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.
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 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.
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 a song I felt compelled to write in October 2017, aghast at Australia’s treatment of asylum seekers. The second verse of our national anthem has the lines,
“For those who’ve come across the seas,
We’ve boundless plains to share;”.
We should be more compassionate.
Here is a recording of the song. It’s far from a professional recording, but just something I put together in my kitchen.
The version below, 1.3, has the alto voices doubling the bass part, except for the ends of lines 4 and 5. There is no tenor line, but there are descant notes in the melody line for the cadences, again at the ends of lines 4 and 5. These could be sung by a tenor and/or a soprano.
This song is Keith Binns’ 2014 rewrite of the lyrics to Advance Australia Fair; a commentary on the xenophobia inherent in our current policy on asylum seekers arriving by boat.
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.