finished the movement. As you step, gradually straighten your knees until you stand up fully.
2nd Line;—	To fetch a pail of wa- To fetch a bucket of water-	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.) Bend your trunk forward, stretching your left arm (hand clenched) downwards, holding an imaginary bucket under the spout of the pump. Bend your right arm (hand clenched) to push, gripping the imaginary pump handle. Pretend to pump water (Three times.)	Assume erect position with hands on hips. Assume a standing position with your hands on your hips.
3rd Line;—	Jack fell down and broke his crown, Jack fell down and hurt his head,
	Activity as applied to children representing Jack. (Outer circle.) Activity as it relates to kids 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.) Upon the word, "Jack," bend your knees slightly; upon the word, "fell," the pupils spring lightly upward and drop into a deep knee position, placing your right hand on your head (the crown) and your left hand on the floor. (The hand on the floor is in the forward position.)
4th Line;—	And Jill came tumbling after.
	Activity as applied to children representing Jill. (Inner circle.) Activity as it relates to children depicting 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 the word, "Jill," bend your knees slightly; upon the word, "came," spring lightly upward and drop into a deep knee position, covering your face with your right hand (as if crying) and placing your left hand on the floor. (The hand on the floor should be 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!

Upon finishing the song, all the kids slowly bend their knees, shaking their heads in sadness as they sing—Boo-hoo! Boo-hoo! Boo-hoo! Boo-hoo!

Cover the face with the hands.

Cover your face with your hands.

Movement of head;—Right; left; right; left; right; left; right and front.

Movement of head;—Right; left; right; left; right; left; right and forward.

see caption

PUMPING A PAIL OF WATER

Pumping a bucket of water

DICKORY, DICKORY, DOCK

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

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

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Dickory, dickory, dock;

The mouse ran up the clock;

The clock struck One,

The clock struck 1,

The mouse ran down;

The mouse ran away;

Dickory, dickory, dock.

DESCRIPTION

Formation;—Single circle facing line of direction with hands on hips.

Formation:—Single circle facing the line of direction with hands on hips.

1st Line;—	Dickory,	dickory,	dock;
Interpretation;—	Arms stretched overhead with hands clasped. Bend trunk to the left. Arms raised above your head with hands together. Lean your torso to the left.	Bend trunk to the right. Bend tree trunk to the right.	Assume erect position. Assume upright position.
2nd Line;—	The	mouse ran up the clock; 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.) Place your hands on your hips, turn to the left, and starting with your left foot, take six running steps forward, bringing your left foot next to your right foot to finish the movement. (Seven counts.)
3rd Line;—	The clock	struck	One,
Inter.;—	Turn right about.		Clap hands overhead and replace to hips. Clap your hands above your head and then put them on your hips.
	The mouse ran The mouse ran		down;
Inter.;—	Three running steps forward. (Left; right and left.) Three running steps forward. (Left; right; and left.)		Step forward, right, and turn to the left, closing left foot to right foot. Step forward, right, and turn left, bringing your left foot to meet your right foot.
4th Line;—	Dickory,	dickory,	dock.
Inter.;—	Arms stretched overhead with hands clasped. Bend trunk to the left. Arms raised above your head with hands together. Lean your torso to the left.	Bend trunk to the right. Bend the trunk to the right.	Assume erect position. Stand up.
	Position!

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

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (song 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 reached out my right hand,

I give my right hand a shake, shake, shake,

I shake my right hand again and again,

And turn myself about, Oh!

And turn myself around, 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.

Formation;—Single circle formation, facing counterclockwise (right), in close order. Hands are placed on the shoulders of the student in front.

Note.—In classroom:—Single circle around one row of seats.

	Verse Verse Here we dance Looby Loo, Here we dance Looby Loo, Here we dance Looby Light, Here we dance Looby Light, Here we dance Looby Loo, Here we dance Looby Loo, Every Saturday night. 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. Children march in a straight line, first stepping with their left foot, swaying inwards to the left and then outwards to the right. Once the verse is finished, the children stop moving and turn to face the center of the circle.
	Chorus Chorus I put my right hand in, I put my right hand in, I put my right hand out, I reached out with my right hand, I give my right hand a shake, shake, shake, I shake my right hand, shake, shake, shake, And turn myself about. Oh! And turn myself around. 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. Imitate the activity as suggested, and when turning, spin to the right on your right foot. After completing the turn, immediately face the direction you’re going, placing your hands on the student’s shoulders in front as you get ready for the verse action.
	Chorus Chorus 2nd;—I put my left hand in, etc. 2nd;—I put my left hand in, etc. 3rd;—I put my right foot in, etc. 3rd;—I put my right foot in, etc. 4th;—I put my left foot in, etc. 4th;—I put my left foot in, etc. 5th;—I put my little head in, etc. 5th;—I stuck my head in, etc. 6th;—I put my whole self in, etc. 6th;—I invested everything I had, etc.

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

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Baa, baa, Black Sheep, have you any wool?

Baa, baa, Black Sheep, do you have any wool?

Yes, sir; yes, sir! Three bags full;

One for my master, One for my dame.

One for my boss, One for my lady.

But none for the little boy That cries in the lane.

But none for the little boy who cries in the street.

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.

Formation;—Children form a single circle with their hands joined. (The Sheep.) A boy is chosen to stand in the center of the circle. (The little boy in the lane.) The outer, front, and back aisles of the room are used.

1st Line;—	Baa, Baa, Black Sheep, have you any wool? Baa, Baa, Black Sheep, do you have any wool?
Interpretation;—	Seven quick slides to the right, ceasing movement on the eighth count. Seven quick slides to the right, stopping 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. Those in the group (The Sheep) put their hands on their hips and nod their heads twice with emphasis.
	Three bags full;
Inter.;—	Place right elbow in left hand with three fingers extended, shaking same three times vigorously. Place your right elbow in your left hand with three fingers extended, shaking them 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. Step to the right and bring your feet together; bow and stand up straight. Place your hands on your hips.
	One for my dame,
Inter.;—	Step sideward to the left and close feet; bow and assume erect position. Hands are placed upon hips. Step sideways to the left and bring your feet together; bow and stand up straight. Place your hands on your hips.
4th Line;—	But none for the little boy 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. Mark time, staying in place; (right; left; right; left); turning your head to the right, left, right, and front. Your hands should be on your hips.
	That cries in the lane. That cries in the street.
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. Place your right elbow in your left hand with your index finger extended, shaking it three times vigorously at the little boy in the center of the circle.

see caption

THE LITTLE BOY CRYING IN THE LANE

BEAN PORRIDGE

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (song and lyrics)

Bean porridge hot,

Hot bean porridge,

Bean porridge cold,

Cold bean porridge,

Bean porridge in the pot,

Bean stew in the pot,

Nine days old;

Nine days old

Some like it hot,

Some enjoy it spicy,

And some like it cold,

And some prefer it cold,

Some like it in the pot,

Some like it grilled,

Nine days old.

DESCRIPTION

Formation;—Double circle formation facing partners with hands on hips.

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.

Suggestion:—As much as possible, have the sex units separated; the boys forming the inner circle and the girls forming the outer circle.

1st Line;—	Bean	porridge		hot,
Interpretation;—	Clap hands to thighs. Clap hands on thighs.	Clap own hands. Clap your own hands.		Clap partner's hands. Clap your partner's hands.
	Bean	porridge		cold,
Inter.;—	Clap hands to thighs. Clap hands on thighs.	Clap own hands. Clap your hands.		Clap partner's hands. Clap your partner's hands.
2nd Line;—	Bean		porridge
Inter.;—	Clap hands to thighs. Clap thighs.		Clap own hands. Clap your own hands.
	in the in the		pot,
Inter.;—	With right hand, clap partner's right hand. With your right hand, clap your partner's right hand.		Clap own hands. Clap your hands.
	Nine	days		old;
Inter.;—	With left hand clap partner's left hand. With your left hand, clap your partner's left hand.	Clap own hands. Clap your own hands.		Clap partner's hands. High-five your partner.

Description of pupil; Outer circle. Counterlike as to movement for pupils of inner circle.

Description of pupil; Outer circle. Similar to the movement for pupils of the inner circle.

3rd Line;—	Some	like it	hot, And
Inter.;—	Clasp partner's hands and raise arms to shoulder height. Step sideward, right. (In line of direction.) Clasp your partner's hands and raise your arms to shoulder height. Step sideways to the right. (In the direction you're facing.)	Close left to right.	Step dip, right.
	Some	like it	cold,
Inter.;—	Step sideward, left. (In reverse line of direction.) Step to the left. (In the opposite direction.)	Close right to left.	Step dip, left.
4th Line;—	Some like it in the pot, Some like it in the pot,
Inter.;—	Four chasse steps in line of direction. Four chasse steps in line with the direction.
	Nine days	old.
Inter.;—	Jump, in place, once. Jump in place once.	Jump, in place, once. Jump in place once.

FLY AWAY JACK AND JILL

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Two little blackbirds,

Two small blackbirds,

Sitting on a hill,

Chilling on a hill,

One named Jack And the other named Jill;

One named Jack and the other named Jill;

Fly away, Jack and fly away, Jill;

Fly away, Jack, and fly away, Jill;

Come again, Jack And come again, Jill.

Come back, Jack And come back, Jill.

DESCRIPTION

Formation;—Double circle facing counter clockwise (line of direction); inside hands joined and raised shoulder height; outside hands on hips.

Formation:—Double circle facing counterclockwise (line of direction); inside hands joined and raised to 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.

Suggestion;—As much as possible, have the sex units divided, with 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.)

Start the dance movement with your outside foot. (Boys start with the left foot; girls start with the right foot.)

1st Line;—	Two little blackbirds, Two small blackbirds,
Interpretation;—	Three steps in line of direction. Three steps in the right direction. Inner circle (Jack);—(Left; right, left and close right to left.) Inner circle (Jack);—(Left; right, left and close right to left.) Outer circle (Jill);—(Right; left, right and close left to right.) Outer circle (Jill);—(Right; left, right, and close left to right.)
	Sitting on a hill, Chilling on a hill,
Inter.;—	Bend knees deeply. Outer and inner circles. Bend your knees deeply. Outer and inner circles.
2nd Line;—	One named One called		Jack
Inter.;—	Inner circle (Jack); place hands on hips, stretch knees and turn to partner. (Right.) Inner circle (Jack); put hands on hips, stretch knees and turn to partner. (Right.)		Bow and assume erect position. Bow and stand upright.
		One		named Jack
Inter.;—	Outer circle (Jill); Outer circle (Jill);	Replace left hand to hip and remain in deep knee position. Replace your left hand on your hip and stay in a deep knee position.		No activity.
	And the	other named other named		Jill;
Inter.;—	No activity for either circles. No activity for either group.	Outer circle (Jill); stretch knees and turn to partner (Left.) Outer circle (Jill); stretch your knees and turn to your partner (Left.)		Bow and assume erect position. Bow and stand upright.
Inter.;—		Inner circle;—No activity.
3rd Line;—	Fly away, Jack	And		fly away, Jill;
Inter.;—	Inner circle (Jack); Three chasses in line of direction. Inner circle (Jack); Three chasses lined up in the direction.		Outer circle (Jill); Three chasses in line of direction. Outer circle (Jill); Three chasses in line of direction.
Inter.;—	Outer circle (Jill); No activity. Outer circle (Jill); No actions.		Inner circle; (Jack); No activity.
4th Line;—	Come again, Jack	And		come again, Jill.
Inter.;—	Inner circle (Jack); Three chasses in reverse line of direction. Inner circle (Jack); Three chasses moving in the opposite direction.		Outer circle (Jill); Three chasses in reverse line of direction. Outer circle (Jill); Three chasses in reverse order.
Inter.;—	Outer circle (Jill); No activity. Outer circle (Jill); No action.		Inner circle (Jack); No activity.

see caption

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).

This page had photos for "Fly Away Jack and Jill" (above) and "Dapple Grey" (page 56).

POP GOES THE WEASEL

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (song and lyrics)

A sixpence for a spool of thread,

A penny for a needle;

That's the way the money goes;

That's how the money flows;

Pop goes the weasel.

Watch how the needle does fly,

Watch the needle fly,

Nimble hands to guide it;

Quick hands to guide it;

Every time the wheel goes round,

Every time the wheel spins,

Pop goes the weasel.

DESCRIPTION

Formation;—Double circle formation, partners facing; hands joined and raised shoulder height.

Formation:—Double circle formation, partners facing each other; hands joined and raised to 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.

Suggestion;—As much as possible, divide the groups by sex, with 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.

Description of the students in the outer circle (girls); inner circle (boys); counterclockwise.

Verse
1st Line;—	A sixpence for A sixpence for		a spool of thread, a roll of thread,
Interpretation;—	Step dip, right. (In line of direction.) Step dip, right. (In line with direction.)		Step dip, left. (In reverse line of direction.) Step dip, left. (In the opposite direction.)
2nd Line;—	A penny for a needle; A penny for a needle;
Inter.;—	Four chasse steps in line of direction. Four chasse steps in a straight line. Note.—On the fourth chasse step do not close left foot to the right. Note.—On the fourth chasse step, don't bring your left foot close to the right.
3rd Line;—	That's	the way	the money	goes;
Inter.;—	Face line of direction; inner hands joined and outer hands on hips. Step forward, left. Face the direction; inner hands together and outer hands on hips. Step forward with your left foot.	Step forward, right.	Step forward, left.	Close right to left and place inner hand to hip. Close from right to left and place your inner hand on your hip.
4th Line;—	Pop	goes the	weasel.
Inter.;—	With a jump, execute a turn right about and clap hands once. With a jump, make a right turn and clap your 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. With a jump, do a turn to the right and clap your hands once. End with your inner hands joined and your outer hands on your hips, facing the direction you’re going.

POP GOES THE WEASEL
(Continued)

Repeat Verse
1st Line;—	A sixpence for A sixpence for		a spool of thread, a thread spool,
Interpretation;—	Two step, right. (In line of direction.) Two steps, to the right. (In line with the direction.)		Two step, left. (In line of direction.) Two steps to the left. (In the direction of the line.)
2nd Line;—	A penny	for a for a		needle;
Inter.;—	Step forward, right.	Step forward, left. Step left.		Step forward, right and close left to right. Step forward, right, and bring your left foot close to your right.
3rd Line;—	That's the way That's how it is		the money goes; the money flows;
Inter.;—	Two step, left. (In line of direction.) Two steps, left. (In line with the direction.)		Two step, right. (In line of direction.) Two steps, to the right. (In line with the direction.)
4th Line;—	Pop	goes the goes the		weasel.
Inter.;—	Step forward, left.	Step forward, right. Step forward, to the right.		Step forward, left and close right to the left. Finish with hands on hips. Step forward, move your left foot and bring your right foot close to it. End with your hands on your hips.

Chorus
1st Line;—	Watch how	the needle does fly,
Inter.;—	Turn to partner and step dip, right. (In line of direction.) Clap hands three times. Turn to your partner and step to the right. (In the direction you're facing.) Clap your hands three times.	Step dip, left. (In reverse line of direction.) Clap hands three times. Step to the left, then back. (In the opposite direction.) Clap your hands three times.
2nd Line;—	Nimble hands to guide it; Agile hands to steer 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. Encircle to the right with three steps. (Right; left; right and close left to right.) As the first step is taken, clap your hands once and put your hands on your hips.
3rd Line;—	Every time	the wheel goes round, the wheel keeps turning,
Inter.;—	Step dip, left. (In reverse line of direction.) Clap hands three times. Step left, then dip. (In the opposite direction.) Clap your hands three times.	Step dip, right. (In line of direction.) Clap hands three times. Step right, dip. (In the direction indicated.) Clap your hands three times.
4th Line;—	Pop goes the weasel. 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. Encircle to the left with three steps. (Left; right; left and bring right to left.) As the first step is taken, clap your hands once and place your hands on your hips.

DAPPLE GREY

Arr. by J. N. Richards

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (audio file) __A_TAG_PLACEHOLDER_1__ (song and lyrics)

I had a little pony
And his name was Dapple Grey;

I lent him to a lady,
To ride a mile away.

I lent him to a woman,
To ride a mile away.

She whipped him and she slashed him,
She rode him through the mire;

She whipped him and slashed him,
She rode him through the muck;

I would not lend my pony now
For all the lady's hire.

I wouldn't lend my pony now
For anything a lady would offer.

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.

Formation;—Children arranged in double circle formation, facing counterclockwise (line of direction); outside hands placed on hips; inside hands joined and raised to 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.

Suggestion;—As much as possible, divide the groups by gender, with the boys in the inner circle and the girls in the outer circle.

Start the dance movement with the outside foot. (Boys beginning with the left foot; girls beginning with the right foot.)

Start the dance movement with your outside foot. (Boys start with the left foot; girls start with the right foot.)

Description of pupils in outer circles. (Girls.) Counterlike—Inner

Description of students in the outer circles. (Girls.) Counterclockwise—Inner

1st Line;—	I had	a little	pony
Interpretation;—	Point step forward, right. Point step forward, right.	Point step backward, right. Point step back, right.	Three steps forward and hold. (Right; left and right.) Three steps forward and hold. (Right; left and right.)
	Cues;—Point and point and step, step, step. Cues;—Point and point and step, step, step.
	And his name	was Dapple	Grey;
Inter.;—	Swing left forward and point step forward, left. Swing left forward and point your left foot ahead.	Point step backward, left. Point left and step back.	Three steps forward and hold. (Left; right and left.) Three steps forward and hold. (Left; right, and left.)
	Cues;—Point and point and step, step, step. 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 arms to shoulder height. With a jump, face your partner; hold hands outside and raise both arms to shoulder height.	Jump, in place, once. Jump in place once.	Step throw, right and step throw, left. Step throw, right and step throw, left.
	To ride a mile away. To ride a mile away.
Inter.;—Seven chasses in line of direction, closing left to right, completing movement. Inter.;—Seven chasses in a straight line, closing from left to right, completing the movement.
3rd Line;—	She whipped him and she slashed him, 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.) Replace your left hand on your hip. Grasp an imaginary whip with your right hand and, with a strong motion, pretend to whip. (Do this three times, moving your hand to your hip when you say "him.") March in place for 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. Note.—The downward motion of whipping occurs as the right foot is lowered to the ground.
	She rode him through the mire; She rode him through the mire;
Inter.;—	Clasp partner's hands, raising arms to shoulder height and bend and stretch knees six times. Clasp your partner's hands, lift your arms to shoulder height, and bend and stretch your knees six times.
4th Line;—	I would	not lend	my pony now
Inter.;—	Step dip, right, clapping hands three times. Step to the side, right, clap your hands three times.	Step dip, left, clapping hands three times. Step to the side, left, and clap your hands three times.	Face line of direction; replace hands to hips and execute two steps forward. (Right; left and close light to left.) Face the direction; place your hands on your hips and take two steps forward. (Right; left and bring your feet together to the left.)
	For all	the lady's	hire.
Inter.;—	Step throw, right.	Step throw, left.	Mark time, in place, three counts. (Right; left and right.) Mark time, standing still, for three beats. (Right; left and right.)

see caption

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

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

Sing a song of sixpence,

A pocket full of Rye;

A pocket full of rye;

Four and twenty Blackbirds Bak'd in a Pie.

Four and twenty blackbirds baked in a pie.

When the Pie was open'd,

When the pie was opened,

The Birds began to sing;

The birds started to sing;

Wasn't that a dainty dish To set before a King.

Wasn't that a fancy dish to serve to 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.

Formation;—Single circle formation facing counterclockwise (right) in close order formation. Hands are placed on the shoulders of the student in front.

1st Verse
1st Line;—	Sing a song of sixpence, A pocket full of Rye; 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. Starting with the left foot, move in the direction of travel. Step forward and then step: left; right; left; and right. As you do this, lean your torso slightly to the left and right as you continue the movement. Cues;—Point and step; point and step; point and step; point and step. Cues:—Point and step; point and step; point and step; point and step.
2nd Line;—	Four and twenty Blackbirds Twenty-four Blackbirds
Inter.;—	Turn the head to the left; step sideward, left and close right to left and repeat. Turn your head to the left; step sideways to the left and bring your right foot next to your left, then repeat. Cue;—Step and close; step and close. Cue;—Step and close; step and close.
	Bak'd in a Pie. Baked in a Pie.
Inter.;—	Turn the head to the right; step sideward, right and close left to the right and repeat. Turn your head to the right; step to the right and bring your left foot close to your right, then repeat. Cue;—Step and close; step and close. Cue;—Step and close; step and close.
3rd Line;—	When the Pie was open'd, When the pie was opened,
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.) Facing inward (left); clasp hands to the right and left and starting with the right foot take three steps back. (Right; left; right and bring left close to the right.) Cues;—Step; step; step and close. Cues: Step, step, step, and close.
	The Birds began to sing; The birds started to sing;
Inter.;—	Three chasse steps in line of direction. (To the right.) Three chasse steps in the direction. (To the right.)
4th Line;—	Wasn't that a dainty dish Wasn't that a cute 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.) Extend your arms forward with a slight bend, clap your hands seven times, and then bend your knees to the left and right. (Step to the left; place your right toe behind your left heel while slightly bending both knees. During this movement, turn your head to the left, and let your upper body bend slightly as your knees bend. (Do the opposite with your head and upper body when you do the movement to the right.))
	To set before	a King?
Inter.;—	Replace hands to hips; step sideward, left and close right to left. Replace hands on hips; step sideways to the left and bring the right foot close to the left.	Bow and assume erect position. Bow and stand up straight.

SING A SONG OF SIXPENCE (Continued)
Second Verse

J. W. Elliott

J.W. Elliott

musical notation with lyrics below

MIDI (sound file) pdf (music and lyrics)

__A_TAG_PLACEHOLDER_0__ (sound file) __A_TAG_PLACEHOLDER_1__ (music and lyrics)

The King was in the counting house,

Counting out his money;

Counting his cash;

The Queen was in the parlour,

The Queen was in the living room,

Eating bread and honey;

The maid was in the garden,

Hanging out the clothes;

Hanging out the laundry;

There came a little Dicky Bird,

A little bird arrived,

And popp'd upon her nose.

And popped on her nose.

DESCRIPTION

Formation;—Single circle facing inward with hands on hips.

1st Line;—	The King was in the counting house, 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.) Starting with your left foot, take three steps forward. (Left; right; left, and then bring your right foot to close to your left.)
	Counting out his money; Counting his cash;
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.) Bend your knees deeply and match your movements to the words, holding imaginary coins in your left hand while counting with your right hand. (Six counts.)
2nd Line;—	The Queen was in the parlour, The Queen was in the living room,
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. Stretch your knees and lower your heels; turn to the right, start with your right foot, and take three chasse steps to the right while keeping your arms raised to the sides.
	Eating bread and honey; 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.) Hold an imaginary plate in your left hand (palm facing up) and match your movements to the words, pretending to eat with your right hand. (Six counts.)
3rd Line;—	The maid was in		the 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.) Extend your arms forward with a slight bend, clap your hands seven times, and then bend while stepping left and right. (Step to the left, place your right toe behind your left heel, and bend both knees slightly. While doing this, turn your head to the left and lean your upper body slightly as you bend your knees. (Do the same movement with your head and upper body when you step to the right.)
	Hanging	out	the clothes;
Inter.;—	Replace left foot; stretch the knees; bending trunk forward, downward grasping clothes with hands. Replace left foot; stretch the knees; bend the trunk forward, reaching down to grasp the clothes with your hands.	Stretching the trunk; raise arms forward upward to imaginary clothesline. Stretch your torso; raise your arms in front of you and up to an imaginary clothesline.	Take clothespin out of mouth with right hand and pin clothes to line. Take the clothespin out of your mouth with your right hand and clip the clothes to the line.
4th Line;—	There came a little Dicky Bird, There came a little Dicky Bird,
Inter.;—	Replace hands to hips, execute four hops forward. Replace your hands on your hips and do four hops forward.
	And popp'd And popped		upon her nose.
Inter.;—	Clap hands, replacing same to hips, and execute one-quarter turn to the left by hopping. Clap your hands, place them on your hips, and make a quarter turn to the left by hopping.		Bow and assume erect position. Bow and stand up straight.

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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

Printed in the United States of America

Aisles of Classroom

Circle

First Grade

Second Grade

Third Grade

Aisles of Classroom

Circle (Outer aisles of classroom)

PROCEDURE IN TEACHING

COMMANDS USED TO PRESENT THE GYMNASTIC ACTIVITY AND SONG

Examples:

Circular

THE BAND

DESCRIPTION

LITTLE JACK HORNER

DESCRIPTION

ROCK-A-BYE, BABY

DESCRIPTION

JACK BE NIMBLE—No. 1

DESCRIPTION

JACK BE NIMBLE—No. 2

DESCRIPTION

HUMPTY DUMPTY

DESCRIPTION

DICKORY, DICKORY, DOCK

DESCRIPTION

DICKORY, DICKORY, DOCK Second Verse—Music on Page 25

DESCRIPTION

LITTLE MISS MUFFET

DESCRIPTION

JACK AND JILL

DESCRIPTION

BYE O BABY BUNTING

DESCRIPTION

LITTLE BOY BLUE

DESCRIPTION

WEE WILLIE WINKIE

DESCRIPTION

HEY, DIDDLE, DIDDLE

DESCRIPTION

WHERE HAS MY LITTLE DOG GONE?

DESCRIPTION

RIDE A COCK-HORSE

DESCRIPTION

YANKEE DOODLE

DESCRIPTION

PAT-A-CAKE

DESCRIPTION

BEAN PORRIDGE

DESCRIPTION

FLY AWAY JACK AND JILL

DESCRIPTION

DIDDLE, DIDDLE DUMPLING

DESCRIPTION

SING A SONG OF SIXPENCE

DESCRIPTION

SING A SONG OF SIXPENCE (Continued)

DESCRIPTION

SEE SAW, MARJORY DAW

DESCRIPTION

LITTLE JACK HORNER

DESCRIPTION

LITTLE MISS MUFFET

DESCRIPTION

JACK AND JILL

DESCRIPTION

DICKORY, DICKORY, DOCK

DESCRIPTION

LOOBY LOO

DESCRIPTION

BAA, BAA, BLACK SHEEP

DRAMATIZED
RHYTHM PLAYS

ASSISTANT SUPERVISOR OF PHYSICAL EDUCATION
NEWARK, N.J.

Copyright, 1922,
by
A. S. BARNES AND COMPANY

Circle
(Outer aisles of classroom)

DICKORY, DICKORY, DOCK
Second Verse—Music on Page 25

SING A SONG OF SIXPENCE
(Continued)

POP GOES THE WEASEL
(Continued)

SING A SONG OF SIXPENCE (Continued)
Second Verse