Billy Basso Bull Frog

Billy Basso
Bull Frog
by Florence M. Pettee

Billy Basso Bullfrog
A-rumbling in the dark,
A-tuning up his viol,
While all the swamp fold hark.

With a pinky and a panky,
And a ga-lum, ga-lum, ga-LUM!
Billy Basso's found his fiddle,
While all the frog folks hum.

With a pinky and a panky,
All the swamp's a lullaby,
With the big bass viol strumming
'Way down where the tadpoles lie.

Our Presidents

OUR PRESIDENTS

(To the tune of "Yankee Doodle.")

George Washington is number one,

With whom begins the story;

John Adams then doth follow on

To share him in the glory.

Thomas Jefferson comes next,

A good old man was he.

James Madison is number four.

Twice President to be.

Chorus:

Our Presidents, hurrah! hurrah!
We'll give them three times three,
And may their memories ever live
In our hearts so brave and free.

Dear James Monroe was next in line.

Twice also did he rule us,

John Quincey Adams served us next.

And not once did he fool us.

Then Andrew Jackson came along,

So famous as a soldier,

Martin Van Buren took his place

To act as office holder.

And William Henry Harrison

Came next in the procession.

He died, and then John Tyler came,

Of the chair to take possession.

James K. Polk is on the roll,

He was an upright man.

Zachary Taylor followed him,

A dozen now we scan.

Millard Fillmore then was called

To rule o'er all our nation:

And after him one Franklin Pierce

Was called to fill the station.

James Buchanan was the next

Our President to be;

Then came Abe Lincoln, brave and true,

A mighty man was he.

Andrew Johnson's name is next

In the song which we are singing;

Then comes the name of U. S. Grant,

Let's set the rafters ringing;

And now we've got to R. B. Hayes,

The nineteenth name of all;

And James A. Garfield is the next

To answer to the call.

Chester Allen Arthur then

Comes forth to take his place;

And Grover Cleveland follows him.

The next one in the race.

Harrison in eighty-eight

Was called to fill the chair.

And Cleveland then again was called

To rule our Country fair.

Easter Organ Music

Easter Organ Music

by Harvey B. Gaul

       There is one difficulty that Easter brings, and that is the exceeding worry of finding appropriate Easter organ music. Organ music for Christmas is comparatively easy to find --composers have left us a vast heritage relative to the Nativity -- but for the Resurrection there seems to be little available literature.

       The following compendium of Easter organ music is not all-inclusive. Nor is it intended to include every organ piece with the title or suggestion that Christus resurrectus est. It is compiled with the desire -- Baedeker fashion -- to lighten the search and point out the advantageous works. Also to encourage organists in the belief that there are other works more appropriate for Easter than Mendelssohn's Spring Song and Grieg's To Spring, even if Easter is the sapping, budding printemps.
       In preparing this list it was deemed advisable to catalogue the pieces in four sections, starting with preludes. 

      The Prelude to The Resurrection, Bullard, offers a splendid opportunity for opening the service. In the same capacity the Prologue to Christ, the Victor, by Dudley Buck, may be placed. Mozart's Resurrexit, also has excellent preludial effects, and with it may be included Springer's Easter Alleluia. For melody Parkhurst's In the Gloom of Easter Morn is to be recommended.

       In the matter of Interludes or Offertories the following pieces are good: Anthem for the Sunday after Easter, Guilmant; Offertoire pour la fete de paques, Orison; Easter Hymn, Oliver; Air de la Pentecote, from Easter cantata. Bach; Gloria in excelsis, Burger. These works will supply the needs for Interludes; some of them may be used for Preludes. For the purpose of concluding the service Easter Recessional, Flagler; March on Easter Themes, Mark Andrews; Easter March, Merkl, are all strong virile works, with the march rhythm firmly announced. Also in the class of Postludes may be included, Hosannah Chorus Magnus, Dubois; Hosanna, Wachs; Hosanna, Granier; Hosannah, Lemmens. For organ recital pieces -- and Easter Is a very good time for organ recitals on account of the vast congregations to be seated -- the following works will be found suitable; they are not only more ambitious, and of larger caliber, but offer passages for telling solo effects: Easter Morning, Mailing; Old Easter Melody, John West; Easter Morn (a meditation), West; and Resurrection Morn, Johnston; commended not only for melodic work, but for varied and interesting structure and passage opportunity.

       Also for concert work: Alleluia! O Mii et iiliae, Loret; and O filii et iiliae, Lizst, and Paques Henries, Mailly. For display purposes requiring full organ effects these works should be considered: Fantasia on Jesus Christ is Risen To-day, Peter Lutkin; Fantasia on an Easter Plain Song, Wilan; and Fantasia on a Carol, West.

       For the person who was educated in the English School of church music and who firmly believes no better or more fitting works were ever written than the oratorio choruses, the following transcriptions are advisable. They may be used for Preludes, Interludes, Postludes ad libitum, or even da capo: Achieved is the glorious work, Haydn ; the Hallelujah Chorus, Handel; the Hallelujah Chorus from Mount of Olives, Beethoven; Gloria in excelsis, Mozart; and All glory to the Lamb that died, from Last Judgment, Spohr. Really good transcriptions may be found or made, from the following oratorio solos: The trumpet shall sound; I know that my Redeemer liveth, and Thou didst not leave His soul in hell, from Handel's Messiah. The last two have the charm of being unhackneyed and if good solo stops are employed they are most acceptable pieces. 

 Introducing the organ to a new generation.

Easter Index / Previous Page / Next Page

Caterpillar Finger Plays

This nursery finger play comes with pictures, hand motions and piano sheet music for early learning and kindergarten teachers.

 Fuzzy little caterpillar,

Crawling, crawling on the ground!

Fuzzy little caterpillar, 

Nowhere, nowhere to be found

Though we've looked and looked and hunted 

Everywhere around!

 When the little caterpillar 

Found his furry coat too tight,

Then a snug cocoon he made him

Spun of silk so soft and light;

Rolled himself away within it--

Slept there day and night.

See how this cocoon is stirring!

Now a little head we spy--

What! Is this our caterpillar 

Spreading gorgeous wings to dry?

Soon the free and happy creature

Flutters gayly by.

Sheet music to accompany the finger play.

"Oh Danny Boy"

      "Danny Boy" is a ballad written by English songwriter Frederic Weatherly and usually set to the Irish tune of the "Londonderry Air". It is most closely associated with Irish communities.

      Although initially written to a tune other than "Londonderry Air", the words to "Danny Boy" were penned by English lawyer and lyricist Frederic Weatherly in Bath, Somerset in 1910. After his Irish-born sister-in-law Margaret (known as Jess) in the United States sent him a copy of "Londonderry Air" in 1913 (an alternative version has her singing the air to him in 1912 with different lyrics), Weatherly modified the lyrics of "Danny Boy" to fit the rhyme and meter of "Londonderry Air".

      Weatherly gave the song to the vocalist Elsie Griffin, who made it one of the most popular songs in the new century; and, in 1915, Ernestine Schumann-Heink produced the first recording of "Danny Boy".

      Jane Ross of Limavady is credited with collecting the melody of "Londonderry Air" in the mid-19th century from a musician she encountered. 

• The Legend and History of the Song Danny Boy
• Danny Boy 1913 sheet music from Duke University Libraries
• Doll sized sheet music and music stands for your child to craft

"Danny Boy" performed by Peter Hollens

      The most beloved song of Gordon B. Hinckley, "Danny Boy" was originally intended as a love song sung by a girl to her sweetheart, but it is now more often associated with brotherly affection between friends. When McKay Crockett collaborated with Keith Evans for this arrangement, Evans viewed the lyrics in a different way: about a father struggling to share his feelings with his departing son. In the newly written final verse, the father contemplates that perhaps he will outlive his precious Danny Boy.

LYRICS

O Danny Boy, the pipes, the pipes are calling

From glen to glen and down the mountainside.

The summer's gone and all the roses falling.

'Tis you, 'tis you must go and I must bide.

But come ye back when summer's in the meadow,

Or all the valley's hushed and white with snow.

'Tis I'll be here in sunshine or in shadow.

O Danny Boy, O Danny Boy, I love you so.

When winter's come and all the flow'rs are dying,

And I am dead, as dead I well may be,

You'll come and find the place where I am lying

And kneel and say an "Ave" there for me.

But I shall hear, though soft you tread above me,

And all my grave shall warmer, sweeter be.

And you will bend and tell me that you love me;

And I shall sleep in peace until you come to me.

O Danny Boy, the stream flows cool and slowly;

And pipes still call and echo 'cross the glen.

Your broken mother sighs and feels so lowly,

For you have not returned to smile again.

So if you've died and crossed the stream before us,

We pray that angels met you on the shore;

And you'll look down, and gently you'll implore us

To live so we may see your smiling face once more,

Once more.

"When The Saints Go Marching In"

      "When the Saints Go Marching In", often referred to as "The Saints", is an American gospel hymn. The precise origins of the song are not known. Though it originated as a Christian hymn, it is often played by jazz bands. The song is sometimes confused with a similarly titled composition "When the Saints are Marching In" from 1896 by Katharine Purvis (lyrics) and James Milton Black (music).

      Luther G. Presley, who wrote the lyrics, and Virgil Oliver Stamps, who wrote the music, popularized the tune as a gospel song. A similar version was copyrighted by R.E. Winsett. Although the song is still heard as a slow spiritual number, since the mid 20th century it has been more commonly performed as a "hot" number. The tune is particularly associated with the city of New Orleans. A jazz standard, it has been recorded by a great many jazz and pop artists.

      Both vocal and instrumental renditions of the song abound. Louis Armstrong was one of the first to make the tune into a nationally known pop tune in the 1930s. Armstrong wrote that his sister told him she thought the secular performance style of the traditional church tune was inappropriate and irreligious. Armstrong was in a New Orleans tradition of turning church numbers into brass band and dance numbers that went back at least to Buddy Bolden's band at the start of the 20th century.

      In New Orleans, the song is traditionally used as a funeral march at "jazz funerals". While accompanying the coffin to the cemetery, a band plays the tune as a dirge. Returning from the interment, the band switches to the familiar upbeat "hot" or "Dixieland" style of play.

Louis Armstrong - live in australia - When The Saints Go Marching In

March, 1963, Sydney, Australia
Armstrong, Louis (Trumpet, Vocal)
Young, Trummy (Trombone)
Darensbourg, Joe (Clarinet)
Kyle, Billy (Piano)
Shaw, Arvell (Bass)
Barcelona, Danny (Drums)

Widdy-Widdy-Wurky

This little song from 1911 (French?) is perfect for an early learning center's student performance at a Thanksgiving Play or festival. It is simple enough for little ones to memorize and silly enough for them to enjoy doing it! Don't forget to dress your performers up in costume.

This is sung by the children in a semicircle. They come in a single file. Each child takes the name of an animal, and as each name is mentioned, the child whose name it is must clap hand in time. All clap hands together. At the end all march out, the leaders first, each child falling into place as his or her name is mentioned. Go round in single file once and then out.

Widdly-widdy-wurkey I call my fat turkey, 

Sit-a-gain is my hen,

Feather-er-loose, is my goose,

Widdly-widdy-wurkey I call my fat turkey.

Widdly-widdy-wurkey I call my fat turkey,

Quacky-wuck is my duck,

Velet-mat is my cat,

Widdly-widdy-wurkey I call my fat turkey,

Widdly-widdy-wurkey I call my fat turkey,

Shiny-coat is my goat,

Tub-of-wine is my swine,

Widdly-widdy-wurkey I call my fat turkey,

Widdly-widdy-wurkey I call my fat turkey,

Run-a-course is my horse,

Milkey-ow is my cow,

Widdly-widdy-wurkey I call my fat turkey,

Widdly-widdy-wurkey I call my fat turkey,

What's-o'clock is my cock,

Run-around is my hound,

Widdly-widdy-wurkey I call my fat turkey,

Widdly-widdy-wurkey I call my fat turkey,

Nice-look-out is my house,

Dart-about is my mouse,

Widdly-widdy-wurkey I call my fat turkey,

Widdly-widdy-wurkey I call my fat turkey,

Yes-I-can is my man,

Whirley-wind is my child,

Widdly-widdy-wurkey I call my fat turkey!

The Snowman Song

Original Poem By W. W. Ellsworth (verses of song)

Chorus lines by Kathy Grimm

One day we built a snowman.

We made him out of snow;

You'd ought to see how fine he was--

All white from top to toe!

we built a little snowman, as soon as it grew cold!

we built a little snowman, he'll melt as he grows old!

We poured some water on him,

And froze him, legs and ears;

And when we went indoors to bed

I said he'd last two years.

we built a little snowman, as soon as it grew cold!

we built a little snowman, he'll melt as he grows old!

But in the night a warmer kind

Of wind began to blow,

And winter cried and ran away,

And with it ran the snow.

we built a little snowman, as soon as it grew cold!

we built a little snowman, he'll melt as he grows old!

And in the morning when we went

to bid our friend good day,

There was n't any snowman there--

Everything had runned away!

we built a little snowman, as soon as it grew cold!

we built a little snowman, he'll melt as he grows old!

Students can sing this poem to the "The Dreidel Song." Read more about dreidels here. Listen to the original tune below and learn about the little Hannukah game.

More Little Snowman Songs on Video:

• I'm a Little Snowman Song for Children
• "Frosty The Snowman"
• The Snowman Song by Phil Keaggy
• The Mitten Song
• Snowflakes: Winter Action Song for Kids
• Little Snowman - Nursery Rhymes by Little Fox
• Snowman Songs for Children

Johnny Appleseed Praise and Worship

"Learn it. Live it. At least when you're walkin' the orchard!"

This song, sung by Dennis Day, was part of the short 1948 Disney classic,"Johnny Appleseed"; A retelling of the story of John Chapman, who spent his life roaming America and planting apple trees, thus earning his nickname. Then entire movie can be found on Youtube under "Johnny Appleseed Song".

Lyrics:

The Lord is good to me

and so I thank the Lord,

for givin' me the things I need,

the sun and rain and an appleseed,

Yes, He's been good to me.

I owe the Lord so much,

for everything I see,

I'm certain if it weren't for Him

there'd be no apples on this limb.

He's been good to me.

Oh, here am I 'neath the blue, blue sky,

A-doin' as I please!

Singin' with my feathered friends,

Hummin' with the bees.

I wake up every day,

As happy as can be

Because I know that with His care

My apple trees, they will still be there.

Oh the Lord is been good to me.

(Another verse I found online, but not in the Disney movie)

Every seed I sow will grow into a tree

and soon there'll be apples there

for everyone in the world to share.

The Lord is good to me.

"Jesus Loves The Little Children"

Gary Chapman sings "Jesus Loves the Little Children" from the video series, A Hymn a Week, which he and his wife, Cassie, upload here and to Facebook.

Jesus loves the little children,
All the children of the world.
Red and yellow, black and white,
All are precious in his sight,
Jesus loves the little children of the world.

• Words written by preacher Clare Herbert Woolston (1856–1927)
• Sung to the 1864 Civil War tune "Tramp! Tramp! Tramp!" by George Fredrick Root
• Inspired by Matthew 19:14: Jesus said, "Let the little children come to me, and do not hinder them, for the kingdom of heaven belongs to such as these."
• Some versions change Woolston's original words slightly by inserting the color "brown" between "red" and "yellow."
• Some modern versions read 'Ev'ry colour, ev'ry race, all are cover'd by His grace' instead of 'Red and yellow, black, and white, all are precious in His sight.'
• Alternate lyrics:

Jesus loves the little children,
All the children of the world.
Fat and skinny, short and tall,
Jesus loves them one and all,

OR

Jesus died for all the children,
All the children of the world.
Red and yellow, black and white,
All are precious in his sight,
Jesus died for all the children of the world.

Silhouettes From "The Little Minister"

Dallas Anderson as Gavin Dishart and Maude Adams
as Lady Babbie

      Maude Adams has so far successfully withstood the fabulous offers made her to act before the motion picture camera. She has always declared that she will not belittle her art by appearing on the screen despite the large financial remuneration. In order to find a satisfactory substitute for the film drama, however, Miss Adams has hit upon a novel compromise something which she believes will answer the same purpose. 

      It Is nothing less than a series of shadow pictures of herself and her companies in the plays of J. M. Barrie, In which she has made her greatest reputation. It will not be many years before Miss Adams will retire from the speaking stage altogether and she has already set about making silhouettes of herself. The first of these, reproduced here to-day, are taken from "The Little Minister," In which she Is now appearing with great success at the Empire Theatre. The play was first seen on the New York stage over ten years ago, but it's charm has never grown old. 

      The shadow pictures are extraordinarily life like reproductions of the stage characters. In many respects they surpass actual photographs. Miss Adams plans to have them taken of every scene in which she has appeared and to file them away for future reference and comparison. 

      Heretofore managers have believed that the best way to carry down their productions to posterity was to have motion pictures taken of the plays. Besides the additional financial revenue that accrues to them by this method a certain additional publicity is secured by means of the plays on the screen, especially as they reach a much larger public than the spoken drama. Of course there is always the possibility that the movies may ultimately Interfere with the popularity of the spoken play but the managers have been willing to take this chance. 

      The characters portrayed in the present series of silhouettes of "The Little Minister" include Miss Adams as lady Babbie; Dallas Anderson as Gavin Dishart, Elsie Carens as Felive, Gladys Gillen as Micah Doir. Ada Boshelll  as Nannie Webster, and Angela Ogden as Jean. 

      To any one who has seen the present production of "The Little Mlnister" the silhouettes will immediately recall not only the scene of the play but the particular facial characteristics of the persons therein if not the very conversation or dialogue that is taking place. 

      When Miss Adams was questioned about this novel idea of hers she said that it was the nearest substitute for the "movies" that she could think of at the time and besides that in many respects the silhouettes were much more artistic than photographs. 

Scenes from Barrie's famous play preserved
in shadow pictures.

      The manner of taking them is quite simple. The actors stand in front of a large white sheet, curtain or other smooth material while a bright light from the front Is directed upon them, throwing the shadows out in bold relief on the light background. After that, the process is that of any other ordinary photograph or portrait. One convenience of the silhouette photograph is that each character can be carefully cut out with a pair of shears and packed away in a small space. 

      If Miss Adams carries out her intention to have silhouettes taken of her other plays, she will have a particularly delightful field of endeavor in "Peter Pan," the boy who never grew up in the play that never grows old. It Is doubtful, however, if Tinker Bell would ever consent to have a silhouette made of her. But the Lost Children, Wendy, Captain Hook: and the scores and scores of other delightful and charming people pictured in Mr. Barrie's plays would form excellent subjects. 

      It Is not at all unlikely that other managers will follow Miss Adams's example in the same direction by having similar pictures taken of their various productions. It would undoubtedly make for a higher artistic appreciation of the art of the theater and would carry down to future generations something of the spirit of the plays which their fathers and grandfathers saw before them. (The Sun, Sunday, February 20, 1916.)

"The Little Minister" tells his love.

Lady Babbie goes away.

Lady Babbie serves tea.

The two at the well.

Now the little minister has to explain.

Now the little minister sees Babbie as a fine lady.

Later, a film was made of J. M. Barrie's 1897 play. 

Theatrical release poster

      "The Little Minister" is a 1934 American drama film directed by Richard Wallace. The screenplay by Jane Murfin, Sarah Y. Mason, and Victor Heerman is based on the 1891 novel and subsequent 1897 play of the same title by J. M. Barrie. It was the fifth feature film adaptation of the works, following four silent film versions. The original novel was the third of the three "Thrums" novels (a town based on his home of Kirriemuir), which first brought Barrie to fame.

      Set in rural 1840s Scotland, the plot focuses on labor and class issues while telling the story of Gavin Dishart, a staid cleric newly assigned to Thrums' Auld Licht church, and Babbie, a member of the nobility who disguises herself as a gypsy girl in order to interact freely with the local villagers and protect them from her guardian, Lord Rintoul, who wants to keep them under his control. Initially the conservative Dishart is appalled by the feisty girl, but he soon comes to appreciate her inner goodness. Their romantic liaison scandalizes the townspeople, and the minister's position is jeopardized until Babbie's true identity is revealed.

      Katharine Hepburn initially rejected the role of Babbie, then reconsidered, against the advice of her agent Leland Hayward, when Margaret Sullavan was offered the role. The film was budgeted at $650,000, which at the time was considered a high amount, and much of it was spent on exterior shooting in California's Sherwood Forest and Laurel Canyon and on the elaborate village set constructed on the RKO back lot. (It later was used in a number of films, including Laurel and Hardy's Bonnie Scotland). It was RKO's most expensive film of the year and the most expensive film in which Hepburn had appeared.

      The soundtrack includes the traditional Scottish tunes "The Bonnie Banks O' Loch Lomond," "Comin' Thro' the Rye," and "House of Argyle." The 3-CD set Max Steiner: The RKO Years 1929-1936 includes ten tracks of incidental music Steiner composed for the film.

      The film had its world premiere at Radio City Music Hall in New York City. (Wikipedia)