Dramatized Rhythm Plays / Mother Goose and Traditional
Date: 2007-07-10T00:00:00+00:00
Keywords: Schools -- Exercises and recreations; Exercise music

The Project Gutenberg eBook of Dramatized Rhythm Plays

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Dramatized Rhythm Plays

Author: John N. Richards

Release date: July 10, 2007 [eBook #22035]

Language: English

Other information and formats: www.gutenberg.org/ebooks/22035

Credits: Produced by Louise Hope, David Newman, Chuck Greif and the
Online Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK DRAMATIZED RHYTHM PLAYS ***

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

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

A few photographs were printed out of sequence, probably for reasons of space. For this e-text they have been placed in their appropriate locations, retaining the original "See page N" notation.

DRAMATIZED
RHYTHM PLAYS

MOTHER GOOSE AND TRADITIONAL

BY

JOHN N. RICHARDS, B.P.E.

ASSISTANT SUPERVISOR OF PHYSICAL EDUCATION
NEWARK, N.J.

NEW YORK

A. S. BARNES AND COMPANY

1931

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

This book is fully protected by copyright and nothing that appears in it may be reprinted or reproduced in any manner, either wholly or in part, for any use whatever, without special written permission of the copyright owner.

Printed in the United States of America

PREFACE

The following rhythmic plays compiled by Mr. John N. Richards of the Newark Department of Physical Education have been devised to meet the needs in the transition of Physical Education activities between the kindergarten and the first few years of the primary school.

The physiologist tells us that the nervous organism of early childhood is injured by the strain of strict, immobile attention required in formal gymnastics. Therefore it is wise to hold the child's interest and attention by means of dramatized nursery plays. These make little strain on mental application and the child is able to dramatize in motion the words and music which are planned to develop his motor co-ordination. In this way the child is gradually and interestingly led from the freedom of expression, characteristic of babyhood to the more specialized formal activities of the third and fourth years in the school.

Mr. Richards' contribution merits widespread usage because he has clearly and definitely described his rhythm plays so that the classroom teacher can easily make use of them without having to draw on her imagination or having to guess at the written explanation.

The book should be useful and welcomed too, not only by the classroom teacher but also by the specialist and supervisor of Physical Education.

Randall D. Warden

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

INTRODUCTION

The young people of to-day are most fortunate in their opportunities and advantages. The home, the school, the shop, social life and play offer increasing fields for service. The ever increasing number of problems which must be faced, in this reconstruction period of our nation's life, demands leaders of broad intellect, clear vision and sound judgment. Coupled with these qualifications there must be developed a moral earnestness which will make for better citizenship.

The trend of society movement is undoubtedly toward congested city life. There is lamentable lack of playgrounds and properly equipped gymnasiums. The school buildings are crowded to capacity and there is a rush and hurry of life which challenges the attention of all educators who are interested in the physical well-being of children.

The priceless assets of our communities are the boys and girls who are growing into manhood and womanhood. We should spare neither expense nor energy in fitting them physically, mentally and spiritually for the great problems which will all too soon be theirs.

Exercise habits and a spirit of fair play must be a part of their training from the early school days. There is no better way of inculcating these lessons than through story plays and games during their first school years.

The material contained in this book is practical. The exercise movements have been set to music which is popular both in the schools and in the homes. It is carefully graded and should prove to be of great assistance to the teachers in the lower grades. It tends to bridge over the gap between the Kindergarten and the Primary Grade activities.

There is need for a manual of this type in our Physical Training literature and it is hoped that this material will be used generally throughout the schools of our country.

F. W. Maroney, M.D.

Director of Physical Education and Medical Inspection

Atlantic City, N.J., Public Schools

ACKNOWLEDGMENTS

The author wishes to express his thanks to F. W. Maroney, M.D., formerly Director of Physical Education of the State of New Jersey and now Director of Physical Education and Medical Inspection of the Public Schools of Atlantic City, N.J., for the Introduction.

To Mr. Randall D. Warden, Director of Physical Education, Public Schools, Newark, N.J., for the Preface.

Special acknowledgment and thanks are due Miss A. E. Barth of the Charlton Street School, Newark, N.J., for her contribution of "Rhythm Plays" and to Miss Louise Westwood, Director of Music, Newark Public Schools, as hereinafter stated.

Thanks are also due to McLoughlin Bros. for permission to use the words and music of the following songs found in J. W. Elliott's book entitled, "Nursery Rhymes, Set to Music":

Little Jack Horner
See Saw, Marjory Daw

Dickory, Dickory, Dock
Sing a Song of Sixpence

Humpty Dumpty

To D. Appleton & Company for permission to use the words and music of the following songs found in "Songs the Whole World Sings":

Rock-a-bye, Baby

Little Boy Blue

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

Where Has My Little Dog Gone?

Baa, Baa, Black Sheep

Looby Loo

J. N. Richards

ALPHABETICAL INDEX

Aisles of Classroom

| Page
Bye O Baby Bunting | 29
Bean Porridge | 37

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

25, 26

Diddle, Diddle, Dumpling

39

Fly Away Jack and Jill

38

Humpty Dumpty | 24
Hey, Diddle, Diddle | 32

Jack Be Nimble, No. 1

22

Jack Be Nimble, No. 2

23

Jack and Jill | 28
Little Jack Horner | 20
Little Miss Muffet | 27
Little Boy Blue | 30
Pat-a-cake | 36
Rock-a-bye, Baby | 21
Ride a Cock-horse | 34

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

40, 41

See Saw, Marjory Daw | 42
The Band | 19
Wee Willie Winkie | 31

Where Has My Little Dog Gone?

33

Yankee Doodle, verse and chorus

35

Circle

| Page

Baa, Baa, Black Sheep

50

Bean Porridge | 51
Dapple Grey | 54

Dickory, Dickory, Dock

48

Fly Away Jack and Jill

52

Jack and Jill | 47
Little Jack Horner | 45
Little Miss Muffet | 46
Looby Loo | 49

Pop Goes the Weasel, verse and chorus

55

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

57

GRADATION INDEX

First Grade

Aisle | Page
1. The Band | 19

2. Little Jack Horner

20

3. Rock-a-bye Baby

21

4. Jack Be Nimble, No. 1

22

5. Humpty Dumpty

24

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

25, 26

7. Little Miss Muffet

27

8. Jack and Jill

28

9. Bye O Baby Bunting

29

10. Little Boy Blue | 30

11. Wee Willie Winkie

31

12. Jack Be Nimble, No. 2

23

Circle |

1. Little Jack Horner

45

2. Little Miss Muffet

46

3. Jack and Jill

47

4. Dickory, Dickory, Dock

48

Second Grade

Aisle | Page

1. Hey, Diddle, Diddle

32

2. Where Has My Little Dog Gone?

33

3. Ride a Cock-horse

34

4. Yankee Doodle, verse and chorus

35

5. Pat-a-cake | 36

6. Bean Porridge

37

7. Fly Away Jack and Jill

38

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

40, 41

9. Diddle, Diddle, Dumpling

39

10. See Saw, Marjory Daw

42

Circle |
1. Looby Loo | 49

2. Baa, Baa, Black Sheep

50

3. Bean Porridge

51

4. Fly Away Jack and Jill

52

Third Grade

Circle | Page
1. Dapple Grey | 54

2. Pop Goes the Weasel, verse and chorus

55

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

57

INDEX OF PROGRESSION

Aisles of Classroom

| | Page
1. The Band | (File Alignment) | 19

2. Little Jack Horner

" "

20

3. Rock-a-bye, Baby

" "

21

4. Jack Be Nimble, No. 1

" "

22

5. Humpty Dumpty

" "

24

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

" "

25, 26

7. Little Miss Muffet

" "

27

8. Jack and Jill

" "

28

9. Bye O Baby Bunting

" "

29

10. Little Boy Blue | " " | 30

11. Wee Willie Winkie

" "

31

12. Jack Be Nimble, No. 2

" "

23

13. Hey, Diddle, Diddle

" "

32

14. Where Has My Little Dog Gone?

" "

33

15. Ride a Cock-horse

" "

34

16. Yankee Doodle, verse and chorus

" "

35

17. Pat-a-cake

(Open line formation, partners facing)

36

18. Bean Porridge | " " "  "  " | 37

19. Fly Away Jack and Jill.

" " "  "  "

38

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

" " "  "  "

40, 41

21. Diddle, Diddle, Dumpling

" " "  "  "

39

22. See Saw, Marjory Daw.

" " "  "  "

42

Circle
(Outer aisles of classroom)

| Page

1. Little Jack Horner

45

2. Little Miss Muffet

46

3. Jack and Jill

47

4. Dickory, Dickory, Dock

48

5. Looby Loo | 49

6. Baa, Baa, Black Sheep

50

7. Bean Porridge

51

8. Fly Away Jack and Jill

52

9. Dapple Grey

54

10. Pop Goes the Weasel, verse and chorus

55

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

57

SUGGESTIONS FOR THE TEACHING OF THE GYMNASTIC ACTIVITY

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

2. If in presenting the action, the movement is based upon certain words as cues, present by imitation the activity as applied to the words, i.e., Little Jack Horner; Little Miss Muffet, etc.

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

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

5. If a dancing movement is involved, present same to the class as a unit before combining with other movements, i.e., Fly Away Jack and Jill; Diddle, Diddle, Dumpling, etc.

The author wishes to express thanks to Miss Louise Westwood, Director of Music of the Newark Public Schools, for the following suggestions as to the teaching of the song element:

1. Pitch-pipes:

No song under any condition should be sung without the pitch of the first word being given; using the pitch-pipe to get the key in which the song is written.

2. Range of Songs:

All songs should be sung not lower than the first line E or higher than the fifth line F of the staff. If songs are scored in another range, transpose the song by changing the pitch of the first word.

3. Quality of Tone:

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

No loud singing should be allowed at any time.

PROCEDURE IN TEACHING

1. Teach the rhyme.   2. Combine rhyme with the gymnastic activity.
3. Teach the song.   4. Combine No. 1, No. 2 and No. 3.

COMMANDS USED TO PRESENT THE GYMNASTIC ACTIVITY AND SONG

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

2. Teacher sounds keynote of first syllable or word.

Command:—Pitch—Sing!

Examples:

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

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

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

Ready—Begin!

RHYTHMIC STEPS

1. The Point Step, Forward:

Point foot forward with outside edge of toes touching the floor; the heel is raised and turned inward toward the other foot. (No weight transference, the weight being on the stationary foot.)

2. Closing Step, Sideward:

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

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

3. Chasse or Gliding Step, Sideward:

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

4. Step Throw or Step Hop Swing, Sideward:

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

5. Schottische Step, Sideward:

Step sideward, right (1). Cross step left to rear of right (2). Step sideward, right (3). Hop on right, swinging left leg diagonally forward across (4). (Knee slightly flexed with ankle extended.)

6. Two Step or Change Step, Forward:

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

7. The Step Dip, Sideward:

Step sideward, right, with transference of body weight to the right foot (1). Place left toe behind right heel (heel raised) with the knee turned sideward (and) Bend and stretch right knee slightly with trunk bending sideward, left (2).

Hand clapping occurs on counts one and two.

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

Stationary pupil.—Pupil extends leg backward, lowering knee to floor. The trunk is erect; left hand on hip with the right arm stretched upward, supporting encircling partner's left hand.

Dancing pupil.—The encircling pupil grasps with the left hand the kneeling partner's right hand and performs the dance movement in given direction.

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, inward.

Facing, reverse line of direction.

Counter-clockwise | | | Clockwise
| DOUBLE |

Facing, line of direction.

Facing, reverse line of direction.

Partner formation, facing each other.

CLASSROOM
Aisle Alignment:—Single and partner formation.

Note:—May also be used to advantage in any open area or gymnasium with exception of several in the First Grade which are essentially classroom in type. (Desks are used as part of the rhythmic action.)

THE BAND

MIDI (sound file) pdf (music and lyrics)

Oh I can play on a big bass drum,

And this is the way I do it.

Boom, Boom, Boom goes the big bass drum,

Boom, Boom, Boom goes the big bass drum,

And this is the way I do it.

DESCRIPTION

Miss A. E. Barth.

Formation;—Children seated in their seats.

1st Line;—

Oh I can play on a big bass drum,

Interpretation;— | No activity.

2nd Line;—

And this is the way I do it.

Inter.;— | No activity.

3rd Line;—

Boom, Boom, Boom goes the big bass drum,

Inter.;—

Beat hands vigorously upon top of desks, suiting action to the words.

4th Line;—

Boom, Boom, Boom goes the big bass drum.

Inter.;—

Repeat the activity of the third line.

5th Line;—

And this is the way I do it.

Inter.;—

Repeat the activity of the fourth line.

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

Little Snare Drum ("Trum") | Big Brass Horn ("Toot")
Little Gay Flute ("Whistle")

OH I CAN PLAY ON A BIG BRASS HORN

LITTLE JACK HORNER

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

MIDI (sound file) pdf (music and lyrics)

Little Jack Horner sat in a corner,

Eating a Christmas pie;

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

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

Nice Plum! Nice Plum! Nice Plum! Nice Plum!

DESCRIPTION

Miss A. E. Barth

Formation;—Children remain seated and move to the right side of seat.

1st Line;—

Little Jack Horner sat in a corner,

Interpretation;—

Upon the word, "sat," pupils move to the left side of seat.

2nd Line;—

Eating a Christmas pie;

Inter.;—

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

3rd Line;—

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

Inter.;—

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

4th Line;—

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

Inter.;—

Proudly pats the chest with the left hand.

Conclusion;—

Nice Plum! Nice Plum! Nice Plum! Nice Plum!

Inter.;—

Lowers plum until it disappears in the mouth, imitating eating, tapping his chest the while.

HE PUT IN HIS THUMB, AND PULLED OUT A PLUM

ROCK-A-BYE, BABY

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

MIDI (sound file) pdf (music and lyrics)

Rockabye, baby in the tree top,

When the wind blows the cradle will rock;

When the bough breaks the cradle will fall,

And down will come baby cradle and all.

DESCRIPTION

Miss A. E. Barth

Formation;—Standing in the right aisle at attention.

1st Line;—

Rock-a-bye, baby in the tree top,

Interpretation;—

Hold baby in the arms, looking down at it, and sway gently to and fro. (Right; left; right and left.)

2nd Line;—

When the wind blows the cradle will rock;

Inter.;—

Rock more vigorously.

3rd Line;—

When the bough breaks the cradle will fall,

Inter.;—

Upon the word, "breaks," children clap hands overhead—partially dropping the baby.

4th Line;—

And down will come baby, cradle and all.

Inter.;—

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

Position.

ROCKING THE BABY

JACK BE NIMBLE—No. 1

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

Jack be nimble, Jack be quick;

Jack jump'd over the candle stick.

DESCRIPTION

Miss A. E. Barth

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

1st Line;—

Jack be nimble, Jack be quick;

Interpretation;—

Marking time, in place. (Seven counts.)

2nd Line;—

Jack jumped over the candle stick.

Inter.;—

Upon the word, "jumped," the children face to the left and vault over their own seats; finish facing the front of room with hands on hips.

Repeat rhyme and activity back to former aisle.

JACK JUMPED OVER THE CANDLE STICK

JACK BE NIMBLE—No. 2

Music—See Jack Be Nimble—No. 1

DESCRIPTION

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

1st Line;— | Jack be | nimble

Interpretation;—

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

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

2nd Line;— | Jack be | quick;

Inter.;—

With a jump execute 1/4 turn to the right.

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

3rd Line;—

Jack

jumped over

Inter.;—

One-quarter turn to the left, placing hands on the near edge of desk and back of seat, bending knees slightly.

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

4th Line;—

The candle stick.

Inter.;—

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

Repeat back to original position.

HUMPTY DUMPTY

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

MIDI (sound file) pdf (music and lyrics)

Humpty Dumpty sat on a wall,

Humpty Dumpty had a great fall;

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

Couldn't put Humpty Dumpty together again.

DESCRIPTION

Miss A. E. Barth

Formation;—Standing in the right aisle at attention.

1st Line;—

Humpty Dumpty sat on a wall,

Interpretation;—

Upon the word, "sat," pupils sit upon own desks; feet hanging in aisle.

2nd Line;—

Humpty Dumpty had a great fall;

Inter.;—

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

3rd Line;—

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

Inter.;—

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

4th Line;—

Couldn't put Humpty Dumpty together again.

Inter.;—

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

HUMPTY DUMPTY SAT ON A WALL

DICKORY, DICKORY, DOCK

First Verse

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

MIDI (sound file) pdf (music and lyrics)

Dickory, dickory, dock;

The mouse ran up the clock;

The clock struck, One. The mouse ran down;

Dickory, dickory, dock.

DESCRIPTION

Formation;—Standing in the right aisle at attention.

1st Line;—

Dickory, dickory, dock;

Interpretation;—

Hands clasped overhead; swaying right, left and erect.

2nd Line;—

The mouse ran up the clock;

Inter.;—

Upon the word, "ran," stand in own seats with the arms stretched sideward.

3rd Line;—

The clock struck, One,

Inter.;—

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

| The mouse ran down;

Inter.;—

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

4th Line;—

Dickory, dickory, dock.

Inter.;—

Swaying right, left and erect.

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

THE PENDULUM

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

DESCRIPTION

Formation;—Standing in the right aisle at attention.

1st Line;—

Dickory, dickory, dock,

Interpretation;—

Hands clasped overhead; swaying right, left and erect.

2nd Line;— | "Why scamper," said the clock.

Inter.;—

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

3rd Line;— | You scared | me so,

Inter.;—

Execute 1/2 turn right about.

I'll have to go;

Inter.;—

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

4th Line;—

Dickory, dickory, dock.

Inter.;—

Hands clasped overhead; swaying right, left and erect.

Repeat to bring the class back to the original position.

LITTLE MISS MUFFET

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

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

Along came a spider

And sat down beside her;

And frighten'd Miss Muffet away.

Dear me! Dear me! Dear me! Dear me!

DESCRIPTION

Miss A. E. Barth

Formation;—Standing in the right aisle at attention. Alternate aisles act as Miss Muffet; other aisles act as the Spider. (Count off from left flank by twos. No. 1—Miss Muffet. No. 2—The Spider.)

1st Line;—

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

Interpretation;—

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

2nd Line;— | Along came a spider

Inter.;—

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

3rd Line;—

And sat down beside her;

Inter.;—

Completion of second line activity.

4th Line;—

And frighten'd Miss Muffet away.

Inter.;—

Upon the word, "frighten'd," children return to own seats.

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

ALONG CAME A SPIDER
(Spiders vaulting seats)

JACK AND JILL

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

Jack and Jill went up the hill,
to fetch a pail of water;

Jack fell down and broke his crown,

And Jill came tumbling after,

Boohoo! Boohoo! Boohoo! Boohoo!

DESCRIPTION

Miss A. E. Barth

Formation;—Standing in the right aisle at attention. Alternate aisles act as Jack. (Girls and boys.) Other aisles act as Jill. (Girls and boys.) Count off from left flank by twos. No. 1—Jill. No. 2—Jack.

1st Line;—

Jack and Jill went up the hill,

Interpretation;—

Upon the word, "up," Jack and Jill take hold of hands and climb into same seats. (The climbing of the hill.)

2nd Line;—

To fetch a pail of water;

Inter.;— | No activity.

3rd Line;—

Jack fell down and broke his crown,

Inter.;—

Upon the word, "fell," Jack falls (jumps) into own aisle, bends knees, deeply covering his face with his hands, imitating crying.

4th Line;—

And Jill came tumbling after.

Inter.;—

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

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

JACK AND JILL WENT UP THE HILL

BYE O BABY BUNTING

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

Bye O Baby Bunting,

Daddy's gone a-hunting;

To fetch a little rabbit skin

To wrap the Baby Bunting in.

DESCRIPTION

Formation;—Standing in the right aisle at attention.

1st Line;—

Bye O

Interpretation;—

Hold the baby in the arms, looking down at it, and sway gently to the right.

| Baby- | Bunt- | ing

Sway gently to the left.

Sway gently to the right.

Assume stationary position.

2nd Line;—

Daddy's gone a-hunting;

Inter.;—

Mark time, in place, seven counts; carry gun over the right shoulder (flex right arm; place hand on shoulder with fingers clenched, forefinger extended to represent barrel of gun.)

3rd Line;—

To fetch a little rabbit skin

Inter.;—

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

4th Line;—

To wrap the Baby Bunting in.

Inter.;—

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

AIMING THE GUN

LITTLE BOY BLUE

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

MIDI (sound file) pdf (music and lyrics)

Little Boy Blue, come blow up your horn,

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

Where is the boy that looks after the sheep?

He's under the haycock fast asleep.

DESCRIPTION

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

1st Line;—

Little Boy Blue, come blow up your horn,

Interpretation;—

Mark time, in place. (Four counts.) Upon the word, "blow," hands clenched, elbows raised high, imitate the blowing of the horn. Finish with hands on hips.

2nd Line;—

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

Inter.;—

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

3rd Line;—

Where is the boy that looks after the sheep?

Inter.;—

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

4th Line;—

He's under the haycock fast asleep.

Inter.;—

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

THERE'S SHEEP IN THE MEADOW

WEE WILLIE WINKIE

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

Wee Willie Winkie runs thru the town,

Upstairs and downstairs in his nightgown;

Rapping at the window,
Crying thru the lock:—

Are all the children in their beds?

Now 'tis eight o'clock.

DESCRIPTION

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

1st Line;—

Wee Willie Winkie runs through the town,

Interpretation;—

Mark time, in place. (Knees waist high.) (Seven counts.)

2nd Line;— | Upstairs | and | downstairs
Inter.;— | Heels raised. | | Bend knees deeply.

in his night-

gown;

Inter.;—

Stretch knees, lower heels and bow.

Assume erect position.

3rd Line;—

Rapping at the window,

Inter.;—

With hands clenched, stretch arms upward and tap imaginary window. (Four times.)

Crying through the lock:—

Inter.;—

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

4th Line;— | "Are all the children | in their beds?

Inter.;—

Turn head to the right.

Turn head to the left.

Now 'tis eight o'clock."

Inter.;—

Stretch the knees and lower heels.

HEY, DIDDLE, DIDDLE

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

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

The cow jump'd over the moon;

The little dog laughed to see such sport,

And the dish ran away with the spoon.

DESCRIPTION

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

1st Line;— | Hey, diddle, diddle, | the cat and | the fiddle,

Interpretation;—

Mark time, in place, five counts.

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

Vault over the seat.

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

3rd Line;— | The little dog | laughed to see | such sport,

Inter.;—

Bend trunk forward, hugging self, imitating great hilarity.

Assume erect position with hands on hips.

4th Line;—

And the

dish ran away with the spoon.

Inter.;—

Execute a complete turn to the right with seven running steps, terminating action upon the word, "spoon."

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

WHERE HAS MY LITTLE DOG GONE?

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

Arr. by Fannie Robertson

MIDI (sound file) pdf (music and lyrics)

Oh where, oh where has my little dog gone?

Oh where, oh where has he gone?

With his tail cut short and his ears cut long,

Oh where, oh where has he gone?

DESCRIPTION

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

1st Line;— | Oh where, | oh where

Interpretation;—

Shade eyes with the right hand and with a jump execute 1/4 turn to the right.

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

| has my little | dog gone?

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

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

2nd Line;— | Oh where | oh where

Inter.;—

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

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

| has he g- | one?

With a jump execute 1/4 turn to the right.

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

3rd Line;—

With his tail cut short and his ears cut long,

Inter.;—

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

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

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

4th Line;— | Oh where, | oh where

Inter.;—

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

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

| has he | gone?

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

LOOKING FOR THE DOG

RIDE A COCK-HORSE

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

Ride a Cock-horse to Banbury Cross,

To see a fine lady upon a white horse,

Rings on her fingers and bells on her toes,

She shall have music wherever she goes.

DESCRIPTION

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

1st Line;—

Ride a Cock-horse to Banbury Cross,

Interpretation;—

Stretch arms forward, holding imaginary reins; bending and stretching knees. (Three times.)

2nd Line;—

To see a fine lady upon a white horse,

Inter.;—

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

3rd Line;—

Rings on her fingers and bells on her toes,

Inter.;—

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

4th Line;—

She shall have music wherever she goes.

Inter.;—

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

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

THE RIDING OF THE HORSE

YANKEE DOODLE

MIDI (sound file) pdf (music and lyrics)

Yankee Doodle came to town,

A riding on a pony,

He stuck a feather in his hat,

And called it Macaroni.

Yankee Doodle, Ha! Ha! Ha!

Yankee Doodle Dandy;

Mind the music and your step

And round the house be handy.

DESCRIPTION

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

Verse

1st Line;—

Yankee Doodle came to town,

Interpretation;—

Children mark time, in place. (Seven counts.)

2nd Line;—

A riding on a pony,

Inter.;—

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

3rd Line;—

He stuck a feather in his hat,

Inter.;—

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

4th Line;—

And called it Macaroni.

Inter.;—

Mark time, in place. (Eight counts.)

Chorus

1st Line;—

Yankee Doodle,

Ha! Ha! Ha!

Inter.;—

Mark time, in place. (Four counts.)

Clap hands, three times. Finish with hands on hips.

2nd Line;— | Yankee Doodle | Dandy.

Inter.;—

Mark time, in place. (Four counts.)

Bow and assume erect position.

3rd Line;— | Mind the music | and your step

Inter.;—

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

Mark time, in place. (Three counts.)

4th Line;—

And round the house be handy.

Inter.;—

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

THE SALUTE
(See page 35)

PAT-A-CAKE

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

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

Stir it and stir it as fast as you can;

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

And put in the oven for baby and me.

DESCRIPTION

Formation;—Standing in the right aisle at attention with hands on hips. Count off by twos from left to right and have "ones" face to the right and "twos" face to the left. (Open line formation; partners facing each other.)

1st Line;— | Pat-a-cake, | Pat-a-cake, | Baker's Man,

Interpretation;—

Clap own hands three times.

Clap partner's hands three times.

Hands hips; bow and assume erect position.

2nd Line;—

Stir it and stir it as fast as you can;

Inter.;—

Hold imaginary bowl in the left arm (shoulder high), stirring with the right hand, increasing revolutions upon the word, "fast." Upon the word, "can," the hands return to hips.

3rd Line;—

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

Inter.;—

Upon the words, "roll it," raise hands (palms together; right hand on top) shoulder height, and roll it by a sliding movement.

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

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

4th Line;—

And put in the oven for baby and me.

Inter.;—

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

Upon the word, "baby," bow and assume erect position.

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

Position.

PAT-A-CAKE

BEAN PORRIDGE

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

Bean porridge hot,

Bean porridge cold,

Bean porridge in the pot,

Nine days old;

Some like it hot,

And some like it cold,

Some like it in the pot,

Nine days old.

DESCRIPTION

Formation;—Standing in the right aisle in partner formation (open line formation; partners facing), with hands on hips.

Files numbered from the left flank by twos. No. Ones face to the right; No. Twos face to the left.

1st Line;— | Bean | porridge | hot,

Interpretation;—

Clap hands to thighs.

Clap own hands.

Clap partner's hands.

| Bean | porridge | cold,

Inter.;—

Clap hands to thighs.

Clap own hands.

Clap partner's hands.

2nd Line;— | Bean | porridge

Inter.;—

Clap hands to thighs.

Clap own hands.

in the

pot,

With right hand clap partner's right hand.

Clap own hands.

| Nine | days | old;

Inter.;—

With left hand clap partner's left hand.

Clap own hands.

Clap partner's hands.

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

3rd Line;—

Some

like it

hot, And

Inter.;—

Clasp partner's hands and raise arms to shoulder height. Step sideward right.

Close left to right.

Step dip, right.

some

like it

cold,

Inter.;—

Step sideward left.

Close right to left.

Step dip, left.

4th Line;— | Some | like it

Inter.;—

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

Step forward, left.

in the

pot,

Step forward, right.

Close left to right and place left hand on hip.

Nine days

old.

Inter.;—

With a jump execute a half turn right about.

With a jump execute a half turn right about.

FLY AWAY JACK AND JILL

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

Two little blackbirds,

Sitting on a hill,

One named Jack,

And the other named Jill;

Fly away Jack And fly away Jill;

Come again Jack And come again Jill.

DESCRIPTION

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

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

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

1st Line;— | Two | little

Interpretation;—

Left file (Jack); Step sideward, left.

Close right to left,

Inter.;—

Right file (Jill); Step sideward, right.

Close left to right.

| black- | birds

Step sideward, left.

Close right to left.

Step sideward, right.

Close left to right.

2nd Line;— | Sitting | on

Inter.;—

Left file (Jack); Stamp left.

Stamp right.

Inter.;—

Right file (Jill); Stamp right.

Stamp left.

a hill,

Replace hands to hips and bend knees deeply.

Replace hands to hips and bend knees deeply.

3rd Line;—

One named

Jack,

Inter.;—

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

Bow and assume erect position.

Inter.;—

Right file (Jill); No activity.

No activity.

4th Line;—

And the

Inter.;—

No activity for either files.

other named

Jill;

Right file (Jill); Stretch knees and turn to the right.

Bow and assume erect position.

Left file (Jack); No activity.

Left file (Jack); No activity.

5th Line;— | Fly away, Jack | And | fly away, Jill,

Inter.;—

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

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

Inter.;—

Right file (Jill); No activity.

Left file (Jack); No activity.

6th Line;— | Come again, Jack | And | come again, Jill.

Inter.;—

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

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

Inter.;—

Right file (Jill); No activity.

Left file (Jack); No activity.

DIDDLE, DIDDLE DUMPLING

MIDI (sound file) pdf (music and lyrics)

Diddle, Diddle Dumpling, my son John;

Went to bed with his trousers on.

One shoe off and one shoe on.

Diddle, Diddle Dumpling, my son John.

DESCRIPTION

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

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

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

1st Line;—

Diddle, Diddle Dumpling,

my son John;

Interpretation;—

Step throw, right and left. (Four counts.)

Stamp feet; right, left, right and hold. (Four counts.)

2nd Line;—

Went to bed with his

trousers on.

Inter.;—

Step throw, left and right. (Four counts.)

Replace left foot, bend knees deeply; lower arms with hands clenched. Stretch knees, pulling trousers on and place hands on hips. (Two counts per movement; four counts in all.)

3rd Line;—

One shoe off and

one shoe on,

Inter.;—

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

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

4th Line;— | Diddle, Diddle | Dumpling | my son John.

Inter.;—

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

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

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

SING A SONG OF SIXPENCE

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

1st Verse.

MIDI (sound file) pdf (music and lyrics)

Sing a song of sixpence,

A pocket full of Rye;

Four and twenty Blackbirds
bak'd in a Pie.

When the Pie was open'd,

The Birds began to sing;

Wasn't that a dainty dish
to set before a King!

DESCRIPTION

Formation;—Standing in the right aisle facing each other with hands on hips. (Open line formation; partners facing each other.)

1st Line;—

Sing a song of sixpence,

Interpretation;—

Step to the right, place left toe behind right heel, bending both knees slightly. Repeat to the left. (Cues:—Step and bend and step and bend.)

2nd Line;—

A pocket full of Rye;

Inter.;—

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

3rd Line;—

Four and twenty Blackbirds,

Inter.;—

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

4th Line;— | Bak'd in a Pie.

Inter.;—

Repeat activity of the second line to the left.

5th Line;—

When the Pie was open'd,

Inter.;—

Pupils face forward; raise arms forward (shoulder height) in circle form and then extend sideward, imitating the opening of the pie.

6th Line;—

The Birds began to sing;

Inter.;—

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

7th Line;—

Wasn't that a dainty dish

Inter.;—

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

8th Line;—

To set before a King!

Inter.;—

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

SING A SONG OF SIXPENCE
(See page 40)

SING A SONG OF SIXPENCE
(Continued)

J. W. Elliott

2nd Verse.

MIDI (sound file) pdf (music and lyrics)

The King was in the counting house,

Counting out his money;

The Queen was in the parlour,

Eating bread and honey;

The maid was in the garden,

Hanging out the clothes;

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

DESCRIPTION

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

1st Line;— | The King | was in

Interpretation;—

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

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

| the counting | house,

Inter.;—

Place left foot in seat area.

Sit in seat.

Counting out his money;

Inter.;—

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

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

the parlour,

Inter.;—

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

Eating bread and honey;

Inter.;—

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

3rd Line;— | The maid | was in

Inter.;—

Place right foot in right aisle.

Stand in right aisle and place hands on hips.

the garden,

Inter.;—

Bow and assume erect position.

| Hanging | out

Inter.;—

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

Raise trunk, stretch arms upward and grasp imaginary clothesline.

the clothes;

Inter.;—

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

4th Line;—

There came a little Dicky Bird,

Inter.;—

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

| And popped | upon her

Inter.;—

Jump, in place, and clap hands once.

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

| nose!

Inter.;—

Bow and assume erect position.

SEE SAW, MARJORY DAW

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

MIDI (sound file) pdf (music and lyrics)

Seesaw, Marjory Daw,

Jack shall have a new master,

He shall have but a penny a day,

Because he won't work any faster.

DESCRIPTION

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

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

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

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

1st Line;—

See Saw, Marjory Daw,

Interpretation;—

Center activity;—

Pupil bends trunk to the right, left, right and left.

Outer aisles;—

When center pupils bend to the right, the children on the right act as riders on board, bending and stretching knees. In reversing the movement, similar activity for those on the left.

2nd Line;—

Jack shall have a new master,

Inter.;—

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

3rd Line;—

He shall have but a penny a day,

Inter.;—

Outer aisles;—

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

Center activity;—

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

4th Line;—

Because he won't work any faster.

Inter.;—

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

Circle

(Outer aisles of classroom or in open area.)

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

LITTLE JACK HORNER

Permission to use words and music:—McLoughlin Bros.

Arr. by J. W. Elliott

MIDI (sound file) pdf (music and lyrics)

Little Jack Horner sat in a corner,

Eating a Christmas pie;

He put in his thumb,

And pulled out a plum,

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

Nice Plum! Nice Plum! Nice Plum!

DESCRIPTION

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

1st Line;— | Little | Jack Horner | sat in a | corner,

Interpretation;—

Step forward, right.

Step forward, left.

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

Bend knees deeply.

2nd Line;—

Eating a Christmas pie;

Inter.;—

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

3rd Line;—

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

Inter.;—

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

4th Line;—

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

Inter.;—

Proudly pats the chest with the left hand.

Conclusion;— | Nice Plum! | Nice Plum! | Nice Plum! | Nice Plum!

Inter.;—

Lowers plum to mouth, imitating eating, tapping the chest the while.

LITTLE MISS MUFFET

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

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

Along came a spider

And sat down beside her;

And frighten'd Miss Muffet away.

DESCRIPTION

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

Inner circle:—The Spider.

Outer circle:—Miss Muffet.

Suggestion;—In so far as possible have the boys form the inner circle and the girls the outer circle.

1st Line;—

Little Miss Muffet sat on a

tuffet,

Interpretation;—

Outer circle (Miss Muffet); starting with the right foot execute three steps in line of direction. (Right; left; right and close left to right.)

Bend knees deeply.

Inter.;—

Inner circle (Spider); No activity.

eating of curds and whey,

Inter.;—

Hold imaginary plate in the left hand (palm up) and imitate eating. Hands are replaced to hips upon the completion of the word, "whey."

Inter.;—

Inner circle (Spider); No activity.

2nd Line;—

Along came a spider

Inter.;—

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

Inter.;—

Outer circle (Miss Muffet); No activity.

3rd Line;— | And | sat | down beside her;

Inter.;—

Inner circle (Spider); Bend knees slightly.

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

And     sat down beside her;

Inter.;—

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

4th Line;—

And     frighten'd Miss Muffet away.

Inter.;—

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

Inter.;—

Inner circle (Spider); No activity.

THE SPIDER FRIGHTENING MISS MUFFET
(See page 46)

JACK AND JILL

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

Jack and Jill went up the hill,

To fetch a pail of water;

Jack fell down and broke his crown,

And Jill came tumbling after.

Boohoo! Boohoo! Boohoo! Boohoo!

DESCRIPTION

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

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

1st Line;—

Jack and Jill went up the hill,

Interpretation;—

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

2nd Line;—

To fetch a pail of wa-

ter;

Inter.;—

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

Assume erect position with hands on hips.

3rd Line;—

Jack fell down and broke his crown,

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

Inter.;—

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

4th Line;— | And Jill came tumbling after.

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

Inter.;—

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

Upon completion of the song all children gradually stretch the knees, shaking the head in sorrow as they sing—Boo-hoo! Boo-hoo! Boo-hoo! Boo-hoo!

Cover the face with the hands.

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

PUMPING A PAIL OF WATER

DICKORY, DICKORY, DOCK

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

MIDI (sound file) pdf (music and lyrics)

Dickory, dickory, dock;

The mouse ran up the clock;

The clock struck One,

The mouse ran down;

Dickory, dickory, dock.

DESCRIPTION

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

1st Line;— | Dickory, | dickory, | dock;

Interpretation;—

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

Bend trunk to the right.

Assume erect position.

2nd Line;—

The

mouse ran up the clock;

Inter.;—

Place hands on hips; turn to the left and starting with the left foot execute six running steps forward, closing left foot to right, completing the movement. (Seven counts.)

3rd Line;— | The clock | struck | One,

Inter.;—

Turn right about.

Clap hands overhead and replace to hips.

The     mouse ran

down;

Inter.;—

Three running steps forward. (Left; right and left.)

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

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

Inter.;—

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

Bend trunk to the right.

Assume erect position.

| Position!

LOOBY LOO

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

Arr. by Fannie Robertson

MIDI (sound file) pdf (music and lyrics)

Here we dance Looby Loo,

Here we dance Looby light,

Here we dance Looby Loo,

All on a Saturday night,

I put my right hand in,

I put my right hand out,

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

And turn myself about, Oh!

DESCRIPTION

Formation;—Single circle formation, facing counter clock-wise (right), in close order formation. Hands are placed upon the shoulders of the pupil in front.

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

Verse

Here we dance Looby Loo,

Here we dance Looby Light,

Here we dance Looby Loo,

Every Saturday night.

Interpretation;—

Children march in line of direction, starting with inside foot (left), swaying inward (left) and outward (right). Upon the completion of the verse, the children immediately cease the movement and face the center of the circle.

Chorus

I put my right hand in,

I put my right hand out,

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

And turn myself about. Oh!

Inter.;—

Imitate activity as suggested and in turning execute same by spinning about upon the right foot to the right. Upon completion of the turn immediately face line of direction, placing hands upon pupil's shoulders in front in readiness for the verse action.

Chorus

2nd;—I put my left hand in, etc.

3rd;—I put my right foot in, etc.

4th;—I put my left foot in, etc.

5th;—I put my little head in, etc.

6th;—I put my whole self in, etc.

BAA, BAA, BLACK SHEEP

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

Arr. by Fannie Robertson

MIDI (sound file) pdf (music and lyrics)

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

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

One for my master, One for my dame.

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

DESCRIPTION

Formation;—Children form a single circle with hands joined. (The Sheep.) A boy is chosen who stands in the center of the circle. (The little boy in the lane.) Outer, front and rear aisles of room utilized.

1st Line;—

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

Interpretation;—

Seven quick slides to the right, ceasing movement on the eighth count.

2nd Line;— | Yes, sir; yes, sir!

Inter.;—

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

| Three bags full;

Inter.;—

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

3rd Line;— | One for my master,

Inter.;—

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

| One for my dame,

Inter.;—

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

4th Line;—

But none for the little boy

Inter.;—

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

That cries in the lane.

Inter.;—

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

THE LITTLE BOY CRYING IN THE LANE

BEAN PORRIDGE

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

Bean porridge hot,

Bean porridge cold,

Bean porridge in the pot,

Nine days old;

Some like it hot,

And some like it cold,

Some like it in the pot,

Nine days old.

DESCRIPTION

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

Suggestion:—In so far as possible have the sex units divided; the boys forming the inner circle and the girls forming the outer circle.

1st Line;— | Bean | porridge | hot,

Interpretation;—

Clap hands to thighs.

Clap own hands.

Clap partner's hands.

| Bean | porridge | cold,

Inter.;—

Clap hands to thighs.

Clap own hands.

Clap partner's hands.

2nd Line;— | Bean | porridge

Inter.;—

Clap hands to thighs.

Clap own hands.

in the

pot,

Inter.;—

With right hand, clap partner's right hand.

Clap own hands.

| Nine | days | old;

Inter.;—

With left hand clap partner's left hand.

Clap own hands.

Clap partner's hands.

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

3rd Line;— | Some | like it | hot, And

Inter.;—

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

Close left to right.

Step dip, right.

| Some | like it | cold,

Inter.;—

Step sideward, left. (In reverse line of direction.)

Close right to left.

Step dip, left.

4th Line;—

Some like it in the pot,

Inter.;—

Four chasse steps in line of direction.

| Nine days | old.

Inter.;—

Jump, in place, once.

Jump, in place, once.

FLY AWAY JACK AND JILL

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

Two little blackbirds,

Sitting on a hill,

One named Jack And the other named Jill;

Fly away, Jack and fly away, Jill;

Come again, Jack And come again, Jill.

DESCRIPTION

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

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

Suggestion;—In so far as possible have the sex units divided, the boys forming the inside circle and the girls forming the outside circle.

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

1st Line;—

Two little blackbirds,

Interpretation;—

Three steps in line of direction.

Inner circle (Jack);—(Left; right, left and close right to left.)

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

Sitting on a hill,

Inter.;—

Bend knees deeply. Outer and inner circles.

2nd Line;—

One named

Jack

Inter.;—

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

Bow and assume erect position.

| | One | named Jack

Inter.;—

Outer circle (Jill);

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

No activity.

And the

other named

Jill;

Inter.;—

No activity for either circles.

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

Bow and assume erect position.

Inter.;— | | Inner circle;—No activity.
3rd Line;— | Fly away, Jack | And | fly away, Jill;

Inter.;—

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

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

Inter.;—

Outer circle (Jill); No activity.

Inner circle; (Jack); No activity.

4th Line;— | Come again, Jack | And | come again, Jill.

Inter.;—

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

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

Inter.;—

Outer circle (Jill); No activity.

Inner circle (Jack); No activity.

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

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

POP GOES THE WEASEL

MIDI (sound file) pdf (music and lyrics)

A sixpence for a spool of thread,

A penny for a needle;

That's the way the money goes;

Pop goes the weasel.

Watch how the needle does fly,

Nimble hands to guide it;

Every time the wheel goes round,

Pop goes the weasel.

DESCRIPTION

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

Suggestion;—In so far as possible have the sex units divided, the boys forming the inner circle and the girls forming the outer circle.

Description of the pupils occupying the outer circle (girls); inner circle (boys); counterlike.

Verse

1st Line;—

A sixpence for

a spool of thread,

Interpretation;—

Step dip, right. (In line of direction.)

Step dip, left. (In reverse line of direction.)

2nd Line;—

A penny for a needle;

Inter.;—

Four chasse steps in line of direction.

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

3rd Line;— | That's | the way | the money | goes;

Inter.;—

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

Step forward, right.

Step forward, left.

Close right to left and place inner hand to hip.

4th Line;— | Pop | goes the | weasel.

Inter.;—

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

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

POP GOES THE WEASEL
(Continued)

Repeat Verse

1st Line;—

A sixpence for

a spool of thread,

Interpretation;—

Two step, right. (In line of direction.)

Two step, left. (In line of direction.)

2nd Line;—

A penny

for a

needle;

Inter.;—

Step forward, right.

Step forward, left.

Step forward, right and close left to right.

3rd Line;—

That's the way

the money goes;

Inter.;—

Two step, left. (In line of direction.)

Two step, right. (In line of direction.)

4th Line;—

Pop

goes the

weasel.

Inter.;—

Step forward, left.

Step forward, right.

Step forward, left and close right to the left. Finish with hands on hips.

Chorus
1st Line;— | Watch how | the needle does fly,

Inter.;—

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

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

2nd Line;—

Nimble hands to guide it;

Inter.;—

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

3rd Line;—

Every time

the wheel goes round,

Inter.;—

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

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

4th Line;—

Pop goes the weasel.

Inter.;—

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

DAPPLE GREY

Arr. by J. N. Richards

MIDI (sound file) pdf (music and lyrics)

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

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

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

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

DESCRIPTION

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

Suggestion;—In so far as possible have the sex units divided, the boys forming the inside circle and the girls forming the outside circle.

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

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

1st Line;— | I had | a little | pony

Interpretation;—

Point step forward, right.

Point step backward, right.

Three steps forward and hold. (Right; left and right.)

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

| And his name | was Dapple | Grey;

Inter.;—

Swing left forward and point step forward, left.

Point step backward, left.

Three steps forward and hold. (Left; right and left.)

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

2nd Line;— | I lent | him to | a lady,

Inter.;—

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

Jump, in place, once.

Step throw, right and step throw, left.

To ride a mile away.

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

3rd Line;—

She     whipped him and she slashed him,

Inter.;—

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

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

She     rode him through the mire;

Inter.;—

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

4th Line;— | I would | not lend | my pony now

Inter.;—

Step dip, right, clapping hands three times.

Step dip, left, clapping hands three times.

Face line of direction; replace hands to hips and execute two steps forward. (Right; left and close light to left.)

| For all | the lady's | hire.

Inter.;—

Step throw, right.

Step throw, left.

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

I HAD A LITTLE PONY
(See page 56)

SING A SONG OF SIXPENCE

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

MIDI (sound file) pdf (music and lyrics)

Sing a song of sixpence,

A pocket full of Rye;

Four and twenty Blackbirds Bak'd in a Pie.

When the Pie was open'd,

The Birds began to sing;

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

DESCRIPTION

Formation;—Single circle formation facing counter clockwise (right) in close order formation. Hands are placed upon the shoulders of the pupil in front.

1st Verse

1st Line;—

Sing a song of sixpence, A pocket full of Rye;

Interpretation;—

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

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

2nd Line;—

Four and twenty Blackbirds

Inter.;—

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

Cue;—Step and close; step and close.

Bak'd in a Pie.

Inter.;—

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

Cue;—Step and close; step and close.

3rd Line;—

When the Pie was open'd,

Inter.;—

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

Cues;—Step; step; step and close.

The Birds began to sing;

Inter.;—

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

4th Line;—

Wasn't that a dainty dish

Inter.;—

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

| To set before | a King?

Inter.;—

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

Bow and assume erect position.

SING A SONG OF SIXPENCE (Continued)
Second Verse

J. W. Elliott

MIDI (sound file) pdf (music and lyrics)

The King was in the counting house,

Counting out his money;

The Queen was in the parlour,

Eating bread and honey;

The maid was in the garden,

Hanging out the clothes;

There came a little Dicky Bird,

And popp'd upon her nose.

DESCRIPTION

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

1st Line;—

The King was in the counting house,

Interpretation;—

Starting with the left foot execute three steps forward. (Left; right; left and close right to the left.)

Counting out his money;

Inter.;—

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

2nd Line;—

The Queen was in the parlour,

Inter.;—

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

Eating bread and honey;

Inter.;—

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

3rd Line;— | The maid was 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.)

| Hanging | out | the clothes;

Inter.;—

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

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

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

4th Line;—

There came a little Dicky Bird,

Inter.;—

Replace hands to hips, execute four hops forward.

And popp'd

upon her nose.

Inter.;—

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

Bow and assume erect position.

*** END OF THE PROJECT GUTENBERG EBOOK DRAMATIZED RHYTHM PLAYS ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works

1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- DRAMATIZED RHYTHM PLAYS

- MOTHER GOOSE AND TRADITIONAL

- JOHN N. RICHARDS, B.P.E.
- A. S. BARNES AND COMPANY
- PREFACE
- INTRODUCTION
- ACKNOWLEDGMENTS
- ALPHABETICAL INDEX
- GRADATION INDEX
- INDEX OF PROGRESSION

- SUGGESTIONS FOR THE TEACHING OF THE GYMNASTIC ACTIVITY

- RHYTHMIC STEPS
- DIAGRAMMATIC FORMATIONS
- Circular
- THE BAND
- LITTLE JACK HORNER
- ROCK-A-BYE, BABY
- JACK BE NIMBLE—No. 1
- JACK BE NIMBLE—No. 2
- HUMPTY DUMPTY
- DICKORY, DICKORY, DOCK

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

- LITTLE MISS MUFFET
- JACK AND JILL
- BYE O BABY BUNTING
- LITTLE BOY BLUE
- WEE WILLIE WINKIE
- HEY, DIDDLE, DIDDLE
- WHERE HAS MY LITTLE DOG GONE?
- RIDE A COCK-HORSE
- YANKEE DOODLE
- PAT-A-CAKE
- BEAN PORRIDGE
- FLY AWAY JACK AND JILL
- DIDDLE, DIDDLE DUMPLING
- SING A SONG OF SIXPENCE
- SING A SONG OF SIXPENCE (Continued)
- SEE SAW, MARJORY DAW
- LITTLE JACK HORNER
- LITTLE MISS MUFFET
- JACK AND JILL
- DICKORY, DICKORY, DOCK
- LOOBY LOO
- BAA, BAA, BLACK SHEEP
- BEAN PORRIDGE
- FLY AWAY JACK AND JILL
- POP GOES THE WEASEL
- POP GOES THE WEASEL (Continued)
- DAPPLE GREY
- SING A SONG OF SIXPENCE

- SING A SONG OF SIXPENCE (Continued) Second Verse

- THE FULL PROJECT GUTENBERG™ LICENSE