KANSAS Play-Party Songs" is a part of a collection of songs which I began to set down in 1929, as a memorial to my mother, Eliza Sinclair Hull, and her singing life. For eighty years there was always a song on her lips and in her heart. Through all the hardships of pioneer life, through the drudgery of rearing a family of seven, she sang. Her first song, in 1849, was
Her last song, in 1929, was "Old Black Joe." 
She sang every manner of song: Old World lullabies; old camp-meeting hymns; political songs from Andrew Jackson to Bryan; innumerable Civil War songs; popular songs of her girlhood, such as "Eulalie " "Bonnie Eloise " "Annie Lisle," "In the Hazel Dell," "Listen to the Mocking Bird," "The Carrier Dove," "Bird of Beauty," and "Rosalie, the Prairie Flower." She sang airs from grand opera, lovely Swiss mountain songs, and old Scotch songs. Many of these I set down as they occurred to me.
It was Dr. R. W. Gordon, of the American Folklore archives of the Library of Congress, who suggested to me, in 1930, that I might make a more valuable contribution to literature if from these songs I should select the quaint folk songs and ballads that I had been recollecting from my childhood. From this beginning I have already recorded more than a hundred and fifty folk songs, most of them my mother's, and I feel that I have only combed the surface.
Both words and music have all been set down by me exactly as I heard them sung, without any emendations or corrections. Their sources are as follows: First, they are largely from my own native community, Richland township, Butler county, to which my parents, Mr. and Mrs. Lewis Byram Hull, came as homesteaders in 1873, bringing with them a rich contribution of songs, many of which had
come to their home in southern Ohio, with their ancestors from North Carolina, Virginia, and' Pennsylvania, about 1810. Our pioneer Kansas neighbors from the East and the South also brought with them various folk songs, particularly interesting being those of a colony of North Carolina Quakers, who began their settlement near the present town of Rose Hill, in 1870. Other songs were contributed by the family of Leroy W. Cook, who pioneered in Stevens county. They, too, were Quakers, originally from North Carolina. From a third community, Lawrence, I have secured several folk songs:
from Mrs. Harriet Pugh Tanner, whose songs came with her family from Highpoint, N. C., in 1871; from Hannah Oliver, who came to Lawrence from England eighty years ago; and from Marcia Carter, a teacher in the Lawrence public schools. A very valuable contribution is that of Freda Butterfield, a student in the University of Kansas, whose songs are still sung at play parties in her community, near Iola. Miss Butterfield has also furnished directions for playing the games.
I mention specifically the places from which the ballads came because their migration is a matter of importance to the history of folk ballads. No song in this collection has been obtained from a printed copy in any other collection, and no song is exactly like any of the variants in the fifty other collections with which my songs have been compared. These songs are called Kansas songs because they have been sung by Kansas folk since pioneer days, some of them for more than sixty years.
In the matter of preparing this collection I am indebted to Harold Spivacke, acting director of the music division of the Library of Congress, and to Alan Lomax, also of the Library, for their encouragement and advice. I am greatly indebted to the graduate research committee of the University of Kansas and to the college student employment project, whose funds enabled me to prepare the music manuscripts for publication, final revisions having been made by Harold Lynn Hackler, a student in the school of fine arts in the University of Kansas.
I am especially grateful to Kirke Mechem and to Nyle H. Miller of the Kansas State Historical Society for their interest and encouragement in the publication of this article.
The play-party song is perhaps the best example at the present time of the American folk song as a living, growing song. It still flourishes in its most typical milieu, remote rural sections, such as the inaccessible Appalachian and Ozarks regions; it has in recent years enjoyed a popular revival among more sophisticated young people; and it has always been kept alive in its simplest forms in the singing games of school children.
The folk song is, first of all, traditional; that is, it has been handed down solely by word of mouth, from generation to generation for so long that its origin has been lost in antiquity. Some of the songs in this collection were old in the days of Oliver Cromwell. Some have been in my own family for at least five generations. What the original form was no one knows. Hence the folk song is usually anonymous. In some remote time, some "idle singer of an empty day" more gifted than his fellows, struck it off, in a moment of inspiration, perhaps with others in his company adding a line or a refrain. Since it was transmitted orally, often from people who could not write to people who could not read, changes and alterations were always taking place, so that of the numerous parallels that a given song may have, no two are ever exactly alike.
Changes may arise because some transmitter did not understand what he heard; such an example of folk etymology is pointed out later in "King William Was King James's Son." Other changes may come from the singer's supplying phrases or lines to fill in forgotten passages; or sometimes a well-meaning singer takes it upon himself to correct the grammar or diction of the song, thereby complicating greatly the task of the ballad collector, who is attempting to trace the growth and evolution of the song.
The joyous, natural, uninhibited spirit which prevails at the typical play party is highly conducive to spontaneous, extemporaneous creation. Hence the play-party song furnishes the best example of the folk-song's habit of taking unto itself new and varied lines and stanzas. Evidences of such communal accretions are found among Kansas play-party songs. For example, in "Skip to My Lou" the very exigencies of the moment may lead a nimblewitted player to add a line, such as "Skip a little faster; this will never do!" Then, too, a timely hit or jibe at some participant, such as the parodied stanza in "Oh, Sister Phoebe," may add much to the hilarity of the occasion.
Perhaps at this juncture a word of explanation of the term "play party" may not be amiss. The play party was invented for the benefit of those young people who liked to have a good time, but whose parents did not permit them to go to dances. Fifty years ago, in my native community, near Douglas, the young people were divided into three groups: those who were not allowed to attend any parties, but found their social excitement at literary societies, singing schools, spelling bees, or even in revival meetings; those who attended play parties; and those lost souls who went to dances. As one pious woman testified in meeting, in the characteristic singsong:
And from the accounts of my uncles and the other gay young blades who fiddled and called for these dances, perhaps the good sister was not far wrong!
However, in a last analysis, there is little difference between some of the liveliest of the play-party games and the dances. In the choosing of partners, the promenade, and the "Swing your pardner," the technique was similar. But yet there was a subtle difference in the atmosphere; and when at the play party, at the suggestion of some stranger or the chance intrusion of that limb of Satan, the fiddler, the line of demarcation was crossed, the young folks as well as their self-appointed chaperones scented the change to dangerous ground immediately. (I am informed that the most objectionable innovation was the manner in which the girl's partner seized her around the waist and gave her a violent "swing.")
The play-party songs are a combination of game, song, dance, and pantomime, these elements varying in importance with the nature of the game. Some of them began, no doubt, as simple children's games, or as outdoor country dance tunes. Others were originally simple songs. But since the folk songs are traditional and anonymous, it is impossible to be certain as to their original forms.
Whatever the method by which they were first combined, the word and the tune are sometimes strangely mated. The tune of
the play-party song is not often original. It may be borrowed from an old ballad air or from another folk song; it may be a popular tune of long ago, such as "The Girl I Left Behind Me"; it may be stage hits of an earlier time, such as "Ta-ra-ra Boom-de-ay"; it may even utilize a hymn tune, like "Consolation"; but the commonest source is the popular fiddle and dance tune, such as "Pop, Goes the Weasel," "Old Dan Tucker," and "My Father and Mother Were Irish." In many of the play-party games, the different changes are directed by the words of the song. For example, in "Pig in the Parlor,"
It's the right hand to your pardner,
the play is obvious, taking the place of the "calling" at the dance, which may run something like this:
Honor your pardner, left hand lady;
In some play-party songs, the words are not sufficient to keep the game moving. At such a time a leader takes charge, as in the complicated game, "U-Tan-U."
Perhaps further explanation of the play-party game will not be necessary here, as detailed instructions for playing accompany a number of the songs.
Since children's singing games are so closely related to certain types of party games, a few of these heard in Kansas during the past fifty years will be considered here. Many of these I learned from my mother; others were sung by the children of Diamond School District No. 78, whose old stone schoolhouse has been a landmark in southern Butler county since 1878.
One of the first games I ever played was taught me by a group of Quaker children whose parents had come to Kansas from North Carolina in 1872, and established the Friends church near what is now Rose Hill. In playing this game, we sat down in a circle, and one child began by carrying on the following conversation with her nearest neighbor:
Toady, toady, how is thee?
And so the game continued indefinitely. It was, as I remember it, enjoyment in the lowest key.
However, the version recorded by W. W. Newell, as played by New York and Philadelphia children about 1883, is much livelier:
"The question [`Quaker, Quaker, how is thee?'] is accompanied by a rapid movement of the right hand. The second child in the ring inquires in the same manner of the third, and so all round. Then the same question is asked with a like gesture of the left hand, and [continues] . . . with both hands, left foot, right foot, both feet, and finally, by uniting all the motions at once. `A nice long game.'"  I have recently seen college students play in a similar fashion a singing game called "One finger, one thumb, one hand; keep moving."
Another variant reported by Jean O. Heck, from Whittier school, Cincinnati, is called "Neighbor, neighbor, how art thee?"  Numerous other imitative motion songs are sung by Kansas children. Perhaps the most familiar is "The Mulberry Bush," a common version of which is:
1. Here we go round the mulberry bush,
The song continues with the occupation of each day of the week. Children add verses at will, as "This is the way we wash our hands," or "This is the way we go to school." The old English May Day game, "Here We Go Gathering Nuts in May," is also sung to the same tune. 
A similar game, but not so well known, is "I Went to Visit My Friend One Day," the tune of which is that of the hymn, "Consolation Flowing Free."  This particular variant was sung by Lewis Madison Hull, of Nickerson, about 1904.
I went to visit my friend one day;
(The tune of the chorus is the same as that of the Stanza. The stanzas and chorus continue with the substitution of the work and corresponding pantomime for each day of the week, as in "Mulberry Bush.")
To the Same tune, "Consolation," is the Song, "Oats, Peas, Beans, and Barley Grow," as sung by the children in the public schools in Lawrence, at the present time.
1. Oats, peas, beans, and barley grow;
With similar words, but with different tune, is the version of this song given by Mr. Newell, who comments: This song " is still  a favorite in France, Provence, Spain, Italy, Sicily, Germany, and Sweden; it was played by Froissart (born 1337), and Rabelais (born 1483)." Like "Needle's Eye" and numerous other folk songs it may have had its origin in rustic festivities designed to promote fertility of the fields. Mr. Newell further suggests: "It is not in the least unlikely that the original of the present chant was sung by Italian rustics in the days of Virgil." 
The essential feature of one group of children's singing games is the choosing of a "pardner."  One of the most universal of these, "London Bridge," according to W. W. Newell, has many European variants, Some of which are very old, an Italian one, "Guelf or Ghibelline?" going back to the year 1328. [3 ]
The following version, reported by Marcia Carter, as sung in the public Schools of Lawrence, has been sung in various Kansas communities for perhaps fifty years:
More common still is the game, "Needle's Eye," which, like "London Bridge," is played in the following manner: Two children form a high arch with their interlocked hands, under which the other children march, singing. The two leaders let the bars fall, catching the favored one, who is asked to choose between "sun or moon," "gold or Silver," etc. According to his choice, he takes his place behind one of the leaders, and the game finally ends with a tug of war.
According to W. W. Newell, "Mrs. Gomme shows that in England the game has in different localities been played on particular days
of the year by young persons of both sexes, who danced through the streets, collecting numbers as they went, and finally attempted to encircle the village church with joined hands." 
Another English game similarly played is "King William Was King James's Son." Version "A" here recorded was sung by Hannah Oliver, who brought it from England to Lawrence more than eighty years ago. The game is an old favorite throughout the United States, many versions having been submitted to The Journal of American Folk-Lore. 
The song is sung under various names. In W. W. Newell's versions it appears as "King Arthur Was King William's Son" and "King William Was King George's Son."  Mr. Newell gives minute instructions showing how the game was played with hats in England and with a shawl in Ireland. In Kansas and other states in the Middle West, however, the game was a partner-choosing, kissing game. The song furnishes interesting examples of folk etymology. In Kansas, for "royal race" we sang "lawyer race." In Idaho, they sing-
Around the river race he run;
In the Kansas version "B" the singer, Joyce Harvey, a colored girl of a Lawrence pioneer family in which the song is traditional, seemed somewhat doubtful about "To point the way to Corkery," but certain about "Riley, Riley, race he run." In such a manner, lines of folk songs often become meaningless, through oral trans- mission.
1. King William was King James's son;
King William was King James's son;
My mother used to sing a song, traditional in her family for perhaps a century, which evidently belongs to the rustic motion song group. "Rainin', Hailin'" is also a play-party game in some parts of the Middle West. 
1. Rainin', hailin', cold stormy weather;
Another motion song, "Draw a Bucket of Water," a song that has been popular in Kansas schools for fifty years, is played as follows: Two couples join hands independently one of the other. Hands remain joined throughout. As the couples extend their hands thus joined, one pair lies above and across the other. The players now sway forward and backward as they sing:
Draw a bucket of water,
With the last words, the couple whose arms are extended just above the other's raise one arm each (that is, those hands are joined, one player's right hand thus being joined to his partner's left), and
let one player of the other couple step under. This is repeated, and the other of that same couple is taken in. Then those who are now on the inside take in the other couple by the same method. This has the effect of "braiding" the arms of the players and bringing the players into a solid "sugar bowl" formation. Now the players jump up and down frantically, at the same time attempting to revolve in a circle, as they yell: "Sally in the sugar bowl, Ha, Ha, Ha!"
Perhaps the most interesting of all these songs from a literary point of view is "Old Robin Is Dead." It goes by various names: "Old Rover," "Old Roger," "Old Grampus," "Old Pompey," "Old Cramer," and "'Old Johnny." In all probability the original was "Old Cromwell," the song going back to the days of the Commonwealth.  The words of variant "A" I heard recited by Alvin Hartenbower, of Douglass, about 1890. Variant "B" was contributed by Marcia Carter, as sung in the schools of Lawrence in 1936.
1. Old Robin is dead and laid in his grave,
1. Old Roger is dead and lies in his grave;
Among our many game songs which are related to the early English May Day dances belongs my mother's quaint song, traditional in her family for probably a century, "Walking on the Green Grass." I find that a similar game is current among Kansas children at the present time.
The tune given here is not like any other I have found. Its refrain, "Doss, doss, doss," is also unique, but undoubtedly related to the variants of Newell, Botkin, and other collectors. Newell mentions a number of these, such as "Dusty, dusty, day," and "Dust, dust, dust." He believes them all related to the Scotch rhyme,
A dis, a dis, a green grass,
"A dis" is a derivative of the Scotch word adist, from the old English word meaning "come hither." He adds that this is no mere rustic game, but was once danced by ladies of high degree."
We're walk - ing on the green grass, Doss, doss, doss. Come,
An immediate forerunner of the play-party game is "Go In and Out the Window," with its intricately weaving circle dance and its choosing of partners. The tune is the old favorite, "We're Marching Round the Levee," or "Walking on the Levy." Jean O. Heck gives the refrain as sung by Cincinnati school children, "For I'm engaged today! "17
The following is the traditional Kansas version:
1. Go in and out the window,
With "Pass One Window, Ti-dee-o," we have definitely arrived at the grownup's play party. Dr. Leroy W. Cook, Boulder, Colo., learned this song at play parties in Stevens county, some thirty years ago. He believes that it came from Missouri, where it has been popular a long time. Mrs. Ames cites a similar version, as do several other collectors, but none are identical with his. 
Pass one wind-ow, Ti - doe - o, Pass two wind-ows, Ti - dee - o,
"Skip to My Lou" is perhaps the best known play-party song in the United States.  I heard it more than fifty years ago at the Diamond school in Butler county, and it is still popular. It is one of the best examples of accretions through extemporaneous additions of stanzas.
Lit-tle red wa - gon paint-ed blue; Lit-tle red wa - gon paint-ed blue,
DIRECTIONS FOR PLAYING "SKIP TO MY LOU."-Couples stand in circle, not holding hands. The boy stands at his partner's left. The skipper stands in the center of the circle. When the players begin singing, as, for instance,
Can't get a red bird, a blue bird'll do, etc.
the skipper skips to someone in the circle and swings this one. Either a boy or girl may skip; when the boy skips, he goes to a girl, of course; and if he succeeds in swinging her before her partner discovers that he has skipped to the girl and is swinging her, then the partner becomes the skipper, and-to keep the game lively-he quickly skips to another girl, etc. Often much fun is created by the partner who, seeing his girl taken away suddenly, looks around bewildered; and then when the couple stops swinging and the two fall back into the circle, the skipper "snatches" his former partner, and the earlier partner is again "left out in the cold." Of course, if one wishes to lose his partner, the thing to do is to make no effort to keep her. If a girl skips, she goes to the man, and another girl becomes skipper, etc.
If the game seems to drag, the appropriate verse is:
Skip a little faster; this'll never do, etc.
If someone wishes that all should skip, he loudly calls out (and usually others will pick it up)
Everybody skip and I'll skip too, etc. 
Also widely known is the play-party game, "Captain Jinks."  It was a popular stage song during the Civil War. My mother and her sisters used to entertain (1864) the soldier boys at Camp Mitchell, Highland county, Ohio, with a parody of this song, one stanza of which ran:
I'm Mrs. Jinks from Madison Square,
As a play-party song, it is still popular throughout the United States. Miss Butterfield's version, the play-party arrangement, varies only slightly from my mother's version.
Cap - tain Jinks, the horse ma- rines; We clap our hands be -
2. Captain Jinks, the ladies' knight,
DIRECTIONS FOR "CAPTAIN JINKS."-With hands dropped at their sides couples form a circle and sing:
Captain Jinks of the horse marines,
With the word "clap" the players all clap their hands loudly. The boy turns and gaily swings his partner:
And swing that lady while in her teens,
All join hands and, raising them above their heads, circle (skipping if there is room) to the left, singing:
We'll all join hands and circle the left,
The gentleman moves to his partner's right. This, of course, involves the girl's stepping to her left and causing the play to go on quickly:
Captain Jinks, the ladies' knight, The gentleman changes to the right.
Now the gentleman swings his new partner, the girl who is now at his right:
And swings that lady with all his might,
With the boys on the inside the couples promenade, singing:
When I left home my ma she cried,
Now the game is played over and over again, until couples "reach home"; that is, until players are paired off as they were at the very beginning.
Another old favorite is "Pig in the Parlor," sung to the tune of "My Father and Mother Were Irish." This particular version is still popular in southeastern Kansas.
DIRECTIONS FOR PLAYING "PIG IN THE PARLOR."-Couples join hands to form a circle, in the center of which the "pig" (cheater) stands. Circling to the left the players sing:
Oh, we got a new pig in the parlor,
Then as all the players sing:
It's the right hand to your partner,
the girl turns to her left and her partner to his right, proceeding on, cutting in and out of the circle. The song continues:
The right hand to your partner,
One promenades with the third person he meets in this manner. Couples continue promenading while they sing:
And all promenade,
While the players go, boys to the right and girls to the left, in and out the circle, the cheater makes his attempt to slip in ahead of another player at about the time the words,
It's the right hand to your partner,
are sung the first time. The players now fall into a circle again, and if the first "pig" wasn't successful, everyone sings now:
It's the same old pig in the parlor, etc.
or, if the "pig" was successful:
Oh, we got a new pig in the parlor,
These similar verses often become tiresome and the players then sing:
Oh, we fed the cow in the kitchen, etc.
Of course, after each of these verses, to direct the players, the common refrain is sung:
It's the right hand to your partner,
"The Girl I Left Behind Me" is a tune that has bobbed up with popular words in every generation for almost a century. Sigmund Spaeth says that it is an old Irish folk tune set down as early as 1800.  According to my father, Lewis B. Hull, it was a favorite of the Union army drum corps, during the Civil War. Lomax has discovered a cowboy version.  It has been popular as a fiddle tune at play parties in Kansas for sixty years. "Straight Across the Hall," to a variation of this tune, is still played in Kansas. It is also used in the chorus of "Swingin' on the Corner."
Straight a - ross the hall to your op - po - site part - ner, swing her by the
The play-party song, "Swingin' on the Corner," is sung to the tune of "Buffalo Gals," an old popular air which goes under various
names, as "Louisiana Girls," "Charleston Gals,"" and "Broadway Gals." My mother's version was:
Buffalo gals, ain't cha comin' out tonight,
All hand up and cir - cle to the left, and cir - cle to the left and
Chorus: (The same as above and as follows.)
Swing that girl, that pretty litle girl,
She's pretty in the face and slim around the waist,
(Note: Choruses and verses are interchangeable ad lib.)
An old tune pressed into service in various play-party games is "Drunken Sailor," probably once an old chantey. A common Kansas version runs:
What'll we do with the drunken sailor?
Edwin F. Piper believes this to be a variant of "Come, Philander."  The same tune is used in the game, "Going to Boston," in the Lomax version,  and also in the following Kansas game:
Here goes Jum = bo thru', the wind - ow, thru' the wind - ow,
All couples form a circle, with the girls on the inside, facing their partners. This forms an aisle through which "Jumbo," the cheater or extra man, marches, while the players sing:
1. Here goes Jumbo through the window,
As this stanza ends, Jumbo steals a girl in the circle, and the game goes rapidly on, with the refrain:
All promenade with your hands on shoulders,
Now the man from whom the girl was stolen has become the new Jumbo; and as the players fall back in line, he starts marching through the aisle formed, and the game goes on:
2. Big white house and nobody livin' in it. (Repeat.)
Peculiar to this game is the rhythmical clapping as the first stanza is sung.
The play-party song, "U-Tan-U," is known in the Middle West by various names,  as "Ju Tang," "Jue Tain," "Jew-tang," and "Shoe-string." The tune of Freda Butterfield's version seems to be unique:
Four hand round the u - tan, u-tan-u; Four hand round the
The game is played as follows: Two couples join hands and circle to the left, singing:
1. Four hand round the U-tan,
Then the boy turns to his partner and takes her right hand with his right hand, thus cutting to the inside of the circle. Immediately
he drops this girl's hand and cuts to the outside of the circle, taking the next girl's left hand by his left hand; then he steps to the inside again, taking the next girl's right hand by his right, etc., until he arrives home. At the same time the girls also cut in and out of the circle, going in the opposite direction. These movements form a continuous figure 8. During this time the players sing:
2. Right and left to U-tan,
Kansas one. Vance Randolph's Ozark version is to the tune of "Skip to My Lou," and has as the second stanza, "Hit come back all flounced around." 
Sent my brown jug down town, Sent my brown jug down town,
A play-party song not widely known, but still sung in southeastern Kansas, is the following one:
Play - ing on the hills to - night, play-ing on the hills to - night
2. The old folks are delight,
"Six Little Girls" is sung to the tune of "The Mulberry Bush." The game is played as follows: Boys form a circle, leaving some space between boys, and inside this circle the girls form one. They are holding hands and facing the boys; they circle to the left, singing:
1. Six little girls a-skating went,
Now they circle to the right, singing:
2. The ice was thin and they all fell in,
Each girl goes to the man in the circle who is nearest her, and each couple sings while swinging:
3. They called on the boys to help them out,
Now the girls form the outside circle and the boys the inside one and sing:
Six little boys a-skating went, etc.
According to Sigmund Spaeth, the tune goes back to 1815.  Isaac Goldberg attributes "Old Zip Coon" to George Nichols.  It seems to have been a "rough jig dance called 'Natchez in the Hill."' "Turkey in the Straw" was not only a fiddle tune, but a song as well. 
Variant "A" of "The Miller Boy," the one traditional in southern Kansas, is to the tune of "Turkey in the Straw," as is also variant "B," contributed by Mrs. Harriet Pugh Tanner, whose family brought it to Lawrence from Highpoint, N. C., in 1871.
Oh,_ hap - py is the mil - ler boy that lives by the mill. The_
1. There was a jolly miller; he lived by himself,
(Each man "grabs" his partner.)
2. There was an old soldier, and he had a wooden leg,
Another variant, as sung by Freda Butterfield, adds the refrain:
We're sailing east; we're sailing west;
"Weevilly Wheat" is also widely known.  Leona Nessly Ball's Idaho collection of play-party songs has a ten-stanza version. Mrs. L. D. Ames's Missouri collection contains the unique line, "Come, honey, my love, and trip with me." Vance Randolph also has an interesting variant.  The most common Kansas version is as follows:
Char-ley he's a nice young man, And Char-ley he's a dan - dy.
"Oh, Sister Phoebe," or "'The Juniper Tree," is a typical example of the great change in form that often occurs in the folk song through centuries of oral transmission. According to W. W. Newell, it has developed from a centuries old European theme, "The Widow With Daughters to Marry." He gives a Philadelphia version, which is played as follows: A child, representing a mother, is followed by a file of daughters, each grasping the frock of the girl in front:
There comes a poor widow from Barbary-land,
In the more common version, however, only one daughter, Sister Phoebe, remains unmarried.
Oh, sis - ter Phoe- be, how hap-py were we, When we sat un - der the
The words lend themselves readily to local parody, as the following extemporaneous stanza from a Rose Hill community indicates:
Emmy, oh, Emmy, how happy were we
According to Carl Van Doren, this game, a kissing game, is played thus: A girl sits in a chair in the center of the room, while the other players march around her singing. A boy carrying a hat walks round and round the sitting player. At the proper moment, he places the hat on the girl's head and kisses her. 
This song, like "The Miller Boy" and "Weevilly Wheat," is listed by play-party collectors throughout the country.The play-party song, "Shoot the Buffalo," seems to be of purely American origin. Mr. Botkin thinks that the original was an emigrant song, "The Hunting of the Buffalo."  However that may be, the Kansas version, which has been sung in Butler county for nearly sixty years, is to the tune of "The Captain With His Whiskers," a popular Civil War song, which my mother sang to entertain the soldiers at Camp Mitchell, Ohio, about 1864.
1. As they marched through the town with their banners so gay,
The Kansas version of "Shoot the Buffalo" is as follows:
Rise up, my dear-est dear, And pre- sent to me pour hand, And we'll
This quaint song had as many variants as there were communities singing it, and it was sung throughout the West, from Missouri to Idaho. 
Thus we have traced, in this brief survey, the migrations of typical play-party folk songs, from their beginnings, centuries ago, in England, France, Provence, Italy, and Germany, to the Atlantic sea-board of America; thence, moving ever westward with pioneer folk, and all the while accumulating new themes and legends, they have finally reached the last frontier. "By the golden network of oral tradition,"  have the poetry and song, the mores and ways of the folk been preserved.