This song, published in both “The Little Red Song Book” and “Sing Out” magazine, was closely associated with the Industrial Workers of the World, an international trade union movement. The song’s copyright is marked 1947. Recording’s are scarce. This arrangement uses the lead-sheet published in “The Little Red Song Book” as a starting point. One point of difference is the last line of each verse, where I have used a Peter Paul & Mary recording as a reference point.
The arrangement is mostly in two parts, bass and melody. In the last line of both verse and chorus, I have added an alto line. In the first line of the chorus I have added a tenor line, and at the cadences notes for tenor and alto are added. In short, this is for a small group of singers, who may not be able to muster the forces for SATB throughout the song. The “missing” voices could easily be added later.
Here is an adaptation of a song written by Wendy Richardson. The original song focuses on the price of the coal in the context of the lives of the miners. This version of the song, with verses written by members of the Illawarra Union Singers, focuses on the price of the coal in terms of environmental costs.
The arrangement is in 2 parts, for higher and lower voices.
The night of Tuesday, July 24, 1979, shook not only the small mining community of Appin but the entire Illawarra, with the region’s families dependent on their men going underground day after day (Cox 2009). This song uses words from a poem by Sid Wright, and music written and arranged by Sarah De Jong. This arrangement, for the Illawarra Union Singers, has been transcribed with a couple of tweaks to the bass line, and guitar chords added, by Doug McPherson.
All parts: These tracks below use combinations of instruments representing the four vocal parts. It may be useful to learn your part and then sing it with the accompaniment of these instrumental parts, to test how well you have learnt the part. Of these two tracks, the string arrangement may be more in keeping with the spirit of the song.
This song is based on a somewhat earlier song, “The Nonsense Song”, written at the height of Tony Abbott’s “leadership” of Australia. This current song only has 3 verses, dealing with the 3 most recent Prime Ministers.
This arrangement, for a small mixed voice choir with guitar accompaniment, sounds like this. It is based on an SATB arrangement by C. Shaw and E. Blyth which is sung by the combined Sydney, Newcastle and Illawarra union choirs.
The key has been lowered from Bb to G.
The melody, identical to the combined choir version except for the lower key, is to be sung in unison by baritone and/or mezzo-soprano voices.
The alto part is identical to the combined choir arrangement linked to above. The end of the first verse uses the same notes from verse 2 in that arrangement. The beginning of verse 2 uses the same notes as verses 3 & 4. The pitch is lower than the combined choir version.
The tenor part contains a solo harmony line for most of the first verse, to complement the solo sung by a soprano or baritone. This could also be sung by a contralto or a soprano. The rest of the tenor line is the same as the combined choir arrangement, except for the last note of the chorus, and of the coda. The beginning of verse 2 uses the same notes as verses 3 & 4. The pitch is lower than the combined choir version.
And finally here is the sheet music in jpg format:
And the lyrics as text:
Solidarity: IUS Version
When the union’s inspiration through the workers’ blood shall run,
There can be no power greater anywhere beneath the sun,
Yet what force on earth is weaker than the feeble strength of one,
But the Union makes us strong!
Solidarity forever, solidarity forever,
For the Union makes us strong!
Is there aught we hold in common with the greedy parasite,
Who would lash us into serfdom and would crush us with his might?
Is there anything left to us but to organize and fight?
For the union makes us strong!
They have taken untold millions that they never toiled to earn,
But without our brain and muscle not a single wheel can turn,
We can break their haughty power gain our freedom when we learn,
That the Union makes us strong!
In our hands is placed a power greater than their hoarded gold,
Greater than the might of armies magnified a thousand fold,
We can bring to birth a new world from the ashes of the old,
For the Union makes us strong!
This song was written in 1949 by Les Rice, a farmer from New York State, USA. It deals with the perverse injustice, exploitation and inequality Rice saw all around him. Pete Seeger wrote about Les Rice and this song: “Like most small farmers, he was getting intolerably squeezed by the big companies which sold him all his fertilizer, insecticide and equipment, and the big companies that dictated to him the prices he would get for his produce. Out of that squeeze came this song.” https://mainlynorfolk.info/folk/songs/banksofmarble.html
It seems to me that the song has particular resonance and currency in Australia at the moment, following the largely ineffectual Royal Commission into Banking. This arrangement is based on an earlier Michael Roper arrangement.
An adaptation of “Love and Justice”, a women’s anthem by independent musician and ARIA award winner Kavisha Mazzella. The Illawarra Union Singers thank Kavisha for her permission to perform the song, adapting it for a small mixed voice choir.
If you have a previous copy of the adapted sheet music or practice tracks this file documents, in part at least, changes made.
These practice tracks work closely with the adapted sheet music. The exact phrasing of the words in verses 2 and 3 may not be identical to what needs to be sung. They are all about 20% slower than the performance tempo. Good preparation might include practising your own part, and then, when confident, practice with the “All Parts” track. Click here for instructions on how to download these practice tracks.
This is an arrangement of a song by ‘Dogmatic Music’, From ‘Walk On’ Kit – Reconciliation Week, Sorry Day. The educational resource, to commemorate Sorry Day or Reconciliation Week, designed for schools can be purchased and downloaded here. You can hear their excellent rendition of the song here.
You can find out more about Dogmatic Music and band members Paul McGee, Neil McCann, John Littrich and Sarah McCann here.
You can find out about John Littrich’s amazing folk band, the Water Runners here.
Many thanks to John Littrich for allowing the Illawarra Union Singers to use this song.
This sheet music, arranged in 3 parts is adapted from the original Dogmatic sheet music. In a mixed voice choir, the main melody marked alto in the score could be sung by altos and/or baritone voices. The line marked S for soprano, could be sung by sopranos and/or tenor voices. The bass line should be sung by basses. Score, (All Parts)
Good practice is to sing the part you are learning on its own, and then test your learning by singing it against the “All Parts” track. These practice tracks contain a “click” track, to signal the tempo, and tempo changes in the coda.
Pete Seeger’s simple but effective song about mankind’s inability to learn the lessons of history. A simple arrangement for the Illawarra Union Singers. Scroll down for Pete’s story about how the song came to be.
“I had been reading a long novel, “And Quiet Flows the Don”—about the Don River in Russia and the Cossacks who lived along it in the 19th century. It describes the Cossack soldiers galloping off to join the Czar’s army, singing as they go. Three lines from a song are quoted in the book: ‘Where are the flowers? The girls plucked them / Where are the girls? They’re all married / Where are the men? They’re all in the army.’ I never got around to looking up the song, but I wrote down those three lines.
“Later, in an airplane, I was dozing, and it occurred to me that the line ‘long time passing’—which I had also written in a notebook—would sing well. Then I thought, ‘When will we ever learn.’ Suddenly, within 20 minutes, I had a song. There were just three verses. I Scotch-taped the song to a microphone and sang it at Oberlin College. This was in 1955.
“One of the students there had a summer job as a camp counselor. He took the song to the camp and sang it to the kids. It was very short. He gave it rhythm, which I hadn’t done. The kids played around with it, singing ‘Where have all the counselors gone? / Open curfew, everyone.’
“The counselor added two actual verses: ‘Where have all the soldiers gone? / Gone to graveyards every one / Where have all the graveyards gone? / Covered with flowers every one.’ Joe Hickerson is his name, and I give him 20 percent of the royalties. That song still brings in thousands of dollars from all around the world.”
This version has each verse written out, with music, words and dynamic markings. This arrangement, in particular the phrasing, is based on a live performance originally released on a 1964 album, “I Can See A New Day”.