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.
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.
I was asked for an arrangement of this song for a mixed voice ensemble, so here it is. The score is written with melody, (plus a descant in the chorus), to be sung by sopranos and/or tenors, an alto line and a bass line, with guitar chords indicated.
I’m unsure of the provenance of this song or the score presented here. Zlatko, of Zlatko’s Balkan Cabaret fame, introduced the song to the Illawarra Union Singers. The song is apparently a congratulatory song, and can be translated as “Many Summers”, or “Many Years”.
This seminal song was written by Florence Reece in 1931, in Harlan County, Kentucky. These arrangements for a mixed voice choir, the Illawarra Union Singers, by Doug McPherson.
“In 1931, the miners and the mine owners of that region were locked in a bitter and violent struggle (called the Harlan County War). In an attempt to intimidate the Reece family, Sheriff J. H. Blair and his men (hired by the mining company) illegally entered their family home in search of Sam Reece. Sam had been warned in advance and escaped, but Florence and their children were terrorized in his place. That night, after the men had gone, Florence wrote the lyrics to “Which Side Are You On?” on a calendar that hung in the kitchen of her home.” Wikipedia
Many different performances of this song can be found. These arrangements are based on a recording made by Florence Reece later in life, recorded live in a broadcast studio, and later released on the album, “Coal Mining Women”. The arrangements presented here use Florence’s words and mostly her melody line, but open with the chorus, and repeat the chorus throughout. Neither the sheet music nor the practice tracks reflect the rhythm changes needed for the words in different verses, particularly in verses 5 and 6. The arrangements are further informed by the Almanac Singers rendition of the song in 1941. Neither the sheet music nor the practice tracks reflect the rhythm changes needed for the words in different verses, particularly in verses 5 and 6.
Harmonically, this arrangement is notated in Dm, but the melody is essentially pentatonic, and could also be considered to be in the (modern) Dorian mode of the C scale; the 6th note and 3rd notes are omitted in the melody.
This arrangement is for Melody, (Soprano and/or Tenor), Alto, Tenor and Bass. The chorus is in unison, except for a tenor harmony. In the verses, the Melody and Tenor lines are in unison, with a harmony part written for Alto voice, and a Bass line.
The melody and bass tracks are the same as in arrangement 1. The alto track is new, and the tenor track dispenses with harmony in the verse and reverts to the melody. The target voice uses a piano in each track, except the Alto which uses an oboe sound. The All Parts track is an experiment, and uses the sounds of a wind quartet: flute, oboe, clarinet and basoon.
The differences between versions 2.1 and 3, are the tenor line in the chorus and chords in the chorus, bars 3 and 7. The alto track is simplified, mirroring the melody except for the first and last bar. The practice tracks use the piano in the target voice. The all parts track uses a wind quartet.
This arrangement contains a more fully developed alto line, and one note altered in the bass line, 2nd quaver in bar 13 changed from A to F. For melody and tenor practice tracks, see arrangement 3, above.
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.
From this I transcribed individual parts. Lyrics to be sung in unison, (or by male singers only), are in bold italics. Some numbered piano fingerings are included, along with guitar chords in the melody part. These are all .pdf files. Melody/Soprano Alto Baritone I’ve also created a lead sheet, with just the melody line, transposed to Am. To get to Cm, use a capo on the 3rd fret.. Melody/Soprano Am
Here is an arrangement of Billy Bragg’s veritable anthem, “Power In A Union”, based on the American Civil War song, “The Battle Cry of Freedom”, which was written by the wonderfully named George F. Root. This arrangement by Christine Evans, with annotations including chords and the appropriate entry point for the bass voices. Aside from these annotations neither any of the arrangement, nor any of the practice tracks are my work.
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”.