»Tlllll|B|iil|(riii'?{,fn,i iTHE BRAfJCH LIBRARIES
3 3333 02372 7874
THE
Negro Folk Singing -Games and
Folk Games of the Habitants.
(Curwen's Edition, S756.)
Traditional Melodies and Text transcribed by
GRACE CLEVELAND PORTER.
Accompaniments by
HARVEY WORTHINGTON LOOMIS.
J. CURWE"' & SONS Ltd., 24 BERNERS STREET, W.
TO THE MEMORY OF MY MOTHER AND FATHER.
Negro Folk Singing Games and
Folk Games of the Habitants.
(Curwen's Edition, 5756.)
Traditional Melodies and Text transeribed by
GRACE CLEVELAND PORTER.
Accompaniments by
HARVEY WORTH INGTON LOOMIS.
LONDON :
J. CURWEN & SONS Ltd., 24 BERNERS STREET, W
Copyright, U.S.A., 1914, by Grace Cleveland Porter.
PRICE FIVE SHILLINGS
REVISED PRICE 6/«
(ill
FOREWORD.
SOME of the games in this book were given for the first time
in Europe, in the spring of 19 13, by the children of the
Esperance Guild of Morris Dancers, at Miss Porter's Recital in
Small Queen's Hall.
That the book will be an addition to the English folk-art
books is to my mind assured by the fact that the children loved
the games and entered into the playing of them with great zest.
A large' auSlefice vfes" also" idelighted with them on their first
introduction into Ejo^lanfti &9^: before many years they will probably
be known to English''. •t?1,j]SreJ1 as we^ as they will be to the
children of America, and'be'yet another link with our neighbours
over the sea.
MARY NEAE,
London. lion. Sec, Esperance Guild of Morris Dancers.
5756
YTT- - • w n ■ ■ r* k
PU ' I
ASTOR LEW* H)
TILDE* FC ■■■■ T-.ONS
(iii)
ACKNOWLEDGMENTS.
SOME years ago Mr. Henry E. Krehbiel wrote some charming articles
for the New York Tribune upon Southern Folk Singing-Games, among
which he included four, " I'm walkin' on the Levee," " King and Queen,"
"I've lost a Partner," and " Turn, Cinnamon, turn." These had been collected
and given him by Mrs. Louise Clarke-Prynelle.
These games, played by the " Crackers," a term playfully applied to
the country folk of Florida, were subsequently given by Mr. Krehbiel to Mr.
W. W. Newell for his book, " Games and Songs of American Children,"
published by Harper Brothers.
I wish to express my appreciation to Mr. Krehbiel and Messrs. Harper
Brothers for their courtesy in allowing me to include this interesting group of
games in my book.
The other Southern Singing-Games I transcribed as Mammy sang them
to me.
My sincere thanks are due to Miss Mary Neal for her interest in my work
and in making it possible for the singing gardes to be so delightfully presented
by the children of the Esperance Guild of Morris Dancers.
The enthusiasm, grace, and clever acting of these little people made the
teaching of the games a delight, and if Mammy Mary could but have been
present to see the merriment and enthusiastic welcome accorded " We're
marchin' on dis camp groun'," " Bounce aroun'," and " Peep, squirrel,"
I'm sure her dear old heart would have rejoiced.
London. G C. P.
5756
( iv)
PREFACE.
AMONG the brightest memories of my childhood are the stories my mother used to
tell me of her own youthful days at " Glenmore," an old plantation in Maryland.
These stories were sometimes of her parents, sometimes of her brother and little sisters,
sometimes of the fields, the woods, the open country, or else again of the pets dear to all
children's hearts. But whatever the subject of the tale, I noticed that one, Mammy
Mary, was always a central figure, the old coloured nurse whose protecting love and
devotion seemed as near to my mother then, as it had been in those days long gone by.
Mammy Mary, who identified herself with every interest of the family, sharing
in its joys and vicissitudes, was the embodiment of understanding motherly love, and a
true aristocrat at heart, a type of the old regime that is so rapidly disappearing. This
tender relationship which existed between the typical old black Mammy and the white
children she nursed can hardly be understood nowadays without a glimpse into the
conditions which formed the picturesque, unique life of the plantations in the South before
the Civil War.
What fun it was on .Saturday, afternoons to stand and watch Mammy Betty make
pralines, those unforgettabie'sweetmeats that: she carefully packed in a little brown straw
basket, which was taken to church b-u! Sunday mornings to keep the children quiet through
the long sermon. And the afternoons; under the trees when Bible stories were read aloud,
with Mammy Mary in the group, listening intently to every word! What matter that
she could not read or write, she knew her Bible by heart ! Mammy's word was law to
the children who adored her, and the ready sympathy she gave in all their little troubles
made the bond closer between them. She took a lively interest in all their pets, and when
any of the pets died they were buried with much ceremony in a ravine, which for some
unaccountable reason was called " Bunker Hill."
Little Sisters always dressed for the funeral in long, black skirts trailing
solemnly behind them. The procession started with Big Brother in the lead as grave-
digger and Master of Ceremonies, dragging the little wagon in which was placed all that
remained of the children's pet, and Mammy brought up the rear. On one of these
occasions a much-loved black kitten was to be buried and had been placed in a paste-
board box with an elaborate epitaph written on the cover.
The hymns chosen (evidently quite at random and with small regard to fitness)
were : " Pull for the Shore! " and " Knocking, knocking, who is there? "
57 50
In the middle of a short but serious prayer by Oldest Sister, Big Brother burst out
giggling, the funny side of the whole affair being too much for him (and it wasn't his own
particular kitten, anyway !), and the whole ceremony came to a sudden end, amid a
deluge of tears from the others and a sound reprimand from Mammy.
" Am' yo' 'shamed of yo'se'f ter mek dem children cry dat-er-way. Ain' yo' got
no better manners dan dat? Not a cookie does yo' git fer two days fer habin' yo'sef in
dat onmannerly way, suh! "
What anxiety Mammy showed during the days when two of the Little Sisters were
ill ! The doctor's belief in " starving a fever" evidently conflicted with Mammy's own
ideas to such an extent that one day she was aroused to a high pitch of indignation,
exclaiming after he had left the room, " Effen yo' does all de doctors tells yo' ter do dey'll
perish yo', and dat doctor-man is jes' nach'lly starvin' mah blessed chillen ter def, an'
I'se gwine ter fix 'em a lil ' sompin' ter eat " ; for that very day Little Sisters had begged
for a piece of chicken, and Mammy, with a fixed look of determination in her eye and
asking no one's advice, crept down to the poultry-yard, picked out a plump broiler, and
in an unbelievably short time each Little Sister was rapidly devouring her half of the
chicken, with such relish and delight that Mammy's chuckles could be heard a long way
off. When the doctor came next morning he was astonished at the decided improvement
in his patients, and Mammy so faithfully continued her visits to the poultry-yard that in
a short time the children were well !
These are some of the reminiscences that have given me many joy-dreams, and
a longing to have known the same experience, for I have always felt that I had missed
something beautiful out of my life in not having known the love of an old Mammy.
But who is reckless enough to say that some dreams do not come true? At least
part of mine turned into a wonderful reality, for on a certain day not very many years
ago I met a really true Mammy of the old regime, who through many different experiences
had found her way North ! She was an ample, motherly figure in a black dress and apron,
and I noted the white hair parted evenly in the centre, the kindly eyes that looked into
mine with a something that one feels is usually the heritage of long understanding. Her
whole personality conjured up the sweet picture of the " Old South," and I exulted silently
while joy filled my heart.
5756
( vi)
MAMMY'S STORY.
Over an almost miracle like this one may earnestly say,
" Thank God !" And so Mammy came to be our seivant,
and during our many confidential talks we both decided
it must have been through some special magic that we had
found each other !
What happy tiir.es I spent listening to her relating
stories of the days gone by, and of her " white people " at
the Great House where they lived and in which she was
born. (Mammy always laid stress upon having been a
house servant, not a " field " hand.)
As she drew the picture of her " ole Mistis " going in
and out among the negroes on the Plantation, ministering
lo them in sickness, providing their necessary clothing
and looking generally to their welfare ; in fact, the "Angel
of the Quarters," I realized that here was but another
example of that relationship so happily interwoven with
the picturesque Plantation life of long ago !
An' chile, effen yo' jes' could er seen de tarrypin
pen (you all calls 'em turtles), w'y dem tarrypins wuz as
thick as thieves, an' w'en de sun shine you could see 'em
sunnin' dey seves, an' stickin' dey haids out 'twixt de
slats.
W'y, Big Sam (he wuz de cook) could go any time
an' git one fer ter mek dat tarrypin soup, which effen
yo' ain' nuvver tase' it, w'y Ian' sakes, Honey, how is I
gwine 'scribe it to you? Seem lak dey ain' no tarrypins
nowadays lak de ones we all usen ter hab down in ole
Georgia !
I wuz de nurse fer de chiller an' in springtime de
family would go 'bout ten miles down de coast ter de
Islam — Marster John own- — an' spen' 'bout two months.
Sometime jes fer de fun ob it we'd all go down in de gre't
big row-boat wot hit took ten men ter row, an' I kin' hear
'em rite now, a-singin' de song wot dey allers usen ter
sing w'en dey wuz a-makin' dem oars fly ! An' it's jes'
lak I'se a-tellin' you, Honey, dat boat jes' nachlly skip
ober de waves twell fus' t'ing yo' know dey wuz a-pulling
huh up ter de dock at de islan' !
Den w'en summer come 'long we all would drive up
wid de ca'riages an' bosses, and spen' de nights on de
way, up ter Marster John's summer home in Vermont.
But, Honey, hit wuz in de winter time, in dem days
w'en de vi'lets wuz in bloom an' me an' de chillen usen
ter hab sich a gran' time a-playin' games. Ring games,
you say, Honey? W'y bless yo' heart, chile, I wisht I
had a cent right now fer all de times I done play 'em
wid de chillen !
Seem lak I wuz gifted ob Gawd ter mak' 'em happy,
an' it want only fer de fun wot dey make 'mongst dey
blessed 1 il ' seves, but fer de exercise wot it gib 'em.
But nowadays dey doan' boddcr wid nuffin' lak dat,
an' now is comin' on de race ob nurses wot doan' know
how ter behabe dessev'es since Sherman done broke loose
(dat mean s'.abery, Honey), an' yo' doan' see de nurses
nursin' de chillen lak dey usen' ter do ! I tell yo', darlin'.
we ole-time cullud fokes is de royal bloods!
I was called de head nurse ob de Square in de City
down whar' I libed in Georgia, an' we nebber usen ter
class ouise'ves wid all de udder nurses, sep'in' de ones
wot tek care ob de quality chillen.
5756
I usen ter teach 'em de lil' Ring games, an' when de
chillen see me comin' 'long, dey jes' nachally dance up
an' down and come a-runnin' ter me, fer dey knowed dey
wuz gwine ter hab one good time! Dat dey did!
Whar I laint all des Ring-games, Honey? De good
Lawd knows ! I alius knowed 'em ; you all calls 'em
singin'-games, but dat ain' de ole-timey name, Honey !
One ob 'em wuz, "Go roun' de 'Sembly," an' dis is jes'
how we done play it. All de chillen jines ban's, an' make
a big ring, an' go flyin' roun'. singin' : —
Bounce aroun' to-di-iddy-uni,
to-di-iddy-um,
to-di-iddy-um,
Bounce aroun' to-di-iddy-um.
Bong summer day !
Den, de chillen walks aroun' singin' : —
Go roun' de 'Sembly to-day,
Go roun' de 'Sembly to-day,
Go roun' de 'Sembly to-day.
Bong summer day !
Den dey start flyin' roun' agin an' singin' : —
Bounce aroun' to-di-iddy-um,
to-di-iddy-um,
to-di-iddy-um,
Bounce aroun' to-di-iddy-um,
Bong summer day !
In de nex' verse dey still keeps hoi ob han's and all
walks up ter de middle an' stan's tergedder, singin' : —
Close up de 'Sembly to-day,
Close up de 'Sembly to-day.
Close up de 'Sembly to-day,
Bong summer day !
Den dey walks backwards ter de place whar de circle wuz
befo' an' singin' all de time : —
Open de 'Sembly to-day,
Open de Sembly to-day,
Open de 'Sembly to-day,
Bong summer day !
An' dey end up the game wid : —
Bounce aroun' to-di-iddly-um,
to-di-iddly-um,
to-di-iddly-um,
Bounce aroun' to-di-iddly-um.
Bong summer day !
An' dey go jes' a-flyin' roun' !
It sho' did mah eyes good fer ter see 'em so happy,
fer dey wuzn' only enjoyin' dey selves, but dey wuz
a-gittin' exercise, 'sides de fun.
'Nudder game dey wuz might}' fond ob wuz " Your
darlin', my darlin'," or " Peep, Squirrel." De chillen
form de ling wid two on de outside opposite each udder,
an' 'all de chillen in de ring hoi' han's an' dance 'roun'
an' de outside two stan's still an' all sing : —
Your darlin', my darlin', can't yo' ketch dat Squirrel?
Your darlin', my darlin', can't yo' ketch dat Squirrel?
(Right heah de ring stops flyin' roun'.) An' dey all sing —
Peep, Squirrel, Yankee doodle dandy,
Peep, Squirrel, Yankee doodle dandy.
At the wuds " Peep, squirrel," de outside two (what's
standin' still) tries to peep at each udder, ober de shoulders
ob de chillen in front ob 'em. At de wuds : —
Run 'im down, run 'im down, Yankee doodle dandy,
Run 'im down, run 'im down, Yankee doodle dandy,
Can't you ketch dat Squirrel?
one ob de chillen on de outside chases de udder twell he
ketches 'im, den two udders come out de ring an' tek de
places ob de fus' two squirrels, an' so de game goes on
twell dey gits tired an' wants ter play somp'ing else.
Yas, Honey, wot fun we usen ter hab ! But Lawd-er-
inassy, chile ! lemme go, fer I'll nebber git all dem clo'es
ironed effen I fools 'long dis-er-way talkin' 'bout dem days
so long ago !
Hoi' on, Honey, I done thought I done disremembered
dat one ob de " Marchin' Games," but it seem lak it's
a-comin' back ter ma min'; Lemme-see! Goes sompin' lak
dis! "We're marchin' on dis camp groun' " (but it didn't
hab nuffin ter do wid de camps in de wah time). Down on
yo' knees! Doan' speak fer a minit, chile, jes' lemme'
think, um hum yas ! Now I done got it, de chune an' de
words bofe ! Heah 'tis.' De chillen march roun' in a ring,
two by two, arm in arm, singin' : —
We're marchin' on dis camp groun',
We're marchin' on dis camp groun',
We're marchin' on dis camp groun',
Down on yo' knees!
Right heah each one bends de left knee ter de groun' (1
wuz mighty limbic in dem days, Honey, an' I usen ter
ben' ma knees same as de res', but lan' chile ! de mis'ry
done ketch me so bad in mah back dat it's all I kin do
now ter ben' down ter say mah prayers, much less fly
roun' lak I usen ter do in de chillen's games ! Yassum !
an' de udder day I met a lady in de street an' she axed me
"Howdy"? an' I 'spons, " I'se right po'ly, thank Gawd,
mistis, I'se done got de mis'ry in mah back, an' w'en
she axes me wot I mean by dat I sez, skuze me, ma'am,
but you know wot yo' back is, an' yo' know wot de mis'ry
is, well effen yo' jes' jines dem two togedder, dat's wot
I'se got!" Den as I wuz a-tellin' you, Honey, de nex'
verse goes : —
I met mah true lub in de fiel',
I met mah true lub in de fiel',
I met mah true lub in de fiel',
Down on yo' knees !
Gib huh a kiss, ma honey, ma lub,
So early in de mornin'.
Dis heah wuz a kin' ob quiet game, an' I alius usen ter hab
de chillen play one er dis kind after dey got hot an' tired
from playin' de runnin' games, an' it kind er gib 'em a
In" res'. But, Honey, dey doan' seem ter be no one now-a-
days ter tek de lead in dese heah games lak we played 'em
in dem good ole times befo' de wah !
An' now I'se bin a-losin' all dis time fum mah wuk an'
effen I doan' make has'e an' g'long, dem irons '11 be so
hot dey'll sco'ch up all de clo'es. I'll tell yo' some mo'
games anudder time, darlin'.
Her dear old face was luminous with memories of
far-away days of her youth, as smiling and curtseying her
way out of the room, she said, " Yas, Baby, look lak
Gawd jes' gifted me ter mek dem chillen happy ! "
I shall never forget how the next day, as I sat at my
desk, Mammy came hunying up the stairs with the glad
news, " Heah's anudder ring-game I jes' thought ob Honey,
whilst I was mixin' up mah light bread. I'se so happy, an'
57 So
den ergin mah mis'ry's some better, an' I kin git roun1
right tol'able to-day, thank Gawd ! De game is calle.l
' Fly roun', young ladies, fly roun' ! ' an' it goes lak
dis ; " and away went Mammy, to my delight, flying
around the room, singing and then bowing and smiling
the while she described the way the game was played.
You see, Honey, de boys an' girls form de ring (dey
ain't no one in de middle dis time), an' dey all tek hoi' er
han's an' go dancin' roun' an' singin' : —
Fly roun', fly roun', young ladies, fly roun', fly roun',
Fly roun', fly roun', young ladies, fly roun', fly roun',
If you can't fly, I'll fly myself,
Fly roun, fly roun'.
Wen dey git ter de nex' words, " Honour yo' partner,"
dey all stop still an' let go han's, an' w'en dey say, "Make
yo' obedient," de girls all curtsey and de boys make a bow,
fus' ter de one on de right han', then ter de one on de lef,
den dey go dancin' roun' singin' : —
Fly roun', fly roun', young ladies.
One ob de games we usen ter lub ter play wasn' a ring-
game, it didn' hab no chune, but it wuz a heap ob fun,
I kin tell you, Honey, but it had a pow'ful queer soundin'
name, " Madam, Hoop-er-de-crop."
All de chillen dey'd line up on one side wid one ob 'em
fer de leader, an' 'bout twenty-five feet away, one chile
would stan' alone, facin' de res'. Dis chile walks ter de
crowd ob chillen, sayin' ober an' ober agin dese words :
" Madam, /«w/>-er-de-crop," an' 'ebry time de chile git
ter de word " hoop," she ben' down wid one knee twell
she mos' tech de groun', an' ebry time she say dat funny
name, ebry chile call out, " Answer, madam ! " Dey keep
dis heah up twell de one chile gits up close ter de leader
an' say, " Mister sent me ter buy a sheep ! " Den de
leader axes, " Wharv %^- one yo' carry?" Den de chile
say, " It got away fum me an' I can't fin' it! " An' den
de leader say, " Take one an' carry it an' hop on your
ten toe ; " at dis de chile teks one ob de udder chillen by
de han' an' dey bofe hop back ter de udder side. Dey
keeps dis up untwell all de chillen an' de leader too is
done hopped ober ; den de chile wot say in de beginnin'
" Madam, hoop-er-de-crop," she call out, " Scatter, sheep,"
an' dey all run, an' den dey play it ober agin!
Dere's one t'ing wot ebry chile does, I reckon, an' we
all usen ter do it, w'en we'd play de " count-out " games,
I mean by dat, Honey, we'd count out ter see which chile
was gwine ter be in de middle, an' dish heah is de rhyme
wot we usen ter say : —
One-er-mah-ury,
Dickery-sebcn
Haller-bone, cracker-bone
Ten or 'leben !
Peep-o ! mus' be done ;
Twiggle-twaggle
Twenty-one !
Last ebenin', Honey, wen I wuz a-scttin' on de po'ch
in ma rockin' cheer, a-stedyin' 'bout de days we'n I wuz
a young gal, dere cum ter mah min' one ob de ring-gaiius
wot wuz a gr'et favourite 'mongst de chillen ; it wuz : —
Come, mah little darlin',
An' take a walk wid me,
Down in de valley where all de lilies grow,
Dere arc sweet pinks and roses, strawberries on de vine ;
Rise up, an' choose de one dat's suitable to yo' min'.
De chillen form a ring, wid one in de middle, an' walk
aroun' singin', an' w'en dey cum ter de words, " Rise up
an' choose de one dat's suitable to yo' min'," de ring
( viii )
Stan' still an' de one wut's in de middle chooses a pail i ■, .
an' dis one in turn takes de place in de middle an' de his'
chile jines in de ring, an' den begins de song ober ergin.
Wen I larnt dat game, Honey? De Laud knows, I
alius knowed it, yas Baby, dat's de chune an' de vvoids!
But, chile, ain 1 nebber tole yo' de story ob de " Talkin'
Cat-fish " ? Mah Mammy done tole me dat eber since I wuz
a lil' chile, yas, Honey, one of dem days long time ago,
dey wuz a man wot went a-fishin' an' he cotch one er dese
heah cat-fish, an' whilst he wuz a-bringin' 'im home, de
fish 'gun ter talk, an' hit's jes' lak I'se a-tellin' yo' ; an' fus'
de man git kinder skeered, an' den he 'gin ter git biggity
ober habin ketched a talkin' fish, an' he went off ter git
all his fren's ter cum an' heah dat wonnerful fish! So he
tie 'im up in a bag, an' lef 'im on de ribber-bank twell he
gits back. Presen'ly some chillen cum 'long an' de fish
he holler outen de bag an' say dat a man done tie 'im up
an' fixin' fer ter kill 'im; he say effen de chillen let 'im out
an' th'ow 'im back in de water he'll sing 'em a song! So
de chillen dey think dat'll be mighty fine ter heah a fish
sing, an' so dey ontie de bag jes' lak de fish ax 'em, an
he jump in de water, an' den he sing dis heah lil' song : —
" Pirra-pim-pim — Yerra-doe,
Pirra-pim-pim — Yerra-doe,
Pirra-pim-pim — Gone !
Pirra-pim-pim — Gone de bushes,
Pirra-pim-pim — Yarrup !"
An', Honey, wid dat las' word de fish he make fer de
bottom ob de ribber swimrftin' 'way fas' as ebber he kin!
De chillen call an' call an' call fer de lil' fish ter cum back,
but ump-um! de lil' fish he ain' payin' no 'tenshun, an' den
de chillen dey 'member 'bout de man wot ketch de fish,
an' dey 'gin ter git skeered an' feared he'll cum back and
ketch dem ! So dey git some ole glass bottles ter put in de
bag an' tie it up, an' den dey jes' nach'lly put out fer
home fas' as dere laigs kin carry 'em.
Yas, chile, dat dey did! Press'nly heah cum Mr. Man
back ergin wid a whole passel er fokes ter lissen ter de
wnnnerful talkin' cat-fish!
Mr. Man, he feel mighty proud, an' he call out, "Sing,
mah Mammy, Daddy sing! " an' he shake de bag an' dc
glass ansah back, " Ching-a-ling-ching! " an' de fokes dey
wuz so mad at de man fer foolin' 'em, dat dey 'gun fer
ter beat 'im, an' he hatter jes' nach'lly run fer his life!
An', Honey, ter dis ve'y day, hits jes' lak I'se tellin' yo
ev'y time yo' see a cat-fish jump up out'n de watah an'
back ergin, yo' heah 'im go, " Yar-rup!
Yas, Honey, in dem days one of de ring-games was
" De Queen ob Englan'." Hit wuz pow'ful hard ter choose
'mongst all de lil' girls fer one ob 'em ter be de Queen in
de game, fer dey was all so pretty an' sweet and look lak
so many flowers, dat de onies way fer ter do wuz ter
" count out." I done tole yo' dat countin'-out rhyme
dat begin "One-a-ma-ury-dickery-seben" ; an' soon as
dey count all de chillen out, de las' one she's de Queen!
Dis heah is a game jes' fer de girls, so de boys jes'
hatter wait twell dey git th'oo! Dey make de ring an'
march roun' de Queen wot's settin' on a chair in de middle,
an' dey commence fer ter sing, " Oh, set de Queen ob
Englan' in her chair."
" She hab los' all de true love she had las' year,
Rise upon yo' feet an' kiss de one yo' meet,
Dere's a-many aroun' yo' chair."
At de words, " Rise upon yo' feet," de ring slan' still,
de Queen Stan's up, an' chooses one ob de girls in de ring
5/50
an' kisses her, an' leads huh to de chair while dey sing de
res' ob de verse. Dey keep dis up twell all de lil' gi.ls
have a chance ter be de "Queen."
One time whilst we wuz in de middle ob playin' de ring
games, one ob mah lil' white chillen I wuz nursin' got mad
wid one ob de udder chillen an' went off by hisse'f, an' he
pout, an' won' speak ter enny one or jine in de ring, an' I
stops de game an' I sez, " Charles Alexander, I'se gwine
tell yo' Ma," an' he ac' lak he doan' eben heah me, den I
sez, "Charles Alexander, effen yo' doan' come, I'se gwine
tell yo' Gran'-ma," but dat chile doan' nebber pay no
'tenshun 'tall ; an' fer de las' time I calls out, " Charles
Alexander, I gwine tell yo' Pa." " I'se comin', Mammy!"
he say, fer dat las' 'nouncement sho did fotch 'im, cos
Maister wuz mighty strict wid his chillen, an' Charles
Alexander warn't gwine ter take no chances, dat he warn't!
But, Honey, I wuz so busy a-tellin' yo' 'bouten dat boy
dat I clean fergot ter 'scribe de game we wuz a-playin'
dat time. "I los' mah Mistis' dairy key, Im in dis lady's
garden, Do, do let me out, I'm in (lis lady's garden,"
um, hum. Now hum 'long wid me, Honey, dat's right,
now yo' got de chune! Den, as I wuz a-sayin', " I los' mah
Mistis' dairy key, I'm in dis lady's garden," de chillen
form de ling all holdin' han's an' dey pertend dat in de
middle ob de ring is a garden wid one ob de chillen walkin'
roun' and all commence ter sing : —
" I los' mah Mistis' dairy key,
I'm in dis lady's garden,
Do, do let me out,
I'm in dis lady's garden."
When dey gits ter de words, " Do, do let me out," de chile
in de middle tries to break thoo de ring or slip under-
neath, den ef he doan' git out dey all sing ergin : — ■
" A brass key an' a silver lock,
I'm in dis lady's garden.
Do, do let me out,
I'm in dis lady's garden."
An' by dis time de chile in de middle mos' generally gits
thoo de ring an' anudder chile takes his place.
Sometimes when de chillen usen ter git tired I set
down wid 'em on de grass under a gre't big shade tree,
an' tell 'em stories, an' one dey wuz powerful fond uv wuz
" Ran-tan-tony," an' hits jes' lak I'se a-tellin' you ; one
time all de rats wuz a-pla\in' in a' em'ty house, habin' a
fine time 'mongst dey se'ves as peaceable as could be,
w'en Mister Man, he cum 'long an' say, " Brer Rat, ebber
see trouble? " an' Brer Rat, he up an' say, " No! " An'
de man ax, " Brer Rat, does yo' want ter see trouble? "
An' Brer' Rat he say, " Yas, ob course we want ter see
trouble, we ain' nebber heard ob it befo', an' we's allers
glad ter see somepin new." So Mister Man went off an'
all de rats wuz jes' dat pleased a-thinkin' dey wuz a-gwine
ter see sump'n nice dat dey went roun' dancin' on deir
hine laigs, an' a-singin' : —
"Ran-tan-tony, see Trouble to-day,
Ran-tan-tony, see Trouble today."
Wen dey wuz in de middle ob dese heah carryin's on.
Mister Man he cum back wid a bag, an' he 'low, " Brer'
Rat, yo' say yo' nebber see trouble, well here it is, an'
with dat he opened de bag and out jumps a lot er ca -
an' dey tuk after dem po' rats fas' as dey could! Sech
a squealin' an' a-scatteration yo' nebber did see. Honey,
dey jes' run fer dey lives, an' de way dem cats pounce on
de rats an' chase 'em and eat 'em wuz scan'a'lous ! Dat
it wuz! An' I kin tell yo', chile, "Ran-tan-tony" sho' did
see trouble dat day!
Some few ob de rats got away, part of 'cm run inter
de walls, part ob 'em went under de house, an' some jes'
nach'lly put fer de woods lak de debbil hisself was a-running
uv 'em! An' ter dis very day, Honey, you'll find rats in
dem three places, in de walls, under de house, an' in de
woods ; an' hits jas' lak Pse a-tellin'. on dat day w'en dey
all wuz a-singin' " Ran-tan-tony, see Trouble to-day,"
was de time de cats done got dere fas' taste fer rats, an'
dey done kip up dat same likin' ter dis very day! An'
dat's a fact!
Dere's a game dat de " Crackers" in Florida likes ter
play, an' dey calls it "I'm walkin' on the Levee." Yo' know
what de Levee means, don't you, Honey? Hits wot dey
calls de 'bankment 'long side de ribbers whar' dey piles
de steam-boat freight. All de chillen jine in a ring, wid
one in de middle, an' walk 'roun' an' sing : —
■■I'm walkin' on the Levee,
I'm walkin' on the Levee,
I'm walkin' on the Levee,
For yo' hab gained de day."
An' w'en dey sing : —
" Run in and out ob de windows,
Run in and out ob de windows,
Run in and out ob de windows,
For yo' hab gained de day,"
Summit, New Jersey, U.S.A.
de chillen in de ring all holdin' han's raises 'em up high
an' de middle chile runs in and out twell dat verse is done,
den as dey sing "stan' up an' face yo' lover," de chile in
de middle stan's in fiont ob de one he likes best an' bows,
an' she cuitseys, and den w'en dey sing, " I measure
my love to show you." de boy th'ows his arms out f'om
his heart ter measure jes' as fur as he kin! an' keeps dis
up ter de en' ob de verse, den de boy he sing, " Mali heart
an' han' I'll gib yo'," and w'en he gits ter de wuds " fo'
yo' hab gained de day," he takes his HI' partner by de
han' an' leads huh ter de middle ob de ring ; den at de
nex' verse he kneels in front ob huh, keepin' hoi' ob huh
han' all de time, singin' " I kneel because I love yo', fo'
yo' hab gained de day," an' wid dese las' wuds he leabes
huh an' jines de ring ergin, an' dar his lil* partner stan's
all by huh se'f, whilst de boy, wid his han' on his heart an'
tryin' ter look sad, sings de las' verse, " It breaks mah
heart ter leabe yo', fo' yo' hab gained de day," but w'en
de chillen gits ter dis verse dey gener'ly giggles out loud!
An' as I ses, Honey, hits a heap better ter laugh dan cry,
effen yo' is got ter leabe enny one!
Why, bless gracious Baby, I know dat bread ob mine
is done riz an' Pse gotter go 'long an' fix it or yo' won'
hab enny hot rolls fer supper, so good-bye, darlin', an' off
Mammy went singing, " It breaks my heart to leabe yo',
for yo' hab gained de day."
Grace Cleveland Porter.
"BRER' RABBIT" TRADITIONAL GAME
AND DANCE.
From a Plantation in Mississippi, U.S.A.
The Mississippi negroes have an interesting tradition
that on eveiy moonlight night the rabbits come out and
hold a conclave. " Brer' Rabbit " sits on the top of a
grassy mound, while the other rabbits form in rings around
him, and soon their dance begins. The negroes on moon-
light nights try to imitate the rabbits and seem to feel
for the time being that they are real live bunnies! They
all squat down, about a dozen or more in a circle, and
puffing out their cheeks, slap them with their hands, the per-
cussion making a peculiar popping sound, while at the same
time they all squeal like a young rabbit in pain, and one
and all jump up and down, hopping like Brer' Rabbit.
The players in the game go in and out and around each
other, keeping in the form of a circle all the while. They
next stoop down on all fours, sway to and fro, and when
that is over they stand up and lift one hand and foot in
the air, while hopping and jumping on the other foot,
squealing and making this continual popping sound as
described before. Then crossing their hands under them,
some of them hop on both feet, the rest hop on just one
foot with the other foot extended forward in the air,
keeping up this queer squealing and slapping the cheeks.
They one and all dance and play till they are completely
exhausted, and have to be picked up and carried away.
[Secured for me by my friend, Jean Cathcart of Louisville, Kentucky, U.S.A.]
5756
(")
GLIMPSES ALONG THE ROADSIDE IN A
HABITANT VILLAGE.
Away over the borderland that separates the United
States from Canada, lies a most fascinating country, the
home of the French-Canadian Habitant, " Jean Bateese,"
as he is called, just as we speak of Uncle Sam or John Bull.
The Habitant, who in effect is the peasant farmer of
the leign of Louis XIV, was transplanted several hundred
years ago from Brittany and Normandy into the Province
of Quebec, where he has lived ever since, very much as his
ancestors have done, clinging to the traditions, singing the
charming old folk-songs and games, telling the fireside
s ories, and relating the superstitions of centuries.
And here in the remote parishes you will find families
living upon the same land their ancestors accepted in
feudal tenure from the first Seigneurs of "La Nouvelle
France."
Many of the picturesque Habitant villages are to be
found on the beautiful St. Lawrence River, where the
louses line the road at the top of the narrow farms which
ixtend down to the river bank, the arrangement carrying
>ut the idea upon which the first settlements were formed,
giving every advantage of the water front.
This system made easy communication possible in the
pioneer days of the Colonies, the river lending itself as a
highway in summer for canoeing, and in winter time for
sleighing. The farms being closely connected, thus proved
an excellent bulwark against the Indians, who in their
warfare followed the course of the rivers, and the settlers
giving the alarm down the line, could help to protect each
other against their enemies.
This beautiful and fertile country is really typical of
French-Canada, and here Jean Bateese and his wife work
side by side in the field ; she also does the spinning and
weaving of the linen and home-spun for the family, making
her own dyes that are altogether charming in colouring.
The children, too, share in the work of the farm, and quite
an important member of the Habitant family is the large
dog, who does his portion of the labour as well as the rest,
for the wagon that he draws carries bags of flour from the
mill, and in haying time he is kept busy dragging loads of
hay across the field.
The hospitality and kindness one finds among these
dear people is heart-warming, and I became very much
attached to them during my stay in their midst, and felt
that I was among friends. It was four years ago, and two
of them have written me constantly since then, always
with the assurance of a warm welcome that awaits my
return.
One day as I was wandering along I noticed a little
house some distance back from the road, and seeing madame
in the garden I ventured to stop and talk across the rainbow-
coloured mass nf flowers where she was weeding. Leaving
the weeds to take can- of themselves she came to the gate
and invited me to the house, which was 250 years old, and
I was ushered into the living-room (kitchen and dining-room
combined), and here the great iron kettle hung in the big
open fireplace, and when the fire was out and the ashes
cool the pet dog burrowed down among them and went
to sleep.
5756
On seeing me the children quickly gathered, for a visitor
is always full of interest to them, and when I asked to see
the baby (it is quite safe to do this, as there always seems
to be a very youngest!) Louis Napoleon, was proudly
exhibited, a sturdy, brown-eyed little fellow of nine months,
and before long Onesirne came running up, and I found
much to my delight that he was the little friend who
the day be.rore had come to help me when I had lost
the way. He, too, seemed very happy to have found me
again !
I had brought marbles for the boys and brightly-
coloured beads with needles and waxed thread for the
girls, who began at once to string necklaces for themselves.
When I asked them if they knew any games they were
delightfully responsive, and without embarrassment began
to play several charming folk singing-games for me.
One of them, " L'Hirondelle," which means "The
Swallow," is played somewhat like our American game
of " Drop the handkerchief." Then another charming
game is called " La Bastringue," which I first heard sung
in the Canadian forest at Camp Perthuis, one of the old
Seigneuries which has come down from the days of the
Grand Monarque. "La Bastringue" is one of the oldest
folk singing-games in Canada, and is amusing as well as
interesting. A ling is formed with two children in the
centre, a Cavalier and a Maiden, with whom he begs to
dance " La Bastringue," which is just about to commence.
He makes his request with marked ceremony, bowing
low several times with his hand on his heart, but at this
juncture occurs a child-tragedy, for the little maiden
of his choice woefully embarrassed and disappointed,
thanks her partner over and over again, but is obliged to
make the mortifying reply that it is impossible to accept
his invitation as she has no slippers!
Another game which is most unusual and interesting,
is " II n'y a qu'un seul Dieu" (" There is but one God "),
and as the children played and sang I was impressed by
its similarity with one of our old nursery rhymes, " The
House that Jack built," in which after each verse the
previous verse is also added just as if it were a new stepping
stone each time. This folk singing-game has been played
since the fifth century. When the missionaries went to
evangelize Gaul they found that the people used to play
singing-games in their heathen worship, and in order to
make Christianity seem easier to them they changed the
words of the games so as to bring in as far as possible the
chief Christian mysteries, and the game the little French-
Canadian children played for me that day was one of these
very games played fourteen hundred years ago. It is
called " II n'y a qu'un seul Dieu " (" There is but one
God").
The children form a ring (no child in the centre) and
join hands, walking round and singing twice, " There is
but one God," then comes the question, " Tell me why
there is one? " and this is twice repeated. Twelve verses
are sung, and after each verse comes the affirmation,
" There is but one God," and the question, " Tell me why
there are two?" and the answer, "There are two Testa-
ments," and so on. This same affirmation and the question
( ::i ^
and answers are. carried throughout the twelve verses,
continuing : —
There are Three Persons in God.
There are four Evangelists.
Moses' books reckon five.
Water turned to wine in six jars at Cana in Galilee."
In this verse, which is sung very slowly and impres-
sively, the children stop walking around, drop hands and
curtsey towards the centre, then to their neighbours on
each side.
At the beginning of the seventh verse the children hold
hands again, and walk round singing the rest of the verses,
viz. : —
" There are seven Sacraments.
There are eight Beatitudes.
There are nine angel choirs.
The Commandments number ten.
Eleven thousand virgin martyrs.
The Apostles number twelve."
After the games were over, and we were sipping our
raspberry vinegar, madam e asked if I would like to see
the week's baking, and there on the table were twenty-six
snowy loaves of bread just ready to be put into the oven,
and such a mysterious looking oven too! not built in the
house, but out on the roadside near by. This oven, which
is also used by the neighbours, is of brick and cement,
with an iron door, and some time before the bread is
ready for baking, a wood fire is kindled and fed until the
interior becomes very, very hot, the ashes are then taken
out and the pans of bread, which are placed on a little flat
board at the end of a long pole, are put in one by one and
the door closed until the bread is baked.
Finding how interested I was in all household details,
madame ventured that perhaps I might like to go en haul
(upstairs), and on expressing my pleasure she led the way
and opened the trap-door, to which was attached a long
thick rope with a very heavy iron weight on the end, and
Summit, X. J., U.S.A.
5756
up the steep stairway we went step by step till the top
was reached, and oh! such an interesting big garret it
was! The family loom, which was three bundled years
old, stood by the window, the wood polished and worn
by time was of a soft brown colour, and there 01 • the
well-worn log-bench the busy toiler in each gcneiatii'n,
year in and year out, had woven the homespun foi her
family. On the rafters hung catalagne (rag caipei), rolls
of linen and dresses, which were carefully huns in linen
bags ; on the floor were bottes saitvages (Jong bools without
heels, made of raw hide, and fashioned somewhat on the
graceful lines of the sabot), snow-shoes, harnesses, a pile
of oats, chairs, spinning-wheels, and last, but not least,
in a corner where the boys and girls I know would have
been tempted to stay for an indefinite length of time,
were boxes of delicious maple sugar packed away for winter
use.
By good fortune I was to see a picture which I can
never forget, for it happened that the mother of madame
was at work at the loom weaving a bed-spread of dark
blue wool and white linen, which was fashioned into small
squares as the shuttle flashed back and forth. The sun
flooding through the little window glorified the worker
and her work, and we could hear her humming one of the
old Canadian songs.
As I was saying good-bye, Onesime disappeared for a
few moments, quickly returning with a great armful of
exquisite hollyhocks for me, and madame, with all the
charm and graciousness so typical of her race, assured me
that a warm welcome was always ready when I chose to
come — "Quel plaisir que votre visite, Mademoiselle revenez
bien souvent! " and as I walked down the road I saw the
father of madame coming across the field carrying his scythe,
and as he neared the house I noticed that he looked towards
the little window where he knew the old wife was at the
loom, and faintly in the distance a strain of the Canadian
love-song he was singing was wafted to me, " 11 y a long-
temps que j'e t'aime, jamais j'e ne t'oublierai " (" It is
long that I have loved thee, never will I forget thee ").
G. C. P.
5756
The home of a French-Canadian habitant.
(si
CONTENTS.
Textual. PAG1,
FOREWORD ii
ACKNOWLEDGMENTS Hi
PREFACE iv
MAMMY'S STORY vi
BRER' RABBIT. Game and Dance (without music) ... ix
GLIMPSES ALONG THE ROADSIDE IN A HABITANT
VILLAGE x
PHOTOGRAPHS xiii
Singing-Games.
MARCHIN' ON DIS CAMP GROUN' i
YOUR DARLIN', MY DARLIN' 4
DE QUEEN OB ENGLAN' 6
I'M WALKIN' ON THE LEVEE* 8
I LOS' MAH MISTIS' DAIRY KEY 10
BOUNCE AROUN' ... .. 12
COME, MAH LITTLE DARLIN' 14
ELY ROUN' 16
THE NEEDLE'S EYE 18
MAH HEART'S GONE AWAY TO LOOSIANA 20
TURN, CINNAMON, TURN 22
KING AND QUEEN 24
I'VE LOST A PARTNER 27
LA BASTRINGUE 28
L'HIRONDELLE (The Swallow) ... 32
1L N'Y A OU'UN SEUL DIEU (There is but one God) 34
* Pronounced Levy.
57 = d
Le Bonhomme.
My little friend, Onesime.
This is the dog that dragged the load.
5756
( xiv )
Putting in the last loaf.
PlavinS horse.
" De lady, she wears a pretty green shawl.
(From " Marchin' on dts camp groun'.")
'
"Down on yo' knees!''
(From " Marchin' on dis camp group'.")
Yes, gib huh a kiss, niah honey, niah love."
(From "Marchin' on dis camp groun'.")
5756
■I )
Peep, squirrel, peep, squirrel, \ ankee doodle dandy.
(From "Your darlin'. my darlin'.")
"I measure my love to show you.
(From "I'm walking on the levee.")
5756
My heart and hand I'll give you.
(From "I'm walking on the levee.";
Close up de 'Sembly.
(From "Bounce aroun'.")
5756
XVIII
" Honor yo' partner, mek yo' obedient."
(From "Fly roun', young ladies." I
"That lady's a rockin' her sugar-lump, () turn, cinnamon, turn.
(From "Turn, cinnamon, turn.")
"Fair demoiselle, wilt thou dance with me?"
(From "La Bastringue.")
5756
' How should a bare-footed maiden appear,
In the maze of the dance with a gay cavalier?
(From "La Bastringue."l
marchin' on dis camp groun'.
Southern Folk-tune.
Children choose partners, walk arm in arm behind each other, forming a circle as they march. At words —
"Down on yo' knees" each child drops on one knee for an instant. At words— De lady she wears a pretty green
shawl" the children pretend coquettishly to wrap a shawl around their shoulders . The lines: 'Jes' gib her a
kiss, mah honey, mah love" and "Jes' gib her anudder, mah honey, mah love" are carried out realistically .
Traditional Melody and Text
transcribed by
GRACE CLEVELAND PORTER.
Harmonized by
HARVEY WORTHINGTON LOOMIS.
VOICE.
PIANO.
*
Tempo di marcia.
Jhrcv
gg*
m
£
mf non legato
Suggesting drum beats (no v&b.)
Key G. {I
1 N
We're
*=t»
J* : i l
j> I j j r^B
K S
|l d .d :d .1 Is
march - in' on dis camp
:m .d Ir .r :r m Id :s, .s, »
groun', We're march - in' on dis camp groun', We're
CUK^EN
p
^E
fm
fc^fe
f.s, Id ,d
1. De la- dy
3. Jes' gib her
4. Jes' gib her
,d :d
she wears a
a kiss, mah
an - ud- der, mah
, m . m : s . s
pret-ty green shawl, a
hon-ey, mah love, mah
hon-ey, mah love, mah
pret-ly green
hon-ey, mah
hon-ey, mah
:f
shawl,
love
love
mah
mah
p=m
fc<7±»
h i 'm=^ & g E^4
£
d ,d .d :m . s, I d ,d .- , d :d
pretty green shawl, De la - dy she wears a
honey, mah love Jes' gib her a kiss, mah
lm,m.m :s .s Is .1
pretty green shawl, So ear - ly
honey, mah love, So ear - ly
honey, mah love Jes' gib her an- ud-der, mah honey, mah love, So ear - ly
*
#mii
.r
de
de
de
^W
t
i
£
#
.Id .d
met mah
march - in'
march - in'
true
on
.1
lub
dis
dis
:m
: r
in de fiel', I met mah true
camp groun', We're march- in' on
camp
roun', Were march - in'
lub
dis
dis
:s. .8,
de fiel', I
groun, We're
groun, We're
(no "£&.)
CUFWEN
Id .d :d
met mah true
march - in' on
march - in' on
.1
lub
dis
dis
camp
camp
:m
de fiel',
groun'
groun'
Down on
Down on
Down on
.r I d
yo' knees!
yo' knees!
yo' knees!
Simplified Accompaniment.
Tempo di marcia
i marcia.
J / J C \(
±++^-
l
s s >
W
K^""- V
«— v-
:■, .8, Id .d :d .1 '
j.s, Id .d :d .1 Is :tn .d Ir .r :r
REFRAIN. We're marchin' on dis etc.
2. I met mah true lub in de fiel', etc.
We're marchin' on dis etc.
We're marchin' on dis etc.
±=^3
^S
m
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m
f
"M.
* $&.
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* sa
5EES=£
£*-' 'C» c a
^
:- . r Id : . Si II d ,d .- ,d :Q . r I m ,m . m
1. De la-dy, she wears a etc.
3. Jes' gib her a kiss, mah etc.
4. Jes' gib her an-ud-der, mah etc
^J J
faBi
tart
SWJ0
I
i-
E3
^Tri^c j^^kc r. ic :%
DC
:f .f ld,d.d :m .s, Id ,d .— ,d :d .r lm,m.m
.8 Is .f :m .r Id
The refrain is repeated after each verse except the first,
as verse 3 has the same melody and accompt as the refrain.
CUKJX'EN
YOUR DARLIN,' my darlin!
Southern Folk-tune.
Circle is formed, two children standing opposite each other outside the ring thus- a I \Q
During the first verse all walk round singing (the two outside "squirrels" standing still). At words— '•....*
"Peep, squirrel',' the circle stands still and the two squirrels peep at each other over the shoulders of the chil-
dren behind whom they are standing. At the words -' Run 'im down" through to the end of the verse, one of the
squirrels pursues the other until caught. The one caught then joins the circle, the pursuer curtseying to an-
other child, who in turn becomes one of the outside squirrels and the game continues.
Traditional Melody and Text transcribed by
GRACE CLEVELAND PORTER.
Harmonized by
HARVEY WORTHINGTON LOOMIS.
VOICE.
PIANO.
Fast
j^t^^a^p r r J J I J
con vCeb.
-N— N
^
i=^i
£=-C-F-^
lis :— .8 If : m Ir.r:
cant yo' ketch dat squirrel?
Im :- Ir :d
Your dar - lin'.
$^P fiTlj&^m
gS
my dar - hn
* J- J^
wm
IN J J J
s s
llm :— . m I r :r !d.d:
Can't yo' ketch dat squir- rel?
Ili : s, . s, I 1, : s, .s,
Peep, squir - rel, peep, squir - rel
i 0 — —
r r_r r
qc=±
m
T
f— i — —
m
-ju
im
:■:
t ' f ■
Repeat only when playing the game
CURXTN
fid .r :m .d Ir : d
Yan - kee Doo - die Dan - dy!
1, .1, :s, II, .1,
Run 'im down, run 'im down
|ld .r :m .d Ir
Yan -kee Doo- die Dan
(No Prelude.)
Fast.
Simplified Accompaniment.
mp
m
Bz
S
*=¥
<£a.
* $&.
* $a.
QBb.
* <£a.
i^^E
n
*=+
St
jp£
/>
irt
mm
<£a.
5a. *
.m^W
CUP5JTN
DE QUEEN OB ENGLAN!
Southern Folk-tune.
The children form a circle, with one of their number silting on a chair in the centre as Queen. They
hold hands and walk around her, singing. At the words Rise upon yo' feet'' the children stand still, the
Queen rises and choosing, the one she likes best curtseys to her, the chosen one returning the curtsey.
The Queen then with much dignity conducts her successor to the"throne'.' The game is kept up until all
the children in the ring have had a chance to be Queen.
Traditional Melody and Text transcribed by
GRACE CLEVELAND PORTER.
Harmonized by
HARVEY WORTHINGTON LOOMIS
VOICE.
PIANO.
Lff,f> 4
Slowly.
±±
express iv o
^^
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1
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Key k\>.\
m ■ mzm m
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i
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J' J" J J £
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set
i*
.,d :d .d Id
de Queen ob Eng
.d
Ian'
.d
her
chair,
: s , . s,
She hab
?—?-
legato.
s^
if
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^
j. J j >
^
^
£^f
:r .r If
all de true
: m . r Id : r In
love she had las' year;
Id .,d :d .d In it .d
Rise up-on yo' feet, an'
m
mm
vy r
^^
r_
a tempo
$&.
CUR&EN
rail.
Ill, .,llSl. .1, Id
kiss de one yo' meet —
.r ,r I m .m :— .dim :r Id
Dere's a - ma-ny a-roun' yo' chair..
{No Prelude.)
A*
Slowly.
m
Simplified Accompaniment.
b-N
J- l J ; J \i
m i j
is n
Id .,d:d .d Id .d :t, .d lr
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CUR&'EN
IM WALKIN ON THE LEVEE.
Florida Folk-singing Game.
"Levee' is a term applied in the Midd/e Went a?id South of the United States to that portion of a river's
bank upon which steamboat freight is piled .
In commencing the game the players, boys and girls, form a ring with a lad in the centre. WJien sing-
ing the first verse they clasp hands and move round. At the second verse the ring stands still, while the
one in the centre winds in and out under the clasped hands of the singers, which are raised for that pur-
pose. At. the third, verse the centre player chooses a partner (a girl) and the two stand facing each, other.
During the fourth verse he puts his hands together then throws them apart, the distance between them in-
dicating the extent of his affection— "Jis' cordin to his love,' as the Crackers say. At. the fifth verse he
places his hand on his heart and then extends it towards the girl, repeating the gesture in time to the
music until the refrain "For you have gained the day" when he leads her to the centre of the ring .
At the beginning of the sixth verse he kneels before her, still holding her hand, but at the end, leaves
her and takes his place in the ring. During the seventh verse the girl remains alone in the ring. The
song is then resumed from the beginning, and the girl chooses her lover among the boys.
Traditional Folk- singing Game.
Collected by LOUISE CLARKE-PRYNELLE.
for HENRY E. KREHBIEL.
Harmonized by
HARVEY WORTHINGTON LOOMIS.
Moderato ed espressivo.
P
^mk
VOICE
A
Is, : m
walk - in'
in and
up and
meas-ure my
heart and
kneel be
breaks my
Moderato ed espressivo.
Key G. I : S,
1. I'm
2. Run
3 . Stand
4. I
5. My
6. I
7. It
In
on
out
face
love
hand
cause
heart
FT
legato .
: — .m
the
of the
your
to
I'll
I
to
PIANO.
PP*-
-«l ±
P
P
m
JL
^
$&
♦ S&.
2&7
From Games and Songs of American Children, composed and compiled by William Wells Nev
Copyright, 1883, 1903, by Harper and Brothers. Copyright, 1911, by Robert B. Stone.
CURsXEN
|lm .r :-
Le -vee,
win-dows,
lev - er,
show you,
give y&u,
love you,
leave you,
I'm
Run
Stand
I
My
I
It
lr
walk -
in
up
meas-ure
heart
kneel
breaks
in'
and
and
my
and
be
my
on
out
face
love
hand
cause
heart
- .r I r .d :-
the Le -vee,
of the win -dows,
your lov - er,
to show you,
I'll give you,
I love you,
to leave you,
i
I'm
Run
Stand
I
My
I
It
w
■x;
^=
f
I sempre legato >-
-%r-
n- — j
r.h.
t-
J-
*«ggf
«&
T
t
i
P
rail.
^m
mi
:f::::
iif, t ■:„
walk - in'
in and
up and
meas-ure my
heart and
kneel be
breaks my
on
out
face
love
hand
cause
heart
:- .8 Is .f :-
the Le-vee,
of the win-dows,
your lov-er,
to showyou,
I'll give you,
I love you,
to leave you,
:f
For
For
For
For
For
For
For
! m
you
you
you
you
you
you
you
- .r
have
have
have
have
have
have
have
gained
gained
gained
gained
gained
gained
gained
the day.
the day.
the day.
the day.
the day.
the day.
the day.
^
i-N mt iF^tf
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r
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p
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JU- i
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^
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^Xih.
* *&&.
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* "Sa.
Moderato
Simplified Accompaniment.
*
espressivo.
M
h — H
j-3 V. <\
if
^*=f
te
m
p
rail.
I-
j^j- y
CUF^fEN
10
I LOS' MAH MISTIS' DAIRY KEY.
Southern Folk-tune.
The children form a circle with one of their number in the centre (the garden). They walk round hold-
ing hands and singing until the words "Do, do, let me out," when the one in the middle tries to break through
or slip underneath. If he succeeds in this, the circle breaks up and all the children chase him. iVhen caught,
the game begins again. If, however, he does not succeed in breaking through after the first verse, the second
verse is sung and usually after this he can make his escape and another child takes his place in the centre.
Traditional Melody and Text
transcribed by
GRACE CLEVELAND PORTER.
Harmonized by
HARVEY WORTHINGTON LOOMIS
Fast.
g£
Efe^P#
VOICE.
Key Et. (
In the manner of a banjo.
M-^f
£
: d I m :s
1. I los' mah
2. A brass key
3. — Corn stalk
is
Mis
:1
tis'
fid -die an' a
i-
*
1
PIANO
SH
i
&
^^
IIS
dair
sil
shoe
: pi
Id
y key,
ver lock,
string bow,
I'm
Im
Iin
dis
dis
dis
:1
dy's
dyfe
dy's
I 8
gar
gar
gar
den,
den,
den,
t
J4—»h
ggpp
CUKsXTN
11
$
!e=i
Fast.
Simplified Accompaniment.
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a
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^
I :d
m : a is :1
W^
p^f
f^^
^^
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-/
SV-^^f
$&
r±B
^^
s : m Id :r i m :s i r : m Id :- Id
f
CUR&'KN
12
BOUNCE aroun:
Southern Folk-tune.
Players form a circle (no one in centre). During first verse "Bounce aroun' todi-iddyum" they hold hands
and skip round as fast as they can During second verse "Go roun de semAly" they walk demurely round.
Then they start flying around again, repeating the first verse,"£ounce aroun''! At "Close up de 'sembly" all
walk toward the centre and form a compact group, hands being held up high. During fourth verse the
ring widens out once more to original size, and the first verse "Bounce aroun'" is repeated , the children
flying round to the end.
Traditional Melody and Text
transcribed by
GRACE CLEVELAND PORTER.
Harmonized by
HARVEY WORTHINGTON LOOMIS.
PIANO.
Very fast
i
*=*
m
^
lfc=fc
mm
Fine.
Sri*
lid . .,d :d i m .d :d ,d .d I r :t, .t, I d
Bounce a - rour.' to - di - id-dy-um, Long sum- mer day.
.Id .d ,d :d .d In .s
2. Go roun' de 'sem - bly to - day,
3. Close up de 'sem - bly to- day,
4. O pen de 'sem - bly to - day,
It, .t, ,t,
Go roun' de
Close up de
O - pen de
5S
»
p
m
net) , .. .
^ In the manner oj
^m
a banjo.
^
^
r
m
S N N
£
|ld .d ,d :d .d
Go roun' de 'sem - bly
Close up de 'sem - bly
O - pen de 'sem - bly
m .s
to - day
to - day
to - day
Ir
Long
Long
Long
• "I • v,
sum - mer
sum - mer
sum - mer
Id : II
day. Repeat V.l.
day. D.S.forV.4.
day. Repeat V. 1 al fine.
(No Prelude)
Very fast
Simplified Accompaniment.
■
m
m
^
^p
p
^^
Jft f >, 1 J|J>1_1 J» 1^ 1— I | |/ 1 -r p g
CUJWKN
14
COME, MAH LITTLE DARLIN.
Southern Folk-tune.
A circle is formed with o?ie child in the centre . All join hands and walk round singing . At the words
"Rise up an' choose de one dat's suitable to yo' mi n'" the circle stands still and the child in the centre
chooses a partner. After curtseying or bowing (if a boy) the chosen child takes the place in the cen-
tre and the game continues .
Traditional Melody and Text
transcribed by
GRACE CLEVELAND PORTER.
Harmonized by
HARVEY WORTHINGTON LOOMIS.
VOICE.
PIANO.
m
Moderate
#^4
espressivo.
fe£
Key G. \\ s :- .8 I m
Come, mah lit
p legato
mm
fH-p-! £
Im
tie
M^M
m
mm
mm
(id
dar
I r :m
lin' an'
I f
take
walk wid
I s,
me,
^M^T^
mm
T
^eP-
m
i j J j
^m
^^
?s
m
^
lid
Down
in de
I d .- .r I m : f I m
val - - ley where all
de
1
3=^
Ir .r :-
li - lies
r
^=m
ife^
A
CUK&'EN
15
*
i
#£
wm
§i=i
grow.
s
*
: m . m Is
Dere are sweet
pinks and
I r :m
ses , straw
P j f -l=iM=N
r
s*
i?p
setnpre legato
^=^
esa.
* $&.
#
3=3
ber
I
ries on
:d
de
I 8,
vine,
I-
d
Rise
It .J J
=4=i
up
39=^
j i J
if
P
T
$
fefe#
ild
choose
.r I m
de one
:f I m .m :m
dat's suit - a - ble
to
:r
yo'
I d
mini
j. j ^ ■' if i r i
gg^
i
±=^
t
9*.
Moderato.
Simplified Accompaniment.
^
p legato
mm
CUKWEN
16
FLY ROUN'.
Southern Folk-tune.
Children form a circle, no one in centre . They then join hands and go dancing round while singing. At the
words 'Honor yo' partner; make yo' obedient'(obeisance) all stop and let go hands, girls curtsey and boys
bow, first to the one on the right and then to the one on the left, then all join hands again and go flying
round until the end of the song.
Traditional Melody and Text
transcribed by
GRACE CLEVELAND PORTER.
Harmonized by
HARVEY WORTHINGTON LOOMIS.
VOICE.
PIANO.
Fast.
\SLh*
m
—
|P J
Key D. (
H?
t .8
Fly 'roun',
.r i
fly
p
PP
-U — |£
S ft 4 " —
.. r ..... ..
J J
■
^=
■
r |
II d' .d' :1 .d" It .b .-- .r Id
'roun', young la - dies, fly 'roun' fly 'roun
It .8 :- .t I d' .d' :I .d'
Fly 'roun', fly 'roun', young la - dies,
fe S N N S
m^
m
lit .8 :- .r Id
fly 'roun', fly 'roun'.
I m ,m .m :m . m If .f :f
If yo' can't fly I'll fly my - self
I s .a :— .r
Fly 'roun', fly
17
lid
I.M.F r>=r:
\d d d d d
lm ,m .m : m .m
Hon -or yo' part - ner,
J" J J ]* J J I J J
d d d d d d -»»
f .f ,f :f ,f .f Is .8 :- .r Id
Make yo' o -be- di- ent ; Fly 'roun', fly 'roun'.
pm
m
$m, p r.f
prf
^
^
i
Ufc
%*L
®k * $&. *
Simplified Accompaniment.
(Prelude.)
Fast.
■ ^SSSfB
fl2 a
Si
«y legato.
wp;
i
i
I
B
13
* 4 * *
r^n
nn
A
f ■
^
7
1
i
i JTT-i
$mm
f r r Hr If
a^
£
I
i
$&.
§
CUFWEN
18
THE NEEDLES EYE,
Southern Folk-tune.
Circle is formed with one child in the centre. Children walk round holding hands and singing. At the
words "Kiss huh quick an' let huh go" the one in the centre chooses a partner, to whom she curtseys and who
curtseys (or bows if a boy) to her and takes the place in the centre.
Traditional Melody and Text
transcribed by
GRACE CLEVELAND PORTER.
Harmonized by
HARVEY WORTHINGTON LOOMIS.
Moderately fast
VOICE.
PIANO.
^
lid
Id
I passed by de
m :d ' d :d ir :r Ir :r lr
Nee -die's Eye, It is so ve - ry true,
i" i j j
Wf
:s, j
I
P^Pi
~zr w
F
r ■»
#
j j j j iJJ^
* u j ni
II pi :n In :m If .f :f If :f
saw a ve - ry pret-ty young girl, But
I m : n I r .r :r Id :—
none so pret-ty as you.
5756
CUF^EN
19
^
TTT^—\
i, J-lJ J J
lid
Green
Id
grow
-.r Im :d Id
de rush - es O!
I r
Green
.m I f : r I r
de rush - es O !
: s Is
Kiss huh quick,
m :s
and let huh go
d
Kiss
:- .rim :m
huh quick and
r .r :—
let huh
Id
go.
{No Prelude)
Simplified Accompaniment.
Moderately fast
-5- -3- -5
ffi
i^^
r^r^r
rrr
!"//
ww^
^=
£=^=
r -
t
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^
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-» 1
3S
iiii
g^i
r cr r Ir " Tg
CUK&'EN
20
MAH HEARTS GONE AWAY TO LOOSIANA.
Southern Folk-tune.
Circle is formed with one in centre. The children walk round singing the entire song. At the end all
stand still and the one in the centre chooses a partner to whom she curtseys and who curtseys in return
and takes her place in the centre. The game is then repeated .
Traditional Melody and Text
transcribed by Harmonized by
GRACE CLEVELAND PORTER. HARVEY WORTHINGTON LOOMIS.
VOICE.
PIANO.
Moderato
%
$^s?
Urn
Nee
^
-.r Id
die's Eye
:— .r I m
so well
:-.r Id
com-ply,
Is :- Is
Thread drawn
m
&
1 m :
through.
BE
mf
ip— i
mi
pi
z=§
^^=£
; r trt*
j- j j j
in
Now
i
^
Ise
I r .r :r .r I m :m . ,r Id
got yo' fer de firs' an' de las'.
I r :- .r Im :r
Now I has got
i
m
3==z
w
r
w
m
m
■-
P¥
JT^^T
^^
J J ;
*
^=^
ll«f —
you.
I-
.,d Id :1
Yo' dress sc
neat,
.,d I d :1 Is
Yo' look so sweet
I m : m I m : r . d
Long, Jong, long fer to
Ppsf
m
i
*-*-
3
^=
r >fj
l. A.'
w
^m
<£&.
2&.
CUK&'EN
21
jt j.r.r.pj i j ;■ ;■ J1 F j ; j u j» ;■ g
rv=*
jlm .m :m .m Ir
see de cou-ple meet.
Im .m :m .f Is .m :r .d Ir :r .m Ir .d :1, .s,
What yo' gwine to do, mah love? Mah heart's gone to Ro - sy Bud,Mah
m
"Pi express ivo e legato
SS
j — i
$&.
m^=
*=*
pj^»
{Id :d .,mls .m :r .d I 1,
hearts gone a -way to Loo -si - a
:- Id :- I -
{No Prelude.)
Moderate
Simplified Accompaniment.
sm
*m
d^
i==i
b:
**/
§5
legato
3U
p^
*
M
^5
^^
i±3
^§
^
55
/
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v»
I
j n^i]
i
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s
w
CO//« 1>0C(?
s
-£-
sempre legato
rail.
AX
say.
$&.
«t
$&.
^
$&. r *
CUKKEN
22
TURN, CINNAMON, TURN.
Florida Folk-singing Game.
This game is really a dance, and is played as follows. The boys first of all choose partners. All stand
in two lines, partners facing each other- as if they were about to dance the Virginia Reel {or Sir Roger
de Coverley), as, indeed, they are to all intents and purposes. At the commencement of the song the first
boy takes his partner by the hand and leads her to the bottom of the line. They then cross, the boy being at
the top of the girls' line and the girl being at the top of the boys' line. While the others are singing
'That lady's a-rocking her sugar lump" they go down the line swinging each player and themselves in suc-
cession. When they have finished swinging or"tuming" all the players in the line they take their places
at the bottom, the game proceeding with the couple next in order and so on to the end.
Traditional Folk-singing Game.
Collected by LOUISE CLARKE-PRYNELLE.
for HENRY E.KREHBIEL.
Harmonized by
HARVEY WORTHINGTON LOOMIS.
Allegro
VOICE.
PIANO.
: m I r :d . m
up and down, my hon
All up
m Ir :d
and down we
go-
:d
That
From Games ar.d Songs of American Children , composed and compiled by William Wells Ne
Copyright, 1883, 1903, by Harper and Bn tiers I pyright, 1911 , by Robert B. Stone.
CUK&'EN
23
$
J JJJ J
rrrr^
.+-.rj*.i~r~m^M
m : m . m I m : m If :f . f I f :f Ir :r.r!r :r ! m : m .m I rc :d I
la - dy's a-rock - in' her su-gar-Iurr,p,That la - dy's a-rock - in' her su - gar-lump, That
m : m .pi I i*i : m
la - dy's a - rock - in
f :f .f If :1 If :s is :r
her su- gar- lump; Oh turn, Cin - na - mon,
I d
turn!
Lively.
Simplified Accompaniment.
X
**
5^*
— w
mp
S
^^^
r J r
^
m^TSa.
CUK&'EN
24
KING AND QUEEN.
Florida Folk- singing Game.
This is an unusually elaborate game, combining features of the "Virginia Reel" and Sir Roger de Cover-
ley" and the most salient element of the love games— that is, the kissing.
The boys select their partners as they would for a dance and thus paired promenade as in a "school
procession" singing:—
Walking on the green grass,
Walking side by side,
Walking with a pretty girl,
She shall be my bride.
Here the procession resolves itself into a ring, girls and boys alternating. The music is then repeated ,
all singing: —
And now we form a round ring,
The girls are by our sides,
Dancing with the pretty girls
Who shall be our bridesl
The ring keeps moving during the singing of this stanza, but at the end breaks into two lines, one of
girls, the other of boys, facing each other as for a reel. The song is then resumed, and the following ac-
tions are performed by the couple at the top of the lines, who are for the time being King and Queen.
And now the King upon the green,
Shall choose a girl to be his Queen;
Shall lead her out his bride to be,
And kiss her one, two, three.
Now take her by the hand, this Queen,
And swing her round and round the green.
Saving thus called out, saluted, and swung his partner, the boy begins with the second girl and thence
down the line, twinging each girl dancer in turn, his example being followed by his partner with the boys.
and Oh! now we will go around the ring,
And everyone we'll swing.
0 swing the King and swing the Queen,
O swing them round and round the green
O swing the King and swing the Queen
O swing them round the green.
These lines are sung over and over again if necessary until all the dancers have been swung. Thereupon
the King and Queen take their places at the foot of the lines and become the willing subjects of the next
couple. The song is repeated from the words "And now the King upon the green" until all the couples have
played at royalty, when the promenade is resumed, and the game started over again, generally with a change
of partners.
Traditional Folk-singing Game.
Collected by LOUISE CLARKE-PRYNELLE.
for HENRY E.KREHBIEL.
Harmonized by
HARVEY WORTHINGTON LOOMIS.
(Optional Prelude)
Mo
PIANO.
derato
From Games and Songs of American Children , composed and compiled by William Wells Newell.
Copyright, 1883, 1903, by Harper and Brothers. Copyright, 1911, by Robert B.Stone.
CUKgEN
25
in
Allegretto.
±
-J r— i ■• 6
Key F. I • s , Id . m : 8 . d' It
— Walk - ing on the green
And now we form a round
:1
grass,
ring
It, .r :f .1 Is
— Walk -ing side by side,
The girls are by our sides;
m
^
m
(Id' .s :m .d If .f :1
Walk - ing with a pret - ty girl;
Dane - ing with the pret - ty girls;
She shall be my bride.
Who shall be our brides!
¥^
^-i
9
§
Allegro.
^
c r : -F-
£
£
|.d Id .r :m .f Is .8 :s .,m If .r ,:s .s Id .d :s, .,s,
And now the King up - on the green Shall choose a girl to be his Queen, Shall
h poeo rail.
iL> p f
CURKEN
26
RKKRAIXModerato_
( Now
(Oh
m :m im :— .m I 8 :m lr :d Ir :r ir :-.d>
take her by the hand, this Queen, And swing her round and
swing the King and swing the Queen, Oh swing them round and
legato
basso poco staccato
r&
round the
round the
Id : d .,d I m : m .m Im
*reen, And oh now we will go
?reen, Oh swing the Kin*
and
s : m I r : d
round the ring And
swing the Queen, Oh
4*4=^
CUKWEN
IVE LOST A PARTNER
27
Florida Folk-singing Game.
This game seems to be a variant of "Happy is the Mi tier: To play it, an odd number of players is required.
The odd player, or boy, takes his place in the ring, which in this instance is double, partners walking arm
in arm, the girls forming the inner circle. At the word "darling" each boy seizes the arm of the girl imme-
diately in front of him, and during the scramble the player in the centre tries to secure a partner. If
successful, there will of course be another partnerless player, who trys to supply his want during the next
turn. The "Crackers" sing the following additional verses to fit each, phase of the game:*
Traditional Folk- singing Game.
Collected by LOUISE CLARKE-PRYNELLE. Harmonized by
for HENRY E. KREHBIEL. HARVEY WORTHINGTON LOOMIS.
Rather fast
VOICE.
£IZU r'{&*U
^u
+ 2. -
+ 3. She's
feiHi
££
FFT
W
PIANO.-
«/r
m
r
r
f:
r
m
sa. •%&
sa.
M^CJ !J "n!
*
t=f
\im :m .m Id :d
Ive lost a part - ner,
I'll get an-oth-er one,
bet-ter than the oth-er one,
.m Is
turn- tum-ti-lu
tum-tum-ti-lu
la,
la,
I've
I'll
r r
:r .r It, :t,
lost a part - ner,
get an-oth-er one,
tum-tum-ti-lu - la, Shes betterthan the oth-er one,
Ir
turn
turn
turn
:r .r If
tum-ti-lu
tum-ti - lu
tum-ti - lu
:f I
- la,
- la,
- la, She's
m : m .m Id
I've lost a part - ner,
I'll get an- oth-er one,
bet-ter than the oth-er one
: m .1*1 Is : s
turn - tum-ti-lu - la,
turn - tum-ti-lu - la,
turn - tum-ti-lu - la,
I p : f I m
Turn- ti - lu, my
Turn- ti - lu, my
Tum-ti - lu, my
Id
dar
dar
dar
Id
ling.
ling.
ling.
Rather fast.
Simplified Accompaniment.
F
Copy
Games and Songs i
ight 1883. 1903. by H
rican Children, composed and compiled by William Wells
rper and Brothers. Copyright, 1911, by Robert B Stone.
CURgfEN
28
LA BASTRINGUE.
Old French-Canadian Folk-singing Game.
A circle is formed with two children in the centre, one of whom is the Cavalier and the other the Maiden.
The children hold hands and walk round singing the first verse. The Cavalier also sings and bows impres-
sively several times, his hand upon his heart, while the Maiden curtseys in turn. At the words Suppliant
here am I bending the knee" the circle stands still and the boy kneels in an imploring attitude The Maiden
then sings the second verse, while making disconsolate gestures toward her feet. The third verse it a repeti-
tion of the first in song and action. At its close the Maiden joins the circle; the Cavalier bows low, then
chooses another maiden, who curtseys and is escorted to the centre, and the game proceeds.
"La Bastringue" is the name in Northern Fiance given to a ball among the peasants, which takes place in a tav-
ern, where a. fiddle or any other instrument is used to supply the music. Thus "La Bastringue',' which was
brought three hundred years ago to Canada, has not only retained it's name as a dance, but has developed into a
singing-game m which the children delight.
Melody and Text transcribed by
ALICE LA MOTHE.
Harmonization and English Text by
HARVEY WORTHINGTON LOOMIS.
PIANO.
Allegro vivace
*
S
c c c g ^^
KeyG.ilm : m :m im :f :m Ir
1. Mad - e - moi - selle, vou - lez - vous
/. Fair dam - o - zel, wilt thou dance
:r Id
dan - ser
with me?
It,
La
La
:d Ir
Bas - trin
is - trin
gue;
£
^^
^
c c c
{Id :- :r Im
La Bas - trin
La Bas - trin
: d I i« : m : m In : f : m
gue Mad - e - moi - selle, vou - lez
gue Fair dam - o - zel, wilt thou
I r :- :r Id
vous dan - ser
dance with me?
pronounced Bas- ttrahng - u(r).
CUR&'EN
m
II f
La
Sup
m
29
a J J \j J- I J ^ g Id J J j j J
:- :tn lr :r :d It, :1, :t, Id
Bas- trin - gue qui va com- men - cer
pliant here, am I bend-ing the knee!
I r :r :r It, :t, : d
Mer - ci Mon - sieur, je n'ai
Fain would I dance, but my
J J J J ^
m
•t^i^r
S&J
T J" I J
J J J
J J J J
ilr
pas
des sou - liers!
jeer.? «re /o«£/
lr :r :r It, :t, :d
Mer - ci; Mon - sieur, je n'ai
/ dance, but my
Fain would
r : r : m I r
pas des sou - liers!
slip - pers are lost!
m
J" j i j'
E-+c— s-g-
mn'd'
Mer
How
:d' :d' It :t :t I 1 :1 :1 Is :s :s If : f :f I m :m :m
■ ci Mon- sieur, je n'ai pas des sou - liersIPour dan - ser La Bas - trin - gue qui
should a bare-foot - ed maid - en ap -pear In the maze of the dance, with a
*=*i
S
4
f=*r
r
2e
/.
m
i*-
P
^
rail. G
flj rail. » ^
Y : T J- j g If'
i t r
f0|do
va com - men - cer. .
iray ca - va - Her?-
:t I
i~T-3 jlTT.
5756
CUK&HM
30
& C [r^=F^^
- :r Id
dan - ser
u<ith me?
{If :- :n Ir :r :d It. r 1, :t, ! d :
La Bas-trin-gue qui va com-men-cer.
Sup - pliant here am I bend- in g the knee!
m
T;
zl f r r-r
I
-3 T
^ •? •?
^
J-j3^l
^w m//.
•? i
3=
$&.'
Simplified Accompaniment.
A 1 legro vivace. .
t , :— : d I r :— :t, Id :— : r I m .— :d I m :m :m I m :f :m
CUK&EN
31
; s-i ■■ ir c mi j;T?^ii:J'J'J'.rjj'iW?=^
:r Id :- : If:- :m lr :r :d I t, :1, .t, Id
r .r :r It, :t, :d I r r m lr : —
r* — f* r* h h h i h n n
^^^■^J^-^g^T^m^
lr:r:rlt,:t,:d I r : r : m I r
^==jrr^s
l"d':d' :d' It :t :t i 1 :1 :1 Is :s :B I f :f :f Im :m :m
P*
i
i i ^a 7-a
±=a=Di=±=3.
§11
^
&
ra//.
^^
^
J J J j c ir
r *? •? r T
CCECEE
m : m : m I m : f : m I r .- : r Id :— : 1 1 , :- : d I r :— : ti
l$H-N
c-c-M — ^J — ^Hr- c;j'^i J/JJ ^
^^^
ild :- :r Im :- :a Im :m :m Im :f :m I r :- :r Id :- : if :-:m lr :r :d I t,:l, :t, Id :-
$um
mm
m
C^L
mp
£^
ILLrJ ■> ILJ J^j
$&. *
is
CUPWEN
32
LHIRONDELLE .
{the swallow)
Old French-Canadian Folk-singing Game.
This game is very similar to "Drop the Handkerchief'.' A circle is formed, with o?ie child (the Swallow)
outside. The children hold hands and walk round singing, while the Swallow runs quickly round the outside
and drops a handkerchief behind any child that he or she chooses. Each child is on the watch, and as soon
as the handkerchief is found at his feet, picks it up and runs after the Swallow, who usually manages to
get to the gap left in the circle before the pursuer catches him. If caught, he in turn becomes the Swallow.
Traditional Melody and Text
transcribed by
GRACE CLEVELAND PORTER.
Harmonization and English Text by
HARVEY WORTHINGTON LOOMIS.
VOICE.
PIANO.
U
Moderate
3
J J' J
LahisAJIl .1 :1
L'Hi - ron - delle,
Lit - tie swal
^S
i
A
9
^m
p
^te
Et
low.
I Two
pulse l
'measured
Sieur
Fly
.1 ,1 :1
Mac -ca - nelle
to your nest.
fc-
*£&.
JRT
Jt*
^
W£
£^£
^ Atnl . .,,
Three pulse ! jj
measure. <
.r : m
Qui s'en va?
Pur - pie wing
,|Two
: r ,r .r ,r llpulse.d
Vol -ez, vol-ez, vol
flit-t'ringinthe twi
[Three
lipulse.a .a : a
L'Hi- ron- delle,
Lit - tie swal
U*=£
! f f
: s,
Et
low.
¥
np
§A
fit
4 vd
* 4f
^3
CUP^EN
rail.
Moderate*
^yy ; j
Simplified Accompaniment.
I T / J8 J
Lah is A. 'I 1 .1 : 1
#
i&
Two
II pulse ,
'•measure.1
.1 ,1 :I
P"^
I
P
g3^
A
8 r r j
£^£
Atnl.,
Three pulse! I M r - m
measure. < **
Jllj
I
Two
:r ,r .r ,r 1 1 pulse, d
iiThree
llpulse.d . d :d
^^
$
8,
as
Pi
* — i
rail.
CLIR^EN
34
IL NY A QUUX SEUL DIEU.
(THERE IS ONE GREAT GOD.)
Old French-Canadian Folk-singing Game.
The children form a circle and, holding hands, walk round singing the first five verses. At the close of
the fifth verse they drop hands, and at the commencement of the sixth verse (the first part of which is
sung very slowly and impressively) each child makes a dignified bow towards the centre of the circle,
then in turn to the right— and left— hand neighbour. At the beginning of the seventh verse the children
again join hands and walk round while sii.ging the remainder of the verses.
Traditional Melody and Text transcribed by
GRACE CLEVELAND PORTER.
VOICE.
PIANO.
Allegro.
nip
Key (J. f:S, .S, I d :r
1 . II n'y a qu'un seul
/. There is one great
Dieu,
God,
:d .d I m :r id
II n'y a qu'un seul Dieu,
There is one great God.
Harmonization and English Text by
HARVEY WORTHINGTON LOOMIS
:s, .s, I d :r im :d .d
Dites-moi done pourquoi un, Dites-moi
Tell me where -fore one, Tell me
0 i
mp
I
1
Beginning with
3rd. stanza al
$H
fr^=
f^—
ti=
=j±=
— f
=f=
f
^£=
I ■-
tj=
=#=
t
=t
. >
=f=\
*j
r —
1 :s.
r
Si
d
b—
:r
-v-
1
lm
■v-
:d .
d
m
.T
— \r
-fc-
V
-r 1
.6, I
2
Dites- raoi
done
pour
quoi
deux,
Dites- moi
ionc
pour
quoi
deux.
/ ^
ya
3.
,,
,,
trois,
(.
,,
trois.
v a
4.
,,
,,
quatre
,,
,,
quatre
ya
5.
,,
„
cinq,
,,
,,
cinq.
V a
7.
M
,,
sept,
,,
,,
sept.
y a
8.
,,
,,
huit,
huit.
y a
9.
„
..
neuf,
neuf.
y a
10.
,,
,,
dix,
,,
,,
dix.
v a
11.
,,
,,
onze,
onze.
ya
12.
,,
,,
douze,
,,
,,
douze .
ya
2.
Tell n
e
/'here
fore
two,
Tell me
where
fore
two .
/ There
are
■9.
„
,,
,,
three.
,,
th ree .
[ There
are
4.
„
,,
,,
four,
,,
four.
[ The
E -
5.
„
,,
,,
five.
five .
1 Mo -
ses'
7.
„
,,
,,
sev -
en,
sev -
en.
) Ho .
iy
8.
„
,,
„
eight,
„
,
eight.
\ The
Be -
9.
,,
„
,,
nine,
nine.
J There
are
10.
„
,,
,
ten,
(en.
' Of
Com -
* 12.
,,
,,
e
- lev -
en
e
- lev -
en.
E-lev -
en
»
••
i.
twelve
ii
.
"
»
twelve
V The
A -
y #
"FFt-
a tem
mp
po.
™"
P
.i.
} Repeat this
-**-#—
Up- -■
-f
-j
1
A
H-
I
T-
CUK&'EN
ways repeat, this phrase according' to
text, in reverse order of subjects.
35
After 12th stanza Fii
f , rail. , /T\
deux
Tes -
ta -
ments,
Trois
Per
■ sonnes
en
Dieu,
quatre
E
van -
ge -
lists,
cinq
Livres
en
Moise,
sept
Sa -
ere -
ments,
huit
Be
- a -
ti -
tudes,
neuf
Choirs
des
Anges,
dix
Com -
mand
- ments,
onze rr
ille
Vierges
Mar
- tyrs,
douze
A -
pos
ties,
Tes
-
ta -
ments
two,
Three
in
One
a -
bove,
van -
pe
- lists
are
four,
Books
reck
- on
five,
Sac -
ra -
ments
are
sev - en,
a -
ti -
tudes
are
eight,
nine
An -
gel
Choirs,
mandments there
are
ten,
thou -
sand
Fir -
gin
Mar - tyrs,
pos -
ties
num. -
ber
twelve.
II n'y a qu'un seul Dieu, II n'ya qu'un seul Dieu.
There is
one great God, There is one great God.
After 5th stanza and every time until 12th
mp ineno mosso
•**■ *s&: •$*.
The singers will notice that after verse 5, they must go onto the separate music for verse 6, and this verse 6 must
also be interpolated in all succeeding verses. The phrase indicated by the note'beginning with
3rd stanza" is cumulative as in ''The house that Jaek built," that is. it must be sung over in
5756 backward order, ending with the first verse at each repetition.
CENTRAL CIRCULATION
CHILDREN'S ROOM
CURJ^EN
PRESS AND PERSONAL OPINIONS.
Westminster Gazette.
Traditional Negro Singing-games were one of the
features oi a remarkable recital which Miss Porter
gave at the Queen's Hall a few days ago. Miss
Porter undoubtedly has the gift for holding both
children and grown-ups spell-bound with tales, yarns,
and poems that come bubbling up to the surface from
an apparently inexhaustible supply. The games are
really quite charming. I looked into the Esperance
Club the other evening and found the children there
hugely enjoying them. It they arc not judges of what
a singing-game should be nobody is, and these they
have taken to from the start.
The Daily News and Leader.
The most arresting item perhaps was the game oi
" I'm walking on the Levee." It was a sheer delight
to watch the tiny performers. Another effective piece
was " Peep, squirrel." Miss Porter may be con-
gratulated on the happy idea of gathering these songs
and dances and arranging and presenting them with
such success.
Pall Mall Gazette.
The negro folk-singing games, played for the Hist
time in Europe, were demonstrated in a charming
manner by the Esperance Guild of Morris Dancers.
T.P.'s Weekly.
The recital was a success. Miss Cleveland Porter's
knowledge, both oi the Southern States and oi the
folk-lore oi Canada, gives to her work a wide range.
. . . But where she undoubtedly added to tin
repertory of London is in the negro-singing games.
" La Bastringue," a French-Canadian singing-game, is
very distinctive, while, curiously enough, one or two oi
the negro games were nearly akin to some oi our ow n
The Morning Post.
Mammy Mary's ways were described with a keen
sense of their humorous side. The games were acted,
sung, and danced with zest and spontaneity by a
group of children
London Musical Courier.
A new note has been struck in the London musical
world by Miss Grace Cleveland Porter, who is pro-
viding our public with two distinctive and very
attractive forms of folk-lore and folk-song. A group
of children from Miss Mary Neal's Esperance Guild
of Morris Darners demonstrated the folk-singing
games. The evident enjoyment of the children was
mosi apparent, as was also the enthusiasm oi the
audience. " Walkin' on the Levee" had to be
repeated, and an especially interesting feature was
" La Bastringue," a charming French-Canadian folk
singing-game. In bringing something new and oi
intrinsic value to London, Miss Porter has won the
gratitude of all who have heard her.
The Onlooker.
I only hope the Esperance Morris Dancers, who
performed the singing-games in London for the first
time, enjoyed them as much as we did, for they were
deliciously coy, charmingly natural, and they acted,
as well as danced them, to perfection. One could
hardly imagine that these quaint little figures, some
dressed in bright-hued frocks and white sun-bonnets,
and others in smocks and soft felt hats, could be mere
children, so wonderfully did they enter into the
spirit of this singing-game — miniature lovers, gay,
sad, entreating, coquettish by turns. " The little
black sheep am lonesome " was full of the pathos
and comedy so often combined in the negro character.
Miss Porter gives us the real thing — a glimpse of life
such as it was in the plantations of the Southern
States before the war — and hence her power to hold
her audience enthralled, delighted, and only anxious
to hear her again some day.
F. Herbert Stead, M.A.
(Warden of the Robert Browning Settlement).
Here was a new thing in entertainments The
effect was no small revelation to a British audience.
The children wore entranced ; their quaint fancies
and dim longings were interpreted to them with a
tenderness and a drollery irresistible. The older folk
followed with deepening absorption of interest, their
eyes often moist and shining ; and professional
students of Froebel methods were glad to see their
child-study illuminated and vivified by Miss Porter's
dramatic art. It was a moving procession of child-lore
and folk-lore that passed in music and word-picture
and rhythmic gesture before our eyes.
J. J. Fahie (Folk-lore Society).
English audiences of the cultured sort are not as
a rule very demonstrative, but yesterday their feelings
were not restrained. You heard the clapping and the
laughing, but you could not hear the whispered
appreciations as I could. . . . From the first
moment you caught the interest of the audience anil
carried it with you to the end of your Recital.
Francis Frierson
(Author of " Invincible Alliance.")
Miss Porter left a delightful and memorable im-
pression on the cultured and critical audience which
greeted her first appearance at Small Queen's Hall.
Alice Hegan Rice
(Author of "Mrs. Wiggs of the Cabbage Patch").
It is not often that one finds the gift of mimicry
linked to such tender understanding as Miss Grace
Porter portrays in her songs and stories of the
Southern negro. . . . She tells her stories and
sings her songs as simply as a child, but she leaves
you with some whimsical, half humorous, half
pathetic impression that you are not apt to forget.
Many other appreciations, equally favourable, hare been received,
575f>
■
CURWEN'S ACTION-SONG BOOKS.
Kindergarten Songs, Games, Plays, Stories, and Music.
ACTION SONGS. By Mav Gillington and Annib ff. Armstrong.
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DAIRIES AND THE BREEZES, THE. By L. Ormiston Chant. A
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MRS. WALKER'S CHARACTER SONGS AND GAMES. Contains
thirty-six character songs, duets, garland drills, rounds, etc.,
with copious illustrations. Cloth, 2/6.
MRS. WALKER'S MERRY GAMES FOR LITTLE PEOPLE. Recitations
and dialogues, plays for infants, drills for physical exercises,
entertainment items. Cloth, 2/6.
NATIONAL ACTION SONGS. By E. Oxbnford and E. Ousblby
Gilbert. A large picture accompanies each song to show costume.
A song about every well-known nation. Both notations. Part I,
1/-. Part II, 1/-.
NATURE SONGS. By Florence Hoare and C. Hutchihs Lewis.
Designed to supplement Nature study in the kindergarten and
jnnior school. Three songs for each month. Price 3/6.
NOAH'S ARK, THE, and other Moslem! Games for Kindergartens. By
Annie Ingham and Carl Sherrington. Each game is a littl*
scene with several changes of tune and topic. Price 1 /-.
NURSERY RHYMES WITH ACTIONS. By May C. Gillington and
Percy Jackman. Both notations. 1/-. Familiar subjects newly
treated in original verses and tunes.
OMNIBUS RIDE, THE, and other Games tor Schools. By E. Collin*
and E. H, Greenwood. Music arranged by C. Hutchihs Lewis.
Both notations, 1/-.
OXENFORD'S ACTION SONGS. Set to music by C. Hutchins Lswis.
Both notations, 1/-.
PIPPA'S HOLIDAY, and other Stories (or Children. By Woutrina A.
Bone. All put to the test of use in the kindergarten, the transition,
and first forms. Price 2/6.
PLAYTIME. Composed by Winifred E. Allard. Both notations,
I,'-. Six action songs for children.
PRACTICAL KINDERGARTEN GAMES. By Irene Smith. Both
notations, 1/-.
PRINCESS CHARMING, and other Aotlon Songs. By May Byron and
Percy Jackman. Twelve action songs with attractive subjects
and quaint pictures. Both notations, 1/-.
SALTAIRE ACTION SONGS. By Miss L. Bates. Staff, with voice-part'
also in Sol-fa, if-. Twenty-four new songs for action, set to popular
airs, with pianoforte accompaniment.
SALTAIRE KINDERGARTEN GAMES, also Recitations and Musle. By
Lois Bates. Bot'i notations, if-. Twenty-eight pieces by an
experienced kindergartner.
SALTAIRE HOVEMBNT SONGS AND GAMES. By Lois Bats*.
Harmonies arranged by F. W. Farrar. Both notations, :/-.
Subjects and tune* happily chosen for action songs.
SAN DOW GIRLS AND BOYS, and other Action Songs (or S-oools.
By Mary Farrah and C. Hutchins' Lewis. Six bright and varied
action songs. Both notations, if-.
SEA SHELL SONGS. By Mrs. L. Ormiston Chant. As atrractive as
the popular " Golden Boat Action Songs." Both notations, 1/-.
SHIPLEY KINDERGARTEN GAMES, with Musis. By Kats Walks*.
Twelve subjects of striking interest to the infants. Both not*., 1/-.
SONGS AND GAMES FOR THE KINDERGARTEN. By Louis B.
Tisdalz and E. Ousblby Gilbert. Both notations, with accom-
paniment, 2/-. Simple songs for babies, and mor* elaborate ones
for the standard children. Music optional in the games.
SONGS FOR SCHOOL-TIME AND HOLIDAYS. By B. Mansbll
Ramssy. Both notations, 1/-. Ulnstrated. The melodies and
words are just right for children of one-figure age. The accom-
paniments can be played by the singer's little sister or brother.
SONGS OF FACT AND FANCY. Words and actions by May C. Gilling-
ton. Music by E, Ousblby Gilbbrt. Both notations, 1/6.
Twenty action songs for schools.
SUn ABLE SONGS FOR LITTLE SINGERS. By S. M. Rodgbrs and
A. L. Abel. Both notations, 1/-. Fourteen unison songs true
to the title, with accompaniment.
THISTLEDOWN, THE, and other Aetlon Songs. By L. Obmistok
Chant. Both notations. 1/-. The newest set of Mrs. Chant's
ever-popular action songs.
TODDLEKIN'S ACTION SONGS. By Mrs. Ormiston Chant. Both
notations, 1/-. A dozen action songs, skilfully catering for the
happiness of the young, and charmingly illustrated by Mildred
Emra.
TWELVE HEW SINGING GAMES. By M. C. Gillington and Percy
Jackman. For the recreation of children who have outgrown
action songs. Both notations, if-. 2nd Series, same price.
YORKSHIRE KINDERGARTEN GAMES. By A. H. Graham. Both
potations, 1/-.
Kindergarten Music Catalogue sent post frao on application.
LONDON: J. CUB WEN & SONS Ltd., 24 BERNEBS STREET, W.
SEP 1 1 '»a47
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