Formula songs are numbered among children's songs as well. They are distinguished as a separate group for their textual and melodic peculiarities, that are predetermined by their specific form, structure, and origin. As a matter of fact, the form of formula compositions seems to be quite common in the folklore of different nations and is often referred to as one of the oldest ones. For a long time, formula tales and songs of most European nations, e.g. English, French, German, Spanish, were claimed to have originated from the Jewish verse related to Easter celebrations. However, in the 19th century, with increasing amounts of collected materials as well as deeper understanding of the Far East folklore and ethnography, a new view was promoted, which traced the emergence of formula compositions back to the religious rites of ancient India and Greece.
K. Biucher, a German scholar, maintained that the origin of formula songs should be associated with the process of work, having in mind functional aspects of these compositions. However, remarks provided by Lithuanian performers in the 20th century, obviously contradict to this opinion, for the same song appears to have been sung, while pasturing as well as while working, and even while partying. They have indicated a number of cases, when formula songs are linked with calendar rites, e.g. Maèiau maèiau kukutá ("I saw I saw a cuckoo"), Pinu pinu pynæ ("Plaiting plaiting a plait") [mp3] are Christmas songs, while Ðuto boba ðustinëlá ("A wife was stewing a stew") was performed while looking around the rye. Most formula songs, recorded in recent years, have been regarded as children's songs by their original performers.
Two types of formula songs are usually distinguished: chain songs and cumulative songs. In the former, the verse is expanded either by starting each new line with the last words of the previous one or in a question-response form. In the latter, having a meaningful structure, each stanza repeats the previous one and has a new line added containing its own plot. Consequently , the last stanza, with the whole song included, becomes the longest one. The formulae of chain songs are numbered among the oldest compositional structures. They have been used not only in songs and tales, but also in other forms of folklore, e.g. charms, incantations, etc. There exist only a few textual types of chain songs in Lithuania, and the most common are: Pinu pinu pynæ, Ðuto boba ðustinëlius, Maèiau maèiau kukutá. With the exception of the first one, which seems to be relatively consistent , others have numerous versions, with common motifs being transferred from one type to another. Thus, the distinction of separate types is more or less relative in this case. Melodic variants of Pinu pinu pynæ are most common in the remote parts of Lithuania - Ignalina, Ðalèininkai, Eiðiðkës, Varëna, Vilkaviðkis, Rokiðkis, Skuodas regions.
The earliest chain songs evidently used to have a magic meaning, which is clearly demonstrated by the peculiarities of their melodic and textual structure. The records obtained in Ignalina region show that these songs used to be performed by two singers or two groups of singers interchangeably - with the former asking and the latter responding. The versions of Pinu pinu pynæ have a common motif, which consists of questions and responses: "What is the money for?" - "To buy a scythe; the scythe to cut hay; the hay to feed cows; (…) the pigs to dig up hills; there's a dish on a hill; there's a copper spoon in the dish; there's a poppy-seed in the spoon; it was pecked by a cock; the cock drowned in the sea; the sea got overgrown with grass; the grass was plucked by maids; the maids married lads". The verse of the songs sometimes is many-layered: archaic motifs occur alongside with the components typical of later periods. In this respect, the first and the last lines have been affected most frequently. Some chain songs have a spoken episode at the end. The fact worth mentioning is that most pieces of this kind have been defined as shepherds' songs by their original performers.
The type Maèiau maèiau kukutá is known nearly all over Lithuania. Essentially, a similar plot can be met in very different countries - from Sweden to Africa and elsewhere. The plot is based on the description of receiving and giving some kind of a present: a cuckoo was seen at the edge of the field, making a nest, laying an egg, the egg is for mother, mother [makes] a bun, the bun is for a sow, the sow [grows] a piglet, the piglet is for a child, the child [flays] the skin. the skin is for father, father [buys] a cow, the cow [gets] hay, the cow [gives] milk.
The variants of the song Ðuto boba ðustinëlá have maintained only minor similarities to traditional chain songs. This type is popular in Dzûkija, Eastern Aukðtaitija and Þemaitija. Even though there are archaic features still found in the verse, the tune seems to be closer to the form of a song, and simultaneously has adopted features typical of corresponding ethnographic areas.
As far as cumulative songs are concerned, most of them tend to have plots. In this respect, they are close to chain songs. In Lithuania, the following textual types of cumulative songs are known: Siuntë ponas oþkà ("The master sent his nanny-goat"). Tarnavau vargavau pas ponà ("As I served poverty-stricken for my master"), Iðbëgs iðbëgs pelë ið miðko ("A mouse will run out from the forest") [mp3], Að turëjau gaidá (I had a cock"), Ant kalno medis ("There is a tree on the hill"), Oi tu þëke þëkeli ("Oh you þëkas þëkelis"). Even though they are spread all over Lithuania, not many melodic variants have been recorded. Textual variants seem to resemble each other quite a lot. One of the most popular songs is Siuntë ponas oþkà. The plot is known in the folklore of neighbouring and further away nations, e.g. Finnish, Jewish, Norwegian, Russian, Serbian, Hungarian, etc. In Lithuania, this song has been existing as a folklore composition intended specially for children. Another widely spread song is Tarnavau vargavau pas ponà [mp3], where different domestic animals and birds are enumerated. Songs of similar type are popular not only in neighbouring nations, they are also met in English, Swedish, Danish folklore. A very specific place among cumulative songs has been occupied by Þëkelio giesmë ("The song of a þëkelis"), which is closely related to Christian religion and is sung during Lent and Advent periods. In Northern Lithuania, an interesting record was obtained, where the songs was performed in a very original way, resembling the formula of incantation: after all twelve stanzas have been sung, one should start with the twelfth and go back, adding to each stanza Aik velnio á peklà ("Go devil to hell"). In the areas near Rodûnë and Dieveniðkës, this song used to be sung by the boys lalauninkai; those of them who used to walk asking for eggs on Easter were called þëkai. They had to answer ten questions asked by the hosts of the homes they visited. Those who were successful were given eggs.
The tune of formula songs is fairly variable, and reflects different stages of its evolution: 1) songs of the ancient mono-vocal style; 2) samples of transitional character from mono-vocal to multi-vocal, 3) multi-vocal melodies of more recent origin. In chain songs, the tunes of ancient mono-vocal style occur more frequently. The mode structure is close to that of work and calendar songs, with the rhythmic formula mostly corresponding to the line of six syllables*.  The form of the songs belonging to this type is based on constant repetition of one-line, short phrases, where basic tones usually reach the interval of a 3rd. Multi-vocal tunes of more recent origin are found both in chain and cumulative songs.
As far as the history of formula songs is concerned, it is evident that songs of this type began to appear in children's repertoire in the first half of the 20th century. With their plot elements, unusual, unexpected scenes, that once had a ritual sense, formula songs have got very close to the world of fairy tales now, thus, becoming an integral part of the genre intended exceptionally for children.