SECULAR HYMNAL - 144 Hymn Tunes Made Inclusive For All -
- Secretary Michael “Secular Hymnal” by Secretary Michael
ISBN: 978-1-888712-20-9 - 9th Revision -
This book is a compilation of all Secular Hymnal (“Roadway”) volumes 1-12
All 144 Secular Hymns (both unison/guitar and SATB arrangements) are available for free download: www.machinistsunion.org/works.html
Dedicated to my teacher: Mara Hill p All works by Secretary Michael have been placed into the Public Domain. They may be freely copied and performed. Free downloads: www.machinistsunion.org/works.html
All music is for everybody. It is my hope that these peaceful hymns will forever give voice to that ideal. -Secretary Michael CONTENTS
Index of Secular Hymns ...... 4
Secular Hymn Scores (hymn numbers used instead of page numbers) ...... 6
“Traditional Hymn / Secular Hymn” Correlation Table ...... 298
Personal Notes and Explanations: Lyrics, Word Division, Sol-Fa Songs, Chord Symbols ...... 306 Changes to the Music, Sources, Copyright, Typesetting ...... 307
Notes on each of the 144 Hymns (History, Sources, Topics) ...... 308 4 144 Secular Hymns (in Alphabetical Order with Key Signatures)
1. A Beauty Hides in Everyone (C) 2. A Long, Long Way We’ve Come Today (C) 3. A Peaceful Walk (E ) 4. Accommodating Others (E ) 5. Achieving Disagreement (E ) 6. All Need To Feel Significant (E) 7. All Praise to the Troubled (G) 8. All the Seven Deadly Sins (B ) 9. Assuming There’s Peace (G) 10. “Bad” is Not a Name (Dm) 11. Because Violence Can’t End Violence (C) SOL-FA 12. Borders, Boundaries, Walls and Fences (C) 13. Building a Door (G) 14. Climbing Up the Ladder (D) 15. Climbing Up the Mountain (F) 16. Come Live With Us (F) 17. Communication is the Answer (G) 18. Crank and Sprocket (C) 19. Disassemble Every Gun (D) SOL-FA 20. Diversity in Thought (F)SOL-FA 21. Don’t Choose Sides (B ) 22. Don’t Know How I Got Here (B ) 23. Each Little Raindrop (E ) SOL-FA 24. Education Is Our Destination (C) SOL-FA 25. Every Space for Every Face (D) 26. Everybody Has Their Issues (D)SOL-FA 27. Everyone Must Make a Living (F) SOL-FA 28. Everything’s Changing (D) 29. For Those Who Have Beliefs Bizarre (Dm)SOL-FA 30. For What I’ve Done (F) SOL-FA 31. Go Further Farther (E ) 32. Going Up, Going Up (G) 33. Grief Has Got To Take Its Time (G) SOL-FA 34. Happy Be (G) 35. Harvesting Hunger (F) 36. I am a Terrorist (F) 5 37. I am the Captain Of My Boat (G) 38. I Declare a Brand-New Me (F) SOL-FA 39. I Have a Garden in the Park (F) SOL-FA 40. I Have a Puzzle of the World (D) 41. I Once Was So Certain (G) 42. I Surrender (C) SOL-FA 43. I Think I Could Work in a Castle (E ) 44. I Think I’m Right (A)SOL-FA 45. I Will Look and I Will See (G) 46. If We’re Not the Ones (C) 47. I’m Marching, Marching (G) SOL-FA 48. In the End (C) 49. Informed People (G) SOL-FA 50. Injustice to You is Injustice to Me (G) 51. Intelligence is a Bouquet (F) 52. It’s Great to Know Some Things by Heart (E ) 53. I’ve Never Known a Sinner (F) SOL-FA 54. Journey Forward (B ) 55. Just Because (D) SOL-FA 56. Land of Gray (F) SOL-FA 57. Let’s Make a Right (F) 58. Let’s Ride In Our Time Machines (G) 59. Let’s Start a Big Commotion (C) SOL-FA 60. Let’s Stop Making Weapons (B ) 61. Let’s Try Something Different (B ) 62. Long Road (Am) 63. Make Just One Brand New Friend (G) SOL-FA 64. May We Make Moments of Peace (C) 65. No Cheers For David (D) 66. No Need to Sing the Same Notes (A ) 67. Nonviolence May Take a Long Time (G) SOL-FA 68. Nonviolence Must Be Taught (E ) 69. Nothing’s Heavy With Lots Of Hands (F) SOL-FA 70. Oh Child Do Not Despair (F) SOL-FA 71. Ojalá (F) SOL-FA 72. Onward, Upward (D) 73. Open, Open Up the Window (D) 74. Our Garden Full of Flowers (Am) 75. Pain Can Cause (D) 6 76. Parents Gone (D dorian) 7 7. Past Performance is No Guarantee (E) 78. Peace Is Not What I Looked For (E ) 79. Peace Like a River (G) 80. People Are More (Dm) 81. People We Need To Meet (D) SOL-FA 82. People Will Change (F) 83. Relieving Suffering (G) 84. Rise and Shine (G) SOL-FA 85. Seen, Heard and Understood (E ) SOL-FA 86. Skating, Skating (F) 87. So Many Ways (D) 88. Some Are Young, Some Old (F) 89. Someday When Guns Are Gone (E ) 90. Someone Should (F) SOL-FA 91. Spent Our Treasure (E ) 92. Standing At Bat (F) 93. Step By Step (C) SOL-FA 94. Storms Will Come (A) 95. Striving To Be (G) 96. Swapping Shoes (G) SOL-FA 97. Tall Oaks From Little Acorns Grow (D) SOL-FA 98. The Greatest Walk (D) 99. The Many Truths (F) 100. The Only Path to Peace is Peace (C) 101. Them Over There (D) 102. There Are Times (C) 103. There is a Game (G) 104. There is a Rule of Thumb (D) 105. There is an Empty Box (D) 106. There is Something Wrong (A ) 107. There’s a Better Way (G) SOL-FA 108. There’s a Road Between Our Lands (G) 109. There’s Claim Number One (E ) SOL-FA 110. There’s More Than One Way (G) 111. Things Are The Way They Are (D) 112. This Day, This Day (F) 113. Tick-Tock (B ) 114. Tis a Gift (F) SOL-FA 115. To Find a Place (C) 7 116. To Live Our Lives Addiction-Free (B ) 117. To Make the World a Better Place (D) 118. To Soldiers Lost (Gm) 119. To Those Who Came Before (D) 120. Today is My Day (E ) 121. Today’s the Day (C) 122. Together For So Long (G) SOL-FA 123. Towards a World That Has No Guns (F) 124. Trusting You, Trusting Me (C) 125. Ultimately We May Not Have Free Will (Em) 126. Unconscious Bias (Em) 127. Unless There’s No-One Watching (F)SOL-FA 128. Wake, Awake (C) 129. Walking in Someone’s Shoes (E ) 130. We Are People, Plastic People (C) 131. We Are Searching (C) 132. We Can Be Tolerant (D) SOL-FA 133. We Can Get Things To Happen (D) 134. We Mean “Will You Love Me?” (E ) SOL-FA 135. We’re Not Alone (D) 136. We’re Not At Our Best (F) SOL-FA 137. We’re Parents of a Soldier (B ) SOL-FA 138. What Are We Doing? (D) 139. When Feeling Lost (Em) 140. When I Am Down (A) SOL-FA 141. When Playing Cards (B ) 142. Who’s My Neighbor? (D) SOL-FA 143. Why Does This Phrase Have Five Measures? (D) 144. You Took the One Road (G) SOL-FA
(Hymns with the “SOL-FA” designation are solfege-friendly, being in a major key with no accidentals in any voice. See the “Personal Notes” section in back for more information.) 1. A Beauty Hides in Everyone (From the Secular Hymnal )
Music: "Ein Feste Burg" by Martin Luther, 1529 Words: Secretary Michael (traditional hymn: "A Mighty Fortress Is Our God") C G F C F C G C
S A beau - ty hides in e - v'ry - one. Our chal-lenge is to bring it out. No
A A beau - ty hides in e - v'ry - one. Our chal-lenge is to bring it out. No
T A beau - ty hides in e - v'ry - one. Our chal-lenge is to bring it out. No
B A beau - ty hides in e - v'ry - one. Our chal-lenge is to bring it out. No
6 C G F C F C G C S mat - ter who or what they've done, they have a beau - ty, we've no doubt. There's
A mat - ter who or what they've done, they have a beau - ty, we've no doubt. There's
T mat - ter who or what they've done, they have a beau - ty, we've no doubt. There's
B mat - ter who or what they've done, they have a beau - ty, we've no doubt. There's
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 11 C D G E‹ F A‹ D7
S beau - ty in the jails, in li - ars with their tales, in cy - nics as they
A beau - ty in the jails, in li - ars with their tales, in cy - nics as they
T beau - ty in the jails, in li - ars with their tales, in cy - nics as they
B beau - ty in the jails, in li - ars with their tales, in cy - nics as they
16 G F D‹ E F C G7 C S doubt, in bi - gots as they shout. Our chal - lenge is to bring it out.
A doubt, in bi - gots as they shout. Our chal - lenge is to bring it out.
T doubt, in bi - gots as they shout. Our chal - lenge is to bring it out.
B doubt, in bi - gots as they shout. Our chal - lenge is to bring it out.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 2. A Long, Long Way We've Come Today (From the Secular Hymnal)
Music: "Melita" by John Bacchus Dykes, 1861 Words: Secretary Michael (traditional hymn: "Eternal Father, Strong to Save")
C F C A‹ G D G S A long, long way we've come to - day to find a place where we can stay. A
A A long, long way we've come to - day to find a place where we can stay. A
T A long, long way we've come to - day to find a place where we can stay. A B A long, long way we've come to - day to find a place where we can stay. A
5 G7 C A7 D E‹ A‹ B E‹ S place where we, to - ge - ther here, can live in peace in - stead of fear. So
A place where we, to - ge - ther here, can live in peace in - stead of fear. So
T place where we, to - ge - ther here, can live in peace in - stead of fear. So B place where we, to - ge - ther here, can live in peace in - stead of fear. So
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 C7 F D7 G7 C A‹7 G7 C S let us ce - le - brate this day, for we have come a long, long way.
A let us ce - le - brate this day, for we have come a long, long way. T let us ce - le - brate this day, for we have come a long, long way. B let us ce - le - brate this day, for we have come a long, long way.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 3. A Peaceful Walk (From the Secular Hymnal)
Tune by Ralph E. Hudson, 1885 Words: Secretary Michael (traditional hymn: "At the Cross")
E¨ G‹ A¨ B¨ S 1. A peace - ful walk up - on our earth a - way from fear and wrath. We 2. A peace - ful walk up - on our path with o - thers we have told. We A 1. A peace - ful walk up - on our earth a - way from fear and wrath. We 2. A peace - ful walk up - on our path with o - thers we have told. We T 1. A peace - ful walk up - on our earth a - way from fear and wrath. We 2. A peace - ful walk up - on our path with o - thers we have told. We B 1. A peace - ful walk up - on our earth a - way from fear and wrath. We 2. A peace - ful walk up - on our path with o - thers we have told. We
5 E¨ G‹ F‹ B¨7 E¨ S walk a - gain, a - gain, a - gain un - til we have a path. Let us walk a - gain, a - gain, a - gain un - til we have a road. Let us A walk a - gain, a - gain, a - gain un - til we have a path. Let us walk a - gain, a - gain, a - gain un - til we have a road. Let us T walk a - gain, a - gain, a - gain un - til we have a path. Let us walk a - gain, a - gain, a - gain un - til we have a road. Let us B walk a - gain, a - gain, a - gain un - til we have a path. Let us walk a - gain, a - gain, a - gain un - til we have a road. Let us
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN 9 E¨ B¨ F‹ B¨ S walk, walk the walk as we talk, talk the talk, as we step, step by step find a
A walk, walk the walk as we talk, talk the talk, as we step, step by step find a
T walk, walk the walk as we talk, talk the talk, as we step, step by step find a B walk, walk the walk as we talk, talk the talk, as we step, step by step find a
12 E¨ A¨ E¨ C‹
S way. When the fear - ful say that we need more guns to - day, we will A way. When the fear - ful say that we need more guns to - day, we will T way (find a way) When the fear - ful say that we need more guns to - day, we will B way (find a way) When the fear - ful say that we need more guns to - day, we will
1. 2. 15 F‹ B¨ E¨ E¨ S know that there is a bet - ter way. When the way. (A) A know that there is a bet - ter way. When the way. (A)
T know that there is a bet - ter way (bet - ter way) When the way. (A) B know that there is a bet - ter way (bet - ter way) When the way. (A)
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 4. Accommodating Others (From the Secular Hymnal) Music: "Penlan" by David Jenkins, 1898 Words: Secretary Michael (traditional hymn: "In Heavenly Love Abiding")
E¨ B¨ B¨7 E¨ S Ac - com - mo - dat - ing o- thers is kind of fun to do. It
A Ac - com - mo - dat - ing o - thers is kind of fun to do. It
T Ac - com - mo - dat - ing o - thers is kind of fun to do. It
B Ac - com - mo - dat - ing o - thers is kind of fun to do. It
9 E¨ Dº7 G‹ D7 G‹ S doe - sn't mean we're toa- dies with - out a point of view. It A doe - sn't mean we're toa- dies with - out a point of view. It
T doe - sn't mean we're toa- dies with - out a point of view. It B doe - sn't mean we're toa- dies with - out a point of view. It
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 17 E¨ C‹ G‹ E¨ C‹ G‹ S takes a skill for learn-ing what o - ther peo - ple need. Ac -
A takes a skill for learn-ing what o - ther peo - ple need. Ac -
T takes a skill for learn-ing what o - ther peo - ple need. Ac - B takes a skill for learn-ing what o - ther peo - ple need. Ac -
25 C‹ A¨ Eº7 F‹ B¨7 E¨ S com - mo - dat - ing o - thers lets e - v'ry - one suc - ceed.
A com - mo - dat - ing o - thers lets e - v'ry - one suc - ceed.
T com - mo - dat - ing o - thers lets e - v'ry - one suc - ceed. B com - mo - dat - ing o - thers lets e - v'ry - one suc - ceed.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 5. Achieving Disagreement (From the Secular Hymnal)
Music: "Angel's Story" by Arthur Henry Mann, 1881 Words: Secretary Michael (traditional hymn: "O Jesus I Have Promised")
E¨ B¨ B¨7 E¨ S A - chiev - ing dis - a - gree - ment can be a plea - sant thing. The
A A - chiev - ing dis - a - gree - ment can be a plea - sant thing. The
T A - chiev - ing dis - a - gree - ment can be a plea - sant thing. The B A - chiev - ing dis - a - gree - ment can be a plea - sant thing. The
5 C7 F‹ F7 B¨7 S al - tos and the bas - ses have dif - f'rent notes to sing. It
A al - tos and the bas - ses have dif - f'rent notes to sing. It
T al - tos and the bas - ses have dif - f'rent notes to sing. It B al - tos and the bas - ses have dif - f'rent notes to sing. It
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E¨ B¨ B¨7 E¨ S takes a cer - tain ef - fort to lis - ten and trans - cend the A takes a cer - tain ef - fort to lis - ten and trans - cend the
T takes a cer - tain ef - fort to lis - ten and trans - cend the B takes a cer - tain ef - fort to lis - ten and trans - cend the
13 C7 F‹ B¨7 E¨ S things that we a - gree with to dis - a - gree as friends.
A things that we a - gree with to dis - a - gree as friends.
T things that we a - gree with to dis - a - gree as friends.
B things that we a - gree with to dis - a - gree as friends.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 6. All Need To Feel Significant (From the Secular Hymnal)
Words: Secretary Michael Music: "Eventide" by William Henry Monk, 1861 (traditional hymn: "Abide With Me") E B7 C©‹ E A B E S 1. All need to feel sig - ni - fi - cant to - day. 2. Soon - er or la - ter we learn on our own, 3. All need to feel sig - ni - fi - cant to - day. A 1. All need to feel sig - ni - fi - cant to - day. 2. Soon - er or la - ter we learn on our own, 3. All need to feel sig - ni - fi - cant to - day. T 1. All need to feel sig - ni - fi - cant to - day. 2. Soon - er or la - ter we learn on our own, 3. All need to feel sig - ni - fi - cant to - day. B 1. All need to feel sig - ni - fi - cant to - day. 2. Soon - er or la - ter we learn on our own, 3. All need to feel sig - ni - fi - cant to - day.
5 C©‹ A E F©‹ F©7 B B7 S All need to feel im - por - tant in some way. those most sig - nifi - cant of - ten are un - known. It is our job to let them feel that way. A All need to feel im - por - tant in some way. those most sig - nifi - cant of - ten are un - known. It is our job to let them feel that way. T All need to feel im - por - tant in some way. those most sig - nifi - cant of - ten are un - known. It is our job to let them feel that way. B All need to feel im - por - tant in some way. those most sig - nifi - cant of - ten are un - known. It is our job to let them feel that way.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E B7 C©‹ E A C©7 F©‹ S Same goes for chil - dren, teens they need it too. They're all a - round us, have been all the while, As we help o - thers be what they can be, A Same goes for chil - dren, teens they need it too. They're all a - round us, have been all the while, As we help o - thers be what they can be, T Same goes for chil - dren, teens they need it too. They're all a - round us, have been all the while, As we help o - thers be what they can be,
B Same goes for chil - dren, teens they need it too. They're all a - round us, have been all the while, As we help o - thers be what they can be,
13 B B7 C©‹ A E B7 E S All need sig - ni - fi - cance like me and you. show - ing us how to look a - head and smile. there is sig - ni - fi - cance in you and me. A All need sig - ni - fi - cance like me and you. show - ing us how to look a - head and smile. there is sig - ni - fi - cance in you and me. T All need sig - ni - fi - cance like me and you. show - ing us how to look a - head and smile. there is sig - ni - fi - cance in you and me. B All need sig - ni - fi - cance like me and you. show - ing us how to look a - head and smile. there is sig - ni - fi - cance in you and me.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 7. All Praise to the Troubled (From the Secular Hymnal)
Words: Secretary Michael Music by William Howard Doane, 1875 (traditional hymn: "To God Be the Glory") G D G C G A D S 1. Allpraise to the trou- bled, the lost and con- fused, to all schi-zo - phre-nics and those with the blues. All 2. Allpraise to the out- casts, a - lone and a - drift, bi - po- lars, au - tis - tics with their spe-cial gifts. All
A 1. All praise to the trou- bled, the lost and con- fused, to all schi-zo - phre-nics and those with the blues. All 2. All praise to the out- casts, a - lone and a - drift, bi - po- lars, au - tis - tics with their spe-cial gifts. All
T 1. Allpraise to the trou- bled, the lost and con- fused, to all schi-zo - phre-nics and those with the blues. All 2. Allpraise to the out- casts, a - lone and a - drift, bi - po- lars, au - tis - tics with their spe - cial gifts. All
B 1. All praise to the trou- bled, the lost and con- fused, to all schi-zo - phre-nics and those with the blues. All 2. All praise to the out- casts, a - lone and a - drift, bi - po- lars, au - tis - tics with their spe-cial gifts. All
9 G D G7 C G D G S praise to the doubt-ers and those who think free, who o - pen us up to a world that could be. Spin a praise to the ar - tists in whose fan - ta - sies we learn that there'smore to the world than we see. Spin a A praise to thedoubt-ers and those who think free, who o - pen us up to a world that could be. Spin a praise to the ar - tists in whose fan - ta - sies we learn that there'smore to the world than we see. Spin a T praise to thedoubt-ers and those who think free, who o - pen us up to a world that could be. Spin a praise to the ar - tists in whose fan - ta - sies we learn that there'smore to the world than we see. Spin a
B praise to thedoubt-ers and those who think free, who o - pen us up to a world that could be. Spin a praise to the ar - tists in whose fan - ta - sies we learn that there'smore to the world than we see. Spin a
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN
17 G D G S round, spin a round, 'til we're no long-er bound. Spin a round, spin a round, 'til we're way off the ground. All
A round, spin a round, 'til we're no long-er bound. Spin a round, spin a round, 'til we're way off the ground. All T round, spin a round, 'til we're no long-er bound. Spin a round, spin a round, 'til we're way off the ground. All B round, spin a round, 'til we're no long-er bound. Spin a round, spin a round, 'til we're way off the ground. All
25 G D G7 C G D G S praise to the trou-bled who help us to see, and o - pen us up to a world that could be.
A praise to the trou-bled who help us to see, and o - pen us up to a world that could be. T praise to the trou-bled who help us to see, and o - pen us up to a world that could be. B praise to the trou-bled who help us to see, and o - pen us up to a world that could be.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 8. All the Seven Deadly Sins (From the Secular Hymnal)
Music: traditional folk song Words: Secretary Michael (traditional hymn: "Just a Closer Walk With Thee") B¨ G‹ C‹7 F7 C‹7 F7 B¨ S 0. All the Se - ven Dead-ly Sins come to vi - sit now and then. 2. Glut - to - ny is kind of sweet if it has e-nough to eat. 4. Pride comes sing - ing to us all: "Mir - ror, mir-ror on the wall." 6. Sloth just sits there on its butt. Half the time it won't show up. A
T 0. All the Se - ven Dead-ly Sins come to vi - sit now and then. 2. Glut - to - ny is kind of sweet if it has e-nough to eat. 4. Pride comes sing - ing to us all: "Mir - ror, mir-ror on the wall." 6. Sloth just sits there on its butt. Half the time it won't show up. B
5 B¨ B¨7 E¨ Eº7 B¨ F7 B¨ S Real - ly don't want them to stay, but a short lit - tle chat is o - kay. Had nine do - nuts on a plate. I took one, turned my head, it took eight. Not con-tent that this will do, we're re - ques - ted to all sing it too. Tried to fill it with de - light. It just sat there and grum -bled "Yea, right."
A T Real - ly don't want them to stay, but a short lit - tle chat is o - kay. Had nine do - nuts on a plate. I took one, turned my head, it took eight. Not con-tent that this will do, we're re - ques - ted to all sing it too. Tried to fill it with de - light. It just sat there and grum -bled "Yea, right." B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 B¨ G‹ C‹7 F7 C‹7 F7 B¨ S 1. Wrath's the one I fear the most. Ang - ry e - ven o - ver toast. 3. En - vy has no beef with me. Stuff I have is al - most free. 5. Greed is al -ways worth a laugh. Once I cut an orange in half. 7. Lust is in a dif-f'rent league. I have al-ways been in - trigued. A
T 1. Wrath's the one I fear the most. Ang - ry e - ven o - ver toast. 3. En - vy has no beef with me. Stuff I have is al - most free. 5. Greed is al -ways worth a laugh. Once I cut an orange in half 7. Lust is in a dif-f'rent league. I have al-ways been in - trigued.
B
13 B¨ B¨7 E¨ Eº7 B¨ F7 B¨ S Spew - ing out con - tempt all day, How I wish it would just go a - way. But for those with wealth ga - lore, it ob - ses - ses to have e - ven more. "Greed, there's one for me and you." Greed re - plied:"Why take one when there's two?" But un - for - tu - na - t'ly, Lust has not been in-trigued with me. (to Verse 0) A
T Spew - ing out con - tempt all day, How I wish it would just go a - way. But for those with wealth ga - lore, it ob - ses - ses to have e - ven more. "Greed, there's one for me and you." Greed re - plied:"Why take one when there's two?" But un - for - tu - na - t'ly, Lust has not been in-trigued with me. (to Verse 0) B
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 9. Assuming There's Peace (From the Secular Hymnal)
Music: "Lyons" by Johann Michael Haydn, 1770 Words: Secretary Michael Arranged by William Gardiner, 1815 (traditional hymn: "O Worship the King") G E‹ C D S As - sum - ing there's peace, when real - ly there's none, as -
A As - sum - ing there's peace, when real - ly there's none, as - T As - sum - ing there's peace, when real - ly there's none, as - B As - sum - ing there's peace, when real - ly there's none, as -
5 G E‹ D7 G S sum - ing there's peace just might help get it done. By
A sum - ing there's peace just might help get it done. By
T sum - ing there's peace just might help get it done. By B sum - ing there's peace just might help get it done. By
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D7 S trust - ing and talk - ing to e - ver - y - one, as -
A trust - ing and talk - ing to e - ver - y - one, as -
T trust - ing and talk - ing to e - ver - y - one, as - B trust - ing and talk - ing to e - ver - y - one, as -
13 G E‹ D7 G
S sum - ing there's peace just might help get it done. A sum - ing there's peace just might help get it done.
T sum - ing there's peace just might help get it done. B sum - ing there's peace just might help get it done.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 10. "Bad" is Not a Name (From the Secular Hymnal)
Melody: "Picardy" (traditional French) Words: Secretary Michael SATB arrangement by Secretary Michael (traditional hymn: "Let All Mortal Flesh Keep Silence") D‹ B¨ C F D‹ G‹ A S 1. "Bad" is not a name for a wo - man. "Bad" is not a name for a man. 2. "Bad" is not a name for a hus - band. "Bad" is not a name for a wife. 3. "Bad" is not a name for the hun - gry. "Bad" is not a name for the poor.
A T 1. "Bad" is not a name for a wo - man. "Bad" is not a name for a man. 2. "Bad" is not a name for a hus - band. "Bad" is not a name for a wife. 3. "Bad" is not a name for the hun - gry. "Bad" is not a name for the poor.
B
7 D‹ B¨ C F D‹ G‹ A S "Bad" is not a name for a peo - ple. "Bad" is not a name for a land. "Bad" is not a name for a per - son caught in the ma - chi - n'ry of life. "Bad" is not a name for the lone - ly who don't want to live a - ny - more.
A
T "Bad is not a name for a peo - ple. "Bad" is not a name for a land. "Bad" is not a name for a per - son caught in the ma - chi - n'ry of life. "Bad is not a name for the lone - ly who don't want to live a - ny - more.
B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN
13 D‹ G‹ D‹ C S "Bad" is just a name for that which cau - ses pain, A "Bad" is just a name for that which cau - ses pain,
T "Bad" is just a name for that which cau - ses pain, B "Bad" is just a name for that which cau - ses pain,
17 D‹ G‹ C D‹ S not for a - ny vic - tim it claims.
A not for a - ny vic - tim it claims.
T not for a - ny vic - tim it claims. B not for a - ny vic - tim it claims.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 11. Because Violence Can't End Violence (From the Secular Hymnal)
Melody: "Gendarmes' Duet" by Jacques Offenbach, 1867 Words: Secretary Michael Adapted by the U.S. Marine Corps, 1919 SATB Arrangement: Secretary Michael (traditional hymn: "From the Halls of Montezuma") C G7 C G7 C S 1. Be -cause vio - lence can't end vi - o- lence, we re - fuse to march a - long. Be -cause 2. Be-cause ha - tred can't end ha - tred, we re - fuse to march a - long. Be-cause A 1. Be-cause vio - lence can't end vi - o- lence, we re - fuse to march a - long. Be-cause 2. Be-cause ha - tred can't end ha - tred, we re - fuse to march a - long. Be-cause
T 1. Be -cause vio - lence can't end vi - o- lence, we re - fuse to march a - long. Be-cause 2. Be-cause ha - tred can't end ha - tred, we re - fuse to march a - long. Be-cause
B 1. Be-cause vio - lence can't end vi - o - lence, we re - fuse to march a - long. Be-cause 2. Be-cause ha - tred can't end ha - tred, we re - fuse to march a - long. Be-cause
5 G7 C G7 C S vio - lence can't end vi - o- lence, we will sing a dif-f'rent song. There are ha - tred can't end ha - tred, we will sing a dif-f'rent song. There are
A vio - lence can't end vi - o- lence, we will sing a dif-f'rent song. There are ha - tred can't end ha - tred, we will sing a dif-f'rent song. There are T vio - lence can't end vi - o - lence, we will sing a dif-f'rent song. There are ha - tred can't end ha - tred, we will sing a dif-f'rent song. There are B vio - lence can't end vi - o - lence, we will sing a dif - f'rent song. There are ha - tred can't end ha - tred, we will sing a dif - f'rent song. There are
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F C F C G7 S ways to change be - ha - vior; tea-chers do it e - v'ry day. Be -cause ways to change be - ha - vior; par - ents do it e - v'ry day. Be-cause
A ways to change be - ha - vior; tea-chers do it e - v'ry day. Be -cause ways to change be - ha - vior; par - ents do it e - v'ry day. Be-cause
T ways to change be - ha - vior; tea-chers do it e - v'ry day. Be-cause ways to change be - ha - vior; par - ents do it e - v'ry day. Be-cause
B ways to change be - ha - vior; tea-chers do it e - v'ry day. Be-cause ways to change be - ha - vior; par - ents do it e - v'ry day. Be-cause
13 C G7 C G7 C S vio - lence can't end vi - o- lence, we choose PEACE to be our way. ha - tred can't end ha - tred, we choose LOVE to be our way.
A vio - lence can't end vi - o- lence, we choose PEACE to be our way. ha - tred can't end ha - tred, we choose LOVE to be our way.
T vio - lence can't en vi - o- lence, we choose PEACE to be our way. ha - tred can't end ha - tred, we choose LOVE to be our way.
B vio - lence can't end vi - o - lence, we choose PEACE to be our way. ha - tred can't end ha - tred, we choose LOVE to be our way.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 12. Borders, Boundaries, Walls and Fences (From the Secular Hymnal)
Words and Music: Secretary Michael
C F C F C A‹ F G S Bor - ders, boun- d'ries, walls and fen - ces, one by one they'll dis - ap - pear.
A Bor - ders, boun- d'ries, walls and fen - ces, one by one they'll dis - ap - pear.
T Bor - ders, boun- d'ries, walls and fen - ces, one by one they'll dis - ap - pear. B Bor - ders, boun- d'ries, walls and fen - ces, one by one they'll dis - ap - pear.
5 C F C F C A‹ F G S All our so - called dif - fer - en - ces, these are things we do not fear. Don't
A All our so - called dif - fer - en - ces, these are things we do not fear. Don't
T All our so - called dif - fer - en - ces, these are things we do not fear. Don't B All our so - called dif - fer - en - ces, these are things we do not fear. Don't
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 B¨ F A¨ E¨ 3 3 3 3 3 3 3 3 S talk a - bout ho- nor, don't talk a - bout pride. Don't start wa - ving flags, we won't pick a side. Don't talk a - bout trea- son, the word is a lie. We're not "them and us", we're just "you and I". In
3 3 3 3 3 3 3 3 A talk a - bout ho- nor, don't talk a - bout pride. Don't start wa - ving flags, we won't pick a side. Don't talk a - bout trea- son, the word is a lie. We're not "them and us", we're just "you and I". In
3 3 3 3 3 3 3 3 T talk a - bout ho- nor, don't talk a - bout pride. Don't start wa - ving flags, we won't pick a side. Don't talk a - bout trea- son, the word is a lie. We're not "them and us", we're just "you and I". In
3 3 3 3 3 3 3 3 B talk a - bout ho- nor, don't talk a - bout pride. Don't start wa - ving flags, we won't pick a side. Don't talk a - bout trea- son, the word is a lie. We're not "them and us", we're just "you and I". In
11 G¨ D¨ B¨‹ F 3 3 3 3 3 3 3 3 S threa- ten with spir - its be - low or a- bove, we're pro - tec - ted by sci- ence, pro - tec - ted by love. The lov - ing the world we're not leav-ing you. We hold out our hands, we want you to come too. The
3 3 3 3 3 3 3 3 A threa- ten with spir - its be - low or a- bove, we're pro - tec - ted by sci- ence, pro - tec - ted by love. The lov - ing the world we're not leav-ing you. We hold out our hands, we want you to come too. The
3 3 3 3 3 3 3 3 T threa- ten with spir - its be - low or a- bove, we're pro - tec - ted by sci- ence, pro - tec - ted by love. The lov - ing the world we're not leav-ing you. We hold out our hands, we want you to come too. The
3 3 3 3 3 3 3 3 B threa- ten with spir - its be - low or a- bove, we're pro - tec - ted by sci- ence, pro - tec - ted by love. The lov - ing the world we're not leav-ing you. We hold out our hands, we want you to come to0. The REFRAIN
13 B¨ A D‹ C 3 3 3 3 3 3 3 3 S world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The
3 3 3 3 3 3 3 3 A world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The
3 3 3 3 3 3 3 3 T world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The
3 3 3 3 3 3 3 3 B world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! The
15 F E A‹ G 3 3 3 3 3 3 3 3 S world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! Don't world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid!
3 3 3 3 3 3 3 3 A world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! Don't world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid!
3 3 3 3 3 3 3 3 T world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! Don't world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid!
3 3 3 3 3 3 3 3 B world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! Don't world is our fa - mi - ly, we're not a - fraid! The world is our fa - mi - ly, we're not a - fraid! 17 C F C F C F C S Walls and fen - ces, dif - fer - en - ces, we are not a - fraid!
A Walls and fen - ces, dif - fer - en - ces, we are not a - fraid!
T Walls and fen - ces, dif - fer - en - ces, we are not a - fraid!
B Walls and fen - ces, dif - fer - en - ces, we are not a - fraid! 13. Building a Door (From the Secular Hymnal)
Music: "St. Catherine" by Henri F. Henry, 1864 Words: Secretary Michael Arranged by James George Walton, 1864 (traditional hymn: "Faith Of Our Fathers")
G E‹ A‹ D7 G C G S Build - ing a door through e - v'ry wall. It takes some skill, a
A Build - ing a door through e - v'ry wall. It takes some skill, a
T Build - ing a door through e - v'ry wall. It takes some skill, a B Build - ing a door through e - v'ry wall. It takes some skill, a
7 A7 D7 G E‹ A‹ D7 E‹ S ham - mer and saw. Build - ing a door, we know the way. A ham - mer and saw. Build - ing a door, we know the way. T ham - mer and saw. Build - ing a door, we know the way. B ham - mer and saw. Build - ing a door, we know the way.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN 13 C G D7 G C G S Let's build a door right here to - day. Let's build a door and A Let's build a door right here to - day. Let's build a door and
T Let's build a door right here to - day. Let's build a door and B Let's build a door right here to - day. Let's build a door and
19 D G E‹ C D7 G
S when it's done, o - pen it up to e - v'ry one. A when it's done, o - pen it up to e - v'ry one.
T when it's done, o - pen it up to e - v'ry one. B when it's done, o - pen it up to e - v'ry one.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 14. Climbing Up The Ladder (From the Secular Hymnal)
Words: Secretary Michael Music: "Nicaea" by John Bacchus Dykes, 1861 (traditional hymn: "Holy, Holy, Holy") D B‹ A D G D S 1. Climb - ing up the lad - der, what do I see? 2. Climb - ing down the lad - der, what do I do?
A 1. Climb - ing up the lad - der, what do I see? 2. Climb - ing down the lad - der, what do I do? T 1. Climb - ing up the lad - der, what do I see? 2. Climb - ing down the lad - der, what do I do?
B 1. Climb - ing up the lad - der, what do I see? 2. Climb - ing down the lad - der, what do I do?
5 A B‹ A E7 A A7
S Peo - ple all a - round the world that seem a lot like me. Work so all the things I need are there for o - thers too. A Peo - ple all a - round the world that seem a lot like me. Work so all the things I need are there for o - thers too.
T Peo - ple all a - round the world that seem a lot like me. Work so all the things I need are there for o - thers too.
B Peo - ple all a - round the world that seem a lot like me. Work so all the things I need are there for o - thers too.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D B‹ A D G D S Need - ing food and wa - ter, jobs to build a nest, Jobs to earn a li - ving, food and wa - ter pure,
A Need - ing food and wa - ter, jobs to build a nest, Jobs to earn a li - ving, food and wa - ter pure, T Need - ing food and wa - ter, jobs to build a nest, Jobs to earn a liv - ing, food and wa - ter pure,
B Need - ing food and wa - ter, jobs to build a nest, Jobs to earn a li - ving, food and wa - ter pure,
13 D B‹ E‹ A7 D S some - one to love, a chance to be their best. free - dom from fear, a fu - ture that's se - cure. A some - one to love, a chance to be their best. free - dom from fear, a fu - ture that's se - cure.
T some - one to love, a chance to be their best. free - dom from fear, a fu - ture that's se - cure.
B some - one to love, a chance to be their best. free - dom from fear, a fu - ture that's se - cure.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 15. Climbing Up The Mountain (From the Secular Hymnal)
Music: "Wye Valley" by James Mountain, 1876 Words: Secretary Michael (traditional hymn: "At the Name of Jesus")
F C D‹ A‹ G‹ C F
S Climb - ing up the moun - tain, how I want to stop.
A Climb - ing up the moun - tain, how I want to stop.
T Climb - ing up the moun - tain, how I want to stop. B Climb - ing up the moun - tain, how I want to stop.
5 F C D‹ C G7 C S But I keep on climb - ing, climb - ing to the top.
A But I keep on climb - ing, climb - ing to the top.
T But I keep on climb - ing, climb - ing to the top. B But I keep on climb - ing, climb - ing to the top.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F B¨ F G‹ D‹ C
S Will I e - ver get there? Chance is ve - ry small.
A Will I e - ver get there? Chance is ve - ry small.
T Will I e - ver get there? Chance is ve - ry small.
B Will I e - ver get there? Chance is ve - ry small.
13 F A7 D‹ G7 F C7 F S But if I stop climb - ing, there's no chance at all.
A But if I stop climb - ing, there's no chance at all.
T But if I stop climb - ing, there's no chance at all.
B But if I stop climb - ing, there's no chance at all.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 16. Come Live With Us (From the Secular Hymnal)
Words and Music: Secretary Michael
B¨ A‹ D7 G‹7 S Come live with us. Come live with us. Ac - cept e - v'ry -
A Come live with us. Come live with us. Ac - cept e - v'ry -
T Live with us. Live with us. Ac - cept e - v'ry - B Live with us. Live with us. Ac - cept e - v'ry -
6 C7 F F7 B¨ A‹ D7 S bo - dy and live thus. Come live with us. Come live with us. For
A bo - dy and live thus. Come live with us. Come live with us. For
T bo - dy and live thus. Live with us. Live with us. For
B bo - dy and live thus. Live with us. Live with us. For
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 G‹ C7 G‹ C7 S we live in a Love Thy Neigh-bor world. We live in a Love Thy Neigh-bor world.
A we live in a Love Thy Neigh-bor world. We live in a Love Thy Neigh-bor world.
T we live in a Love Thy Neigh-bor world. We live in a Love Thy Neigh-bor world. B we live in a Love Thy Neigh-bor world. We live in a Love Thy Neigh-bor world.
17 G‹ C7 B¨ G‹ F
S We live in a Love Thy Neigh-bor world. Come live with us.
A We live in a Love Thy Neigh-bor world. Come live with us.
T We live in a Love Thy Neigh-bor world. Come live with us. B We live in a Love Thy Neigh-bor world. Come live with us. 17. Communication is the Answer (From the Secular Hymnal)
Words: Secretary Michael Music: "Coronation" by Oliver Holden, 1793 (traditional hymn: "All Hail the Power of Jesus' Name") G E‹ C D C D G S 1. Com - mu - ni - ca - tion is the an - swer, let the ques - tions come. The 2. A lone - ly lob - ster asks for help, the hel - per shouts "Ja Wohl!"* Yes 3. An an - gry aard - vark asks for help, the hel - per shouts "Ja Wohl!" Yes 4. A hope - less ham - ster asks for help, the hel - per shouts "Ja Wohl!" Yes 5. Come lob - sters, aard - varks, ham - sters, hu - mans, e - v'ry - one we know, and
A T 1. Com - mu - ni - ca - tion is the an - swer, let the ques - tions come. The 2. A lone - ly lob - ster asks for help, the hel - per shouts "Ja Wohl!"* Yes 3. An an - gry aard - vark asks for help, the hel - per shouts "Ja Wohl!" Yes 4. A hope - less ham - ster asks for help, the hel - per shouts "Ja Wohl!" Yes 5. Come lob - sters, aard - varks, ham - sters, hu - mans, e - v'ry - one we know, and B 5 E‹ D G E‹ A7 D S har - dest pro - blems in the world, we'll solve them one by one. The I can help cuz 'lone - ly' is a lan - guage that I know. Yes I can help cuz 'an - gry' is a lan - guage that I know. Yes I can help cuz 'hope - less' is a lan - guage that I know. Yes learn the ma - ny lan - gua - ges so all of us can grow. Com - A T har - dest pro - blems in the world, we'll solve them one by one. The I can help cuz 'lone - ly' is a lan - guage that I know. Yes I can help cuz 'an - gry' is a lan - guage that I know. Yes I can help cuz 'hope - less" is a lan - guage that I know. Yes learn the ma - ny lan - gua - ges so all of us can grow. Com - B All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 10 G C D G S har - dest prob - lems in the world, we'll solve them one by one. I can help cuz 'lone - ly' is a lan - guage that I know. I can help cuz 'an - gry' is a lan - guage that I know. I can help cuz 'hope - less' is a lan - guage that I know. mu - ni - ca - tion is the an - swer, "Ja, Ja, Ja, Ja Wohl!" A
T har - dest prob - lems in the world, we'll solve them one by one. I can help cuz 'lone - ly' is a lan - guage that I know. I can help cuz 'an - gry' is a lan - guage that I know. I can help cuz 'hope - less' is a lan - guage that I know. mu - ni - ca - tion is the an - swer, "Ja, Ja, Ja, Ja Wohl!"
B
* "Ja Wohl" (pronounced "ya vole") is a German expression meaning "Yes Indeed"
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 18. Crank and Sprocket (From the Secular Hymnal)
Words: Secretary Michael Music: "Easter Hymn" from the Lyra Davidica collection of 1708 (traditional hymn: "Jesus Christ is Risen Today") C F C D‹7 G7 C S 1. Crank and sproc- ket, chain and wheel. Chug- ga, chug- ga, chug, chug-ga boom boom boom. 2. Head and shoul- ders, knees and toes. Chug- ga, chug- ga, chug, chug-ga boom boom boom.
A 1. Crank and sproc - ket, chain and wheel. Chug- ga, chug- ga, chug, chug-ga boom boom boom. 2. Head and shoul- ders, knees and toes. Chug- ga, chug- ga, chug, chug-ga boom boom boom.
T 1. Crank and sproc - ket, chain and wheel. Chug- ga, chug- ga, chug, chug-ga boom boom boom. 2. Head and shoul- ders, knees and toes. Chug- ga, chug- ga, chug, chug-ga boom boom boom.
B 1. Crank and sproc - ket, chain and wheel. Chug- ga, chug- ga, chug, chug-ga boom boom boom. 2. Head and shoul- ders, knees and toes. Chug- ga, chug- ga, chug, chug-ga boom boom boom.
5 F D‹7 G C D‹7 G7 C
S Spark plug, pis - ton, valve and seal. Chug- ga, chug- ga, chug, chug-ga boom boom boom. Eyes and ears, a mouth and nose. Chug- ga, chug- ga, chug, chug-ga boom boom boom.
A Spark plug, pis - ton, valve and seal. Chug- ga, chug- ga, chug, chug-ga boom boom boom. Eyes and ears, a mouth and nose. Chug- ga, chug- ga, chug, chug-ga boom boom boom.
T Spark plug, pis - ton, valve and seal. Chug- ga, chug- ga, chug, chug-ga boom boom boom. Eyes and ears, a mouth and nose. Chug- ga, chug- ga, chug, chug-ga boom boom boom. B Spark plug, pis - ton, valve and seal. Chug- ga, chug- ga, chug, chug-ga boom boom boom. Eyes and ears, a mouth and nose. Chug- ga, chug- ga chug, chug-ga boom boom boom.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN
9 G G7 C G A‹ D G
S My ma - chine has ne - ver strayed, ne - ver, ne - ver, ne - ver dis - o - beyed.
A My ma-chine has ne - ver strayed, ne - ver, ne - ver, ne - ver dis - o - beyed.
T My ma - chine has ne - ver strayed, ne - ver, ne - ver, ne - ver dis - o- beyed. B My ma - chine has ne - ver strayed, ne - ver, ne - ver, ne - ver dis - o - beyed.
13 G7 C F C F G7 C S Does ex - act - ly as it's made. Chug- ga, chug- ga, chug- ga, chug-ga boom boom boom.
A Does ex - act - ly as it's made. Chug- ga, chug- ga, chug- ga, chug-ga boom boom boom.
T Does ex - act - ly as it's made. Chug- ga, chug- ga, chug- ga, chug-ga boom boom boom. B Does ex- act - ly as it's made. Chug- ga, chug- ga, chug- ga, chug-ga boom boom boom.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 19. Disassemble Every Gun (From the Secular Hymnal)
Music: "Nettleton", 1813 Words: Secretary Michael (traditional hymn: "Come Thou Fount of Every Blessing") D A G A7 D S Dis - as - sem - ble e - v'ry gun and dis - as - sem - ble e - v'ry fear. Then go
A Dis - as - sem - ble e - v'ry gun and dis - as - sem - ble e - v'ry fear. Then go
T Dis - as - sem - ble e - v'ry gun and dis - as - sem - ble e - v'ry fear. Then go B Dis - as - sem - ble e - v'ry gun and dis - as - sem - ble e - v'ry fear. Then go
5 D A G A7 D S scat - ter all the pie - ces so they ne - ver re - ap - pear. Do not
A scat - ter all the pie - ces so they ne - ver re - ap - pear. Do not
T scat - ter all the pie - ces so they ne - ver re - ap - pear. Do not B scat - ter all the pie - ces so they ne - ver re - ap - pear. Do not
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 B‹ G F©‹ B‹ G D S sell them, do not hide them, do not give them a - way. Scat - ter
A sell them, do not hide them, do not give them a - way. Scat - ter
T sell them, do not hide them, do not give them a - way. Scat - ter
B sell them, do not hide them, do not give them a - way. Scat - ter
13 D A G A7 D S all the lit - tle pie - ces then be - gin a new day. A all the lit - tle pie - ces then be - gin a new day.
T all the lit - tle pie - ces then be - gin a new day. B all the lit - tle pie - ces then be - gin a new day.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 20. Diversity in Thought (From the Secular Hymnal)
Words: Secretary Michael Music: "Rhosymedre" by John Edwards, 1840 (traditional hymn: "My Song Is Love Unknown")
F C F B¨ C F S Di - ver - si - ty in thought is some - thing quite pro - found. It
A Di - ver - si - ty in thought is some - thing quite pro - found. It
T Di - ver - si - ty in thought is some - thing quite pro - found. It B Di - ver - si - ty in thought is some - thing quite pro - found. It
5 F C F B¨ C F S can't be taught or bought. It on - ly can be found by
A can't be taught or bought. It on - ly can be found by
T can't be taught or bought. It on - ly can be found by
B can't be taught or bought. It on - ly can be found by
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D‹ G‹ B¨ C G‹
S turn - ing our - selves 'round and 'round and in - side out and
A turn - ing our - selves 'round and 'round and in - side out and
T turn - ing our - selves 'round and 'round and in - side out and B turn - ing our - selves 'round and 'round and in - side out and
13 C D‹ B¨ C C7 F S out - side in and down - side up and up - side down.
A out - side in and down - side up and up - side down.
T out - side in and down - side up and up - side down. B out - side in and down - side up and up - side down.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 21. Don't Choose Sides (From the Secular Hymnal)
Music: "Salve Regina" Hermann of Reichenau, c. 1050 Words: Secretary Michael (traditional hymn: "Hail Holy Queen Enthroned Above")
B¨ F G‹ C‹ B¨ F7 B¨
S 1. There are cer - tain to - pics that di- vide. Don't Choose Sides. Let's 2. There are times when feel - ings can col- lide. Don't Choose Sides. Let's
A 1. There are cer - tain to - pics that di- vide. Don't Choose Sides. Let's 2. There are times when feel - ings can col- lide. Don't Choose Sides. Let's T 1. There are cer - tain to - pics that di- vide. Don't Choose Sides. Let's 2. There are times when feel - ings can col- lide. Don't Choose Sides. Let's B 1. There are cer - tain to - pics that di- vide. Don't Choose Sides. Let's 2. There are times when feel - ings can col- lide. Don't Choose Sides. Let's
5 F G‹ C‹ B¨ F7 B¨ B¨ E¨ F7 B¨ S choose to be where peace re- sides. Don't Choose Sides. No op - po- nents, on - ly friends. choose to be where peace re- sides. Don't Choose Sides. Spread the word so all can see
A choose to be where peace re- sides. Don't Choose Sides. No op - po- nents, on - ly friends. choose to be where peace re- sides. Don't Choose Sides. Spread the word so all can see T choose to be where peace re- sides. Don't Choose Sides. No op - po- nents, on - ly friends. choose to be where peace re -sides.. Don't Choose Sides. Spread the word so all can see B choose to be where peace re- sides. Don't Choose Sides. No op - po- nents, on - ly friends. choose to be where peace re- sides. Don't Choose Sides. Spread the word so all can see
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 11 G‹ E¨ C7 F B¨ G‹ C‹7/F B¨
S No more los - ses, no more wins. That's the way that peace be - gins. on both sides hu - ma - ni - ty. That's our chal - lenge, you and me. A No more los - ses, no more wins. That's the way that peace be - gins. on both sides hu - ma - ni - ty. That's our chal - lenge, you and me.
T No more los - ses, no more wins. That's the way that peace be - gins. on both sides hu - ma - ni - ty. That's our chal - lenge, you and me. B No more los - ses, no more wins. That's the way that peace be - gins. on both sides hu - ma - ni - ty. That's our chal - lenge you and me.
15 B¨ E¨ C F7 B¨ G‹ F7 B¨
S Don't Choose Sides. Don't Choose Sides. Choose to be where peace re - sides. Don't Choose Sides. Don't Choose Sides. Choose to be where peace re - sides.
A Don't Choose Sides. Don't Choose Sides. Choose to be where peace re - sides. Don't Choose Sides. Don't Choose Sides. Choose to be where peace re - sides.
T Don't Choose Sides. Don't Choose Sides. Choose to be where peace re - sides. Don't Choose Sides. Don't Choose Sides. Choose to be where peace re - sides. B Don't Choose Sides. Don't Choose Sides. Choose to be where peace re - sides. Don't Choose Sides. Don't Choose Sides. Choose to be where peace re - sides.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 22. Don't Know How I Got Here (From the Secular Hymnal)
Words: Secretary Michael Music: "Ville Du Havre" (Harbor City) by Philip Paul Bliss, 1876 (traditional hymn: "It Is Well With My Soul")
B¨ F F7 B¨ G‹ S Don't know how I got here but here I am. And all that I
A Don't know how I got here but here I am. And all that I
T Don't know how I got here but here I am. And all that I
B Don't know how I got here but here I am. And all that I
6 C7 F F7 B¨ E¨ G7 C C7 S have is a plan. Ab - surd as it seems and what - e - ver it
A have is a plan. Ab - surd as it seems and what - e - ver it
T have is a plan. Ab - surd as it seems and what - e - ver it B have is a plan. Ab - surd as it seems and what - e - ver it
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 11 F F7 B¨ E¨ B¨ F7 B¨ B¨ S means, I will stay and do the best that I can. Here I am.
A means, I will stay and do the best that I can. Here I
T means, I will stay and do the best that I can. Here I
B means, I will stay and do the best that I can. Here I
1. 2. 16 F B¨ E¨ B¨ F7 B¨ B¨ S Here I am. I will stay and do the best that I can. Here I can.
A am. Here I am. I will stay and do the best that I can. can.
T am. Here I am. I will stay and do the best that I can. can.
B am. Here I am. I will stay and do the best that I can. can.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 23. Each Little Raindrop (From the Secular Hymnal)
Words: Secretary Michael Music: "Sutra Hymn" by Secretary Michael
E¨ C‹ F‹ B¨ F‹ B¨ E¨ S Each lit - tle rain - drop drop-ping in mud might bring a ter - ri - ble flood.
A Each lit - tle rain - drop drop-ping in mud, mud, might bring a ter - ri - ble flood.
T Each lit - tle rain - drop drop-ping in mud, might bring a ter - ri - ble flood. B Each lit - tle rain - drop drop-ping in mud, might bring a ter - ri - ble, ter - ri - ble flood.
5 E¨ C‹ F‹ B¨ F‹ B¨ E¨ S Each lit - tle peb - ble tum-bling with pride might bring a ter - ri - ble slide.
A Each lit - tle peb - ble tum-bling with pride, pride, might bring a ter - ri - ble slide.
T Each lit - tle peb - ble tum-bling with pride, might bring a ter - ri - ble slide. B Each lit - tle peb - ble tum-bling with pride, might bring a ter - ri - ble, ter - ri - ble slide.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E¨ C‹
S Lit - tle plea - sures that we take that ne - ver cause of - fense,
A Lit - tle plea - sures that we take that ne - ver cause of - fense, T Lit - tle plea - sures that we take that ne - ver cause of - fense, B Lit - tle plea - sures that we take that ne - ver cause of - fense, 11 A¨ B¨7
S if so done by e - v'ry - one, the strife would be im - mense.
A if so done by e - v'ry - one, the strife would be im - mense. T if so done by e - v'ry - one, the strife would be im - mense. B if so done by e - v'ry - one, the strife would be im - mense.
13 E¨ C‹ F‹ B¨ F‹ B¨ E¨ S Each lit - tle plea - sure lead - ing to strife, might bring a ter - ri - ble life.
A Each lit - tle plea - sure lead - ing to strife, strife, might bring a ter - ri - ble life.
T Each lit - tle plea - sure lead - ing to strife, might bring a ter - ri - ble life. B Each lit - tle plea - sure lead - ing to strife, might bring a ter - ri - ble, ter - ri - ble life. 24. Education is our Destination (From the Secular Hymnal) Tune: "Warrenton" (from the Sacred Harp book) Words: Secretary Michael SATB Arrangement: Secretary Michael (traditional hymn: "Come Thou Fount of Every Blessing") C CŒ„Š7 F C C A‹ F G C S 1. E - du - ca - tion is our de - sti - na - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! 2. Come a - board and join the ce - le - bra - tion! Choo choo! Chug-ga-Chug- ga! Here we come!
A 1. E - du - ca - tion is our de - sti - na - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! 2. Come a - board and join the ce - le - bra - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! T 1. E - du - ca - tion is our de - sti - na - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! 2. Come a - board and join the ce - le - bra - tion! Choo- choo! Chug-ga-Chug- ga! Here we come!
B 1. E - du - ca - tion is our de - sti - na - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! 2. Come a - board and join the ce - le - bra - tion! Choo- choo! Chug-ga-Chug- ga! Here we come!
5 C CŒ„Š7 F C A‹ F G C S Join us on the train of li - ber - a - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! Here we On the train to get an e - du - ca - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! Here we
A Join us on the train of li - ber - a - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! Here we On the train to get an e - du - ca - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! Here we
T Join us on the train of li - ber - a - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! Here we On the train to get an e - du - ca - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! Here we
B Join us on the train of li - ber - a - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! Here we On the train to get an e - du - ca - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! Here we
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN
9 A‹ G F C A‹ F G C
S come, all the stu-dents of each and e - v'ry na - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! On the
A come, all the stu-dents of each and e - v'ry na - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! On the
T come, all the stu-dents of each and e - v'ry na - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! On the B come, all the stu-dents of each and e - v'ry na - tion! Choo- choo! Chug-ga-Chug- ga! Here we come! On the
13 A‹ G F C A‹ F G C S train to an o - pen and an e- qual e - du - ca - tion. Choo- choo! Chug-ga-Chug- ga! Here we come!
A train to an o - pen and an e- qual e - du - ca - tion. Choo- choo! Chug-ga-Chug- ga! Here we come!
T train to an o - pen and an e- qual e - du - ca - tion. Choo- choo! Chug-ga-Chug- ga! Here we come!
B train to an o - pen and an e- qual e - du - ca - tion. Choo- choo! Chug-ga-Chug- ga! Here we come! 25. Every Space for Every Face (From the Secular Hymnal) Music: "Salzburg" by Jacob Hintze, 1678 Harmonized by J.S.Bach Words: Secretary Michael (traditional hymn: "At the Lamb's High Feast We Sing")
D B‹ A D B‹ E‹ A7 D S E - v'ry space for e - v'ry face. E - v'ry flow-er for e - v'ry vase. A E - v'ry space for e - v'ry face. E - v'ry flow -er for e - v'ry vase.
T E - v'ry space for e - v'ry face. E - v'ry flow-er for e - v'ry vase. B E - v'ry space for e - v'ry face. E - v'ry flow-er for e - v'ry vase.
5 D B‹ A D B‹ E‹ A7 D S E - v'ry run-ner for e - v'ry race. E - v'ry al - to, te - nor, bass. A E - v'ry run-ner for e - v'ry race. E - v'ry al - to, te - nor, bass. T E - v'ry run-ner for e - v'ry race. E - v'ry al - to, te - nor, bass. B E - v'ry run-ner for e - v'ry race. E - v'ry al - to, te - nor, bass.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 A D E7 A E‹ B‹ F©7 B‹ S No more jobs saved just for some. E - v'ry job for e - v'ry - one.
A No more jobs saved just for some. E - v'ry job for e - v'ry - one.
T No more jobs saved just for some. E - v'ry job for e - v'ry - one.
B No more jobs saved just for some. E - v'ry job for e - v'ry - one.
13 D B‹ E7 A G E‹ A7 D S No more stay - ing in one place. E - v'ry space for e - v'ry face. A No more stay - ing in one place. E - v'ry space for e - v'ry face. T No more stay - ing in one place. E - v'ry space for e - v'ry face.
B No more stay - ing in one place. E - v'ry space for e - v'ry face.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 26. Everybody Has Their Issues (From the Secular Hymnal)
Tune: "There is a Balm in Gilead" Words: Secretary Michael (a traditional African-American spiritual) SATB Arrangement: Secretary Michael D B‹ G A A7 S E - v'ry-bo - dy has their is - sues that oc - cu - py their mind. A E - v'ry-bo - dy has their is - sues that oc - cu - py their mind. T E - v'ry-bo - dy has their is - sues that oc - cu - py their mind. B E - v'ry-bo - dy has their is - sues that oc - cu - py their mind.
Fine 5 D B‹ G A7 D S E - v'ry- bo - dy has their is - sues that come from time to time. It
A E - v'ry- bo - dy has their is - sues that come from time to time. It T E - v'ry- bo - dy has their is - sues that come from time to time. It B E - v'ry- bo - dy has their is - sues that come from time to time. It
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 10 B‹ E‹ B‹ A7 B‹ S could be fear or long - ing, de - pres - sion or con - tempt, re - gret or shame or
A could be fear or long - ing, de - pres - sion or con - tempt, re - gret or shame or
T could be fear or long - ing, de - pres - sion or con - tempt, re - gret or shame or B could be fear or long - ing, de - pres - sion or con - tempt, re - gret or shame or
15 E‹ G A D A7 D S an - ger, there's no one who's ex - empt, for: E - v'ry - bo - dy A an - ger, there's no one who's ex - empt, for: E - v'ry - bo - dy T an - ger, there's no one who's ex - empt, for: E - v'ry - bo - dy
B an - ger, there's no one who's ex - empt, for: E - v'ry - bo - dy 27. Everyone Must Make a Living (From the Secular Hymnal)
Music: "Pleading Savior" by Joshua Leavitt (c. 1830) Words: Secretary Michael (traditional hymn: "Sing of Mary")
F B¨ F C F B¨ C F S E - v'ry - one must make a li - ving, e - v'ry - one must make ends meet.
A E - v'ry - one must make a li - ving, e -v'ry - one must make ends meet.
T E - v'ry - one must make a li - ving, e - v'ry - one must make ends meet.
B E - v'ry - one must make a li - ving, e - v'ry - one must make ends meet.
9 F B¨ F C F B¨ C F S Tea - cher, prea- cher, en - ter - tai - ner, e - v'ry - one needs food to eat.
A Tea - cher, prea- cher, en -ter - tai -ner, e - v'ry - one needs food to eat.
T Tea - cher, prea- cher, en - ter - tai - ner, e - v'ry - one needs food to eat. B Tea - cher, prea -cher, en - ter - tai - ner, e - v'ry - one needs food to eat.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 17 F B¨ F C F B¨ F C
S Praise to the wor - ker, praise to the job. Praise to the far-mer and the corn on the cob.
A Praise to the wor - ker, praise to the job. Praise to the far-mer and the corn on the cob.
T Praise to the wor - ker, praise to the job. Praise to the far-mer and the corn on the cob.
B Praise to the wor - ker, praise to the job. Praise to the far-mer and the corn on the cob.
25 F B¨ F C F B¨ C F S E - v'ry - one must make a li - ving, e - v'ry - one de - serves a job.
A E -v'ry - one must make a li - ving, e - v'ry - one de - serves a job.
T E - v'ry - one must make a li - ving, e - v'ry - one de - serves a job. B E - v'ry - one must make a li - ving, e - v'ry - one de - serves a job.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 28. Everything's Changing (From the Secular Hymnal)
Words: Secretary Michael Music: "Consolation" by Felix Mendelssohn, 1834 (traditional hymn: "Still, Still With Thee") D G E A S E - v'ry - thing's chang - ing, and we are chang - ing too.
A E - v'ry - thing's chang - ing, and we are chang - ing too. T E - v'ry - thing's chang - ing, and we are chang - ing too.
B E - v'ry - thing's chang - ing, and we are chang - ing too.
5 A‹ E‹ A7 D S "Young" be - comes "old", and "old" is born a - new. A "Young" be - comes "old", and "old" is born a - new.
T "Young" be - comes "old", and "old" is born a - new. B "Young" be - comes "old", and "old" is born a - new.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D B‹ B E‹ S All of our dreams for man - kind could come true. A All of our dreams for man - kind could come true. T All of our dreams for man - kind could come true.
B All of our dreams for man - kind could come true.
13 A‹ E‹ A7 D S It all de - pends on what we do. A It all de - pends on what we do.
T It all de - pends on what we do. B It all de - pends on what we do.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 29. For Those Who Have Beliefs Bizarre (From the Secular Hymnal)
Music: "Ye Banks and Braes" - a Scottish folk melody Words: Secretary Michael SATB arrangement by Secretary Michael (traditional hymn: "We Cannot Measure How You Heal")
D‹ B¨ D‹ B¨ D‹ B¨ G‹ C7 S For those who have be - liefs bi - zarre, we'll al - ways love you for who you are. Al -
A For those who have be - liefs bi - zarre, we'll al - ways love you for who you are. Al -
T For those who have be - liefs bi - zarre, we'll al - ways love you for who you are. Al - B For those who have be - liefs bi - zarre, we'll al - ways love you for who you are. Al -
9 D‹ B¨ D‹ B¨ D‹ B¨ C7 F S though your thoughts seem sad and strange we'll ne - ver leave you or force you to change. When
A though your thoughts seem sad and strange we'll ne - ver leave you or force you to change. When
T though your thoughts seem sad and strange we'll ne - ver leave you or force you to change. When
B though your thoughts seem sad and strange we'll ne - ver leave you or force you to change. When
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 17 A‹ D‹ A‹ D‹ B¨ G‹ C7 S thoughts, like can - cer, go a - stray they grow and grow and so we say: For
A thoughts, like can - cer, go a - stray they grow and grow and so we say: For
T thoughts, like can - cer, go a - stray they grow and grow and so we say: For
B thoughts, like can - cer, go a - stray they grow and grow and so we say: For
25 D‹ B¨ D‹ B¨ D‹ B¨ C7 F S those who have be - liefs bi - zarre, we'll al - ways love you for who you are.
A those who have be - liefs bi - zarre, we'll al - ways love you for who you are.
T those who have be - liefs bi - zarre, we'll al - ways love you for who you are.
B those who have be - liefs bi - zarre, we'll al - ways love you for who you are. 30. For What I've Done (From the Secular Hymnal)
Words: Secretary Michael Music: Louis Lambillotte, c. 1840 (traditional hymn: "Come Holy Ghost") C F C F D‹ S For what I've done and failed to do, I ask for -
A For what I've done and failed to do, I ask for -
T For what I've done and failed to do, I ask for - B For what I've done and failed to do, I ask for -
6 A‹ B¨ C C7 F S give - ness from you. For all the pain
A give - ness from you. For all the pain
T give - ness from you. For all the pain B give - ness from you. For all the pain
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 11 C D‹ A‹ B¨ C S I've put you through, I ask for - give - - ness from
A I've put you through, I ask for - give - - ness from
T I've put you through, I ask for - give - ness from B I've put you through, I ask for give - - ness from
16 A‹ B¨ C F S you for what I've done and failed to do.
A you for what I've done and failed to do.
T you for what I've done and failed to do. B you for what I've done and failed to do.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 31. Go Further Farther (From the Secular Hymnal) Music: "Dundee" from the Scottish Psalter, 1615 Words: Secretary Michael Harmonized by Thomas Ravenscroft (1592-1635) (traditional hymn: "O God of Bethel By Whose Hand") E¨ C‹ A¨ E¨ F‹ B¨ E¨ S Go fur - ther, far - ther past the bor - ders, up the high - est hill.
A Go fur - ther, far - ther past the bor - ders, up the high - est hill.
T Go fur - ther, far - ther past the bor - ders, up the high - est hill. B Go fur - ther, far - ther past the bor - ders, up the high - est hill.
3 E¨ C‹ F B¨ E¨ F‹ B¨ E¨ S Then, stand - ing on that high - est hill, go fur - ther, far - ther still.
A Then, stand - ing on that high - est hill, go fur - ther, far - ther still.
T Then, stand - ing on that high - est hill, go fur - ther, far - ther still. B Then, stand - ing on that high - est hill, go fur - ther far - ther still.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 5 E¨ C‹ A¨ E¨ F‹ B¨ E¨ S Go fur - ther, far - ther off to pla - ces ne - ver gone be - fore.
A Go fur - ther, far - ther off to pla - ces ne - ver gone be - fore.
T Go, fur - ther, far - ther off to pla - ces ne - ver gone be - fore. B Go fur - ther far - ther off to pla - ces ne - ver gone be - fore.
7 E¨ C‹ F B¨ E¨ F‹ B¨ E¨ S Then, hav - ing reached that fi - nal door, go fur - ther, far - ther more.
A Then, hav - ing reached that fi - nal door, go fur - ther, far - ther more.
T Then, hav - ing reached that fi - nal door, go fur - ther, far - ther more. B Then hav - ing reached that fi - nal door, go fur - ther, far - ther more.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 32. Going Up, Going Up (From the Secular Hymnal)
Words: Secretary Michael Music: "McDaniel" by Charles Hutchinson Gabriel, 1914 (traditional hymn: "Since Jesus Came Into My Heart") G C G S "Go - ing up, go-ing up, go-ing up, go-ing up" the old e - le - va - tor would say. "Go - ing
A "Go - ing up, go-ing up, go-ing up, go-ing up" the old e - le - va - tor would say. "Go - ing
T "Go - ing up, go-ing up, go-ing up, go-ing up" the old e - le - va - tor would say. "Go - ing B "Go - ing up, go-ing up, go-ing up, go-ing up" the old e - le - va - tor would say. "Go - ing
5 G A7 D S up, go - ing up, go - ing up, go - ing up" as if there were no o - ther way. So A up, go - ing up, go - ing up, go - ing up" as if there were no o - ther way. So
T up, go - ing up, go - ing up, go - ing up" as if there were no o - ther way. So B up, go - ing up, go - ing up, go - ing up" as if there were no o - ther way. So
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN 9 G G7 C G S when you are start-ing to drown with no one to help you a - round. "Go - ing A when you are start-ing to drown with no one to help you a - round. "Go - ing T when you are start-ing to drown with no one to help you a - round. "Go - ing B when you are start-ing to drown with no one to help you a - round. "Go - ing
13 G C D7 G S up, go - ing up, go - ing up, go - ing up" will help you get back on the ground. A up, go - ing up, go - ing up, go - ing up" will help you get back on the ground. T up, go - ing up, go - ing up, go - ing up" will help you get back on the ground. B up, go - ing up, go - ing up, go - ing up" will help you get back on the ground.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 33. Grief Has Got To Take Its Time (From the Secular Hymnal)
Words: Secretary Michael Music: "Toplady" by Thomas Hastings, 1830 (traditional hymn: "Rock of Ages") G C G A‹ D7 G S Grief has got to take its time, has to pu - ri - fy the mind. Has to
A Grief has got to take its time, has to pu - ri - fy the mind. Has to
T Grief has got to take its time, has to pu - ri - fy the mind. Has to B Grief has got to take its time, has to pu - ri - fy the mind. Has to
5 D7 G D7 G S wash a - way the pain. Has to cleanse and heal the brain. There's a A wash a - way the pain. Has to cleanse and heal the brain. There's a
T wash a - way the pain. Has to cleanse and heal the brain. There's a B wash a - way the pain. Has to cleanse and heal the brain. There's a
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G C G A‹ D7 G S rea - son, there's a rhyme. Grief has got to take its time. A rea - son, there's a rhyme. Grief has got to take its time. T rea - son, there's a rhyme. Grief has got to take its time. B rea - son, there's a rhyme. Grief has got to take its time.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 34. Happy Be (From the Secular Hymnal)
Words: Secretary Michael Music: "Trust in Jesus" by William James Kirkpatrick, 1882 (traditional hymn: "Tis So Sweet To Trust In Jesus") G C G A D S 1. Hap - py be de - vo - ted tea - chers, gi - ving us a fu - ture bright. 5. Hap - py be our strug - gling ar - tists, draw - ing out our beau - ty. 9. Hap - py be po - lice and fire, sav - ing us when things go wrong. A T 1. Hap - py be de - vo - ted tea - chers, gi - ving us a fu - ture bright. 5. Hap - py be our strug - gling ar - tists, draw - ing out our beau - ty. 9. Hap - py be po - lice and fire, sav - ing us when things go wrong.
B
5 G C G C D G S 2. Hap - py be our health - care work - ers, car - ing for us day and night. 6. Hap - py those who work for peace, voic - ing our hu - ma - ni - ty. 10. Hap - py be the buy - ers, sel - lers, help - ing keep our en - gine strong.
A T 2. Hap - py be our health - care work - ers, car - ing for us day and night. 6. Hap - py those who work for peace, voic - ing our hu - ma - ni - ty. 10. Hap - py be the buy - ers, sel - lers, help - ing keep our en - gine strong.
B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G C D G A D S 3. Hap - py be our good em - ploy - ers, mak - ing op - por - tu - ni - ties. 7. Hap - py those who care for chil - dren, giv - ing us our de - sti - ny. 11. Hap - py those who work in sci - ence, guid - ing us as we pro - gress.
A
T 3. Hap - py be our good em - ploy - ers, mak - ing op - por - tu - ni - ties. 7. Hap - py those who care for chil - dren, gi - ving us our de - sti - ny. 11. Hap - py those who work in sci - ence, guid - ing us as we pro - gress. B
13 G C G C D G S 4. Hap - py be to all our work - ers, shar - ing their best e - ner - gies. 8. Hap - py those who pay their tax - es, fund - ing our so - ci - e - ty. 12. Hap - py be to all our peo - ple, all de - serv - ing hap - pi - ness. A T 4. Hap - py be to all our work - ers, shar - ing their best e - ner - gies. 8. Hap - py those who pay their tax - es, fund - ing our so - ci - e - ty. 12. Hap - py be to all our peo - ple, all de - serv - ing hap - pi - ness.
B
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 35. Harvesting Hunger (From the Secular Hymnal)
Words: Secretary Michael Music: "Arizona" by Robert Henry Earnshaw (1856-1929) (traditional hymn: "Lord Of All Being") F D‹ C7 F
S Har - vest - ing hun - ger is my fate.
A Har - vest - ing hun - ger is my fate.
T Har - vest - ing hun - ger is my fate. B Har - vest - ing hun - ger is my fate.
5 D‹ B¨ G‹ C S Dish - es of no - thing on my plate.
A Dish - es of no - thing on my plate.
T Dish - es of no - thing on my plate. B Dish - es of no - thing on my plate.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F D‹ D7 G‹
S With - out an e - du - ca - - tion,
A With - out an e - du - ca - - tion,
T With - out an e - du - ca - - tion,
B With - out an e - du - ca - - tion,
13 C F C7 F S I'll har - vest hun - ger from now on.
A I'll har - vest hun - ger from now on. T I'll har - vest hun - ger from now on.
B I'll har - vest hun - ger from now on.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 36. I am a Terrorist (From the Secular Hymnal)
Words: Secretary Michael Music: "Trentham" by Robert Jackson, 1888 (traditional hymn: "Breathe On Me")
F B¨ F S 1. I am a ter - ror - ist. Now 2. So will you seat me here? Or will you 3. May - be I'm plain ol' me. May - be I'm A
T 1. I am a ter - ror - ist. Now 2. So will you seat me here? Or will you 3. May - be I'm plain ol' me. May - be I'm B
5 B¨ C7 F
S I'm a saint. I am this and seat me there? At a desk? Or some - one strange. Hard to know just A T I'm a saint. I am this and seat me there? At a desk? Or some - one strange. Hard to know just
B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 B¨ G‹ F C7 F S I am that and now I ain't. on a throne? Or in an e - lec - tric chair? who is who be - cause peo - ple change.
A
T I am that and now I ain't. on a throne? Or in an e - lec - tric chair? who is who be - cause peo - ple change.
B
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 37. I am the Captain of My Boat (From the Secular Hymnal)
Melody by George Coles, 1883 Words: Secretary Michael SATB Arrangement: Secretary Michael (traditional hymn: "A Poor Wayfaring Man of Grief") G E‹ A‹ D7 G E‹ A‹ D7
S 1. I am the cap - tain of my boat on a calm, a calm and peace - ful sea. I 2. There are e - qual cap - tains, e - qual boats that ne - ver sail and ne - ver float. On A 1. I am the cap - tain of my boat on a calm, a calm and peace - ful sea. I 2. There are e - qual cap - tains, e - qual boats that ne - ver sail and ne - ver float. On T 1. I am the cap - tain of my boat on a calm, a calm and peace - ful sea. I 2. There are e - qual cap - tains, e - qual boats that ne - ver sail and ne - ver float. On
B 1. I am the cap - tain of my boat on a calm, a calm and peace - ful sea. I 2. There are e - qual cap - tains, e - qual boats that ne - ver sail and ne - ver float. On
5 G E‹ A‹ B7 E‹ G/D D7 G S am the cap - tain of my boat on a calm, a calm and peace - ful sea. With stor - my seas with wind and hail the boats get smashed and cap - tains jailed.There are A am the cap - tain of my boat on a calm, a calm and peace - ful sea. With stor - my seas with wind and hail the boats get smashed and cap - tains jailed.There are T am the cap - tain of my boat on a calm, a calm and peace - ful sea. With stor - my seas with wind and hail the boats get smashed and cap - tains jailed.There are B am the cap - tain of my boat on a calm, a calm and peace - ful sea. With stor - my seas with wind and hail the boats get smashed and cap - tains jailed.There are
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G E7 A‹ D7 G E‹ A‹ D7 S waves so still I'm sel - dom ill. With stars and sun my work gets done. I cap - tains who are just like me who die up - on a vio - lent sea. So A waves so still I'm sel - dom ill. With stars and sun my works get done. I cap - tains who are just like me who die up - on a vio - lent sea. So T waves so still I'm sel - dom ill. With stars and sun my work gets done. I cap - tains who are just like me who die up - on a vio - lent sea. So
B waves so still I'm sel - dom ill. With stars and sun my work gets done. I cap - tains who are just like me who die up - on a vio - lent sea. So
13 G E‹ A‹ B7 E‹ G/D D7 G S am the cap - tain of my boat on a calm, a calm and peace - ful sea. cre - dit not my boat or me but a calm, a calm and peace - ful sea. (repeat Verse 1) A am the cap - tain of my boat on a calm, a calm and peace - ful sea. cre - dit not my boat or me but a calm, a calm and peace - ful sea. (repeat Verse 1) T am the cap - tain of my boat on a calm, a calm and peace - ful sea. cre - dit not my boat or me but a calm, a calm and peace - ful sea. (repeat Verse 1) B am the cap - tain of my boat on a calm, a calm and peace - ful sea. cre - dit not my boat or me but a calm, a calm and peace - ful sea. (repeat Verse 1)
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 38. I Declare A Brand-New Me (From the Secular Hymnal)
Music: "Cymraeg" by Robert Lowry, 1876 Words: Secretary Michael (traditional hymn: "Here Is Love Vast As the Ocean") F C F A‹ G7 C7 S I de - clare a brand-new me, not the one I used to be. Not the
A I de - clare a brand-new me, not the one I used to be. Not the
T I de - clare a brand-new me, not the one I used to be. Not the B I de - clare a brand-new me, not the one I used to be. Not the
5 F C D‹ F C7 F S one who felt a - shamed. Not the one who lost the game. I have
A one who felt a - shamed. Not the one who lost the game. I have T one who felt a - shamed. Not the one who lost the game. I have B one who felt a - shamed. Not the one who lost the game. I have
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F C C7 F
S changed, I have ad - vanced, now I need a se - cond chance. From my
A changed, I have ad - vanced, now I need a se - cond chance. From my
T changed, I have ad - vanced, now I need a se - cond chance. From my B changed, I have ad - vanced, now I need a se - cond chance. From my
13 D‹ B¨ F C7 F S past I now am free. I de - clare a brand-new me.
A past I now am free. I de - clare a brand-new me. T past I now am free. I de - clare a brand-new me. B past I now am free. I de - clare a brand-new me.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 39. I Have a Garden in the Park (From the Secular Hymnal)
Words: Secretary Michael Music: "Solid Rock" by William Batchelder Bradbury, 1863 (traditional hymn: "My Hope Is Built On Nothing Less") F C C7 S I have a gar - den in the park where chil - dren play and
A I have a gar - den in the park where chil - dren play and
T I have a gar - den in the park where chil - dren play and B I have a gar - den in the park where chil - dren play and
4 F C S dog - gies bark. Where home - less peo - ple just like me can
A dog - gies bark. Where home - less peo - ple just like me can
T dog - gies bark. Where home - less peo - ple just like me can
B dog - gies bark. Where home - less peo - ple just like me can
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 7 C7 F B¨ S sit a while and re - ver - ie. Un - til the end when skies go dark and
A sit a while and re - ver - ie. Un - til the end when skies go dark and
T sit a while and re - ver - ie. Un - til the end when skies go dark and B sit a while and re - ver - ie. Un - til the end when skies go dark and
11 F C7 F C F
S I will have to dis - em - bark, I have a gar - den in the park.
A I will have to dis - em - bark, I have a gar - den in the park.
T I will have to dis - em - bark, I have a gar - den in the park. B I will have to dis - em - bark, I have a gar - den in the park.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 40. I Have a Puzzle of the World (From the Secular Hymnal)
Words: Secretary Michael Music: "St. Peter" by Alexander Robert Reinagle, 1836 (traditional hymn: "How Sweet the Name of Jesus Sounds") D B‹ A7 D E‹ G A S I have a puz - zle of the world I work on with - out cease. But
A I have a puz - zle of the world I work on with - out cease. But
T I have a puz - zle of the world I work on with - out cease. But B I have a puz - zle of the world I work on with - out cease. But
5 E‹ G A B‹ G A7 D S I can ne - ver get it done 'cuz o - thers have a piece. So
A I can ne - ver get it done 'cuz o - thers have a piece. So T I can ne - ver get it done 'cuz o - thers have a piece. So B I can ne - ver get it done 'cuz o - thers have a piece. So
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D B‹ A7 D E‹ G A S now I al - ways ask for help, and help out e - v'ry - one. 'Cuz A now I al - ways ask for help, and help out e - v'ry - one. 'Cuz T now I al - ways ask for help, and help out e - v'ry - one. 'Cuz
B now I al - ways ask for help, and help out e - v'ry - one. 'Cuz
13 E‹ G A B‹ G A7 D S if we do not share the task, we'll ne - ver get it done.
A if we do not share the task, we'll ne - ver get it done. T if we do not share the task, we'll ne - ver get it done.
B if we do not share the task, we'll ne - ver get it done.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 41. I Once Was So Certain (From the Secular Hymnal) Music: "Lourdes Hymn" Words: Secretary Michael (traditional hymn: "Immaculate Mary")
G E‹ A‹ D7 G S 1. I once was so cer - tain, so right - eous, so strong. But 2. To - day I'm not cer - tain, not right - eous, not strong. The
A 1. I once was so cer - tain, so right - eous, so strong. But 2. To - day I'm not cer - tain, not right - eous, not strong. The
T 1. I once was so cer - tain, so right - eous, so strong. But 2. To - day I'm not cer - tain, not right - eous, not strong. The B I once was so cer - tain, so right - eous, so strong. But To - day I'm no cer - tain, not right - eous, not strong. The
5 G E‹ A‹ D7 G
S now I can see that I had it all wrong. All world would be bet - ter if you came a - long. A -
A now I can see that I had it all wrong. All world would be bet - ter if you came a - long. A -
T now I can see that I had it all wrong. All world would be bet - ter if you came a - long. A -
B now I can see that I had it all wrong. All world would be bet - ter if you came a - long. A -
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 C G D7 G S wrong, all wrong, I had it all wrong. All long, a - long, if you came a - long. A -
A wrong, all wrong, I had it all wrong. All long, a - long, if you came a - long. A -
T wrong, all wrong, I had it all wrong. All long, a - long, if you came a - long. A -
B wrong, all wrong, I had it all wrong. All long, a - long, if you came a - long. A -
13 C B A‹ D7 G S wrong, all wrong, I had it all wrong. long, a - long, if you came a - long. A wrong, all wrong, I had it all wrong. long, a - long, if you came a - long.
T wrong, all wrong, I had it all wrong. long, a - long, if you came a - long.
B wrong, all wrong, I had it all wrong. long, a - long, if you came a - long.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 42. I Surrender (From the Secular Hymnal)
Words: Secretary Michael Music: "Surrender" by Winfield Scott Weeden, 1896 (traditional hymn: "I Surrender All") REFRAIN C G A‹ F G C S I sur -ren - der, I sur -ren - der, I sur -ren-der my use - less things.
A I sur-ren - der, I sur -ren - der, I sur-ren-der my use - less things.
T I sur-ren - der, I sur-ren - der, I sur-ren-der my use - less things. B I sur-ren - der, I sur-ren - der, I sur-ren-der my use - less things.
5 C G A‹ F G C S I sur-ren - der, I sur-ren - der, I sur -ren-der for the peace it brings.
A I sur-ren - der, I sur -ren - der, I sur-ren-der for the peace it brings.
T I sur-ren - der, I sur-ren - der, I sur-ren-der for the peace it brings. B I sur-ren - der, I sur-ren - der, I sur-ren-der for the peace it brings.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. VERSES 9 C G C S 1. All my shi - ny things, jew - el - ry and rings. 2. Ho - nors I have won, things that I have done, 3. Wealth mis un - der - stood, earned as much I could.
A 1. All my shi - ny things, jew - el - ry and rings. 2. Ho - nors I have won, things that I have done, 3. Wealth mis un - der - stood, earned as much I could.
T 1. All my shi - ny (All my shi-ny things) jew - el - ry and (jew - el - ry and rings) 2. Ho - nors I have (Ho - nors I have won) things that I have (things that I have done) 3. Wealth mis-un - der (Wealth mis un-der- stood) earned as much I (earned as much I could) B 1. All my shi - ny (All my shi-ny things) jew - el - ry and (jew - el - ry and rings) 2. Ho - nors I have (Ho - nors I have won) things that I have (things that I have done) 3. Wealth mis un - der (Wealth mis un-der- stood) earned as much I (earned as much I could)
13 F G G7 C S Let them go, there is no hap - pi - ness they bring. All this pride I push a - side, it's not who I've be - come. Now I don't care, let it go where it will do some good. (I surrender...) A Let them go, there is no hap - pi - ness they bring. All this pride I push a - side, it's not who I've be - come. Now I don't care, let it go where it will do some good. (I surrender...)
T Let them go, there is no hap - pi - ness they bring. All this pride I push a - side, it's not who I've be - come. Now I don't care, let it go where it will do some good. (I surrender...) B Let them go, there is no hap - pi - ness they bring. All this pride I push a - side, it's not who I've be - come. Now I don't care, let it go where it will do some good. (I surrender...)
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 43. I Think I Could Work in a Castle (From the Secular Hymnal)
Words: Secretary Michael Music: Helen Howarth Lemmel, 1922 (traditional hymn: "Turn Your Eyes Upon Jesus")
E¨ E¨7 A¨ F‹ E¨ B¨7 E¨ S 1. I think I could work in a cas - tle by sweep-ing and mop-ping the floors. I 2. I think I could work in a fac - t'ry by do - ing what - e - ver they need. I'd A 1. I think I could work in a cas - tle by sweep -ing and mop-ping the floors. I 2. I think I could work in a fac - t'ry by do - ing what - e - ver they need. I'd T 1. I think I could work in a cas - stle by sweep-ing and mop-ping the floors. I 2. I think I could work in a fac - t'ry by do - ing what - e - ver they need. I'd B 1. I think I could work in a cas - tle by sweep-ing and mop ping the floors. I 2. I think I could work in a fac - t'ry by do - ing what - e - ver they need. I'd
9 E¨ E¨7 A¨ F‹ E¨ F7 B¨ B¨7
S would-n't mind be - ing a vas - sal. I'm not a - bove me - ni - al chores. find it all quite sa - tis - fac - t'ry, and I'd do my best to suc - ceed.
A would-n't mind be - ing a vas - sal. I'm not a - bove me - ni -al chores. find it all quite sa - tis - fac - t'ry, and I'd do my best to suc - ceed. T would-n't mind be - ing a vas - sal. I'm not a - bove me - ni - al chores. find it all quite sa - tis - fac - t'ry, and I'd do my best to suc - ceed. B would-n't mind be - ing a vas - sal. I'm not a - bove me - ni - al chores. find it all quite sa - tis - fac - t'ry, and I'd do my best to suc - ceed.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 17 E¨ B¨ C‹ E¨7 A¨ F‹ B¨ B¨7 S Cas - tle bells I could ring, ring, or in the roy'l choir I could sing. I'd be Clean - ing all that needs clean - ing, or pick-ing up gar-bage to toss. I'd be A Cas - tle bells I could ring, ring, or in the roy'l choir I could sing. I'd be Clean - ing all that needs clean - ing, or pick-ing up gar-bage to toss. I'd be
T Cas - tle bells I could ring, ring, or in the roy'l choir I could sing. I'd be Clean - ing all that needs clean - ing, or pick-ing up gar-bage to toss. I'd be
B Cas - tle bells I could ring, ring, or in the roy'l choir I could sing. I'd be Clean - ing all that needs clean - ing, or pick-ing up gar-bage to toss. I'd be
25 E¨ E¨7 A¨ A¨‹ E¨ B¨7 E¨ S hap - py do - ing most a - ny - thing cuz I've learned I don't need to be king. hap - py do - ing most a - ny - thing cuz I've learned I don't need to be boss. A hap - py do - ing most a - ny - thing cuz I've learned I don't need to be king. hap - py do - ing most a - ny - thing cuz I've learned I don't need to be boss.
T hap - py do - ing most a - ny - thing cuz I've learned I don't need to be king. hap - py do - ing most a - ny - thing cuz I've learned I don't need to be boss. B hap - py do - ing most a - ny - thing cuz I've learned I don't need to be king. hap - py do - ing most a - ny - thing cuz I've learned I don't need to be boss.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 44. I Think I'm Right (From the Secular Hymnal)
Music: George Frederick Root, 1870 Words: Secretary Michael (traditional hymn: "Come to the Savior, Make No Delay") A D E E7 A S I think I'm right but I could be wrong. Show me the facts and I'll come a- long. A I think I'm right but I could be wrong. Show me the facts and I'll come a- long. T I think I'm right but I could be wrong. Show me the facts and I'll come a- long. B I think I'm right but I could be wrong. Show me the facts and I'll come a- long.
5 A D E E7 A S May - be there's some - thing I do not see. A pos - si - bi - li - ty. A May - be there's some - thing I do not see. A pos - si - bi - li - ty. T May - be there's some - thing I do not see. A pos - si - bi - li - ty. B May - be there's some - thing I do not see. A pos - si - bi - li - ty.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 A B‹ E7 A S Yes there is a pos - si - bi - li - ty. Yes there is a pos - si - bi - li - ty. A Yes there is a pos - si - bi - li - ty. Yes there is a pos - si - bi - li - ty. T Yes there is a pos - si - bi - li - ty. Yes there is a pos - si - bi - li - ty. B Yes there is a pos - si - bi - li - ty. Yes there is a pos - si - bi - li - ty.
13 A D E E7 A S May - be there's some - thing I do not see. A pos - si - bi - li - ty. A May - be there's some - thing I do not see. A pos - si - bi - li - ty. T May - be there's some - thing I do not see. A pos - si - bi - li - ty. B May - be there's some - thing I do not see. A pos - si - bi - li - ty.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 45. I Will Look and I Will See (From the Secular Hymnal)
Music: "Sagina" by Thomas Campbell, 1825 Words: Secretary Michael (traditional hymn: "And Can It Be?")
G E‹ A‹ D7 E‹ A‹ D7 E‹ A D A7 D S I will look, and I will see the beau - ty of hu - ma - ni - ty. A I will look, and I will see the beau - ty of hu - ma - ni - ty. T I will look, and I will see the beau - ty of hu - ma - ni - ty.
B I will look, and I will see the beau - ty of hu - ma - ni - ty.
9 D7 G D E‹ A D C G D D7 G S Clear as a page in a pic - ture book. Just o - pen up and take a look.
A Clear as a page in a pic - ture book. Just o - pen up and take a look.
T Clear as a page in a pic - ture book. Just o - pen up and take a look.
B Clear as a page in a pic - ture book. Just o - pen up and take a look.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 17 G D7 E‹ A‹ A D D7 G C D D7 G S We can not see un - less we look. So look, look,look,look,look,look,look,look,look,look,look,look,look.Yes
A We can not see un - less we look. So look, look, look, look, look,look,look,look,look,look,look,look,look.
T We can not see un - less we look. So look,look,look,look,look,look,look,look,look,look,look,look,look.
B We can not see un - less we look. So look,look,look,look,look,look,look,look,look,look,look,look,look.
1. 2. 25 G D D7 E‹ C G A‹ G D7 G G S I will look, and I will see, the beau - ty of hu - ma - ni - ty. Yes, ty.
A I will look, I will see, the beau-ty of hu - ma - ni - ty. ty.
T I will look, I will see, the beau-ty of hu - ma - ni - ty. ty.
B I will look, I will see, the beau-ty of hu - ma - ni - ty. ty.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 46. If We're Not the Ones (From the Secular Hymnal)
Words: Secretary Michael Music: "Hanson Place" by Robert Lowry, 1864 (traditional hymn: "Shall We Gather at the River") C D‹ G
S If we're not the ones who do it, ne - ver take the time to view it,
A If we're not the ones who do it, ne - ver take the time to view it,
T If we're not the ones who do it, ne - ver take the time to view it,
B If we're not the ones who do it, ne - ver take the time to view it,
5 C D‹ G C
S ne - ver strug - gle to pur - sue it, then it pro - ba - bly won't get done.
A ne - ver strug - gle to pur - sue it, then it pro - ba - bly won't get done.
T ne - ver strug - gle to pur - sue it, then it pro - ba - bly won't get done. B ne - ver strug - gle to pur - sue it, then it pro - ba - bly won't get done.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F C D‹ G C C7 S Peace is al - ways worth pur - su - ing, re - gard-less of the con - flict that is brew - ing.
A Peace is al - ways worth pur - su - ing, re - gard-less of the con- flict that is brew - ing.
T Peace is al - ways worth pur - su - ing, re - gard-less of the con - flict that is brew - ing.
B Peace is al - ways worth pur - su - ing, re - gard-less of the con - flict that is brew - ing.
13 F C D‹ G C S So let's pick a stra - te - gy of do - ing, then work and work 'til it's done.
A So let's pick a stra - te - gy of do - ing, then work and work 'til it's done.
T So let's pick a stra - te - gy of do - ing, then work and work 'til it's done.
B So let's pick a stra - te - gy of do - ing, then work and work 'til it's done.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 47. I'm Marching, Marching (From the Secular Hymnal)
Music: "Old Hundredth" by Louis Bourgeois, 1551 Words: Secretary Michael (traditional hymn: "Praise God From Whom All Blessings Flow") G E‹ C G S 1. I'm march - ing, march - ing on my trail. I 2. While march - ing on my path one day, I 3. They give to me their hand to hold. To
A
T 1. I'm march - ing, march - ing on my trail. I 2. While march - ing on my path one day, I 3. They give to me their hand to hold. To
B
3 E‹ C A‹ D
S won't get lost, I will not fail. I've find that there's a dif - f'rent way, with reach it I must leave my road. If
A
T won't get lost, I will not fail. I've find that there's a dif - f'rent way, with reach it I must leave my road. If
B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 5 D C G
S thought things out, I've done the math. I dif - f'rent peo - ple, dif - f'rent views, with peace and love is to pre - vail, we A thought things out, I've done the math. I dif - f'rent peo - ple, dif - f'rent views, with peace and love is to pre - vail, we T thought things out, I've done the math. I dif - f'rent peo - ple, dif - f'rent views, with peace and love is to pre - vail, we B thought things out, I've done the math. I dif - f'rent peo - ple, dif - f'rent views, with peace and love is to pre - vail, we
7 E‹ A‹ D7 G
S know I'm on the per - fect path. dif - f'rent feet in dif - f'rent shoes. some - times must march off our trail. A know I'm on the per - fect path. dif - f'rent feet in dif - f'rent shoes. some - times must march off our trail.
T know I'm on the per - fect path. dif - f'rent feet in dif - f'rent shoes. some - times must march off our trail. B know I'm on the per - fect path. dif - f'rent feet in dif - f'rent shoes. some - times must march off our trail.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 48. In The End (From the Secular Hymnal)
Words: Secretary Michael Music: "Assurance" by Phoebe Palmer Knapp, 1873 (traditional hymn: "Blessed Assurance") C F C A‹ D7 G S 1. In the end, where will we be? In a vil - la by the sea? In a 2. So let's make this the best it can be, good as a vil - la by the sea, good as a
A 1. In the end, where will we be? In a vil - la by the sea? In a 2. So let's make this the best it can be, good as a vil - la by the sea, good as a T 1. In the end, where will we be? In a vil - la by the sea? In a 2. So let's make this the best it can be, good as a vil - la by the sea, good as a B 1. In the end, where will we be? In a vil - la by the sea? In a 2. So let's make this the best it can be, good as a vil - la by the sea, good as a
5 C F C D‹ G C S snow - y moun-tain cha - let? On an is - land far - a - way? But the sta - snow - y moun-tain cha - let, good as an is - land far - a - way. Keep-ing our
A snow - y moun-tain cha - let? On an is - land far - a - way? But the sta - snow - y moun-tain cha - let, good as an is - land far - a - way. Keep-ing our T snow - y moun-tain cha - let? On an is - land far a - way? But the sta - snow - y moun-tain cha - let, good as an is - land far a - way. Keep-ing our B snow - y moun tain cha - let? On an is - land far - a - way? But the sta - snow - y moun-tain cha - let, good as an is - land far a - way. Keep-ing our
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 C F C A‹ D G G7
S tis - tics say it ain't so. And the sta - tis - tics say we won't go. And the sta - neigh - bors free from fear, keep-ing our air and wa - ter clear, and our kids
A tis - tics say it ain't so. And the sta - tis - tics say we won't go. And the sta - neigh - bors free from fear, keep-ing our air and wa - ter clear, and our kids
T tis - tics say it ain't so. And the sta - tis - tics say we won't go. And the sta - neigh - bors free from fear, keep-ing our air and wa - ter clear, and our kids
B tis - tics say it ain't so. And the sta - tis - tics say we won't go. And the sta - neigh - bors free from fear, keep-ing our air and wa - ter clear, and our kids
13 C F C D‹ G7 C S tis - tics make it clear: that in the end we will be here. smil - ing ear to ear, 'cuz in the end we will be here.
A tis - tics make it clear: that in the end we will be here. smil - ing ear to ear, 'cuz in the end we will be here.
T tis - tics make it clear: that in the end we will be here. smil - ing ear to ear, 'cuz in the end we will be here. B tis - tics make it clear: that in the end we will be here. smil - ing ear to ear, 'cuz in the end we will be here.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 49. Informed People (From the Secular Hymnal) Words: Secretary Michael Music: "Helmsley" (traditional hymn: "Lo He Comes With Clouds Descending") G E‹ C D G S In - formed peo - ple tend to live their lives re - spon - si - bly. In - formed peo - ple tend to un - der-stand di - ver - si - ty.
A In - formed peo - ple tend to live their lives re - spon - si - bly. In - formed peo - ple tend to un - der-stand di - ver - si - ty. T In - formed peo - ple tend to live their lives re - spon - si - bly. In - formed peo - ple tend to un - der-stand di - ver - si - ty. B In - formed peo - ple tend to live their lives re - spon - si - bly. In - formed peo - ple tend to un - der-stand di - ver - si - ty.
5 B‹ E‹ C E‹ A‹ D S In - for - ma - tion brings sta - bi - li - ty. In - for - ma - tion builds com - mu - ni - ty. A In - for - ma - tion brings sta - bi - li - ty. In - for - ma - tion builds com - mu - ni - ty. T In - for - ma - tion brings sta - bi - li - ty. In - for - ma - tion builds com - mu - ni - ty. B In - for - ma - tion brings sta - bi - li - ty. In - for - ma - tion builds com - mu - ni - ty.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D D7 G E‹ C D E‹ S Jour - nal - ists you teach us. Jour - nal - ists you let us see.
A Jour - nal - ists you teach us. Jour - nal - ists you let us see.
T Jour - nal - ists you teach us. Jour - nal - ists you let us see. B Jour - nal - ists you teach us. Jour - nal - ists you let us see.
13 A‹ D E‹ B‹ C B‹ D7 G S Jour - nal-ists you help us live our lives re - spon - si - bly.
A Jour - nal-ists you help us live our lives re - spon - si - bly.
T Jour - nal-ists you help us live our lives re - spon - si - bly. B Jour - nal-ists you help us live our lives re - spon - si - bly.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 50. Injustice To You Is Injustice To Me (From the Secular Hymnal)
Words: Secretary Michael Music: "St. Clement" by Clement Cotterill Scholefield, 1874 (traditional hymn: "The Day Thou Gavest Lord Is Ended") G D E‹ A7 S In - jus - tice to you is in - jus - tice to me is the
A In - jus - tice to you is in - jus - tice to me is the T In - jus - tice to you is in - jus - tice to me is the B In - jus - tice to you is in - jus - tice to me is the
5 G E‹ A7 D S way that I want my life to be. To
A way that I want my life to be. To
T way that I want my life to be. To
B way that I want my life to be. To
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G D E‹ A7 S see e - v'ry - bo - dy with e - qua - li - ty, where in -
A see e - v'ry - bo - dy with e - qua - li - ty, where in -
T see e - v'ry - bo - dy with e - qua - li - ty, where in -
B see e - v'ry - bo - dy with e - qua - li - ty, where in -
13 G E‹ A‹ D7 G S jus - tice to you is in - jus - tice to me. A jus - tice to you is in - jus - tice to me. T jus - tice to you is in - jus - tice to me. B jus - tice to you is in - jus - tice to me.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 51. Intelligence is a Bouquet (From the Secular Hymnal)
Words: Secretary Michael Music: "St. Margaret" by Albert Lister Peace (traditional hymn: "O Love That Will Not Let Me Go") F G‹ C C7 S In - tel - li - gence is a bou - quet with count - less flow - ers on dis -
A In - tel - li - gence is a bou - quet with count - less flow - ers on dis -
T In - tel - li - gence is a bou - quet with count - less flow - ers on dis -
B In - tel - li - gence is a bou - quet with count - less flow - ers on dis -
4 G‹ C7 A A7 D‹ S play. In - stead of look - ing for just one, may
A play. In - stead of look - ing for just one, may
T play. In - stead of look - ing for just one, may
B play. In - stead of look - ing for just one, may
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 7 G7 F C C7 F S we dis - co - ver the in - tel - li - gence in e - v'ry - one.
A we dis - co - ver the in - tel - li - gence in e - v'ry - one.
T we dis - co - ver the in - tel - li - gence in e - v'ry - one.
B we dis - co - ver the in - tel - li - gence in e - v'ry - one.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 52. It's Great To Know Some Things By Heart (From the Secular Hymnal)
Tune: "Repton" by Charles Hubert Hastings Parry, 1888 Words: Secretary Michael SATB Arrangement: Secretary Michael (traditional hymn: "Dear Lord and Father of Mankind")
E¨ C‹ B¨ C‹ A¨ B¨ S It's great to know some things by heart and feel that we are smart. Like A It's great to know some things by heart and feel that we are smart. Like
T It's great to know some things by heart and feel that we are smart. Like B It's great to know some things by heart and feel that we are smart. Like
5 A¨ F‹ B¨ G‹ C‹ A¨ B¨ G‹ S 3 point 1 4 1 5 9 2 6 5 3 5 8 it's great to
A 3 point 1 4 1 5 9 2 6 5 3 5 8 it's great to
T 3 point 1 4 1 5 9 2 6 5 3 5 8 it's great to B 3 point 1 4 1 5 9 2 6 5 3 5 8 it's great to
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E¨ C‹ B¨7 D¨º7 F‹ B¨7 E¨ S know some things by heart and feel that we are smart.
A know some things by heart and feel that we are smart.
T know some things by heart and feel that we are smart. B know some things by heart and feel that we are smart.
The song calculates Pi to 11 decimals. Pi calculated to 100 decimals is: 3.1415926535897932384626433 8327950288419716939937510 5820974944592307816406286 2089986280348253421170679...
53. I've Never Known a Sinner (From the Secular Hymnal) Music: "Azmon" by Carl Gotthelf Glaser, 1828 Words: Secretary Michael Arranged by Lowell Mason, 1839 (traditional hymn: "O for a Thousand Tongues to Sing") F C D‹ B¨ F C
S 1. I've ne - ver known a sin - ner and I doubt I e - ver will. Al - 2. And so it is with mo - le - cules and neu-rons in the brain. When A I've ne - ver known a sin - ner and I doubt I e - ver will. Al - And so it is with mo - le - cules and neu-rons in the brain. When T 1. I've ne - ver known a sin - ner and I doubt I e - ver will. Al - 2. And so it is with mo - le - cules and neu-rons in the brain. When
B I've ne - ver known a sin - ner and I doubt I e - ver will. Al - And so it is with mo - le - cules and neu-rons in the brain. When
5 F B¨ F C7 F S though I know of those who lie, and those who steal and kill. A one will bump a - no - ther one, the next must do the same. I've
A though I know of those who lie, and those who steal and kill. A one will bump a - no - ther one, the next must do the same. I've T though I know of those who lie, and those who steal and kill. A one will bump a - no - ther one, the next must do the same. I've B though I know of those who lie, and those who steal and kill. A one will bump a - no - ther one, the next must do the same. I've
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F C D‹ B¨ F C
S cue ball hits a - no - ther ball, which hits a - no - ther still. And ne - ver known a sin - ner in the peo - ple I have seen, be -
A cue ball hits a - no - ther ball, which hits a - no - ther still. And ne - ver known a sin - ner in the peo - ple I have seen, be -
T cue ball hits a - no - ther ball, which hits a - no - ther still. And ne - ver known a sin - ner in the peo - ple I have seen, be -
B cue ball hits a - no - ther ball, which hits a - no - ther still. and ne - ver known a sin - ner in the peo - ple I have seen, be -
13 F B¨ F C7 F S none of them re - fuse to move or move of their free will. cause I some - how un - der-stand we're in the same ma - chine.
A none of them re - fuse to move or move of their free will. cause I some - how un - der-stand we're in the same ma - chine.
T none of them re - fuse to move or move of their free will. cause I some - how un - der-stand we're in the same ma - chine. B none of them re - fuse to move or move of their free will. cause I some - how un - der-stand we're in the same ma - chine.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 54. Journey Forward (From the Secular Hymnal)
Words: Secretary Michael Music: William Tomer, 1880 (traditional hymn: "God Be With You Till We Meet Again") B¨ F B¨ E¨ B¨ S 1. Jour - ney for- ward, stu - dy e - v'ry - thing. Make the whole world your con - cern. 2. Jour - ney for- ward lov-ing e - v'ry - one, old and young and the in - firm. A 1. Jour - ney for - ward, stu - dy e - v'ry - thing. Make the whole world your con - cern. 2. Jour - ney for- ward lov-ing e - v'ry - one, old and young and the in - firm. T 1. Jour - ney for- ward, stu - dy e - v'ry- thing. Make the whole world your con - cern. 2. Jour - ney for- ward lov-ing e - v'ry - one, old and young and the in - firm. B 1. Jour - ney for- ward, stu - dy e - v'ry- thing. Make the whole world your con - cern. 2. Jour - ney for- ward lov-ing e - v'ry - one, old and young and the in - firm.
5 F B¨ E¨ F B¨
S Learn what - e - ver you can learn. We'll be wait - ing your re - turn. Your re- Earn the friends that you can earn. We'll be wait - ing your re - turn. Your re-
A Learn what - e - ver you can learn. We'll be wait - ing your re - turn. Your re- Earn the friends that you can earn. We'll be wait - ing your re - turn. Your re- T Learn what - e - ver you can learn. We'll be wait - ing your re - turn. Earn the friends that you can earn. We'll be wait - ing your re - turn. B Learn what - e - ver you can learn. We'll be wait - ing your re - turn. Earn the friends that you can earn. We'll be wait - ing your re - turn.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN
9 B¨ E¨ B¨ C7 F
S turn, your re - turn, we'll be wait - ing your re - turn. Your re
A turn, your re - turn, we'll be wait - ing your re - turn. Your re
T Your re- turn, your re - turn, your re- turn, we'll be wait - ing your re - turn, your re- turn.
B Your re- turn, your re - turn, your re- turn, we'll be wait - ing your re - turn, your re- turn.
13 B¨ E¨ B¨ F7 B¨
S turn, your re - turn. We'll be wait ing your re - turn.
A turn, your re - turn. We'll be wait - ing your re - turn.
T Your re- turn, your re - turn, your re - turn. We'll be wait - ing your re - turn.
B Your re- turn, your re - turn, your re - turn. We'll be wait - ing your re - turn.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 55. Just Because (From the Secular Hymnal) Music: "Monks Gate" (traditional English) Set by Ralph Vaughan Williams, 1904 Words: Secretary Michael Metric Simplification: Secretary Michael (traditional hymn: "He Who Would Valiant Be") D B‹ G D A D
S Just be-cause it's etched in gold, does - n't mean it's good. Just be-cause the words might rhyme, does - n't mean they're true. A Just be -cause it's etched in gold, does - n't mean it's good. Just be-cause the words might rhyme, does - n't mean they're true. T Just be-cause it's etched in gold, does - n't mean it's good. Just be-cause the words might rhyme, does - n't mean they're true.
B Just be-cause it's etched in gold, does - n't mean it's good. Just be-cause the words might rhyme, does - n't mean they're true.
5 D B‹ G D A D S Just be - cause the o - thers do, does - n't mean we should. Just be - cause we may - be can, does - n't mean we do. A Just be - cause the o - thers do, does - n't mean we should. Just be - cause we may - be can, does - n't mean we do. T Just be - cause the o - thers do, does - n't mean we should. Just be - cause we may - be can, does - n't mean we do.
B Just be - cause the o - thers do, does - n't mean we should. Just be - cause we may - be can, does - n't mean we do.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D B‹ F© G D B‹ A S Just be - cause it might be old, does - n't mean it's wise. Just be - cause the wolf might cry, does - n't mean it's sad.
A Just be - cause it might be old, does - n't mean it's wise. Just be - cause the wolf might cry, does - n't mean it's sad. T Just be - cause it might be old, does - n't mean it's wise. Just be - cause the wolf might cry, does - n't mean it's sad.
B Just be - cause it might be old, does - n't mean it's wise. Just be - cause the wolf might cry, does - n't mean it's sad.
13 D B‹ G D A D
S Just be-cause it might have wings, does - n't mean it flies. Just be-cause the bird might sing, does - n't mean it's glad. A Just be -cause it might have wings, does - n't mean it flies. Just be-cause the bird might sing, does - n't mean it's glad.
T Just be-cause it might have wings, does - n't mean it flies. Just be-cause the bird might sing, does - n't mean it's glad.
B Just be-cause it might have wings, does - n't mean it flies. Just be-cause the bird might sing, does - n't mean it's glad.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 56. Land of Gray (From the Secular Hymnal)
Music: "Hyfrydol" by Rowland Hugh Prichard, 1830 Words: Secretary Michael (traditional hymn: "Love Divine, All Loves Excelling") F D‹ G‹ C F D‹ B¨ C F S 1. On our jour - ney let's spend time in the place they call the "Land of Gray". 2. In this mixed - up, mes - sy land, we can learn to love and un - der - stand. A On our jour - ney let's spend time in the place they call the "Land of Gray". In this mixed - up, mes - sy land, we can learn to love and un - der - stand. T 1. On our jour - ney let's spend time in the place they call the "Land of Gray". 2. In this mixed - up, mes - sy land, we can learn to love and un - der - stand.
B On our jour - ney let's spend time in the place they call the "Land of Gray". In this mixed - up, mes - sy land, we can learn to love and un - der - stand.
9 F D‹ G‹ C F D‹ B¨ C F S Not quite night, yet not quite day, it's not to - mor- row, yet not to - day. Not quite wo - man, not quite man, it's not quite Bi - ble yet not Qu - ran.
A Not quite night, yet not quite day, it's not to - mor-row, yet not to - day. Not quite wo - man, not quite man, it's not quite Bi - ble yet not Qu - ran. T Not quite night, yet not quite day, it's not to - mor- row, yet not to - day. Not quite wo - man, not quite man, it's not quite Bi - ble yet not Qu - ran. B Not quite night, yet not quite day, it's not to - mor-row yet not to - day. Not quite wo - man, not quite man, it's not quite Bi - ble yet not Qu - ran.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 17 A‹ D G‹ C F D‹ G‹7 C
S Not quite left yet not quite right, it's not quite black yet not quite white. Not quite West, yet not quite East, it's not quite hu-man yet not quite beast. A Not quite left yet not quite right, it's not quite black yet not quite white. Not quite West, yet not quite East, it's not quite hu-man yet not quite beast. T Not quite left yet not quite right, it's not quite black yet not quite white. Not quite West, yet not quite East, it's not quite hu-man yet not quite beast.
B Not quite left yet not quite right, it's not quite black yet not quite white. Not quite West, yet not quite East, it's not quite hu-man yet not quite beast.
25 F G‹ C F D‹ B¨ C F B¨ C F S Not quite here, yet not quite a - way, Let's spend time in the "Land of Gray". Can't quite leave, yet can't quite stay, here at home in the "Land of Gray".
A Not quite here, yet not quite a - way, Let's spend time in the "Land of Gray". Can't quite leave, yet can't quite stay, here at home in the "Land of Gray".
T Not quite here, yet not quite a - way, Let's spend time in the "Land of Gray". Can't quite leave, yet can't quite stay, here at home in the "Land of Gray".
B Not quite here, yet not quite a - way, Let's spend time in the "Land of Gray". Can't quite leave, yet can't quite stay, here at home in the "Land of Gray".
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 57. Let's Make a Right (From the Secular Hymnal)
Words: Secretary Michael Music: "Italian Hymn" by Felice de Giardini, 1769 (traditional hymn: "Come Thou Almighty King")
F C7 F D‹ G‹ C S Let's make clean wa - ter a right. Let's make clean wa - ter our fight. nu - tri - tion nu - tri - tion health care health care edu - ca - tion edu - ca - tion oppor - tuni - ty oppor - tu - ni - ty shel - ter shel - ter peace peace
A Let's make clean wa - ter a right. Let's make clean wa - ter our fight. nu - tri - tion nu - tri - tion health care health care edu - ca - tion edu - ca - tion oppor - tuni - ty oppor - tuni - ty shel - ter shel - ter peace peace
T Let's make clean wa - ter a right. Let's make clean wa - ter our fight. nu - tri - tion nu - tri - tion health care health care edu - ca - tion edu - ca - tion oppor - tuni - ty oppor - tuni - ty shel - ter shel - ter peace peace
B Let's make clean wa - ter a right. Let's make clean wa - ter our fight. nu - tri - tion nu - tri - tion health care health care edu - ca - tion edu - ca - tion oppor - tuni - ty oppor - tu - ni - ty shel - ter shel - ter peace peace
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 7 F C C7 F G‹ S This is our quest: That we will work to bring re - lief from
A This is our quest: That we will work to bring re - lief from T This is our quest: That we will work to bring re - lief from B This is our quest: That we will work to bring re - lief from
12 A D‹ F A‹ G‹ C F S suf - fer - ing. 'Til we a - chieve this thing, we shall not rest.
A suf - fer - ing. 'Til we a - chieve this thing we shall not rest. T suf - fer - ing. 'Til we a - chieve this thing, we shall not rest. B suf - fer - ing. 'Til we a - chieve this thing, we shall not rest.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 58. Let's Ride in our Time Machines (From the Secular Hymnal) Words: Secretary Michael Music: "Garden" by Charles Austin Miles, 1912 (traditional hymn: "In the Garden") G G7 C G S 1. Let's ride in our time ma - chines in - to fu - tures of our dreams. And 2. For those who do not have the means to go riding in time ma- chines, let's
A 1. Let's ride in our time ma - chines in - to fu - tures of our dreams. And 2. For those who do not have the means to go riding in time ma - chines, let's
T 1. Let's ride in our time ma - chines in - to fu - tures of our dreams. And 2. For those who do not have the means to go riding in time ma - chines, let's B 1. Let's ride in our time ma - chines in - to fu - tures of our dreams. And 2. For those who do not have the means to go riding in time ma - chines, let's
5 D7 G E‹ A7 D D7
S if we could on-ly look for good in pla - ces ne - ver seen. Let's bring them a - long and teach them our song, and share with them our dreams. Let's
A if we could on-ly look for good in pla - ces ne - ver seen. Let's bring them a - long and teach them our song, and share with them our dreams. Let's T if we could on-ly look for good in pla - ces ne - ver seen. Let's bring them a - long and teach them our song, and share with them our dreams. Let's B if we could on-ly look for good in pla - ces ne - ver seen. Let's bring them a - long and teach them our song, and share with them our dreams. Let's
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN 10 G D7 G S look out - side as we ride, ride, ride through fields and fields of flo - wers, and
A look out - side as we ride, ride, ride through fields and fields of flo - wers, and
T look out - side as we ride, ride, ride through fields and fields of flo - wers, and
B look out - side as we ride, ride, ride through fields and fields of flo - wers, and
14 B7 E‹ C G D7 G S sing our song as we speed a - long at six - ty mi-nutes per ho - ur.
A sing our song as we speed a - long at six - ty mi-nutes per ho - ur.
T sing our song as we speed a - long at six - ty mi-nutes per ho - ur. B sing our song as we speed a - long at six - ty mi-nutes per ho - ur.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 59. Let's Start a Big Commotion (From the Secular Hymnal) Music: "Thaxted" by Gustaf T. Holst, 1921 Words: Secretary Michael (traditional hymn: "I Vow to Thee, My Country")
F G7 C F G A‹ F G7 C A‹ S Let's start a big com - mo - tion so e-v'ry-bo - dy knows a - bout a great in - jus - tice that
A Let's start a big com - mo - tion so e-v'ry-bo - dy knows a - bout a great in - jus - tice that
T Let's start a big com - mo - tion so e-v'ry-bo - dy knows a - bout a great in - jus - tice that B Let's start a big com - mo - tion so e-v'ry-bo - dy knows a - bout a great in - jus - tice that
7 F G7 C G F G G C F S they can help op - pose. Let's shake the foun - da -tions, let's shout and bang the drums, be-cause
A they can help op - pose. Let's shake the foun - da - tions, let's shout and bang the drums, be-cause
T they can help op - pose. Let's shake the foun - da- tions, let's shout and bang the drums, be-cause B they can help op - pose. Let's shake the foun - da- tions, let's shout and bang the drums, be-cause
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 A‹ F C D‹ G F G7 C S si - lence is vio-lence if it gets no - thing done. To end a great in - jus - tice it
A si - lence is vio - lence if it gets no - thing done. To end a great in - jus - tice it T si - lence is vio - lence if it gets no - thing done. To end a great in - jus - tice it B si - lence is vio - lence if it gets no - thing done. To end a great in - jus - tice it
19 F G A‹ F G7 A‹ F G7 C S must be ex - posed. So let's start a big com - mo - tion so e - v'ry-bo - dy knows.
A must be ex - posed. So let's start a big com - mo - tion so e - v'ry-bo - dy knows. T must be ex - posed. So let's start a big com - mo - tion so e - v'ry-bo - dy knows. B must be ex - posed. So let's start a big com - mo - tion so e - v'ry-bo - dy knows.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 60. Let's Stop Making Weapons (From the Secular Hymnal)
Music: "Sparrow" by Charles Hutchinson Gabriel, 1905 Words: Secretary Michael (traditional hymn: "His Eye Is on the Sparrow")
B¨ E¨ B¨ G7 C‹ S 1. Suf - fer - ing 'round the world, car-nage and so much fear, co-ming from some-thing ug - ly, 2. Con-flicts can be re - solved, and in a heal-ing way. Sim- ply ask a - ny teach- er;
A
T 1. Suf - fer - ing 'round the world, car-nage and so much fear, co-ming from some-thing ug - ly, 2. Con-flicts can be re - solved, and in a heal-ing way. Sim- ply ask a - ny teach- er;
B
7 F B¨ B¨ E¨ S some-thing that we make here. It's not our mo-vies or veg- gies, or cars we proud-ly dis - play, or they do it e - v'ry - day. Or ask the au - to me - cha - nic, the veg - gie far - mer and son, and
A
T some-thing that we make here. It's not our mo-vies or veg- gies, or cars we proud-ly dis - play, or they do it e - v'ry - day. Or ask the au - to me - cha - nic, the veg - gie far - mer and son, and B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 F7 B¨ F F7 B¨ B¨7 S a - ny - thing we are ma- king in a "Love Thy Neigh - bor" way. We hide it cuz it's o - thers that we look up to, who re - fuse to own a gun. A dif - f'rent way of A T a - ny - thing we are ma- king in a "Love Thy Neigh - bor" way. We hide it cuz it's o - thers that we look up to, who re - fuse to own a gun. A dif - f'rent way of B REFRAIN 18 E¨ B¨ F B¨ F B¨ F
S shame- ful, but we make them e - v'ry - day. The world can have our mo- vies, our veg- gies and our think - ing, but the think - ing must get done. The world... A T shame- ful, but we make them e - v'ry - day. The world can have our mo- vies, our veg- gies and our think - ing, but the think - ing must get done. The world... B
24 B¨ B¨7 E¨ B¨ F B¨
S cars. But let's stop mak - ing wea- pons, 'cuz that's not who we are. A T cars. But let's stop mak - ing wea- pons, 'cuz that's not who we are. B (Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 61. Let's Try Something Different (From the Secular Hymnal)
Music: "Evangel" by William Howard Doane, 1867 Words: Secretary Michael (traditional hymn: "Tell Me the Old, Old Story")
B¨ E¨ B¨ G‹ F F7 B¨ E¨ C‹ S Let's try some thing dif-f'rent that we've not tried be - fore. We've tried and tried the tried and true, so
A Let's try some - thing dif-f'rent that we've not tried be - fore. We've tried and tried the tried and true, so
T Let's try some - thing dif-f'rent that we've not tried be - fore. We've tried and tried the tried and true, so
B Let's try some - thing dif-f'rent that we've not tried be - fore. We've tried and tried the tried and true, so
7 B¨ F7 B¨ F F7 B¨ C C7 F F7
S let's try some - thing more. Let's go to dif-f'rent pla - ces and o - pen dif-f'rent doors with
A let's try some- thing more. Let's go to dif-f'rent pla - ces and o - pen dif-f'rent doors with
T let's try some-thing more. Let's go to dif-f'rent pla - ces and o - pen dif-f'rent doors with B let's try some-thing more. Let's go to dif-f'rent pla - ces and o - pen dif-f'rent doors with
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 B¨ E¨ C‹ B¨ F7 B¨ B¨ E¨ B¨ S dif-f'rent peo-ple and points of view that we can - not ig - nore. Let's try some-thing dif - f'rent.
A dif-f'rent peo-ple and points of view that we can - not ig - nore. Let's try some-thing dif - f'rent.
T dif-f'rent peo-ple and points of view that we can - not ig - nore. Let's try some-thing dif - f'rent.
B dif-f'rent peo-ple and points of view that we can - not ig - nore. Let's try some-thing dif - f'rent.
19 F F7 B¨ B¨7 E¨ B¨ F7 B¨ S Let's try some-thing dif - f'rent. Let's try some-thing dif - f'rent. Let's try some - thing more.
A Let's try some-thing dif - f'rent. Let's try some-thing dif - f'rent. Let's try some -thing more.
T Let's try some-thing dif - f'rent. Let's try some-thing dif - f'rent. Let's try some - thing more.
B Let's try some-thing dif - f'rent. Let's try some-thing dif - f'rent. Let's try some - thing more.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 62. Long Road (From the Secular Hymnal)
Music: "Meine Hoffnung Stehet Feste" by J.Neander, 1680 Words (and music alteration): Secretary Michael Harmonized by J.S.Bach (Cantata 40), 1723 (traditional hymn:"All My Hope On God Is Founded")
A‹ E A‹ E A‹ E F D‹ F6 E S Long Road, Long Road, where you take me? Why these prob - lems, why this stress?
A Long Road, Long Road, where you take me? Why these prob - lems, why this stress?
T Long Road, Long Road, where you take me? Why these prob - lems, why this stress? B Long Road, Long Road, where you take me? Why these prob - lems, why this stress?
5 A‹ E A‹ E A‹ E F D‹ G C S Long Road, Long Road, don't for - sake me. We are bound for hap - pi - ness.
A Long Road, Long Road, don't for - sake me. We are bound for hap - pi - ness.
T Long Road, Long Road, don't for - sake me. We are bound for hap - pi - ness. B Long Road, Long Road, don't for - sake me. We are bound for hap - pi - ness.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 A‹ E D‹ E A‹ E7 D‹ E A‹ S Long Road, Long Road, we are bound for hap - pi - ness.
A Long Road, Long Road, we are bound for hap - pi - ness.
T Long Road, Long Road, we are bound for hap - pi - ness.
B Long Road, Long Road, we are bound for hap - pi - ness.
13 A‹ E D‹ E A‹ E7 D‹ E A‹ S Long Road, Long Road, we will get there, get there yet.
A Long Road, Long Road, we will get there, get there yet.
T Long Road, Long Road, we will get there, get there yet.
B Long Road, Long Road, we will get there, get there yet.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 63. Make Just One Brand-New Friend (From the Secular Hymnal) Music: "Foundation" by Joseph Funk, 1832 Words: Secretary Michael (traditional hymn: "How Firm a Foundation") G B‹ C D S Make just one brand new friend who seems dif - f'rent and strange. Make just
A Make just one brand new friend who seems dif - f'rent and strange. Make just T Make just one brand new friend who seems dif - f'rent and strange. Make just
B Make just one brand new friend who seems dif - f'rent and strange. Make just
5 G B‹ C D G S one brand new friend, and your whole world will change. Just
A one brand new friend, and your whole world will change. Just
T one brand new friend, and your whole world will change. Just B one brand new friend, and your whole world will change. Just
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G E‹ C D S one brand new friend who seems dif - f'rent and strange. Make just
A one brand new friend who seems dif - f'rent and strange. Make just T one brand new friend who seems dif - f'rent and strange. Make just
B one brand new friend who seems dif - f'rent and strange. Make just
13 G B‹ C D G S one brand new friend and your whole world will change. A one brand new friend and your whole world will change. T one brand new friend and your whole world will change. B one brand new friend and your whole world will change.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 64. May We Make Moments of Peace (From the Secular Hymnal)
Words: Secretary Michael Music: "Duke Street" by John Hatton, 1793 (traditional hymn: "Jesus Shall Reign, Where'er the Sun") C G F C S May we make mo - ments of peace and of light,
A May we make mo - ments of peace and of light,
T May we make mo - ments of peace and of light, B May we make mo - ments of peace and of light,
5 E‹ F D‹ G S Each lit - tle mo - ment to brigh - ten the night.
A Each lit - tle mo - ment to brigh - ten the night.
T Each lit - tle mo - ment to brigh - ten the night. B Each lit - tle mo - ment to brigh - ten the night.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 C A‹ F G S Mo - ments will lead to more and more that ne - ver cease
A Mo - ments will lead to more and more that ne - ver cease
T Mo - ments will lead to more and more that ne - ver cease B Mo - ments will lead to more and more that ne - ver cease
13 C A‹ G7 C S Un - til the world be - comes a mo - ment of peace.
A Un - til the world be - comes a mo - ment of peace.
T Un - til the world be - comes a mo - ment of peace. B Un - til the world be - comes a mo - ment of peace.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 65. No Cheers For David (From the Secular Hymnal)
Music: "O Perfect Love" by Joseph Barnby, 1889 Words: Secretary Michael Arranged by John Stainer, 1898 (traditional hymn: "O Perfect Love")
D A7 D F© G S No cheers for Da - vid, no cheers for Go - li - ath. A No cheers for Da - vid, no cheers for Go - li - ath.
T No cheers for Da - vid, no cheers for Go - li - ath. B No cheers for Da - vid, no cheers for Go - li - ath.
5 E‹ A7 D F© B‹ E A A7 S No cheers when "Good Guys" bat - tle with the "Bad".
A No cheers for "Good Guys" bat - tl - ing the "Bad".
T No cheers for "Good Guys" bat - tl - ing the "Bad".
B No cheers for "Good Guys" bat - tl - ing the "Bad".
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D A7 D F© G S We must for peace - ful re - so - lu - tions cheer,
A We must for peace - ful re - so - lu - tions cheer,
T We must for peace - ful re - so - lu - tions cheer, B We must for peace - ful re - so - lu - tions cheer,
13 E‹ A7 B‹ E‹ A7 D S so vio - lent vic - to - ries will dis - ap - pear.
A so vio - lent vic - to - ries will dis - ap - pear.
T so vio - lent vic - to - ries will dis - ap - pear. B so vio - lent vic - to - ries will dis - ap - pear.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 66. No Need to Sing the Same Notes (From the Secular Hymnal)
Words: Secretary Michael Music: "Wir Pflugen" (We Plow) by Johann A.P.Schulz, 1800 (traditional hymn: "We Plow the Fields and Scatter") A¨ F‹ B¨‹7 E¨
S No need to sing the same notes that sound i - den - ti - c'ly, when
A No need to sing the same notes that sound i - den - ti - c'ly, when
T No need to sing the same notes that sound i - den - ti - c'ly, when B No need to sing the same notes that sound i - den - ti - c'ly, when
5 C‹ B¨7 C‹ A¨ B¨7 E¨ S we can all sing dif - f'rent notes that sound in har - mo - ny. The
A we can all sing dif - f'rent notes that sound in har - mo - ny. The
T we can all sing dif - f'rent notes that sound in har - mo - ny. The B we can all sing dif - f'rent notes that sound in har - mo - ny. The
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 A¨ B¨‹7 E¨7 A¨ B¨‹7 E¨7 S mu - sic can be ri - cher when there's di - ver - si - ty. So
A mu - sic can be ri - cher when there's di - ver - si - ty. So
T mu - sic can be ri - cher when there's di - ver - si - ty. So B mu - sic can be ri - cher when there's di - ver - si - ty. So
13 A¨ F‹ B¨‹7 E¨7 A¨ S let's not sing the same notes, let's sing in har - mo - ny.
A let's not sing the same notes, let's sing in har - mo - ny.
T let's not sing the same notes, let's sing in har - mo - ny.
B let's not sing the same notes, let's sing in har - mo - ny.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 67. Nonviolence May Take a Long Time (From the Secular Hymnal)
Words: Secretary Michael Music: "Redeemed" by William James Kirkpatrick, 1882 (traditional hymn: "Redeemed")
G D G D D7 G S Non - vio-lence may take a long time, but al - ways is best in the end. Non -
A Non - vio-lence may take a long time, but al - ways is best in the end. Non -
T Non - vio-lence may take a long time, but al - ways is best in the end. Non - B Non - vio-lence may take a long time, but al - ways is best in the end. Non -
5 G D G D D7 G S vio - lence may take a long time, so now is the time to be - gin. Be -
A vio - lence may take a long time, so now is the time to be - gin. Be -
T vio - lence may take a long time, so now is the time to be - gin. Be - B vio - lence may take a long time, so now is the time to be - gin. Be -
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 C G D D7 G S gin, be - gin, so now is the time to be - gin. Be -
A gin, be - gin, so now is the time to be - gin. Be -
T gin, be - gin, be - gin, be - gin, so now is the time to be - gin. Be -
B gin, be - gin, be - gin, be - gin, so now is the time to be - gin. Be -
13 C G D D7 G S gin, be - gin, so now is the time to be - gin.
A gin, be - gin, so now is the time to be - gin.
T gin, be - gin, be - gin, be - gin, so now is the time to be - gin. B gin, be - gin, be - gin, be - gin, so now is the time to be - gin.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 68. Nonviolence Must Be Taught (From the Secular Hymnal) Melody: "All in the April Evening" by Hugh S. Roberton, 1911 Words: Secretary Michael SATB arrangement: Secretary Michael (traditional hymn: "All in the April Evening") E¨ B¨ C‹ E¨ A¨ E¨
S Learn - ing to read and learn - ing to write. Such im - por - tant skills.
A Learn - ing to read and learn - ing to write. Such im - por - tant skills.
T Learn - ing to read and learn - ing to write. Such im - por - tant skills.
B Learn - ing to read and learn - ing to write. Such im - por - tant skills.
5 E¨ B¨ C‹ B¨ F7 B¨
S Learn - ing to swim and learn - ing to bike up and down the hills.
A Learn - ing to swim and learn - ing to bike up and down the hills.
T Learn - ing to swim and learn - ing to bike up and down the hills. B Learn - ing to swim and learn - ing to bike up and down the hills.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 B¨7 E¨ A¨ E¨ F‹ E¨ B¨ S Learn - ing to tie our shoes and to do the things we ought.
A Learn - ing to tie our shoes and to do the things we ought.
T Learn - ing to tie our shoes and to do the things we ought.
B Learn - ing to tie our shoes and to do the things we ought.
13 E¨ E¨7 A¨ E¨ B¨7 E¨ S Like all im - por - tant skills, non - vio - lence must be taught.
A Like all im - por - tant skills, non - vio - lence must be taught.
T Like all im - por - tant skills, non - vio - lence must be taught.
B Like all im - por - tant skills, non - vio - lence must be taught.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 69. Nothing's Heavy With Lots of Hands (From the Secular Hymnal)
Music: "Hendon" by Henri Abraham Cesar Malan, 1827 Words: Secretary Michael Harmony: Lowell Mason, 1841 (traditional hymn: "Take My Life and Let It Be")
F C7 F D‹ B¨ C F C S 1. No-thing's hea-vy with lots of hands shar ing bur - dens, shar - ing plans. A - ny-thing that 2. No-thing's stuck with lots of feet mov-ing 'til the job's com- plete. Step by step and 3. No-thing's hard with lots of minds, not just yours and not just mine. All the peo - ple
A 1. No -thing's heavy with lots of hands shar -ing bur - dens shar - ing plans. A - ny-thing that 2. No-thing's stuck with lots of feet run-ning fast to make ends meet. Step by step and 3. No-thing's hard with lots of minds, not just yours and not just mine. All the peo - ple
T 1. No-thing's heavy with lots of hands shar-ing bur - dens shar - ing plans. A - ny-thing that 2. No-thing's stuck with lots of feet run-ning fast to make ends meet. Step by step and 3. No-thing's hard with lots of minds, not just yours and not just mine. All the peo - ple
B 1. No-thing's heavy with lots of hands shar-ing bur - dens shar - ing plans. A - ny-thing that 2. No-thing's stuck with lots of feet run-ning fast to make ends meet. Step by step and 3. No-thing's hard with lots of minds, not just yours and not just mine. All the peo - ple
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 6 C7 F B¨ G‹ C F C D‹ G‹ C7 F S life de- mands, lift - ing, pull - ing, yes we can. No-thing's hea - vy with lots of hands. beat by beat, in the mud or on the street. No-thing's stuck with lots of feet. all com- bined sol - ving pro-blems for man- kind. No-things hard with lots of minds.
A life de- mands, lift - ing, pull - ing, yes we can. No-thing's hea - vy with lots of hands. beat by beat, in the mud or on the street. No-thing's stuck with lots of feet. all com- bined sol - ving pro-blems for man - kind. No-thing's hard with lots of minds.
T life de- mands, lift - ing, pull - ing, yes we can. No-thing's hea - vy with lots of hands. beat by beat, in the mud or on the street. No-thing's stuck with lots of feet. all com-bined sol - ving pro-blems for man - kind. No-thing's hard with lots of minds.
B life de- mands, lift - ing, pull - ing, yes we can. No-thing's hea - vy with lots of hands. beat by beat, in the mud or on the street. No-thing's stuck with lots of feet. all com-bined sol - ving pro-blems for man - kind. No-thing's hard with lots of minds.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 70. Oh Child Do Not Despair (From the Secular Hymnal)
Tune: "St. Thomas" by Aaron Williams (c. 1770) Words: Secretary Michael SATB Arrangement: Secretary Michael (traditional hymn: "O Bless the Lord, My Soul")
F D‹ B¨ C F G‹ C S 1. Oh child do not de - spair, it's hard to see from there. So 2. And on our shoul - ders stand to sur - vey all the land. Then 3. May chil - dren e - v'ry where not e - ver know de - spair. May
A 1. Oh child do not de - spair, it's hard to see from there. So 2. And on our shoul - ders stand to sur - vey all the land. Then 3. May chil - dren e - v'ry - where not e - ver know de - spair. May
T 1. Oh child do not de - spair, it's hard to see from there. So 2. And on our shoul - ders stand to sur - vey all the land. Then 3. May chil - dren e - v'ry where not e - ver know de - spair. May
B 1. Oh child do not de - spair, it's hard to see from there. So 2. And on our shoul - ders stand to sur - vey all the land. Then 3. May chil - dren e - v'ry where not e - ver know de - spair. May
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 5 F C D‹ A‹ B¨ C F S let us lift you way up high so you can see the sky. look - ing far and look - ing free please tell us what you see. all find shoul - ders to the sky and all be lif - ted high.
A let us lift you way up high so you can see the sky. look - ing far and look - ing free please tell us what you see. all find shoul - ders to the sky and all be lif - ted high.
T let us lift you way up high so you can see the sky. look - ing far and look - ing free please tell us what you see. all find shoul - ders to the sky and all be lif - ted high.
B let us lift you way up high so you can see the sky. look - ing far and look - ing free please tell us what you see. all find shoul - ders to the sky and all be lif - ted high.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 71. Ojalá (From the Secular Hymnal)
Music: Katholisches Gesangbuch (Vienna) 1686 Words: Secretary Michael (traditional hymn: "Holy God, We Praise Thy Name")
F D‹ B¨ C F F D‹ S 1. O - ja - lá that luck will come. O - ja - lá for 2. O - ja - lá for life - long health. O - ja - lá for A 1. O - ja - lá that luck will come. O - ja - lá for 2. O - ja - lá for life - long health. O - ja - lá for
T 1. O - ja - lá that luck will come. O - ja - lá for 2. O - ja - lá for life - long health. O - ja - lá for B 1. O - ja - lá that luck will come. O - ja - lá for 2. O - ja - lá for life - long health. O - ja - lá for
7 B¨ C F D‹ B¨ C F S e - v'ry - one. O - ja - lá for work to do. need - ed wealth. O - ja - lá for trea - sures won.
A e - v'ry - one. O - ja - lá for work to do. need - ed wealth. O - ja - lá for trea - sures won.
T e - v'ry - one. O - ja - lá for work to do. need - ed wealth. O - ja - lá for trea - sures won. B e - v'ry - one. O - ja - lá for work to do. need - ed wealth. O - ja - lá for trea - sures won.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REPEATING REFRAIN
13 F D‹ B¨ C B¨ C C7
S O - ja - lá for me and you. But what - e - ver O - ja - lá for those with none. But what - e - ver
A O - ja - lá for me and you. But what - e - ver O - ja - lá for those with none. But what - e - ver
T O - ja - lá for me and you. But what - e - ver O - ja - lá for those with none. But what - e - ver B O - ja - lá for me and you. But what - e - ver O - ja - lá for those with none. But what - e - ver
19 F G‹ A‹ B¨ A‹ D‹ G‹ C7 F S fate may bring, O - ja lá is what we'll sing. fate may bring, O - ja - lá is what we'll sing.
A fate may bring, O - ja - lá is what we'll sing. fate may bring, O - ja - lá is what we'll sing.
T fate may bring, O - ja - lá is what we'll sing. fate may bring, O - ja - lá is what we'll sing. B fate may bring, O - ja - lá is what we'll sing. fate may bring, O - ja - lá is what we'll sing.
* Ohalá (pronounced: Oh-ha-LAH) is the beautiful Spanish word meaning "let us hope" (Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 72. Onward Upward (From the Secular Hymnal)
Words: Secretary Michael Music: "St. Gertrude" by Arthur Seymour Sullivan, 1871 (traditional hymn: "Onward Christian Soldiers")
D A A7 D A S On ward, up- ward here we go, off to build new roads. Roads strong and smooth to
A On- ward, up- ward, here we go, off to build new roads. Roads strong and smooth to
T On- ward, up- ward, here we go, off to build new roads. Roads strong and smooth to B On- ward, up- ward, here we go, off to build new roads. Roads strong and smooth to
7 E7 A D G S car - ry hea - vy loads. Roads to free- dom, roads to peace, peace for e - v'ry - one.
A car - ry hea - vy loads. Roads to free- dom, roads to peace, peace for e - v'ry - one.
T car - ry hea - vy loads. Roads to free- dom, roads to peace, peace for e - v'ry - one.
B car - ry hea - vy loads. Roads to free- dom, roads to peace, peace for e - v'ry - one.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 E‹ A D A S Work- ing, work- ing, work- ing, work- ing, work-ing 'til we're done. On- ward, up-ward here we go, A Work- ing, work- ing, work- ing, work- ing, work-ing 'til we're done. On - ward, up -ward here we go,
T Work- ing, work- ing, work- ing, work- ing, work-ing 'til we're done. On- ward, up-ward here we go,
B Work- ing, work- ing, work- ing, work- ing, work-ing 'til we're done. On- ward, up-ward here we go,
19 A7 D B‹ G A7 D S roads through e - v'ry wall. Work-ing for a world, a world that works for all. A roads through e - v'ry wall. Work-ing for a world, a world that works for all.
T roads through e - v'ry wall, we're work- ing, work-ing for a world, a world that works for all.
B roads through e - v'ry wall. Work-ing for a world, a world that works for all.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 73. Open Open Up the Window (From the Secular Hymnal)
Words: Secretary Michael Music: "Austrian Hymn" by Franz Joseph Hayden, 1797 (traditional hymn: "Glorious Things of Thee Are Spoken") D B‹ G A7 D G E‹ G A
S O - pen, o - pen up the win - dow. Let the cur - tains snap in the wind.
A O - pen, o - pen up the win - dow. Let the cur - tains snap in the wind. T O - pen, o - pen up the win - dow. Let the cur - tains snap in the wind. B O - pen, o - pen up the win - dow. Let the cur - tains snap in the wind.
5 D B‹ G A7 D G E‹ G A S O - pen, o - pen up the win - dow. Let the fresh new world come in. A O - pen, o - pen up the win - dow. Let the fresh new world come in. T O - pen, o - pen up the win - dow. Let the fresh new world come in. B O - pen, o - pen up the win - dow. Let the fresh new world come in.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E‹ A E‹ A D B‹ E7 A7 S May we all grow as the winds blow, blow and blow and blow a - gain. A May we all grow as the winds blow, blow and blow and blow a - gain. T May we all grow as the winds blow, blow and blow and blow a - gain. B May we all grow as the winds blow, blow and blow and blow a - gain.
13 D B‹ G A7 D G F©‹ G D A7 D S O - pen, o - pen up the win - dow. Let the fresh new world come in. A O - pen, o - pen up the win - dow. Let the fresh new world come in.
T O - pen, o - pen up the win - dow. Let the fresh new world come in.
B O - pen, o - pen up the win - dow. Let the fresh new world come in.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 74. Our Garden Full of Flowers (From the Secular Hymnal) Melody: "Passion Chorale" by Hans Leo Hassler, 1601 Words: Secretary Michael Harmonized by J.S. Bach, 1729 (traditional hymn: "O Sacred Head, Now Wounded") F G E A‹ E A‹ S 1. Our gar - den full of flow - ers, of veg' - ta - bles and greens, of 2. The hates and fears with - in us all want at - ten - tion too. And 3. Our peace we keep it liv - ing by tend - ing to its needs, by
A
T 1. Our gar - den full of flow - ers, of veg' - ta - bles and greens, of 2. The hates and fears with - in us all want at - ten - tion too. And 3. Our peace we keep it liv - ing by tend - ing to its needs, by B
5 F G E A‹ E A‹ S on - ions and to - ma - toes, of pep - pers and of beans. We e - v'ry time they get it, they do what they will do. When prac - ti - cing non - vio - lence in thought and word and deed. Our A
T on - ions and to - ma - toes, of pep - pers and of beans. We e - v'ry time they get it, they do what they will do. When prac - ti - cing non - vio - lence in thought and word and deed. Our
B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G G7 F C F D‹ A S fer - ti - lize and weed them and wa - ter e - v'ry row. The hates and fears con - trol us and ne - ver want to go, the peace re - quires we care for the peo - ple we don't know. The
A
T fer - ti - lize and weed them and wa - ter e - v'ry row. The hates and fears con - trol us and ne - ver want to go, the peace re - quires we care for the peo - ple we don't know. The
B
13 G C D G D‹ G C S more that we at - tend them, the more that they will grow. more that we at - tend them, the more that they will grow. more that we at - tend them, the more our peace will grow. A
T more that we at - tend them, the more that they will grow. more that we at - tend them, the more that they will grow. more that we at - tend them, the more our peace will grow.
B
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 75. Pain Can Cause (From the Secular Hymnal)
Music: "Adelaide" by George Coles Stebbins, 1907 Words: Secretary Michael (traditional hymn: "Have Thine Own Way, Lord") D G D A A7 S 1. Pain can cause thoughts that ne - ver re - lax. Pain can cause 2. Pain can cause breaks in fa - mi - ly ties. Pain can make A 1. Pain can cause thoughts that ne - ver re - lax. Pain can cause 2. Pain can cause breaks in fa - mi - ly ties. Paini can make T 1. Pain can cause thoughts that ne - ver re - lax. Pain can cause 2. Pain can cause breaks in fa - mi - ly ties. Pain can make
B 1. Pain can cause thoughts that ne - ver re - lax. Pain can cause 2. Pain can cause breaks in fa - mi - ly ties. Pain can make
3 D S tears and de - sper - ate acts. In - stead of friend - ships crum - ble and die. In - stead of
A tears and de - sper - ate acts. In - stead of friend - ships crum - ble and die. In - stead of T tears and de - sper - ate acts. In - stead of friend - ships crum - ble and die. In - stead of B tears and de - sper - ate acts. In - stead of friend - ships crum - ble and die. In - stead of
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 5 G D D7 G Dº7 S judg - ing, we should re - frain. We can - not judg - ing, we should re - frain. We can - not A judg - ing, we should re - frain. We can - not judg - ing, we should re - frain. We can - not
T judg - ing, we should re - frain. We can - not judg - ing, we should re - frain. We can - not B judg - ing, we should re - frain. We can - not judg - ing, we should re - frain. We can - not
7 D A7 D S know a - ny - one's pain. know a - ny - one's pain. A know a - ny - one's pain. know a - ny - one's pain.
T know a - ny - one's pain. know a - ny - one's pain. B know a - ny - one's pain. know a - ny - one's pain.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 76. Parents Gone (From the Secular Hymnal)
Music: "Wondrous Love" from Southern Harmony, 1835 Words: Secretary Michael (traditional hymn: "What Wondrous Love Is This") D‹ A‹ D‹ A‹ F S 1. If you could see me now, Pa- rents Gone, Pa- rents Gone, if you could see me 2. If you could hear me now, Pa- rents Gone, Pa- rents Gone, if you could hear me 3. If you could hold me now, Pa- rents Gone, Pa- rents Gone, if you could hold me
A T 1. If you could see me now, Pa- rents Gone, Pa- rents Gone, if you could see me 2. If you could hear me now, Pa- rents Gone, Pa- rents Gone, if you could hear me 3. If you could hold me now, Pa- rents Gone, Pa- rents Gone, if you could hold me
B
6 A‹ D‹ A‹ D‹ A‹ S now, Pa- rents Gone. Would you know whom you see? Would you be proud of now, Pa- rents Gone. Would you re - ject my song? Or would you sing a - now, Pa- rents Gone. My love would o - ver - flow, I ne - ver would let
A
T now, Pa- rents Gone. Would you know whom you see? Would you be proud of now, Pa- rents Gone. Would you re - ject my song? Or would you sing a - now, Pa- rents Gone. My love would o - ver flow, I ne - ver would let B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 12 D‹ A‹ F D‹
S me? If you could see me now, Pa - rents Gone, Pa - rents long? If you could hear me now, Pa - rents Gone, Pa - rents go. If you could hold me now, Pa - rents Gone, Pa - rents
A
T me? If you could see me now, Pa - rents Gone, Pa - rents long? If you could hear me now, Pa - rents Gone, Pa - rents go. If you could hold me now, Pa - rents Gone, Pa - rents B
16 A‹ F A‹ D‹ S Gone, if you could see me now, Pa - rents Gone. Gone, if you could hear me now, Pa - rents Gone. Gone, if you could hold me now, Pa - rents Gone.
A T Gone, if you could see me now, Pa - rents Gone. Gone, if you could hear me now, Pa - rents Gone. Gone, if you could hold me now, Pa - rents Gone.
B
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 77. Past Performance is No Guarantee (From the Secular Hymnal)
Words: Secretary Michael Music: "Mannheim" by Friedrich Filitz, 1847 (traditional hymn: "Lead Us Heavenly Father Lead Us") E A E C©‹ B7 E S Past per - for - mance is no guar - an - tee of what our fu - tures hold. A Past per - for - mance is no guar - an - tee of what our fu - tures hold. T Past per - for - mance is no guar - an - tee of what our fu - tures hold. B Past per - for - mance is no guar - an - tee of what our fu - tures hold.
5 E A E C©‹ B7 E S Things we val - ued in our youth might not be val - ued when we're old. A Things we val - ued in our youth might not be val - ued when we're old. T Things we val - ued in our youth might not be val - ued when we're old. B Things we val - ued in our youth might not be val - ued when we're old.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G©‹ E7 A G©‹ F©7 B S Let's in - vest in - to our fu - tures though there are no guar - an - tees. A Let's in - vest in - to our fu - tures though there are no guar - an - tees. T Let's in - vest in - to our fu - tures though there are no guar - an - tees.
B Let's in - vest in - to our fu - tures though there are no guar - an - tees.
13 E A E C©‹ B7 E S Young and old need love and peace so let us all in - vest in these. A Young and old need love and peace so let us all in - vest in these. T Young and old need love and peace so let us all in - vest in these. B Young and old need love and peace so let us all in - vest in these.
(The title [and first line] of this Secular Hymn comes from a common disclaimer that investment companies use: "Past Performance is No Guarantee of Future Results")
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 78. Peace is Not What I Looked For (From the Secular Hymnal)
Music: Charles Crozat Converse, 1868 Words: Secretary Michael (traditional hymn: "What a Friend We Have In Jesus") E¨ A¨ E¨ B¨
S Peace is not what I looked for. Peace is not what I got.
A Peace is not what I looked for. Peace is not what I got.
T Peace is not what I looked for. Peace is not what I got. B Peace is not what I looked for. Peace is not what I got.
5 E¨ A¨ E¨ B¨7 E¨
S Looked to give some-one trou - bles. Trou - bles now I've a lot.
A Looked to give some-one trou - bles. Trou - bles now I've a lot.
T Looked to give some-one trou - bles. Trou - bles now I've a lot. B Looked to give some-one trou - bles. Trou - bles now I've a lot.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 B¨ E¨ A¨ F‹ B¨ S If a flow - er is - n't cared for, it will die in its pot.
A If a flow - er is - n't cared for, it will die in its pot. T If a flow - er is - n't cared for, it wil die in its pot.
B If a flow - er is - n't cared for, it wil die in its pot.
13 E¨ A¨ E¨ B¨7 E¨ S Peace is not what I looked for. Peace is not what I got.
A Peace is not what I looked for. Peace is not what I got.
T Peace is not what I looked for. Peace is not what I got.
B Peace is not what I looked for. Peace is not what I got.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 79. Peace Like a River (From the Secular Hymnal)
(Substitute this rhythm for all Words and Music: traditional American similar 4th-verse occurrences) Adapted by Secretary Michael (traditional hymn: "I've Got Peace Like a River") Peace, Love and Joy like a G G7 C G D S I've got PEACE LIKE A RI - VER, I've got PEACE LIKE A RI - VER, I've got LOVE LIKE AN O - CEAN, I've got LOVE LIKE AN O - CEAN, JOY LIKE A FOUN- TAIN, I've got JOY LIKE A FOUN- TAIN, PEACE, LOVE AND JOY LIKE A RI-VER, PEACE, LOVE AND JOY LIKE A RI-VER, A I've got (peace like a ri - ver), I've got (peace like a ri - ver), I've got
T I've got (peace like a ri - ver), I've got (peace like a ri - ver), I've got B I've got (peace like a ri - ver), I've got (peace like a ri - ver), I've got
5 E‹ A7 D D(“4)/A D7 S (peace like a ri - ver) in my soul. I've got A (peace like a ri - ver) in my soul. I've got
T (peace like a ri - ver) in my soul. I've got B (peace like a ri - ver) in my soul. I've got
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G G7 C G D S (peace like a ri - ver), I've got (peace like a ri - ver), I've got A (peace like a ri - ver), I've got (peace like a ri - ver), I've got T (peace like a ri - ver), I've got (peace like a ri - ver), I've got B (peace like a ri - ver), I've got (peace like a ri - ver), I've got
1. 4. 13 E‹ A7 D G C G G C G S (peace like a ri - ver) in my soul. I've got soul. A (peace like a ri - ver) in my soul. I've got soul. T (peace like a ri - ver) in my soul. I've got soul. B (peace like a ri - ver) in my soul. I've got soul.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 80. People Are More (From the Secular Hymnal)
Words: Secretary Michael Music: "Aberystwyth" by Joseph Parry, 1879 (traditional hymn: "Jesus Lover Of My Soul") D‹ A D‹ G‹ D‹ A S Peo - ple are more than the worst they've done. More than "fe - lon", more than "ex - con".
A Peo - ple are more than the worst they've done. More than "fe - lon", more than "ex - con".
T Peo - ple are more than the worst they've done. More than "fe - lon", more than "ex - con". B Peo - ple are more than the worst they've done. More than "fe - lon", more than "ex - con".
5 D‹ A D‹ G‹ A A7 D‹ S Peo - ple are more than the worst they've done. More than of - fen - der, more than scum.
A Peo - ple are more than the worst they've done. More than of - fen - der, more than scum.
T Peo - ple are more than the worst they've done. More than of - fen - der, more than scum. B Peo - ple are more than the worst they've done. More than of - fen - der, more than scum.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 B¨ F D‹ A‹ S More than fail - ure, more than de- feat. More than li - ar, more than cheat.
A More than fail - ure, more than de- feat. More than li - ar, more than cheat.
T More than fail - ure, more than de- feat. More than li - ar, more than cheat. B More than fail - ure, more than de- feat. More than li - ar, more than cheat.
13 B¨ A‹ D‹ A D‹ A D‹ S E - ven a kil - ler with a gun. Peo - ple are more than the worst they've done.
A E - ven a kil - ler with a gun. Peo - ple are more than the worst they've done.
T E - ven a kil - ler with a gun. Peo - ple are more than the worst they've done. B E - ven a kil - ler with a gun. Peo - ple are more than the worst they've done.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 81. People We Need to Meet (From the Secular Hymnal) Music: Silesian Folk Song Words: Secretary Michael (traditional hymn: "Fairest Lord Jesus") D A7 D A7 D S Peo - ple we need to meet. Jour - neys we must com - plete.
A Peo - ple we need to meet. Jour - neys we must com - plete.
T Peo - ple we need to meet. Jour - neys we must com - plete.
B Peo - ple we need to meet. Jour - neys we must com - plete.
5 B‹ F©‹ E‹ G A S Those we once hid are now those we must seek.
A Those we once hid are now those we must seek.
T Those we once hid are now those we must seek.
B Those we once hid are now those we must seek.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D B E‹ A D S No more are we a - fraid. No more will we e - vade. The A No more are we a - fraid. No more will we e - vade. The
T No more are we a - fraid. No more will we e - vade. The
B No more are we a - fraid. No more will we e - vade. The
13 B‹ B7 G A7 D S time is now, let peace be made.
A time is now, let peace be made.
T time is now, let peace be made.
B time is now, let peace be made.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 82. People Will Change (From the Secular Hymnal)
Music: "Lobe Den Herren" by Joachim Neander, 1685 Words: Secretary Michael Harmonized by W. Sterndale Bennett, 1863 (traditional hymn: "Praise to the Lord") F D‹ A‹ B¨ C7 F S 1. Peo - ple will change when put in dif - f'rent si - tu - a - tions. 2. Peo - ple will change when suf - f'ring dif - f'rent de - pri - va - tions. A 1. Peo - ple will change when put in dif - f'rent si - tu - a - tions. 2. Peo - ple will change when suf - f'ring dif - f'rent de - pri - va - tions.
T 1. Peo - ple will change when put in dif - f'rent si - tu - a - tions. 2. Peo - ple will change when suf - f'ring dif - f'rent de - pri - va - tions. B 1. Peo - ple will change when put in dif - f'rent si - tu - a - tions. 2. Peo - ple will change when suf - f'ring dif - f'rent de - pri - va - tions.
7 D‹ A‹ B¨ C7 F S Peo - ple will change when work - ing dif - f'rent oc - cu - pa - tions. Peo - ple will change when tak - ing dif - f'rent me - di - ca - tions. A Peo - ple will change when work - ing dif - f'rent oc - cu - pa - tions. Peo - ple will change when tak - ing dif - f'rent me - di - ca - tions.
T Peo - ple will change when work - ing dif - f'rent oc - cu - pa - tions. Peo - ple will change when tak - ing dif - f'rent me - di - ca - tions. B Peo - ple will change when work - ing dif - f'rent oc - cu - pa - tions. Peo - ple will change when tak - ing dif - f'rent me - di - ca - tions.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 A‹ B¨ D‹ G‹
S Change can cause strife, but it is part of
A Change can cause strife, but it is part of
T Change can cause strife, but it is part of B Change can cause strife, but it is part of
17 C7 F D‹ C7 F S life. So we must make a - dap - ta - - tions.
A life. So we must make a - dap - ta - - tions.
T life. So we must make a - dap - ta - - tions. B life. So we must make a - dap - ta - - tions.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 83. Relieving Suffering (From the Secular Hymnal)
Words: Secretary Michael Music: "Need" by Robert Lowry, 1872 (traditional hymn: "I Need Thee Every Hour") G C G S Re - liev - ing Suf - fer - ing. It's all I care to sing. It's A Re - liev - ing Suf - fer - ing. It's all I care to sing. It's
T Re - liev - ing Suf - fer - ing. It's all I care to sing. It's B Re - liev - ing Suf - fer - ing. It's all I care to sing. It's
5 D G A7 D S all I know that's true. It's all I care to do. If A all I know that's true. It's all I care to do. If T all I know that's true. It's all I care to do. If B all I know that's true. It's all I care to do. If
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G D D7 G G7
S I can bring re - lief, I'm liv - ing my be - lief. It's A I can bring re - lief, I'm liv - ing my be - lief. It's T I can bring re - lief, I'm liv - ing my be - lief. It's B I can bring re - lief, I'm liv - ing my be - lief. It's
13 C G D7 G S all I care to sing: Re - liev - ing Suf - fer - ing.
A all I care to sing: Re - liev - ing Suf - fer - ing.
T all I care to sing: Re - liev - ing Suf - fer - ing. B all I care to sing: Re - liev - ing Suf - fer - ing.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 84. Rise and Shine (From the Secular Hymnal)
Music: "Holy Manna" by William Moore, 1825 Words: Secretary Michael (traditional hymn: "Brethren, We Have Met to Worship") G D G D G S 1. Rise and Shine, a new day's dawn - ing, chance to make a bet - ter day. 2. Rise and Shine, the page is turn- ing, turn - ing in - to de - sti - ny. A Rise and Shine a new day's dawn - ing, chance to make a bet - ter day. Rise and Shine, the page is turn - ing, turn - ing in - to de - sti - ny.
T 1. Rise and Shine, a new day's dawn - ing, chance to make a bet - ter day. 2. Rise and Shine, the page is turn - ing, turn - ing in - to de - sti - ny.
B Rise and Shine, a new day's dawn - ing, chance to make a bet - ter day. Rise and Shine, the page is turn - ing, turn - ing in - to de - sti - ny.
5 D G D G S Rise and Shine, get up, stop yawn - ing, chance to go a dif - f'rent way. Rise and Shine, the book is clos - ing, clos - ing in - to his - to - ry. A Rise and Shine, get up, stop yawn - ing, chance to go a dif - f'rent way. Rise and Shine, the book is clos - ing, clos - ing in - to his - to - ry.
T Rise and Shine, get up stop yawn - ing, chance to go a dif - f'rent way. Rise and Shine, the book is clos - ing, clos - ing in - to his - to - ry.
B Rise and Shine, get up, stop yawn - ing, chance to go a dif - f'rent way. Rise and Shine, the book is clo - sing, clos - ing in - to his - to - ry.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G D G D
S One more chance to join the tus - sle. One more chance be - fore the night. No more time for nur - sing sor - row. No more time to wish and whine.
A One more chance to join the tus - sle. One more chance be - fore the night. No more time for nur - sing sor - row. No more time to wish and whine.
T One more chance to join the tus - sle. One more chance be - fore the night. No more time for nur - sing sor - row. No more time to wish and whine.
B One more chance to join the tus - sle. One more chance be - fore the night. No more time for nur - sing sor - row. No more time to wish and whine.
13 G D G D G S Chance to lend my mind and mu - scle. Chance to fi - n'ly get things right. Time is now and not to - mor - row. Time is now to Rise and Shine. A Chance to lend my mind and mu - scle. Chance to fi - n'ly get things right. Time is now and not to - mor - row. Time is now to Rise and Shine.
T Chance to lend my mind and mu - scle. Chance to fi - n'ly get things right. Time is now and not to - mor - row. Time is now to Rise and Shine.
B Chance to lend my mind and mu - scle. Chance to fi - n'ly get things right. Time is now and not to - mor - row. Time is now to Rise and Shine.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 85. Seen, Heard and Understood (From the Secular Hymnal)
Words: Secretary Michael Music: "Bethany" by Lowell Mason, 1856 (traditional hymn: "Nearer My God, To Thee") E¨ A¨ E¨ B¨7 S "Seen, Heard and Un - der stood" If but we could.
A "Seen, Heard and Un - der - stood" If but we could.
T "Seen, Heard and Un - der- stood" If but we could. B "Seen, Heard and Un - der- stood" If but we could.
5 E¨ A¨ E¨ B¨7 E¨
S "Seen, Heard and Un - der- stood" All would be good.
A "Seen, Heard and Un - der- stood" All would be good.
T "Seen, Heard and Un - der- stood" All would be good. B "Seen, Heard and Un - der- stood" All would be good.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E¨ A¨ E¨ A¨ E¨ B¨7 S Such ba - sic hu - man needs. Such lov - ing hu - man deeds.
A Such ba - sic hu - man needs. Such lov - ing hu - man deeds.
T Such ba - sic hu - man needs. Such lov - ing hu - man deeds.
B Such ba - sic hu - man needs. Such lov - ing hu - man deeds.
13 E¨ A¨ E¨ B¨7 E¨
S "Seen, Heard and Un - der- stood" If but we could.
A "Seen, Heard and Un - der- stood" If but we could.
T "Seen, Heard and Un - der- stood" If but we could. B "Seen, Heard and Un - der- stood" If but we could.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 86. Skating, Skating (From the Secular Hymnal)
Words: Secretary Michael Music: "Westminster Abbey" by Henry Purcell, c.1680 (traditional hymn: "Christ is Made the Sure Foundation") F D‹ B¨ C7 F D‹ G7 C S Skat - ing, skat - ing all a- round, a time will come when we fall down.
A Skat - ing, skat - ing all a- round, a time will come when we fall down. T Skat - ing, skat - ing all a- round, a time will come when we fall down. B Skat - ing, skat - ing all a- round, a time will come when we fall down.
5 C7 F D‹ B¨ G‹ A7 D‹ S Time will come when all seems lost, a time will come of pain - ful cost.
A Time will come when all seems lost, a time will come of pain - ful cost. T Time will come when all seems lost, a time will come of pain - ful cost. B Time will come when all seems lost, a time will come of pain - ful cost.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D G‹ C7 F B¨ C C7 F S Pay tu - i - tion, then re - turn, for fall - ing down is how we learn. A Pay tu - i - tion, then re - turn, for fall - ing down is how we learn.
T Pay tu - i - tion, then re - turn, for fall - ing down is how we learn. B Pay tu - i - tion, then re - turn, for fall - ing down is how we learn.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 87. So Many Ways (From the Secular Hymnal)
Words: Secretary Michael Music: "Billing" by Sir Richard Runciman Terry, 1912 (traditional hymn: "Praise to the Holiest in the Height") D B‹ A D S So ma - ny ways to live our lives and A So ma - ny ways to live our lives and
T So ma - ny ways to live our lives and B So ma - ny ways to live our lives and
5 B‹ E7 A
S so ma - ny notes to sing. Let's
A so ma - ny notes to sing. Let's
T so ma - ny notes to sing. Let's B so ma - ny notes to sing. Let's
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 8 D B‹ B E‹ S choose our notes and live our lives re - A choose our notes and live our lives re -
T choose our notes and live our lives re - B choose our notes and live our lives re -
12 G A7 D
S liev - - ing suf - - fer - ing.
A liev - - ing suf - - fer - ing.
T liev - - ing suf - - fer - ing.
B liev - - ing suf - - fer - ing.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 88. Some Are Young, Some Old (From the Secular Hymnal)
Words: Secretary Michael Music: "Anchor" by William James Kirkpatrick, 1882 (traditional hymn: "Will Your Anchor Hold?") F B¨ C F C A‹ S Some are young, some old, some are shy, some bold. Some are weak, some strong, some are
A Some are young, some old, some are shy, some bold. Some are weak, some strong, some are
T Some are young, some old, some are shy, some bold. Some are weak, some strong, some are
B Some are young, some old, some are shy, some bold. Some are weak, some strong, some are
4 G7 C F C C7 F S right, some wrong. Some are bound, some free, some are blind, some see. But to -
A right, some wrong. Some are bound, some free, some are blind, some see. But to -
T right, some wrong. Some are bound, some free, some are blind, some see. But to -
B right, some wrong. Some are bound, some free, some are blind, some see. But to -
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 7 F7 B¨ C F F B¨ F S ge - ther we're a com - mu - ni - ty. We stand to - ge- ther, we stand by choice,
A ge - ther we're a com - mu - ni - ty. We stand to - ge- ther, we stand by choice,
T ge - ther we're a com - mu - ni - ty. We stand to - ge- ther, we stand by choice, B ge - ther we're a com - mu - ni - ty. We stand to - ge- ther, we stand by choice,
11 D‹ B¨ G‹ C F S though each of us has a dif - f'rent voice. So let's try to sing in A though each of us has a dif - f'rent voice. So let's try to sing in T though each of us has a dif - f'rent voice. So let's try to sing in B though each of us has a dif - f'rent voice. So let's try to sing in 14 B¨ G‹ F B¨ F C F
S har - mo - ny, 'cuz to - ge - ther we're a com - mu - ni - ty. A har - mo - ny, 'cuz to - ge - ther we're a com - mu - ni - ty.
T har - mo - ny, 'cuz to - ge - ther we're a com - mu - ni - ty. B har - mo - ny, 'cuz to - ge - ther we're a com - mu - ni - ty.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 89. Someday When Guns Are Gone (From the Secular Hymnal)
Music: "Dennis" by Johann Georg Nageli Words: Secretary Michael Arranged by Lowell Mason, 1845 (traditional hymn: "Blest Be the Tie That Binds") E¨ B¨7 E¨ E¨7/D¨ S Some - day when guns are gone and
A Some - day when guns are gone and
T Some day when guns are gone and B Some day when guns are gone and
5 A¨ E¨ B¨ S ci - vi - li - za - tion moves on, they'll
A ci - vi - li - za - tion moves on, they'll
T ci - vi - li - za - tion moves on, they'll B ci - vi - li - za - tion moves on, they'll
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 B¨7 E¨ B¨ E¨ A¨ S look back in dread at our bul - lets of lead and our
A look back in dread at our bul - lets of lead and our
T look back in dread at our bul - lets of lead and our B look back in dread at our bul - lets of lead and our
13 E¨ A¨ E¨ B¨7 E¨ S mil - lions and mil - lions of dead. A mil - lions and mil - lions of dead.
T mil - lions and mil - lions of dead. B mil - lions and mil - lions of dead.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 90. Someone Should (From the Secular Hymnal)
Music: "Cwm Rhondda" by John Hughes, 1907 Words: Secretary Michael (traditional hymn: "Guide Me, O Thou Great Jehovah")
F B¨ F D‹ B¨ C F B¨ C C7 F S 1. Some - one should clean up this mess! (Hey, I am a some - one too!) 2. Some - one should re - form our rules! (Hey, I am a some - one too!)
A 1. Some - one should clean up this mess! (Hey, I am a some - one too!) 2. Some - one should re - form our rules! (Hey, I am a some - one too!) T 1. Some - one should clean up this mess! (Hey, I am a some - one too!) 2. Some - one should re - form our rules! (Hey, I am a some - one too!)
B 1. Some - one should clean up this mess! (Hey, I am a some - one too!) 2. Some - one should re - form our rules! (Hey, I am a some - one too!)
5 F B¨ F D‹ B¨ C F A‹ G‹ S Some - one should stand up, say "Yes!" (Hey, I am a Some - one should sup - port our schools! (Hey, I am a A Some - one should stand up, say "Yes!" (Hey, I am a Some - one should sup - port our schools! (Hey, I am a T Some - one should stand up, say "Yes!" (Hey, I am a Some - one should sup - port our school! (Hey, I am a B Some - one should stand up, say "Yes!" (Hey, I am a Some - one should sup - port our schools! (Hey, I am a
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 8 C7 F C7 F A‹ S some - one too!) All these things that no - one's do - ing, some - one too!) All these things that no - one's do - ing, A some - one too!) All these things that no - one's do - ing, some - one too!) All these things that no - one's do - ing, T some - one too!) All these things that no - one's do - ing, some - one too!) All these things that no - one's do - ing, B some - one too!) All these things that no - one's do - ing, some - one too!) All these things that no - one's do - ing,
11 B¨ G‹ C C7 F D‹ G‹ C7 F S some - one needs to do (Hey, I am a some - one too!) some - one needs to do (Hey, I am a some - one too!) A some - one needs to do (needs to do) (Hey, I am a some - one too!) some - one needs to do (needs to do) (Hey, I am a some - one too!)
T some - one needs to do (Hey, I am a some - one too!) some - one needs to do (Hey, I am a some - one too!)
B some - one needs to do (needs to do) (Hey, I am a some - one too!) some - one needs to do (needs to do) (Hey, I am a some - one too!)
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 91. Spent Our Treasure (From the Secular Hymnal)
Tune: "Were You There?" (traditional African-American spiritual) Words: Secretary Michael Arranged by C. Winfred Douglas, 1940 (P.D.) (traditional hymn: "Were You There When They Crucified My Lord?") E¨ F‹ B¨7 E¨ A¨ E¨ S Spent our trea - sure on U two thir - ty five. Spent our Spent our trea - sure on brand new war ma- chines. Spent our A Spent our trea - sure on U two thir - ty five. Man a - live! Spent our Spent our trea - sure on brand new war ma- chines. How ob - scene! Spent our
T Spent our trea - sure on U two thir - ty five. Man a - live! Spent our Spent our trea - sure on brand new war ma- chines. How ob - scene. Spent our
B Spent our trea - sure on U two thir - ty five. Spent our Spent our trea - sure on brand new war ma- chines. Spent our
5 G‹ C‹ B¨ F‹ B¨ S trea - sure on U two thir - ty five. trea - sure on brand new war ma - chines. A trea - sure on U two thir - ty five. Man a - live! trea - sure on brand new war ma - chines. How ob - scene!
T trea - sure on U two thir - ty five. Man a - live! trea - sure on brand new war ma - chines. How ob - scene! B trea - sure on U two thir - ty five. Man a - live! trea - sure on brand new war ma - chines. How ob - scene!
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E¨ G‹ A¨ G7 C‹ F‹ S Did we de - cide that schools would all sur - vive and thrive, thrive, Was it our dream the help-less would get the means, the means, means,
A Did we de - cide that schools would all sur - vive and thrive, thrive, Was it our dream the help-less would get the means, the means, means,
T Did we de - cide that schools would all sur - vive and thrive, thrive, Was it our dream the help-less would get the means, the means, means,
B Did we de - cide that schools would all sur - vive and thrive, thrive, Was it our dream the help-less would get the means, the means, means,
15 B¨ C‹ F‹ B¨7 E¨ A¨ E¨
S thrive? No. We spent it on U two thir - ty five. means? No. We spent it on brand new war ma chines.
A thrive? No. We spent it on U two thir - ty five. Man a - live! means? No. We spend it on brand new war ma chines. How ob - scene! T thrive? No. We spent it on U two thir - ty five. Man a - live! means? No. We spent it on brand new war ma chines. How ob - scene!
B thrive? No. We spent it on U two thir - ty five. means? No. We spent it on brand new war ma chines.
(Explanation: U-235 is bomb-grade uranium which is refined from common uranium through expensive processing)
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 92. Standing At Bat (From the Secular Hymnal)
Words: Secretary Michael Music: "Hamburg" by Lowell Mason, 1824 (traditional hymn: "When I Survey the Wondrous Cross") F D‹ B¨ F S 1. Stand - ing at bat as the teams look at me. 2. Peo - ple from here say to fight for the "red". 3. Why in the world should I fight for a team? A
T 1. Stand - ing at bat as the teams look at me. 2. Peo - ple from here say to fight for the "red". 3. Why in the world should I fight for a team? B
5 D‹ B¨ G‹ C
S Should I de - li - ver what they want to see? Peo - ple from there shout out "yel - low" in - stead. If we want peace, we must stand in be - tween.
A
T Should I de - li - ver what they want to see? Peo - ple from there shout out "yel - low" in - stead. If we want peace, we must stand in be - tween. B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F D‹ B¨ F
S What will it mean when it's o - ver and done? Now as I won - der if a - ny - thing's true, If we want peace, then it's peace we must be. A
T What will it mean when it's o - ver and done? Now as I won - der if a - ny - thing's true, If we want peace, then it's peace we must be.
B
13 D‹ B¨ C7 F
S Ump looks at me and shouts "Strike One!" Ump looks at me and shouts "Strike Two!" I look at Ump and I say "Strike Three." A
T Ump looks at me and shouts "Strike One!" Ump looks at me and shouts "Strike Two!" I look at Ump and I say "Strike Three."
B
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 93. Step by Step (From the Secular Hymnal)
Words: Secretary Michael Music: "China" by William Batchelder Bradbury, 1862 (traditional hymn: "Jesus Loves Me, This I Know")
C F C S Step by step we march a - long, al - ways right and ne - ver wrong.
A Step by step we march a - long, al - ways right and ne - ver wrong.
T Step by step we march a - long, al - ways right and ne - ver wrong. B Step by step we march a - long, al - ways right and ne - ver wrong.
5 C F C G C
S Step by step and straight a - head, 'til we learn to dance in - stead.
A Step by step and straight a - head, 'til we learn to dance in - stead.
T Step by step and straight a - head, 'til we learn to dance in - stead. B Step by step and straight a - head, 'til we learn to dance in - stead.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 C F C G S Slide, kick and hip - hop. Slide, kick and hip - hop.
A Slide, kick and hip - hop. Slide, kick and hip - hop.
T Slide, kick and hip - hop. Slide, kick and hip - hop. B Slide, kick and hip - hop. Slide, kick and hip - hop.
13 C F C G C S Slide, kick and hip - hop. Let's learn to dance in - stead.
A Slide, kick and hip - hop. Let's learn to dance in - stead.
T Slide, kick and hip - hop. Let's learn to dance in - stead. B Slide, kick and hip - hop. Let's learn to dance in - stead.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 94. Storms Will Come (From the Secular Hymnal)
Words: Secretary Michael Music: "St. Helen" by Sir George C Martin, 1889 (traditional hymn: "Lord Enthroned in Heavenly Splendor") UNISON PHRASE A D E F©‹ B‹ E7 S Storms will come and storms will go, caus - ing da - mage as they blow. A Storms will come and storms will go, caus - ing da - mage as they blow. T Storms will come and storms will go, caus - ing da - mage as they blow. B Storms will come and storms will go, caus - ing da - mage as they blow.
HARMONY PHRASES
5 E7 B‹ E7 A G©‹ B7 E S Blow and blow un - til they're done, storms will vi - sit e - v'ry - one. A Blow and blow un - til they're done, storms will vi - sit e - v'ry - one. T Blow and blow un - til they're done, storms will vi - sit e - v'ry - one. B Blow and blow un - til they're done, storms will vi - sit e - v'ry - one.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E C© F©‹ A F©‹ E A S Storms will come, but come what may, storms will al - ways go a - way. A Storms will come, but come what may, storms will al - ways go a - way. T Storms will come, but come what may, storms will al - ways go a - way. B Storms will come, but come what may, storms will al - ways go a - way.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 95. Striving To Be (From the Secular Hymnal)
Words: Secretary Michael Music: "Pentecost" by William Boyd, 1868 (traditional hymn: "Fight the Good Fight") G E‹ C D7 S Striv - ing to be some - one who's rich,
A Striv - ing to be some - one who's rich,
T Striv - ing to be some - one who's rich, B Striv - ing to be some - one who's rich,
5 G E‹ C D
S work - ing so hard to scratch that itch.
A work - ing so hard to scratch that itch. T work - ing so hard to scratch that itch. B work - ing so hard to scratch that itch.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G E‹ C A‹
S But there's an itch that we need more:
A But there's an itch that we need more: T But there's an itch that we need more: B But there's an itch that we need more:
13 D G D7 G S Striv - ing to be some - one who's poor. A Striv - ing to be some - one who's poor.
T Striv - ing to be some - one who's poor. B Striv - ing to be some one who's poor.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 96. Swapping Shoes (From the Secular Hymnal)
Music: "Dix" by Conrad Kocher, 1838 Words: Secretary Michael Arranged by William Henry Monk, 1865 (traditional hymn: "For the Beauty of the Earth") G E‹ C G C E‹ D G S Swap - ping shoes with those we blame, shows that we would do the same. A Swap - ping shoes with those we blame, shows that we would do the same.
T Swap - ping shoes with those we blame, shows that we would do the same. B Swap - ping shoes with those we blame, shows that we would do the same.
5 G E‹ C G C E‹ D G S Swap - ping shoes with those we fear, we'd be there and they'd be here. A Swap - ping shoes with those we fear, we'd be there and they'd be here.
T Swap - ping shoes with those we fear, we'd be there and they'd be here. B Swap - ping shoes with those we fear, we'd be there and they'd be here.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G E‹ D G C E‹ D7 G S Swap - ping shoes, a use - ful game, shows how much we're all the same. A Swap - ping shoes, a use - ful game, shows how much we're all the same.
T Swap - ping shoes, a use - ful game, shows how much we're all the same. B Swap - ping shoes, a use - ful game, shows how much we're all the same.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 97. Tall Oaks From Little Acorns Grow (From the Secular Hymnal)
Music: "St. Columba" (traditional Irish melody) Words: Secretary Michael Harmonized by Charles Villiers Stanford, 1906 (traditional hymn: "The King of Love My Shepherd Is") B‹ A G D S Tall oaks from lit - tle a - corns grow. They
A Tall oaks from lit - tle a - corns grow. They
T Tall oaks from lit - tle a - corns grow. They B Tall oaks from lit - tle a - corns grow. They
5 B‹ A 3 G A S grow and grow and grow oh. And
A grow and grow and grow oh. And T grow and grow and grow oh. And B grow and grow and grow oh. And
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 B‹ A G B‹ S friend - ships start from just "hel - lo". Hel -
A friend - ships start from just "hel - lo". Hel - T friend - ships start from just "hel - lo". Hel - B friend - ships start from just "hel - lo". Hel -
13 G A7 D S lo, hel - lo, hel - lo oh.
A lo, hel - lo, hel - lo oh.
T lo, hel - lo, hel - lo oh.
B lo, hel - lo, hel - lo oh.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 98. The Greatest Walk (From the Secular Hymnal) Melody: Sir Hubert Parry, 1916 Words: Secretary Michael SATB Arrangement: Secretary Michael (traditional hymn: "Jerusalem")
B‹ G D G D E‹ B‹ G D S The great - est walk we'll e - ver take is the jour - ney we must make. Where e - v'ry A The great - est walk we'll e - ver take is the jour - ney we must make. Where e - v'ry T The great - est walk we'll e - ver take is the jour - ney we must make. Where e - v'ry
B The great - est walk we'll e - ver take is the jour - ney we must make. Where e - v'ry
5 B‹ F©‹ B‹ F©‹ B‹ F©‹ E A S wo - man, e - v'ry man must fi - gure out a way we can walk through this
A wo - man, e - v'ry man must fi - gure out a way we can walk through this
T wo - man, e - v'ry man must fi - gure out a way we can walk through this B wo - man e - v'ry man must fi - gure out a way we can walk through this
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E‹ A‹ E‹ G D7 G S life to - ge - ther, no mat - ter what the wea - ther, no mat - ter
A life to - ge - ther, no mat - ter what the wea - ther, no mat - ter T life to - ge - ther, no mat - ter what the wea - ther, no mat - ter
B life to - ge - ther, no mat - ter what the wea - ther, no mat - ter
13 E‹ A A7 D B‹ G D B‹ A7 D S what the mood, what the talk, put down our cru - tches and walk.
A what the mood, what the talk, put down our cru - tches and walk.
T what the mood, what the talk, put down our cru - tches and walk. B what the mood, what the talk, put down our cru - tches and walk.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 99. The Many Truths (From the Secular Hymnal)
Music: Finlandia by Jean Sibelius, 1899 Words: Secretary Michael SATB Arrangement: Secretary Michael (traditional hymn: "Be Still My Soul") F G‹ B¨ B¨‹ F G‹ S The ma - ny truths that peo- ple car - ry with them. The ma - ny truths that
A The ma - ny truths that peo - ple car - ry with them. The ma - ny truths that
T The ma - ny truths that peo - ple car - ry with them. The ma - ny truths that B The ma - ny truths that peo - ple car - ry with them. The ma - ny truths that
7 B¨ B¨‹ F A‹ D‹ B¨ G‹ S help them get through life. And though their truths may dif - fer from our own,
A help them get through life. And though their truths may dif - fer from our own,
T help them get through life. And though their truths may dif - fer from our own, B help them get through life. And though their truths may dif - fer from our own,
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 C D‹ B¨ C F A‹ D‹ S may we ac - cept and ne - ver cause them strife. May we be strong and
A may we ac - cept and ne - ver cause them strife. May we be strong and
T may we ac - cept and ne - ver cause them strife. May we be strong and B may we ac - cept and ne - ver cause them strife. May we be strong and
19 B¨ G‹ C D‹ B¨ C7 F S guard them as they car -ry the ma - ny truths that help them get through life.
A guard them as they car - ry the ma - ny truths that help them get through life.
T guard them as they car - ry the ma - ny truths that help them get through life. B guard them as they car - ry the ma - ny truths that help them get through life.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 100. The Only Path to Peace is Peace (From the Secular Hymnal)
Words: Secretary Michael Music: "St. Anne" by William Croft, 1708 (traditional hymn: "Our God Our Help in Ages Past") C E‹ F C A‹ D7 G S The on - ly path to peace is peace so don't be led a - stray by
A The on - ly path to peace is peace so don't be led a - stray by
T The on - ly path to peace is peace so don't be led a - stray by B The on - ly path to peace is peace so don't be led a - stray by
5 F G A‹ E‹ D‹ G7 C
S those who love their bombs and guns and shout out "U. S. A". Let's
A those who love their bombs and guns and shout out "U. S. A". Let's
T those who love their bombs and guns and shout out "U. S. A". Let's B those who love their bombs and guns and shout out "U. S. A". Let's
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 C E‹ F C A‹ D7 G S not re - peat the same mis - takes that we made yes - ter - day. The
A not re - peat the same mis - takes that we made yes - ter - day. The
T not re - peat the same mis - takes that we made yes - ter - day. The B not re - peat the same mis - takes that we made yes - ter - day. The
13 F G A‹ E‹ D‹ G7 C
S on - ly path to peace is peace, so peace must be our way.
A on - ly path to peace is peace, so peace must be our way.
T on - ly path to peace is peace, so peace must be our way. B on - ly path to peace is peace, so peace must be our way.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 101. Them Over There (From the Secular Hymnal)
Words: Secretary Michael Tune: Lasst Uns Erfreuen (pre-1623) Harmony: Ralph Vaughan Williams, 1906 (traditional hymn: "All Creatures Of Our God and King") D B‹ A7 D B‹ A7 S 1. Them o - ver there who don't have names. Them o - ver there who seem the same. 2. We o - ver here can make a change. We can go there and learn their names. A 1. Them o - ver there who don't have names. Them o - ver there who seem the same. 2. We o - ver here can make a change. We can go there and learn their names.
T 1. Them o - ver there who don't have names. Them o - ver there who seem the same. 2. We o - ver here can make a change. We can go there and learn their names.
B 1. Them o - ver there who don't have names. Them o - ver there who seem the same. 2. We o - ver here can make a change. We can go there and learn their names.
4 B‹ G D B‹ E A D B‹ A7 S Seem the same. Don't have names. Them o - ver there, the old and frail. Make a change. Learn their names. Names for the old and for the frail. A Seem the same. Don't have names. Them o - ver there, the old and frail. Make a change. Learn their names. Names for the old and for the frail.
T Seem the same. Don't have names. Them o - ver there, the old and frail. Make a change. Learn their names. Names for the old and for the frail.
B Seem the same. Don't have names Them o - ver there, the old and frail. Make a change. Learn their names. Names for the old and for the frail.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 8 D B‹ A G A D G A D S Them o - ver there, the young in jail. Them with can - cer and no hair. Names for the lost and those in jail. If we care we must dare
A Them o - ver there, the young in jail. Them with can - cer and no hair. Names for the lost and those in jail. If we care we must dare
T Them o - ver there, the young in jail. Them with can - cer and no hair. Names for the lost and those in jail. If we care we must dare
B Them o - ver there, the young in jail. Them with can - cer and no hair. Names for the lost and those in jail. If we care we must dare
12 B‹ E A B‹ E A E‹ A7 D S Schi - zo - phre - nics in de - spair. Them there. learn their names 'til there's no "them" and there's no "there".
A Schi - zo - phre - nics in de - spair. Them there. learn their names 'til there's no "them" and there's no "there".
T Schi - zo - phre - nics in de - spair. Them there. learn their names 'til there's no "them" and there's no "there".
B Schi - zo - phre - nics in de - spair. Them there. learn their names 'til there's no "them" and there's no "there".
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 102. There are Times (From the Secular Hymnal)
Words: Secretary Michael Music: "All To Christ" by John Thomas Grape, 1868 (traditional hymn: "Jesus Paid It All") C A‹ G C S 1. There are times I want to stop, and times I want to go. But I 2. There are times when I am fast, and times when I am slow. But I 3. There are times when I am high, and times when I am low. But I A
T 1. There are times I want to stop, and times I want to go. But I 2. There are times when I am fast, and times when I am slow. But I 3. There are times when I am high, and times when I am low. But I B
5 A‹ F G C S al - ways want to be the per - son that I know. al - ways want to be the per - son that I know. al - ways want to be the per - son that I know. A
T al - ways want to be the per - son that I know. al - ways want to be the per - son that I know. al - ways want to be the per - son that I know.
B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 C A‹ C G S Times I want to stop. Times I want to go. Times when I am fast. Times when I am slow. Times when I am high. Times when I am low. A T Times I want to stop. Times I want to go. Times when I am fast. Times when I am slow. Times when I am high. Times when I am low. B
13 C F F©º7 G7 C S But I al - ways want to be the per - son that I know. But I al - ways want to be the per - son that I know. But I al - ways want to be the per - son that I know.
A
T But I al - ways want to be the per - son that I know. But I al - ways want to be the per - son that I know. But I al - ways want to be the per - son that I know. B
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 103. There is a Game (From the Secular Hymnal)
Words: Secretary Michael Music: "Bring Them In" by William Augustine Ogden, 1885 (traditional hymn: "Bring Them In") G D D7 G S 1. There is a game that hor - mones play: They make us fools, then go a - way. 2. An - ger and shout - ing we will see; Dif - f'rent per - so - na - li - ty. A 1. There is a game that hor - mones play: They make us fools, then go a - way. 2. An - ger and shout - ing we will see; Dif - f'rent per - so - na - li - ty.
T 1. There is a game that hor - mones play: They make us fools, then go a - way. 2. An - ger and shout - ing we will see; Dif - f'rent per - so - na - li - ty. B 1. There is a game that hor - mones play: They make us fools, then go a - way. 2. An - ger and shout - ing we will see; Dif - f'rent per - so - na - li - ty.
5 G7 C A‹ D G D7 G S Leav - ing us with a price to pay 'til they come back a - no - ther day. Oh those ras - cals have such fun mak - ing fools of e - v'ry - one. A Leav - ing us with a price to pay 'til they come back a - no - ther day. Oh those ras - cals have such fun mak - ing fools of e - v'ry - one.
T Leav - ing us with a price to pay 'til they come back a - no - ther day. Oh those ras - cals have such fun mak - ing fools of e - v'ry - one. B Leav - ing us with a price to pay 'til they come back a - no - ther day. Oh those ras - cals have such fun mak - ing fools of e - v'ry - one.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN
9 G C G E‹ A‹ D7 S Ha - ha - ha! Boo - hoo - hoo! Oh the things that hor - mones do! A Ha - ha - ha! Boo - hoo - hoo! Oh the things that hor - mones do! T Ha - ha - ha! Boo - hoo - hoo! Oh the things that hor - mones do! B Ha - ha - ha! Boo - hoo - hoo! Oh the things that hor - mones do!
13 G C G E‹ D7 G S Ha - ha - ha! Boo - hoo - hoo! You to me and me to you! A Ha - ha - ha! Boo - hoo - hoo! You to me and me to you!
T Ha - ha - ha! Boo - hoo - hoo! You to me and me to you! B Ha - ha - ha! Boo - hoo - hoo! You to me and me to you!
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 104. There is a Rule of Thumb (From the Secular Hymnal) Music: "Diademata" by George J. Elvey, 1868 Words: Secretary Michael (traditional hymn: "Crown Him With Many Crowns")
D B‹ G F©‹ G A S 1. There is a Rule of Thumb that what will come will come. We'll 2. There is a guar - an - tee that what will be will be. We'll A 1. There is a Rule of Thumb that what will come will come. We'll 2. There is a guar - an - tee that what will be will be. We'll
T 1. There is a Rule of Thumb that what will come will come. We'll 2. There is a guar - an - tee that what will be will be. We'll B 1. There is a Rule of Thumb that what will come will come. We'll 2. There is a guar - an - tee that what will be will be. We'll
5 D B‹ E7 F©‹ D E7 A S get to where we've got to get and come from where we're from. No miss the things that we will miss and see what we will see. The A get to where we've got to get and come from where we're from. No miss the things that we will miss and see what we will see. The
T get to where we've got to get and come from where we're from. No miss the things that we will miss and see what we will see. The
B get to where we've got to get and come from where we're from. No miss the things that we will miss and see what we will see. The
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D D7 G E E7 A S need for feel - ing pride. No need for feel - ing glum. Let's do - ing has been done. The end - ing has be - gun. Let's
A need for feel - ing pride. No need for feel - ing glum. Let's do - ing has been done. The end - ing has be - gun. Let's
T need for feel - ing pride. No need for feel - ing glum. Let's do - ing has been done. The end - ing has be - gun. Let's
B need for feel - ing pride. No need for feel - ing glum. Let's do - ing has been done. The end - ing has be - gun. Let's
13 B‹ G E‹7 B‹ E‹7 A7 D S side by side en - joy the ride for what will come will come. side by side en - joy the ride for what will come will come.
A side by side en - joy the ride for what will come will come. side by side en - joy the ride for what will come will come.
T side by side en - joy the ride for what will come will come. side by side en - joy the ride for what will come will come. B side by side en - joy the ride for what will come will come. side by side en - joy the ride for what will come will come.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 105. There is an Empty Box (From the Secular Hymnal)
Music: "Aurelia" by Samuel Sebastian Wesley, 1864 Words: Secretary Michael (traditional hymn: "The Church's One Foundation") D A G A7 D S There is an emp - ty box that some would throw a - way. But
A There is an emp - ty box that some would throw a - way. But
T There is an emp - ty box that some would throw a - way. But B There is an emp - ty box that some would throw a - way. But
5 D F©7 G E‹ G A S o - thers find great beau - ty in - side it e - v'ry day. Al -
A o - thers find great beau - ty in - side it e - v'ry day. Al -
T o - thers find great beau - ty in - side it e - v'ry day. Al - B o - thers find great beau - ty in - side it e - v'ry day. Al -
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D G D B‹ B E‹ S though we may not see it, let's all of us a - gree: What
A though we may not see it, let's all of us a - gree: What T though we may not see it, let's all of us a - gree: What
B though we may not see it, let's all of us a - gree: What
13 E‹ G E‹ A7 D S peo - ple see as beau - ty must be al - lowed to be.
A peo - ple see as beau - ty must be al - lowed to be. T peo - ple see as beau - ty must be al - lowed to be.
B peo - ple see as beau - ty must be al - lowed to be.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 106. There is Something Wrong (From the Secular Hymnal)
Words: Secretary Michael Music: "The Old Rugged Cross" by George Bennard, 1913 (traditional hymn: "The Old Rugged Cross") A¨ D¨ E¨7 A¨ S There is some- thing wrong if we cheer a long when the peo-ple called "bad" are slain on a
A There is some - thing wrong if we cheer a-long when the peo-ple called "bad" are slain on a
T There is some - thing wrong if we cheer a-long when the peo-ple called "bad" are slain on a
B There is some - thing wrong if we cheer a-long when the peo-ple called "bad" are slain on a
5 D¨ E¨7 A¨ S ci - ne-ma screen or a real - life scene, as if we were in some kind of game. A
A ci - ne-ma screen or a real - life scene, as if we were in some kind of game. A
T ci - ne-ma screen or a real - life scene, as if we were in some kind of game. A
B ci - ne-ma screen or a real - life scene, as if we were in some kind of game. A
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E¨7 A¨ D¨ A¨ S game where their death is a plus, and a - no - ther point for us. But if
A game where their death is a plus, is a plus, and a - no - ther point for us. But if
T game where their death is a plus, is a plus, and a - no - ther point for us. But if
B game where their death is a plus, is a plus, and a - no - ther point for us. But if
13 A¨7 D¨ A¨ E¨7 A¨ S we are to be hu - mane, we must get our-selves out of this game.
A we are to be hu - mane, be hu- mane, we must get our-selves out of this game.
T we are to be hu - mane, be hu- mane, we must get our-selves out of this game.
B we are to be hu - mane, be hu- mane, we must get our-selves out of this game.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 107. There's a Better Way (From the Secular Hymnal)
Music: "Blessed Name" (an American camp meeting melody) Words: Secretary Michael Arrangement: Ralph Erskine Hudson, 1887 (traditional hymn: "Blessed Be the Name") G C G D S 1. When lea - ders say that vio-lence is the way, there are al-ways those who shout "hoo - ray!" And 2. When lea - ders say that guns will save the day, there are al-ways those who shout "hoo - ray!" And A 1. When lea - ders say that vio-lence is the way, there are al-ways those who shout "hoo - ray!" And 2. When lea - ders say that guns will save the day, there are al-ways those who shout "hoo - ray!" And T 1. When lea - ders say that vio-lence is the way, there are al-ways those who shout "hoo - ray!" And 2. When lea - ders say that guns will save the day, there are al-ways those who shout "hoo - ray!" And
B 1. When lea - ders say that vio-lence is the way, there are al-ways those who shout "hoo - ray!" And 2. When lea - ders say that guns will save the day, there are al-ways those who shout "hoo - ray!" And
5 G C G D7 G S then, hel - lo, the vio - lence starts to grow. We are stuck with fear and with dis - may. then, hel - lo, the shoot-ings start to grow. We are stuck with fear and with dis - may. A then, hel - lo, the vio - lence starts to grow. We are stuck with fear and with dis - may. then, hel - lo, the shoot-ings start to grow. We are stuck with fear and with dis - may. T then, hel - lo, the vio - lence starts to grow. We are stuck with fear and with dis - may. then, hel - lo, the shoot-ings start to grow. We are stuck with fear and with dis - may. B then, hel - lo, the vio - lence starts to grow. We are stuck with fear and with dis - may. then, hel - lo, the shoot-ings start to grow. We are stuck with fear and with dis - may.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN
9 G C G D S There's a bet - ter way! There's a bet - ter way! Peace has al ways been a bet - ter way! No
A There's a bet- ter way! There's a bet - ter way! Peace has al ways been a bet - ter way! No
T There's a bet - ter way! There's a bet - ter way! Peace has al ways been a bet - ter way! No
B There's a bet - ter way! There's a bet - ter way! Peace has al ways been a bet - ter way! No
13 G C G D7 G S mat-ter what they say, there's a bet - ter way! Peace has al-ways been a bet - ter way! A mat -ter what they say, there's a bet - ter way! Peace has al-ways been a bet - ter way!
T mat-ter what they say, there's a bet - ter way! Peace has al-ways been a bet - ter way!
B mat-ter what they say, there's a bet - ter way! Peace has al-ways been a bet - ter way!
(Helpful Hint: there are 5 dotted eighth notes - and they only occur with the word "better")
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 108. There's a Road Between Our Lands (From the Secular Hymnal)
Music: "Royal Oak" (a 17th century English melody) Words: Secretary Michael Arranged by Martin Shaw, 1915 (traditional hymn: "All Things Bright and Beautiful") G B‹ C D7 G A‹ D7 G S There's a road be - tween our lands where we can al - ways go to
A There's a road be - tween our lands where we can al - ways go to T There's a road be - tween our lands where we can al - ways go to
B There's a road be - tween our lands where we can al - ways go to
5 G B‹ C D7 G A‹ D7 G S walk to - ge - ther peace - ful - ly and say things from our soul. It's
A walk to - ge - ther peace - ful - ly and say things from our soul. It's T walk to - ge - ther peace - ful - ly and say things from our soul. It's
B walk to - ge - ther peace - ful - ly and say things from our soul. It's
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G G7 C A‹ D D7 G D
S not too hot, it's not too cold, it's not too left or right. Let's A not too hot, it's not too cold, it's not too left or right. Let's T not too hot, it's not too cold, it's not too left or right. Let's B not to hot, it's not too cold, it's not too left or right. Let's
13 G E‹ A‹ D7 C D7 G S stay a pair on this road we share and ne - ver, ne - ver fight.
A stay a pair on this road we share and ne - ver, ne - ver fight.
T stay a pair on this road we share and ne - ver, ne - ver fight.
B stay a pair on this road we share and ne - ver, ne - ver fight.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 109. There's Claim Number One (From the Secular Hymnal)
Words: Secretary Michael Music: "Revive Us Again" by John Jenkins Husband, c.1815 (traditional hymn: "Revive Us Again") E¨ C‹
S There's claim num - ber one, and claim num - ber two, and
A There's claim num - ber one, and claim num - ber two, and
T There's claim num - ber one, and claim num - ber two, and B There's claim num - ber one, and claim num - ber two, and
5 G‹ A¨ F‹ B¨ S though in - com - pa - ti - ble, both claims are true. With a
A though in - com - pa - ti - ble, both claims are true. With a
T though in - com - pa - ti - ble, both claims are true. With a B though in - com - pa - ti - ble, both claims are true. With a
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 A¨ C‹ A¨ B¨ S life - time of claims and their op - po - sites too, seems the
A life - time of claims and their op - po - sites too, seems the T life - time of claims and their op - po - sites too, seems the
B life - time of claims and their op - po - sites too, seems the
13 A¨ C‹ A¨ B¨7 E¨ S best we can do is the best we can do.
A best we can do is the best we can do. T best we can do is the best we can do. B best we can do is the best we can do.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 110. There's More Than One Way (From the Secular Hymnal)
Words: Secretary Michael Music: "Hanover" by William Croft, 1708 (traditional hymn: "Ye Servants of God") G E‹ C D7 G S There's more than one way to see what we see. There's
A There's more than one way to see what we see. There's
T There's more than one way to see what we see. There's B There's more than one way to see what we see. There's
5 E‹ B‹ A7 D S more than one way to be what we be. So
A more than one way to be what we be. So
T more than one way to be what we be. So B more than one way to be what we be. So
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E‹ C G D S when peo - ple have some - thing dif - f'rent to say, let's
A when peo - ple have some - thing dif - f'rent to say, let's
T when peo - ple have some - thing dif - f'rent to say, let's B when peo - ple have some - thing dif - f'rent to say, let's
13 C D A‹ D G S give them some room 'cuz there's more than one way. A give them some room 'cuz there's more than one way.
T give them some room 'cuz there's more than one way. B give them some room 'cuz there's more than one way.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 111. Things Are The Way They Are (From the Secular Hymnal)
Tune: "Nun Danket" by Johann Crueger, 1647 SATB Arrangement by Secretary Michael Words: Secretary Michael (traditional hymn: "Now Thank We All Our God")
D G D E‹7 A A7 D S Things are the way they are, and not the way they're not. Things A Things are the way they are and not the way they're not. Things
T Things are the way they are and not the way they're not. Things B Things are the way they are and not the way they're not. Things
5 D G D E‹7 A A7 D S go the way they go, and stop the way they stop. Un -
A go the way they go, and stop the way they stop. Un -
T go the way they go, and stop the way they stop. Un -
B go the way they go, and stop the way they stop. Un -
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 A D A D C© F©‹ S til we make the change, it should not be for - got: Things
A til we make the change, it should not be for - got: Things
T til we make the change, it should not be for - got: Things B til we make the change, it should not be for got: Things
13 B B7 E‹ G A D S are the way they are, and not the way they're not. A are the way they are, and not the way they're not.
T are the way they are, and not the way they're not. B are the way they are, and not the way they're not.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 112. This Day, This Day (From the Secular Hymnal)
Words: Secretary Michael Music: "Sine Nomine" by Ralph Vaughan Williams, 1906 (traditional hymn: "For All the Saints") D‹ B¨ C7 F S This day, this day, I know I'll find a way.
A This day, this day, I know I'll find a way.
T This day, this day, I know I'll find a way. B This day, this day, I know I'll find a way.
5 C G A‹ D‹ G7 C S Let come what may, I'll make it through this day. To -
A Let come what may, I'll make it through this day. To -
T Let come what may, I'll make it through this day. To - B Let come what may, I'll make it through this day. To -
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F D‹ A‹ B¨ G‹7 C A‹ S mor - row's fate is not yet on my plate. But
A mor - row's fate is not yet on my plate. But
T mor - row's fate is not yet on my plate. But
B mor - row's fate is not yet on my plate. But
13 B¨ A‹ D‹ B¨ G‹ C7 F S come what may, I'll make it through this day.
A come what may, I'll make it through this day.
T come what may, I'll make it through this day.
B come what may, I'll make it through this day.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 113. Tick-Tock (From the Secular Hymnal)
Music: "Regent Square" by Henry Thomas Smart, 1867 Words: Secretary Michael (traditional hymn: "Angels From the Realms of Glory") B¨ E¨ B¨ F B¨ S Tick - Tock, Tick - Tock let it chime 'cuz time is now a friend of mine. Tick - Tock, Tick - Tock no more need to wor - ry o - ver things like speed. A Tick - Tock, Tick - Tock let it chime 'cuz time is now a friend of mine. Tick - Tock, Tick - Tock no more need to wor - ry o - ver things like speed. T Tick - Tock, Tick - Tock let it chime 'cuz time is now a friend of mine. Tick - Tock, Tick - Tock no more need to wor - ry o - ver things like speed. B Tick - Tock, Tick - Tock let it chime 'cuz time is now a friend of mine. Tick - Tock, Tick - Tock no more need to wor - ry o - ver things like speed.
5 B¨ G‹ C C7 F F7 S Tick - Tock, Tick - Tock let it pass, there ain't no slow and there ain't no fast. Tick - Tock, Tick - Tock come my fate, it won't be ear - ly and won't be late. A Tick - Tock, Tick - Tock let it pass, there ain't no slow and there ain't no fast. Tick - Tock, Tick - Tock come my fate, it won't be ear - ly and won't be late. T Tick - Tock, Tick - Tock let it pass, there ain't no slow and there ain't no fast. Tick - Tock, Tick - Tock come my fate, it won't be ear - ly and won't be late. B Tick - Tock, Tick - Tock let it pass, there ain't no slow and there ain't no fast. Tick - Tock, Tick - Tock come my fate, it won't be ear - ly and won't be late.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F7 B¨ G‹ E¨ F7 B¨ S No more pres - sure, life is fine 'cuz time is now a friend of mine. I will live what I'm a - bout un - til my Tick - Tock time runs out. A No more pres - sure, life is fine 'cuz time is now a friend of mine. I will live what I'm a - bout un - til my Tick - Tock time runs out.
T No more pres - sure, life is fine 'cuz time is now a friend of mine. I will live what I'm a - bout un - til my Tick - Tock time runs out. B No more pres - sure, life is fine 'cuz time is now a friend of mine. I will live what I'm a - bout un - til my Tick - Tock time runs out.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 114. 'Tis a Gift (From the Secular Hymnal) Tune: "Simple Gifts" by Joseph Bracket, 1848 Words: Joseph Bracket, 1848 SATB Arrangement: Secretary Michael (traditional hymn: "Simple Gifts") F D‹ C D‹ B¨ C C7 S 'Tis a gift to be sim- ple, 'tis a gift to be free, 'tis a gift to come down where I ought to be. And
A 'Tis a gift to be sim- ple, 'tis a gift to be free, 'tis a gift to come down where I ought to be. And
T 'Tis a gift to be sim- ple, 'tis a gift to be free, 'tis a gift to come down where I ought to be. And
B 'Tis a gift to be sim- ple, 'tis a gift to be free, 'tis a gift to come down where I ought to be. And
5 F D‹ C D‹ B¨ C F F(“4) F S when I am in the place just right, I will be in the val - ley of love and de- light.
A when I am in the place just right, I will be in the val - ley of love and de- light.
T when I am in the place just right, I will be in the val - ley of love and de- light.
B when I am in the place just right, I will be in the val - ley of love and de- light.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F D‹ B¨ G‹ C7 S When true sim - pli - ci - ty is gained, to bow and to bend I will not be a- shamed. To
A When true sim - pli - ci - ty is gained, to bow and to bend I will not be a- shamed. To
T When true sim - pli - ci - ty is gained, to bow and to bend I will not be a- shamed. To B When true sim - pli - ci - ty is gained, to bow and to bend I will not be a- shamed. To
13 F D‹ C D‹ B¨ C F F(“4) F
S turn, to turn will be my de- light, 'til by turn - ing, turn - ing I come 'round right.
A turn, to turn will be my de- light, 'til by turn - ing, turn - ing I come 'round right.
T turn, to turn will be my de- light, 'til by turn - ing, turn - ing I come 'round right.
B turn, to turn will be my de- light, 'til by turn - ing, turn - ing I come 'round right. 115. To Find a Place (From the Secular Hymnal)
Words: Secretary Michael Music: "Crucifer" by Sydney Hugo Nicholson, 1916 (traditional hymn: "Lift High the Cross") UNISON REFRAIN C D‹ G A‹ D‹ G S To find a place where they ac - cept my face and
A To find a place where they ac - cept my face and
T To find a place where they ac - cept my face and B To find a place where they ac - cept my face and
5 C A‹ F E‹ F G7 C S where they let me run an e - ven race.
A where they let me run an e - ven race.
T where they let me run an e - ven race. B where they let me run an e - ven race.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. HARMONY VERSES 9 E‹ B‹ C B E‹ S 1. Run - ning and run - ning, as a re - fu - gee, I'm 2. Just out of pri - son, try - ing to ad - vance. I'm 3. Once I was mar - ried, now I am a - lone. I'm
A T 1. Run - ning and run - ning, as a re - fu - gee, I'm 2. Just out of pri - son, try - ing to ad - vance. I'm 3. Once I was mar - ried, now I am a - lone. I'm
B
13 A‹ D7 G B‹ C D7 G G7 S run - ning and run - ning, run - ning to be free. hop - ing and hop - ing for a se - cond chance. search - ing and search - ing for a place called "home". A
T run - ning and run - ning, run - ning to be free. hop - ing and hop - ing for a se - cond chance. search - ing and search ing for a place called "home".
B
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 116. To Live Our Lives Addiction-Free (From the Secular Hymnal) Melody: "Deus Tuorum Militum", 1753 Words: Secretary Michael SATB Arrangement by Secretary Michael (traditional hymn: "Bless Thou the Gifts") B¨ G‹ C‹ F7 B¨ S To live our lives ad - dic - tion free. To
A To live our lives ad - dic - tion free. To T To live our lives ad - dic - tion free. To B To live our lives ad - dic - tion free. To
5 G‹ G‹7 C7 F S live our lives with clar - i - ty. Pro -
A live our lives with clar - i - ty. Pro -
T live our lives with clar - i - ty. Pro - B live our lives with clar - i - ty. Pro -
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E¨ G‹ C‹ D D‹ S tect our brains so you and me can
A tect our brains so you and me can
T tect our brains so you and me can
B tect our brains so you and me can
13 E¨ C‹ F7 B¨ S live the way we're meant to be.
A live the way we're meant to be.
T live the way we're meant to be.
B live the way we're meant to be. 117. To Make the World a Better Place (From the Secular Hymnal)
Music: "Horsley" by William Horsley, 1830 Words: Secretary Michael (traditional hymn: "There Is a Green Hill Far Away")
G A G A D E A S To make the world a bet - ter place, a splen - did thing to do is A To make the world a bet - ter place, a splen - did thing to do is
T To make the world a bet - ter place, a splen - did thing to do is B To make the world a bet - ter place, a splen - did thing to do is
5 E‹ A E‹ F© G A D S take a chance and hire some - one who's dif - fer - ent than you. A
A take a chance and hire some - one who's dif - fer - ent than you. A T take a chance and hire some - one who's dif - fer - ent than you. A B take a chance and hire some - one who's dif - fer - ent than you. A
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G A G A D E A
S dif - f'rent skin or dif - f'rent faith or dif - f'rent point of view. Just A dif - f'rent skin or dif - f'rent faith or dif - f'rent point of view. Just
T dif - f'rent skin or dif - f'rent faith or dif - f'rent point of view. Just
B dif - f'rent skin or dif - f'rent faith or dif - f'rent point of view. Just
13 E‹ A E‹ F© G A D S take a chance and hire some - one who's dif - fer - ent than you.
A take a chance and hire some - one who's dif - fer - ent than you.
T take a chance and hire some - one who's dif - fer - ent than you.
B take a chance and hire some - one who's dif - fer - ent than you.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 118. To Soldiers Lost (From the Secular Hymnal)
Melody: "St. Patrick's Breastplate" (traditional Irish) Words: Secretary Michael SATB Arrangement: Secretary Michael (traditional hymn: "I Bind Unto Myself Today") G‹ B¨ G‹ F F7 G‹ D‹ S To sol - diers lost in the mad-ness of war, no mat-ter if this side or that side they are. Our
A To sol - diers lost in the mad -ness of war, no mat-ter if this side or that side they are. Our T To sol - diers lost in the mad-ness of war, no mat-ter if this side or that side they are. Our
B To sol - diers lost in the mad-ness of war, no mat-ter if this side or that side they are. Our
9 E¨ B¨ G‹ E¨ G‹ E¨ G‹ S sol - diers have pro-blems we must ad - dress 'cuz we have put them in - to this mess. Re -
A sol- diers have pro -blems we must ad - dress 'cuz we have put them in - to this mess. Re - T sol - diers have pro-blems we must ad - dress 'cuz we have put them in - to this mess. Re -
B sol - diers have pro-blems we must ad - dress 'cuz we have put them in - to this mess. Re -
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 17 B¨ G‹ C‹ F E¨ F G‹ D‹ S cruit the young at a - ny cost, then call them "he - roes",no won-der they're lost! To
A cruit the young at a - ny cost, then call them "he - roes", no won-der they're lost! To T cruit the young at a - ny cost, then call them "he - roes",no won-der they're lost! To B cruit the young at a - ny cost, then call them "he - roes",no won-der they're lost! To
25 E¨ B¨ G‹ E¨ G‹ E¨ G‹ S shoot and kill o-thers they're du - ty bound. We've lost our sol- diers, we must get them found.
A shoot and kill o-thers they're du - ty bound. We've lost our sol- diers, we must get them found.
T shoot and kill o-thers they're du - ty bound. We've lost our sol- diers we must get them found.
B shoot and kill o-thers they're du - ty bound. We've lost our sol- diers we must get them found. 119. To Those Who Came Before (From the Secular Hymnal)
Music: "Down Ampney" by Ralph Vaughan Williams, 1906 Words: Secretary Michael (traditional hymn: "Come Down O Love Divine")
D F©‹ A D E7 S To those who came be - fore, and all the work they
A To those who came be - fore, and all the work they T To those who came be - fore, and all the work they B To those who came be - fore, and all the work they
6 A D B‹ G A7 D S bore, we thank you as we stand on your floor.
A bore, we thank you as we stand on your floor. T bore, we thank you as we stand on your floor.
B bore, we thank you as we stand on your floor.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 10 B‹ E7 A A‹ E‹ S What now should we get done? What floor have we be -
A What now should we get done? What floor have we be -
T What now should we get done? What floor have we be -
B What now should we get done? What floor have we be -
15 A D B‹ G E‹ A7 D S gun to hold our chil - dren in a world yet to come?
A gun to hold our chil - dren in a world yet to come?
T gun to hold our chil - dren in a world yet to come? B gun to hold our chil - dren in a world yet to come?
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 120. Today is My Day (From the Secular Hymnal)
Music: "Trust and Obey" by Daniel Brink Towner, c.1887 Words: Secretary Michael Meter changes made by Secretary Michael (traditional hymn: "Trust and Obey") E¨ B¨7 E¨ A¨ E¨ S "To - day is my day! To - day is my day!" I sing this to keep a - way
A "To - day is my day! To - day is my day!" I sing this to keep a - way
T "To - day is my day! To - day is my day!" I sing this to keep a - way B "To - day is my day! To - day is my day!" I sing this to keep a - way
7 B¨7 E¨ B¨7 E¨
S sor - row. "To - day is my day! To - day is my day!" May I
A sor - row. "To - day is my day! To - day is my day!" May I T sor - row. "To - day is my day! To - day is my day!" May I B sor - row. "To - day is my day! To - day is my day!" May I
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 A¨ B¨ E¨ B¨ E¨ C S sing it a - gain to- mor- row. This day I might fin-'ly get things
A sing it a - gain to - mor - row. This day I might fin-'ly get things
T sing it a - gain to - mor- row. This day I might fin-'ly get things B sing it a - gain to - mor- row. This day I might fin-'ly get things
20 F‹ B¨7 E¨ B¨7 E¨ S right. But come what may, "To - day is my day!"
A right. But come what may, "To - day is my day!"
T right. But come what may, "To - day is my day!" B right. But come what may, "To - day is my day!"
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 121. Today's the Day (From the Secular Hymnal)
Words: Secretary Michael Music: "Darwall's 148th" by John Darwall, 1770 (traditional hymn: "Rejoice, the Lord Is King") C G A‹ F D‹ G7 S To - day's the day at last! I'm chang - ing from my past! I
A To - day's the day at last! I'm chang - ing from my past! I
T To - day's the day at last! I'm chang - ing from my past! I B To - day's the day at last! I'm chang - ing from my past! I
5 C A‹ D D7 G D7 G S am re - solved I will e - volve, and I'll stand fast! I've
A am re - solved I will e - volve, and I'll stand fast! I've
T am re - solved I will e - volve, and I'll stand fast! I've B am re - solved I will e - volve, and I'll stand fast! I've
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F G7 A‹ F S found my way! It's here at last, good -
A found my way! It's here at last, good -
T found my way! It's here at last, good -
B found my way! It's here at last, good -
12 D‹ D‹7 F G C
S bye my past, to - day's the day!
A bye my past, to - day's the day!
T bye my past, to - day's the day! B bye my past, to - day's the day!
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 122. Together For So Long (From the Secular Hymnal)
Words: Secretary Michael Music: "Lenox" by Lewis Edson, 1782 (traditional hymn: "Arise, My Soul, Arise!") G D E‹ D G D S 1. To - ge- ther for so long, but sel - dom do we fight. The o- thers want to know what 2. With fa - mi - ly and friends, or stran-gers met to - day, at home or work or school, things
A 1. To - ge - ther for so long, but sel - dom do we fight. The o - thers want to know what 2. With fa - mi - ly and friends, or stran-gers met to - day, at home or work or school, things T 1. To - ge- ther for so long, but sel - dom do we fight. The o - thers want to know what 2. With fa - mi - ly and friends, or stran-gers met to - day, at home or work or school, things
B 1. To - ge- ther for so long, but sel - dom do we fight. The o - thers want to know what 2. With fa - mi - ly and friends, or stran-gers met to - day, at home or work or school, things
7 E‹ D G G C D E‹ S we are do - ing right. We talk and lis - ten, talk and lis- ten, talk and lis - ten day and night and al-ways go o - kay. We talk and lis - ten, talk and lis - ten, talk and lis - ten day and night and
A we are do - ing right. We talk and lis - ten, talk and lis - ten, talk and lis - ten day and night and al-ways go o - kay. We talk and lis - ten, talk and lis - ten, talk and lis - ten day and night and T we are do - ing right. We talk and lis - ten, talk and lis - ten, talk and lis - ten day and night and al-ways go o - kay. We talk and lis - ten, talk and lis - ten, talk and lis - ten day and night and B we are do - ing right. We talk and lis - ten, talk and lis - ten, talk and lis - ten day and night and al-ways go o - kay. We talk and lis - ten, talk and lis - ten, talk and lis - ten day and night and
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 C D D7 G C S that is how we keep things right. We talk and lis - ten, talk and lis - ten, that is how we keep things right. We talk and lis - ten, talk and lis - ten, A that is how we keep things right. We talk and lis - ten, talk and lis - ten, that is how we keep things right. We talk and lis - ten, talk and lis - ten,
T that is how we keep things right. We talk and lis - ten, talk and lis - ten, that is how we keep things right. We talk and lis - ten, talk and lis - ten,
B that is how we keep things right. We talk and lis - ten, talk and lis - ten, that is how we keep things right. We talk and lis - ten, talk and lis - ten,
18 D E‹ C D D7 G S talk and lis - ten day and night, and that is how we keep things right. talk and lis - ten day and night, and that is how we keep things right.
A talk and lis - ten day and night, and that is how we keep things right. talk and lis - ten day and night, and that is how we keep things right.
T talk and lis - ten day and night, and that is how we keep things right. talk and lis - ten day and night, and that is how we keep things right.
B talk and lis - ten day and night, and that is how we keep things right. talk and lis - ten day and night, and that is how we keep things right.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 123. T'wards a World That Has No Guns (From the Secular Hymnal)
Music: from Ludwig van Beethoven's Ninth Symphony, 1824 Words: Secretary Michael Adapted: Edward Hodges, 1864 (traditional hymn: "Joyful, Joyful, We Adore Thee") F C D‹ B¨ C S T'wards a world that has no guns, where peace is shared by e - v'ry- one.
A T'wards a world that has no guns, where peace is shared by e - v'ry- one.
T T'wards a world that has no guns, where peace is shared by e - v'ry- one. B T'wards a world that has no guns, where peace is shared by e - v'ry- one.
5 F F7 B¨ G‹ D‹ B¨ C7 F
S Let us take a - no - ther step that gets us clo - ser, clo - ser yet.
A Let us take a - no - ther step that gets us clo - ser, clo - ser yet.
T Let us take a - no - ther step that gets us clo - ser, clo - ser yet. B Let us take a - no - ther step that gets us clo - ser, clo - ser yet.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 C F C F C A D‹ G C
S T'wards a world that's free from fear, where guns are gone and peace is here.
A T'wards a world that's free from fear, where guns are gone and peace is here.
T T'wards a world that's free from fear, where guns are gone and peace is here. B T'wards a world that's free from fear, where guns are gone and peace is here.
13 F F7 B¨ G‹ D‹ B¨ C7 F S Let us take a - no - ther step that gets us clo - ser, clo - ser yet.
A Let us take a - no - ther step that gets us clo - ser, clo - ser yet.
T Let us take a - no - ther step that gets us clo - ser, clo - ser yet. B Let us take a - no - ther step that gets us clo - ser, clo - ser yet.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 124. Trusting You, Trusting Me (From the Secular Hymnal)
Music: Largo from the "New World Symphony" by Antonin Dvorak, 1893 Words: Secretary Michael SATB Arrangement by Secretary Michael (popularly known as: "Going Home")
C A‹ D‹7 G7 C E7 A‹ D‹7 G7 S Trust-ing you, trust - ing me. Trust -ing is the key. Must be trust. With - out trust, no-thing else can
A Trust -ing you, trust - ing me. Trust -ing is the key. Must be trust. With - out trust, no-thing else can
T Trust-ing you, trust - ing me. Trust-ing is the key. Must be trust. With - out trust, no-thing else can B Trust-ing you, trust - ing me. Trust-ing is the key. Must be trust. With - out trust, no-thing else can
8 C F E‹ F E‹ F F E‹ F S be. When it's found, trust un- bound, all our dreams come true. You and me, fa - mi - ly,
A be. When it's found, trust un- bound, all our dreams come true. You and me, fa - mi - ly,
T be. When it's found, trust un- bound, all our dreams come true. You and me, fa - mi - ly, B be. When it's found, trust un- bound, all our dreams come true. You and me, fa - mi - ly,
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 15 F E‹ F C A‹ D‹7 G7 C G S e - v'ry-thing we do. When it's lost, such a cost, dreams turn in - to dust. So my friend,
A e - v'ry-thing we do. When it's lost, such a cost, dreams turn in - to dust. So my friend,
T e - v'ry-thing we do. When it's lost, such a cost, dreams turn in - to dust. So my friend, B e - v'ry-thing we do. When it's lost, such a cost, dreams turn in - to dust. So my friend,
22 A‹ E‹ D‹7 G7 C D‹7 G7 C D‹7 G7 C
S in the end, all there is, is trust. All there is, is trust. All there is, is trust.
A in the end, all there is, is trust. All there is, is trust. All there is, is trust. T in the end, all there is, is trust. All there is, is trust. All there is, is trust.
B in the end, all there is, is trust. All there is, is trust. All there is, is trust. 125. Ultimately We May Not Have Free Will (From the Secular Hymnal)
Music: "Noël Nouvelet" (an old French melody) Words: Secretary Michael Harmonized and Arranged for SATB by Secretary Michael
E‹ A E‹ A‹ B E‹ S 1. Ul - ti - mate - ly we may not have free will. 2. Ul - ti - mate - ly we may not have free will. A 1. Ul - ti - mate - ly we may not have free will. 2. Ul - ti - mate - ly we may not have free will. T 1. Ul - ti - mate - ly we may not have free will. 2. Ul - ti - mate - ly we may not have free will. B 1. Ul - ti - mate - ly we may not have free will. 2. Ul - ti - mate - ly we may not have free will.
5 E‹ A E‹ A‹ B E‹ S We may just be peb - bles roll - ing down a hill. Yet we still blame o - thers for their good and ill.
A We may just be peb - bles roll - ing down a hill. Yet we still blame o - thers for their good and ill. T We may just be peb - bles rol - ling down a hill. Yet we still blame o - thers for their good and ill. B We may just be peb - bles roll - ing down a hill. Yet we still blame o - thers for their good and ill.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E‹ A‹ B E‹ A‹ B
S Tum - bling and bounc - ing in a ran - dom race We still keep pris - 'ners locked up in a cage.
A Tum - bling and bounc - ing in a ran - dom race We still keep pris - 'ners locked up in a cage.
T Tum - bling and bounc - ing in a ran - dom race We still keep pris - 'ners locked up in a cage.
B Tum - bling and bounc - ing in a ran - dom race We still keep pris - 'ners locked up in a cage.
13 E‹ A E‹ A‹ B E‹ S 'til we reach the end with each in a dif - f'rent place. And we still put he - roes high up on a stage.
A 'til we reach the end with each in a dif - f'rent place. And we still put he - roes high up on a stage. T 'til we reach the end with each in a dif - f'rent place. And we still put he - roes high up on a stage.
B 'til we reach the end with each in a dif - f'rent place. And we still put he - roes high up on a stage. 126. Unconscious Bias (From the Secular Hymnal)
Music: "Ebenezer" by Thomas John Williams, 1890 Words: Secretary Michael (traditional hymn: "Singing Songs of Expectation")
E‹ A‹ B E‹ A‹ B E‹ G D B E‹ A‹ B7 E‹ 2 S Un - con scious bi - as, it poi - sons all of us. Al - ways un- fair but al - ways there.
A Un- con - scious bi - as, it poi - sons all of us. Al - ways un-fair but al - ways there. 2 T Un - con- scious bi - as, it poi - sons all of us. Al - ways un-fair but al - ways there. B Un - con- scious bi - as, it poi - sons all of us. Al - ways un-fair but al - ways there.
5 E‹ A‹ B E‹ A‹ B E‹ G D B E‹ A‹ B7 E‹ 2 S What can we do to keep it from me and you? What can we say to keep it a - way? 2 A What can we do to keep it from me and you? What can we say to keep it a - way? 2 T What can we do to keep it from me and you? What can we say to keep it a - way? 2 B What can we do to keep it from me and you? What can we say to keep it a - way?
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G D E‹ B C A‹ E‹ B S Say "How do you do?" and meet some-one new, for bi - as can't win where know - ledge has been.
A Say"How do you do?" and meet some - one new, for bi - as can't win where know - ledge has been. T Say "How do you do?" and meet some - one new, for bi - as can't win where know - ledge has been. 2 B Say "How do you do?" and meet some - one new, for bi - as can't win where know-ledge has been.
13 E‹ A‹ B E‹ A‹ B E‹ G D B E‹ A‹ B7 E‹ 2 S Un - con scious bi - as, it poi - sons all of us. Al - ways un- fair but al - ways there. A Un - con - scious bi - as, it poi - sons all of us. Al - ways un-fair but al - ways there. 2 T Un - con - scious bi - as, it poi - sons all of us. Al - ways un-fair but al - ways there. B Un - con - scious bi - as, it poi - sons all of us. Al - ways un-fair but al - ways there.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 127. Unless There's No-One Watching (From the Secular Hymnal)
Music: "Endless Song" by Robert Lowry, 1860 Words: Secretary Michael (traditional hymn: "How Can I Keep From Singing") F B¨ F C S 1. I use a spoon to eat my soup un - less there's no - one watch- ing. I 2. I on - ly take one piece of pie un - less there's no - one watch- ing. I
A 1. I use a spoon to eat my soup un - less there's no - one watch- ing. I 2. I on - ly take one piece of pie un - less there's no - one watch- ing. I
T 1. I use a spoon to eat my soup un - less there's no - one watch- ing. I 2. I on - ly take one piece of pie un - less there's no - one watch- ing. I
B 1. I use a spoon to eat my soup un - less there's no - one watch- ing. I 2. I on - ly take one piece of pie un - less there's no - one watch- ing. I
5 F B¨ F C F S mind my bus - 'ness and ne - ver snoop un - less there's no - one watch- ing. I try to smile and ne - ver cry un - less there's no - one watch- ing. But
A mind my bus - 'ness and ne - ver snoop un - less there's no - one watch- ing. I try to smile and ne - ver cry un - less there's no - one watch- ing. But
T mind my bus - 'ness and ne - ver snoop un - less there's no - one watch- ing. I try to smile and ne - ver cry un - less there's no - one watch- ing. But
B mind my bus - 'ness and ne - ver snoop un - less there's no - one watch- ing. I try to smile and ne - ver cry un - less there's no - one watch- ing. But
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F C D‹ B¨ C S wash my hands so care - ful - ly un - less there's no - one watch- ing. I if there's com - fort I could bring to ease some - bo - dy's suf - f'ring, I
A wash my hands so care - ful - ly un - less there's no - one watch- ing. I if there's com - fort I could bring to ease some - bo - dy's suf - f'ring, I
T wash my hands so care - ful - ly un - less there's no - one watch- ing. I if there's com - fort I could bring to ease some - bo - dy's suf - f'ring, I B wash my hands so care - ful - ly un - less there's no - one watch- ing. I if there's com - fort I could bring to ease some - bo - dy's suf - f'ring, I
13 F B¨ F C F
S bow my head so pi - ous - ly un - less there's no - one watch- ing. know that I will do the right thing, 'cuz I'll be the one who's watch- ing.
A bow my head so pi - ous - ly un - less there's no - one watch- ing. know that I will do the right thing, 'cuz I'll be the one who's watch- ing.
T bow my head so pi - ous - ly un - less there's no - one watch- ing. know that I will do the right thing, 'cuz I'll be the one who's watch- ing.
B bow my head so pi - ous - ly un - less there's no - one watch- ing. know that I will do the right thing, 'cuz I'll be the one who's watch- ing.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 128. Wake, Awake (From the Secular Hymnal)
Words: Secretary Michael Music: "Wachet Auf" by Philipp Nicholai, 1599 Harmony: J.S. Bach, 1731 (traditional hymn: "Wake, Awake For Night Is Flying") C F C C A‹ D D7 S 1. Wake, a-wake the night is end - ing! There's some - thing com- ing, some - thing big and 2. Wake, a-wake the veil is lift - ing, with all these won-ders com - ing in - to A 1. Wake, a-wake the night is end - ing! There's some - thing com- ing, some - thing big and 2. Wake, a-wake the veil is lift - ing, with all these won-ders com - ing in - to
T 1. Wake, a-wake the night is end - ing! There's some - thing com - ing, some - thing big and 2. Wake, a-wake the veil is lift - ing, with all these won - ders com - ing in - to B 1. Wake, a-wake the night is end - ing! There's some-thing com - ing, some-thing big and 2. Wake, a-wake the veil is lift - ing, with all these won - ders com - ing in - to
1. 2. 6 G C A‹ G7 C G7 C C G S bright! The world has beau - ty in its light. sight! Good day to day, good night to night! In all e - ter - ni -
A bright! The world has beau - ty in its light. sight! Good day to day, good night to night! In all e - ter - ni -
T bright! The world has beau - ty in its light. sight! Good day to day, good night to night! In all e - ter - ni -
B bright! The world has beau-ty in its light. sight! Good day to day, good night to night! In all e - ter - ni -
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 11 A‹ C G A‹ E‹ A‹ S ty, we have the chance to see! The chance to see! Get
A ty, we have the chance to see! The chance to see! Get
T ty, we have the chance to see! The chance to see! Get B ty, we have the chance to see! The chance to see! Get
15 F A‹ E A‹ C A‹ D‹ G7 C S up, get up, let's use our sight! The world has beau - ty in its light.
A up, get up, let's use our sight! The world has beau - ty in its light. T up, get up, let's use our sight! The world has beau - ty in its light.
B up, get up, let's use our sight! The world has beau - ty in its light.
(Note: the time signature changes in measures 9 and 14 were added to avoid the fermatas of the traditional version)
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 129. Walking in Someone's Shoes (From the Secular Hymnal) Music: Silesian Melody Words: Secretary Michael Arrangement: Joseph Roff, 1842 (traditional hymn: "O God Of Loveliness") E¨ B¨7 E¨ B¨7 E¨ S Walk - ing in some - one's shoes, some - one with dif - f'rent views.
A Walk - ing in some - one's shoes, some - one with dif - f'rent views.
T Walk - ing in some - one's shoes, some - one with dif - f'rent views. B Walk - ing in some - one's shoes, some - one with dif - f'rent views.
5 G‹ F‹ F‹7 B¨ S Man, wo - man, old or young it does - n't mat - ter whose.
A Man, wo - man, old or young it does - n't mat - ter whose.
T Man, wo - man, old or young it does - n't mat - ter whose. B Man, wo - man, old or young it does - n't mat - ter whose.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E¨ C F‹ B¨ Bº7 C‹
S Walk un - til bit by bit, their shoes be - gin to fit.
A Walk un - til bit by bit, their shoes be - gin to fit.
T Walk un - til bit by bit, their shoes be - gin to fit. B Walk un - til bit by bit, their shoes be - gin to fit.
13 E¨ G‹ A¨ E¨ B¨7 E¨ S A lov - ing thing to do, to walk in some - one's shoes.
A A lov - ing thing to do, to walk in some - one's shoes.
T A lov - ing thing to do, to walk in some - one's shoes.
B A lov - ing thing to do, to walk in some - one's shoes.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 130. We Are People, Plastic People (From the Secular Hymnal)
Music: "Angel Voices" by Edwin G. Monk, 1861 Words: Secretary Michael (traditional hymn: "Angel Voices Ever Singing") C G C E‹ A‹ F G S We are peo - ple, plas - tic peo - ple, cast from mold to mold. We are peo - ple, plas - tic peo - ple, cast from die to die.
A We are peo - ple, plas - tic peo - ple, cast from mold to mold. We are peo - ple, plas - tic peo - ple, cast from die to die. T We are peo - ple, plas - tic peo - ple, cast from mold to mold. We are peo - ple, plas - tic peo - ple, cast from die to die.
B We are peo - ple, plas - tic peo - ple, cast from mold to mold. We are peo - ple, plas - tic peo - ple, cast from die to die.
5 C A‹ D7 G A‹ D7 G S Molds of coun - try, school and work - place all a - cross the globe. Some dies give us great suc- cess, while some don't e - ven try.
A Molds of coun - try, school and work - place all a - cross the globe. Some dies give us great suc- cess, while some don't e - ven try. T Molds of coun - try, school and work - place all a - cross the globe. Some dies give us great suc- cess, while some don't e - ven try.
B Molds of coun - try, school and work - place all a - cross the globe. Some dies give us great suc- cess, while some don't e - ven try.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E‹ A7 D‹ G7 C A‹ D‹7 G7 C S Some molds make us strong and heal - thy, o - thers leave us torn and old. If we are to change as peo - ple we will have to change the dies.
A Some molds make us strong and heal - thy, o - thers leave us torn and old. If we are to change as peo - ple, we will have to change the dies.
T Some molds make us strong and heal - thy, o - thers leave us torn and old. If we are to change as peo - ple, we will have to change the dies.
B Some molds make us strong and heal - thy, o - thers leave us torn and old. If we are to change as peo - ple, we will have to change the dies.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 131. We Are Searching (From the Secular Hymnal)
Music: "Wondrous Story" by Peter Philip Bilhorn, 1886 Words: Secretary Michael (traditional hymn: "I Will Sing the Wondrous Story") C G C S 1. We are search - ing for the an - swer, search - ing each and e - v'ry spot. We are 2. We are search - ing for the an - swer, search - ing here and search - ing there. We are
A 1. We are search - ing for the an - swer, search - ing each and e - v'ry spot. We are 2. We are search - ing for the an - swer, search - ing here and search - ing there. We are
T 1. We are search - ing for the an - swer, search - ing each and e - v'ry spot. We are 2. We are search - ing for the an - swer, search - ing here and search - ing there. We are B 1. We are search - ing for the an - swer, search - ing each and e - v'ry spot. We are 2. We are search - ing for the an - swer, search - ing here and search - ing there. We are
5 C G G7 C 3 S search - ing for the an - swer to a que - stion we for - got. For the search - ing for the an - swer to a que - stion we don't care. For the 3 A search - ing for the an - swer to a que - stion we for - got. For the search - ing for the an - swer to a que - stion we don't care. For t the 3 T search - ing for the an - swer to a que - stion we for - got. For the search - ing for the an - swer to a que - stion we don't care. For the 3 B search - ing for the an - swer to a que - stion we for - got. For the search - ing for the an - swer to a que - stion we don't care. For the
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. REFRAIN 9 C F C G C G 3 S joy is in the search - ing far and wide, and up and down. For the 3 A joy is in the search - ing far and wide, and up and down. For the 3 T joy is in the search - ing far and wide, and up and down. For the 3 B joy is in the search - ing far and wide, and up and down. For the
13 C F C G G7 C S joy is in the search - ing for what - e - ver might be found.
A joy is in the search - ing for what - e - ver might be found.
T joy is in the search - ing for what - e - ver might be found. B joy is in the search - ing for what - e - ver might be found.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 132. We Can Be Tolerant (From the Secular Hymnal) Melody: "Slane" (traditional Irish) Words: Secretary Michael SATB arrangement by Secretary Michael (traditional hymn: "Be Thou My Vision") D B‹ G A D S 1. We can be to - ler - ant of dif - fer - ent views, 2. We can be to - ler - ant of dif - fer - ent wealth,
A 1. We can be to - ler - ant of dif - fer - ent views, 2. We can be to - ler - ant of dif - fer - ent wealth,
T 1. We can be to - ler - ant of dif - fer - ent views, 2. We can be to - ler - ant of dif - fer - ent wealth,
B 1. We can be to - ler - ant of dif - fer - ent views, 2. We can be to - ler - ant of dif - fer - ent wealth,
5 E‹ F©‹ G A(“4) A S dif - f'rent re - li - gions and dif - f'rent I - Q's. dif - fer - ent gen - ders and dif - fer - ent health. A dif - f'rent re - li - gions and dif - f'rent I - Q's dif - fer - ent gen - ders and dif - fer - ent health.
T dif - f'rent re - li - gions and dif - f'rent I - Q's. dif - fer - ent gen - ders and dif - fer - ent health. B dif - f'rent re - li - gions and dif - f'rent I - Q's. dif - fer - ent gen - ders and dif - fer - ent health.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 G A7 D G
S We can be to - ler - ant of to - ler - ant ones. But We can be to - ler - ant of a to - ler - ant lot. But A We can be to - ler - ant of to - ler - ant ones. But We can be to - ler - ant of a to - ler - ant lot. But
T We can be to - ler - ant of to - ler - ant ones. But We can be to - ler - ant of a to - ler - ant lot. But B We can be to - ler - ant of to - ler - ant ones. But We can be to - ler - ant of a to - ler - ant lot. But
13 D B‹ G D S can we be to - ler - ant of bi - gots with guns? can we be to - ler - ant of those who are not?
A can we be to - ler - ant of bi - gots with guns? can we be to - ler - ant of those who are not? T can we be to - ler - ant of bi - gots with guns? can we be to - ler - ant of those who are not? B can we be to - ler - ant of bi - gots with guns? can we be to - ler - ant of those who are not?
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 133. We Can Get Things To Happen (From the Secular Hymnal)
Music: traditional African-American spiritual SATB Arrangement: Secretary Michael Words: Secretary Michael (traditional hymn: "Let Us Break Bread Together")
D B‹ G A7 D G D S We can get things to hap- pen, yes we can. We can A We can get things to hap - pen, yes we can. Yes we can. We can
T We can get things to hap- pen, yes we can. Yes we can. We can B We can get things to hap- pen, yes we can. Yes we can. We can
5 F©‹ D B‹7 E7 A F©‹ A7 S get things to hap- pen, yes we can. When each A get things to hap- pen, yes we can. Yes we can. When each
T get things to hap- pen, yes we can. Yes we can. When each B get things to hap- pen, yes we can. Yes we can. When each
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 D D7 G G‹ S wo - man, when each man work to - ge - ther hand in hand, we can
A wo - man, when each man work to - ge - ther hand in hand, we can
T wo - man, when each man work to - ge - ther hand in hand, we can B wo - man, when each man work to - ge - ther hand in hand, we can
13 D B‹ E‹7 A7 D G D S get things to hap- pen, yes we can. A get things to hap - pen, yes we can. Yes we can.
T get things to hap- pen, yes we can. Yes we can.
B get things to hap- pen, yes we can. Yes we can. 134. We Mean "Will You Love Me?" (From the Secular Hymnal)
Music: "Gordon" byAdoniram Judson Gordon, 1876 Words: Secretary Michael (traditional hymn: "My Jesus I Love Thee I Know Thou Art Mine") E¨ A¨ E¨ B¨7 E¨ S We mean "Will you love me?" what - e - ver we say. We
A We mean "Will you love me?" what - e - ver we say. We
T We mean "Will you love me?" what - e - ver we say. We
B We mean "Will you love me?" what - e - ver we say. We
5 E¨ A¨ E¨ B¨7 E¨ S mean "Will you love me?" and say it all day. To
A mean "Will you love me?" and say it all day. To
T mean "Will you love me?" and say it all day. To
B mean "Will you love me?" and say it all day. To
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 E¨ B¨7 E¨ F‹ F‹7 B¨7 S e - v'ry - one e - v'ry - where in words not al - ways clear. For
A e - v'ry - one e - v'ry - where in words not al - ways clear. For
T e - v'ry - one e - v'ry - where in words not al - ways clear. For
B e - v'ry - one e - v'ry - where in words not al - ways clear. For
13 E¨ A¨ E¨ B¨ B¨7 E¨ S "Yes, I will love you" is what we want to hear.
A "Yes, I will love you" is what we want to hear.
T "Yes, I will love you" is what we want to hear.
B "Yes, I will love you" is what we want to hear.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 135. We're Not Alone (From the Secular Hymnal)
Music: "Londonderry Air" (traditional Irish melody) Words: Secretary Michael (traditional hymn: "I Cannot Tell") D D7 G D B‹
S We're not a - lone when ants are march-ing in a line. We're not a - lone when blos-soms buzz with A We're not a - lone when ants are march-ing in a line. We're not a - lone when blos-soms buzz with
T We're not a - lone when ants are march-ing in a line. We're not a - lone when blos-soms buzz with B We're not a - lone when ants are march-ing in a line. We're not a - lone when blos-soms buzz with
4 G A7 D D7 G E‹ S bees. We're not a - lone when rab - bits munch on dan - de - lions. We're not a -
A bees. We're not a - lone when rab - bits munch on dan - de - lions. We're not a - T bees. We're not a - lone when rab - bits munch on dan - de - lions. We're not a - B bees. We're not a - lone when rab - bits munch on dan - de - lions. We're not a -
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 7 D A7 D G D B‹ G S lone when birds sing in the trees. We're not a - lone when bears are snor - ing A lone when birds sing in the trees. We're not a - lone when bears are snor - ing
T lone when birds sing in the trees. We're not a lone when bears are snor - ing B lone when birds sing in the trees. We're not a - lone when bears are snor - ing 10 D B‹ G E‹ A(“4) A7 S in their caves. We're not a - lone when dogs play with their bones. We're not a - A in their caves. We're not a - lone when dogs play with their bones. We're not a - T in their caves. We're not a - lone when dogs play with their bones. We're not a - B in their caves. We're not a - lone when dogs play with their bones. We're not a -
13 D G D B‹ G D E‹ A7 D S lone when whales leap up a - bove the waves. Oh may we ne- ver, ne- ver, ne-ver be a - lone.
A lone when whales leap up a - bove the waves. Oh may we ne- ver, ne- ver, ne-ver be a - lone. T lone when whales leap up a - bove the waves. Oh may we ne- ver, ne- ver, ne-ver be a - lone. B lone when whales leap up a - bove the waves. Oh may we ne- ver, ne- ver, ne-ver be a - lone.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 136. We're Not At Our Best (From the Secular Hymnal)
Music: "St. Denio" (Welsh melody) Words: Secretary Michael Adapted and Harmonized by John Roberts, 1839 (traditional hymn: "Immortal, Invisible, God Only Wise") B¨ C D‹ S We're not at our best when liv - ing in fear. With -
A We're not at our best when liv - ing in fear. With -
T We're not at our best when liv - ing in fear. With -
B We're not at our best when liv - ing in fear. With -
5 B¨ C D‹ S out e - nough rest, our think - ing's not clear. We
A out e - nough rest, our think - ing's not clear. We
T out e - nough rest, our think - ing's not clear. We B out e - nough rest, our think - ing's not clear. We
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 F D‹ F C
S must con - front fear, must con - front it to - day. If
A must con - front fear, must con - front it to - day. If
T must con - front fear, must con - front it to - day. If
B must con - front fear, must con - front it to - day. If
13 B¨ C C7 F S we can't have peace, then we can - not stay.
A we can't have peace, then we can - not stay.
T we can't have peace, then we can - not stay.
B we can't have peace, then we can - not stay.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 137. We're Parents of a Soldier (From the Secular Hymnal)
Music: "Battle Hymn of the Republic" (a camp-meeting tune) Words: Secretary Michael (traditional hymn: "Mine Eyes Have Seen the Glory") B¨ E¨ S 1. We're pa- rents of a sol-dier whe-therknow-ing it or not. And which - e - ver side they're on, they are the 2. We put them in a si - tu - a - tion no - bo - dy could win, as we teach them how to kill and then how 3. If we in-deed were lov - ing par- ents we would be the ones who would take a - way their bul- lets and would
A
T 1. We're pa - rents of a sol-dier whe-therknow-ing it or not. and which - e - ver side they're on, they are the 2. We put them in a si - tu - a - tion no - bo - dy could win, as we teach them how to kill and then how 3. If we in-deed were lov - ing par - ents we would be the ones who would take a - way their bul- lets and would
B
4 B¨ B¨Œ„Š7/A G‹ D G‹/F S sol - dier that we got. If we have the chance to stop them but we ne - ver have them stop, good kill - ing is a sin. When they come out so con-fused that we're a - fraid to let them in, good take a - way their guns, 'cuz we don't want pho - ny he - roes, we want daugh - ters, we want sons, so
A
T sol - dier that we got. If we have the chance to stop them but we ne - ver have them stop, good kill - ing is a sin. When they come out so con-fused that we're a - fraid to let them in, good take a - way their guns, 'cuz we don't want pho - ny he - roes, we want daugh- ters, we want sons, so B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 7 C‹ F7 B¨ B¨ E¨ S par - ents we are not. We are par- ents of a sol - dier. We are par- ents of a par - ents we are not. We are par - ents of a sol - dier. We are par - ents of a we must be the ones. We are par - ents of a sol - dier. We are par - ents of a
A T par - ents we are not. We are par - ents of a sol - dier. We are par - ents of a par - ents we are not. We are par - ents of a sol - dier. We are par - ents of a we must be the ones. We are par - ents of a sol - dier. We are par - ents of a
B
12 B¨ D& G‹ C‹ F7 B¨ S sol - dier. We are par- ents of a sol - dier. Good par - ents we are not. sol - dier. We are par - ents of a sol - dier. Good par - ents we are not. sol - dier. We are par - ents of a sol - dier, so we must be the ones.
A T sol - dier. We are par - ents of a sol - dier. Good par - ents we are not. sol - dier. We are par - ents of a sol - dier. Good par - ents we are not. sol - dier. We are par - ents of a sol - dier, so we must be the ones. B
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 138. What Are We Doing? (From the Secular Hymnal)
Words: Secretary Michael Music: "Macchabaeus" by George Frederick Handel, 1747 (traditional hymn: "Thine Be the Glory")
D B‹ E‹ A D B‹ S 1. "What are we do - ing here on pla - net earth?" chirps the lit - tle chi - cken, 2. "What are we do - ing here on pla - net earth?" buz - zes the mo - squi - to,
A
T 1. "What are we do - ing here on pla - net earth?" chirps the lit - tle chi - cken 2. "What are we do - ing here on pla - net earth?" buz - zes the mo - squi - to, B
7 E‹ A7 D B‹ F© B‹ E‹ F© S pon - der - ing its birth. Oinks the lit - tle pig - let, snorts the car - i - bou, pon - der - ing its birth. Croaks the fa- ther bull - frog, hoots the wise old owl, A
T pon - der - ing its birth. Oinks the lit - tle pig - let, snorts the car - i - bou, pon - der - ing its birth. Croaks the fa- ther bull - frog, hoots the wise old owl, B
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 B‹ E7 F©‹ E7 A A7 S e - ven Mis - ses Cow asks: "Moo, moo, moo, moo- moo?" e - ven Cou - sin Cat asks: "Meow, meow, meow, meow meow?"
A T e - ven Mis - ses Cow asks: "Moo, moo, moo, moo - moo?" e - ven Cou - sin Cat asks: "Meow, meow, meow, meow - meow?" B 17 D B‹ E‹ A S "What are we do - ing here on pla - net earth?" "What are we do - ing here on pla - net earth?" A T "What are we do - ing here on pla - net earth?" "What are we do - ing here on pla - net earth? B 21 D B‹ E‹ A7 D S que - stions from us crea - tures, pon - der - ing our birth. que - stions from us crea - tures, pon - der - ing our birth. A T que - stions from us crea - tures, pon - der - ing our birth. que - stions from us crea - tures, pon - der - ing our birth. B (Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 139. When Feeling Lost (From the Secular Hymnal) Music: "Kingsfold" (a traditional English melody) Words: Secretary Michael Arranged and Harmonized by Ralph Vaughan Williams, 1906 (traditional hymn: "O Sing a Song of Bethlehem") E‹ C E‹ A‹ E‹ A‹ D S 1. When feel - ing lost, when stars are crossed, there's some-thing we must do: Jump 2. When feel - ing queer and full of fear, there's some-thing we must do: Jump
A 1. When feel - ing lost, when stars are crossed, there's some-thing we must do: Jump 2. When feel - ing queer and full of fear, there's some-thing we must do: Jump
T 1. When feel - ing lost, when stars are crossed, there's some-thing we must do: Jump 2. When feel - ing queer and full of fear, there's some-thing we must do: Jump B 1. When feel - ing lost, when stars are crossed, there's some-thing we must do: Jump 2. When feel - ing queer and full of fear, there's some-thing we must do: Jump
5 E‹ C E‹ A‹ E‹ A‹ E‹ S up and down and spin a - round, then go learn some - thing new. New up and down and spin a - round, then go meet some - one new. New A up and down and spin a - round, then go learn some - thing new. New up and down and spin a - round, then go meet some - one new. New
T up and down and spin a - round, then go learn some - thing new. New up and down and spin a - round, then go meet some - one new. New
B up and down and spin a - round, then go learn some - thing new. New up and down and spin a - round, then go meet some - one new. New
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 9 B‹ E‹7 A‹ B E‹ A‹ D S skill, new sport, new point of view, a - ny - thing will do. Jump friend to talk and lis - ten to, a - ny - one will do. Jump A skill, new sport, new point of view, a - ny - thing will do. Jump friend to talk and lis - ten to, a - ny - one will do. Jump
T skill, new sport, new point of view, a - ny - thing will do. Jump friend to talk and lis - ten to, a - ny one will do. Jump B skill, new sport, new point of view, a - ny thing will do. Jump friend to talk and lis - ten to, a - ny - one will do. Jump
13 E‹ C E‹ A‹ E‹ A‹ E‹ S up and down and spin a - round, then go learn some - thing new. up and down and spin a - round, then go meet some - one new. A up and down and spin a - round, then go learn some - thing new. up and down and spin a - round, then go meet some - one new. T up and down and spin a - round, then go learn some - thing new. up and down and spin a - round, then go meet some - one new.
B up and down and spin a - round, then go learn some - thing new. up and down and spin a - round, then go meet some - one new.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 140. When I Am Down (From the Secular Hymnal)
Tune: Traditional African-American spiritual Words: Secretary Michael SATB Arrangement: Secretary Michael (traditional hymn: "Down to the River to Pray") REFRAIN A A(“4) A A(“4) D E S When I am down and I need a lit - tle spark, I can usu-ally get it at the A When I am down and I need a lit - tle spark, I can usu-ally get it at the T When I am down and I need a lit - tle spark, I can usu-ally get it at the B When I am down and I need a lit - tle spark, I can usu-ally get it at the
8 A C©‹ F©‹ F©‹7 D E7 A S park where I can walk a - round and round un - til ba-lance is found. A park where I can walk a - round and round un - til ba-lance is found. T park where I can walk a - round and round un - til ba-lance is found. B park where I can walk a - round and round un - til ba-lance is found.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. VERSES 17 E E7 A F©‹ D A S 1. Hey, who is that I see? It's my BOSS, come to walk with me. 2. Hey, who is that I see? It's my PAR - ENTS... 3. Hey, who is that I see? It's my FRIEND... A Hey, who is that I see? It's my BOSS, come to walk with me. Hey, who is that I see? It's my PAR - ENTS... Hey, who is that I see? It's my FRIEND... T Hey, who is that I see? It's my BOSS, come to walk with me. Hey, who is that I see? It's my PAR - ENTS... Hey, who is that I see? It's my FRIEND...
B Hey, who is that I see? It's my BOSS, come to walk with me. Hey, who is that I see? It's my PAR - ENTS... Hey, who is that I see? It's my FRIEND...
25 E E7 A F©‹ D E7 A S Let's walk and talk un - til we feel peace-ful and still. A Let's walk and talk un - til we feel peace-ful and still. T Let's walk and talk un - til we feel peace-ful and still.
B Let's walk and talk un - til we feel peace-ful and still. 141. When Playing Cards (From the Secular Hymnal)
Melody: "O Store Gud" (a Swedish folk tune) Words: Secretary Michael SATB Arrangement by Secretary Michael (traditional hymn: "How Great Thou Art")
B¨ E¨ D¨º7 B¨ F S When play-ing cards, not e - v'ry hand's a win - ner, not e - v'ry hand is full of kings and A When play-ing cards, not e - v'ry hand's a win - ner, not e - v'ry hand is full of kings and
T When play-ing cards, not e - v'ry hand's a win - ner, not e - v'ry hand is full of kings and B When play-ing cards, not e - v'ry hand's a win - ner, not e - v'ry hand is full of kings and
4 B¨ B¨ E¨ D¨º7 B¨ F S queens. When play-ing cards, don't call out "saint" or "sin - ner", be-cause no hand is e - ver what it A queens. When play-ing cards, don't call out "saint" or "sin - ner", be-cause no hand is e - ver what it
T queens. When play-ing cards, don't call out "saint" or "sin- ner", be-cause no hand is e - ver what it
B queens. When play-ing cards don't call out "saint" or "sin- ner", be-cause no hand is e - ver what it
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 8 B¨ B¨ E¨ B¨ F7 S seems. When play-ing cards, some hands will go a - stray, but that's o - kay, they're dealt that
A seems. When play-ing cards, some hands will go a - stray, but that's o - kay, they're dealt that
T seems. When play-ing cards, some hands will go a - stray, but that's o - kay, they're dealt that
B seems. When play-ing cards, some hands will go a - stray, but that's o - kay, they're dealt that
12 B¨ B¨ E¨ B¨ C‹ F7 B¨ S way. When play-ing cards, there's lots of suf-fer - ing, and that is why this song we sing.
A way. When play-ing cards, there's lots of suf-fer - ing, and that is why this song we sing.
T way. When play-ing cards, there's lots of suf-fer - ing, and that is why this song we sing.
B way. When play-ing cards, there's lots of suf-fer - ing, and that is why this song we sing.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 142. Who's My Neighbor? (From the Secular Hymnal) Music: "Victory" by Palestrina, 1588 Words: Secretary Michael Adapted by William Henry Monk, 1861 (traditional hymn: "The Strife Is O'er") D G D G D A D S Who's my neigh - bor? Who's my neigh - bor? Who's my neigh - bor?
A Who's my neigh - bor? Who's my neigh - bor? Who's my neigh - bor?
T Who's my neigh - bor? Who's my neigh - bor? Who's my neigh - bor? B Who's my neigh - bor? Who's my neigh - bor? Who's my neigh - bor?
8 D G F©‹ D B‹ E‹ A S The an-swer now is ve - ry clear. It's those in need, and those in fear.
A The an-swer now is ve - ry clear. It's those in need, and those in fear.
T The an-swer now is ve - ry clear. It's those in need, and those in fear. B The an-swer now is ve - ry clear. It's those in need, and those in fear.
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 16 D G F©‹ D A D S Whe - ther they're far, or whe - ther they're near. They're my neigh - bor. A Whe - ther they're far, or whe - ther they're near. They're my neigh - bor.
T Whe - ther they're far, or whe - ther they're near. They're my neigh - bor. B Whe - ther they're far, or whe - ther they're near. They're my neigh - bor.
23 D G D G D A D
S They're my neigh - bor. They're my neigh - bor. They're my neigh - bor. A They're my neigh - bor. They're my neigh - bor. They're my neigh - bor.
T They're my neigh - bor. They're my neigh - bor. They're my neigh - bor.
B They're my neigh - bor. They're my neigh - bor. They're my neigh - bor.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 143. Why Does This Phrase Have Five Measures? (From the Secular Hymnal)
Words: Secretary Michael Music: "Lauda Anima" by John Goss, 1869 (traditional hymn: "Praise My Soul the King of Heaven") D A D G D G S Why does this phrase have five mea - sures? All the A Why does this phrase have five mea - sures? All the
T Why does this phrase have five mea - sures? All the B Why does this phrase have five mea - sures? All the
7 B‹ G A F© F©7 B‹ S o - thers just have four. Why do peo - ple some - times
A o - thers just have four. Why do peo - ple some - times T o - thers just have four. Why do peo - ple some - times B o - thers just have four. Why do peo - ple some - times
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 13 E7 F©‹ B‹ E7 A D S trea - sure songs that o - thers just ig - nore? Mu - sic
A trea - sure songs that o - thers just ig - nore? Mu - sic
T trea - sure songs that o - thers just ig - nore? Mu - sic B trea - sure songs that o - thers just ig - nore? Mu - sic
19 B‹ D B‹ G E‹ A7 D S is a deep, deep o - cean, so much deep - er than the score.
A is a deep, deep o - cean, so much deep - er than the score.
T is a deep, deep o - cean, so much deep - er than the score.
B is a deep, deep o - cean, so much deep - er than the score.
(Note: chord symbols support the soprano melody, not necessarily the SATB harmony) 144. You Took the One Road (From the Secular Hymnal)
Words: Secretary Michael Tune: "Loch Lomand" (traditional Scottish folk song) SATB Arrangement by Secretary Michael
G E‹ C D7 S Oh you took the one road and I took the o - ther, but A Oh you took the one road and I took the o - ther, but T Oh you took the one road and I took the o - ther, but
B Oh you took the one road and I took the o - ther, but
3 E‹ E‹7/D A‹ D7
S here at the end we're to - ge - ther. Dif - f'rent
A here at the end we're to - ge - ther. Dif - f'rent
T here at the end we're to - ge - ther. Dif - f'rent B here at the end we're to - ge - ther. Dif - f'rent
All works by Secretary Michael have been placed in the p Public Domain. They may be freely copied and performed. 5 E‹ B‹ C A‹ D7 S lives, dif - f'rent faiths, dif - f'rent coun - tries dif - f'rent wea - ther, but
A lives, dif - f'rent faiths, dif - f'rent coun - tries dif - f'rent wea - ther, but T lives, dif - f'rent faiths, dif - f'rent coun - tries dif - f'rent wea - ther, but
B lives, dif - f'rent faiths, dif - f'rent coun - tries dif - f'rent wea - ther, but
7 E‹ G/D C B‹ D7 G
S here at the end we're to - ge - - ther. A here at the end we're to - ge - - ther. T here at the end we're to - ge - - ther. B here at the end we're to - ge - - ther. 298 This table is useful for matching traditional hymns to their corresponding Secular Hymns.
TRADITIONAL TO SECULAR CORRELATION TABLE
Traditional Hymn Secular Hymn A Mighty Fortress Is Our God 1. A Beauty Hides In Everyone Aberystwyth 80. People are More Abide With Me 6. All Need To Feel Significant Adelaide 75. Pain Can Cause All Creatures Of Our God and King 101. Them Over There All Hail the Power of Jesus’ Name 17. Communication is the Answer All in the April Evening 68. Nonviolence Must Be Taught All My Hope On God is Founded 62. Long Road All People That On Earth Do Dwell 47. I’m Marching, Marching All Praise to Him who Reigns Above 107. There’s a Better Way All Things Bright and Beautiful 108. There’s a Road Between Our Lands All to Christ 102. There Are Times Alleluia! Sing to Jesus 56. Land of Gray Alleluia, Alleluia Hearts to Heaven 123. Towards a World That Has No Guns And Can It Be 45. I Will Look and I Will See And Did Those Feet in Ancient Time 98. The Greatest Walk Angel Voices Ever Singing 130. We Are People, Plastic People Angel’s Story 5. Achieving Disagreement Angels From the Realms of Glory 113. Tick-Tock Arise, My Soul, Arise! 122. Together for So Long Arizona 35. Harvesting Hunger Assurance 48. In The End At the Cross 3. A Peaceful Walk At the Lamb’s High Feast 25. Every Space for Every Face At the Name of Jesus 15. Climbing Up the Mountain Azmon 53. I’ve Never Known a Sinner Battle Hymn of the Republic 137. We’re Parents of a Soldier Be Still My Soul 99. The Many Truths Be Thou My Vision 132. We Can Be Tolerant Beautiful Savior 81. People We Need to Meet Bethany 85. Seen, Heard and Understood Billing 87. So Many Ways Bless Thou The Gifts 116. To Live Our Lives Addiction-Free Blessed Assurance 48. In The End Blessed Be the Name 107. There’s a Better Way Blessed Name 107. There’s a Better Way Blest Be the Tie That Binds 89. Someday When Guns Are Gone Blow Ye Trumpet, Blow 122. Together for So Long Bread of Heaven 90. Someone Should 299 Traditional Hymn Secular Hymn Breathe On Me 36. I Am a Terrorist Brethren, We Have Met To Worship 84. Rise and Shine Bring Them In 103. There is a Game Christ for the World We Sing 57. Let’s Make a Right Christ is Made the Sure Foundation 86. Skating, Skating Christ is Made the Sure Foundation 113. Tick-Tock Christ the Lord is Risen Today 18. Crank and Sprocket Come Down O Love Divine 119. To Those Who Came Before Come Let Us All Go Down 140. When I Am Down Come O Spirit, Dwell Among Us 126. Unconscious Bias Come Thou Almighty King 57. Let’s Make a Right Come Thou Fount of Every Blessing 19. Disassemble Every Gun Come Thou Fount of Every Blessing 24. Education is our Destination Come Thou Long Expected Jesus 56. Land of Gray Come To The Savior Make No Delay 44. I Think I’m Right Come We That Love the Lord 70. Oh Child Do Not Despair Come, Holy Ghost (Lambillotte) 30. For What I’ve Done Consolation 28. Everything’s Changing Coronation 17. Communication is the Answer Crown Him With Many Crowns 104. There is a Rule of Thumb Crucifer 115. To Find a Place Crusader’s Hymn 81. People We Need to Meet Cwm Rhondda 90. Someone Should Danny Boy 135. We’re Not Alone Darwall’s 148th 121. Today’s the Day Day of Judgment! Day of Wonders! 62. Long Road Dear Lord and Father of Mankind 52. It’s Great To Know Some Things By Heart Deus Tuorum Militum 116. To Live Our Lives Addiction-Free Diademata 104. There is a Rule of Thumb Dix 96. Swapping Shoes Down Ampney 119. To Those Who Came Before Down To The River To Pray 140. When I Am Down Dundee 31. Go Further Farther Ebenezer 126. Unconscious Bias Eine Feste Burg 1. A Beauty Hides In Everyone Endless Song 127. Unless There’s No-One Watching Eternal Father Strong to Save 2. A Long Long Way We’ve Come Today Eventide 6. All Need To Feel Significant Fairest Lord Jesus 81. People We Need to Meet Faith of Our Fathers 13. Building a Door Fight the Good Fight 95. Striving To Be Finlandia (Sibelius) 99. The Many Truths For All the Saints 112. This Day, This Day For the Beauty of the Earth 96. Swapping Shoes Foundation 63. Make Just One Brand New Friend 300 Traditional Hymn Secular Hymn From All That Dwell Below The Skies 101. Them Over There Garden 58. Let’s Ride In Our Time Machines Glorious Things of Thee are Spoken 73. Open, Open Up the Window God Be With You Till We Meet Again 54. Journey Forward God Moves in a Mysterious Way 31. Go Further Farther Going Home 124. Trusting You, Trusting Me Guide Me, O Thou Great Jehovah 90. Someone Should Hail Holy Queen Enthroned Above 21. Don’t Choose Sides Hamburg 92. Standing At Bat Hanover 110. There’s More Than One Way Hanson Place 46. If We’re Not the Ones Hark! Tis the Shepherd’s Voice I Hear 103. There is a Game Have Thine Own Way, Lord 75. Pain Can Cause He Who Would Valiant Be 55. Just Because Helmsley 49. Informed People Hendon 69. Nothing’s Heavy with Lots of Hands Here is Love, Vast as the Ocean 38. I Declare a Brand-New Me His Eye is on the Sparrow 60. Let’s Stop Making Weapons Holy God We Praise Thy Name 71. Ojalá Holy Manna 84. Rise and Shine Holy, Holy Holy 14. Climbing Up The Ladder Horsley 117. To Make The World A Better Place How Can I Keep From Singing? 127. Unless There’s No-One Watching How Firm a Foundation 63. Make Just One Brand New Friend How Great Thou Art 141. When Playing Cards How Sweet the Name of Jesus Sounds 40. I Have a Puzzle of the World Hyfrydol 56. Land of Gray I Bind Unto Myself Today 118. To Soldiers Lost I Cannot Tell 135. We’re Not Alone I Come to the Garden Alone 58. Let’s Ride In Our Time Machines I Heard the Voice of Jesus Say 139. When Feeling Lost I Love Thy Kingdom, Lord 70. Oh Child Do Not Despair I Need Thee Ev’ry Hour 83. Relieving Suffering I Surrender All 42. I Surrender I to the Hills Will Lift My Eyes 31. Go Further Farther I Vow to Thee My Country 59. Let’s Start a Big Commotion I Will Sing the Wondrous Story 131. We Are Searching Immaculate Mary 41. I Once Was So Certain Immortal, Invisible, God Only Wise 136. We’re Not At Our Best In Heavenly Love Abiding 4. Accommodating Others In the Garden 58. Let’s Ride In Our Time Machines It Is Well With My Soul 22. Don’t Know How I Got Here Italian Hymn 57. Let’s Make a Right Jerusalem 98. The Greatest Walk Jesus Christ is Risen Today 18. Crank and Sprocket 301 Traditional Hymn Secular Hymn Jesus Lover Of My Soul 80. People are More Jesus Loves Me This I Know 93. Step by Step Jesus Paid It All 102. There Are Times Jesus Shall Reign Where'er The Sun 64. May We Make Moments of Peace Jesus, Thou Divine Companion 27. Everyone Must Make a Living Join All the Glorious Names 121. Today’s the Day Joyful, Joyful 123. Towards a World That Has No Guns Just A Closer Walk With Thee 8. All the Seven Deadly Sins Kingsfold 139. When Feeling Lost Largo from Dvorak’s “New World Symphony” 124. Trusting You, Trusting Me Lasst Uns Erfreuen 101. Them Over There Lauda Anima 143. Why Does This Phrase Have Five Measures? Lead Us Heavenly Father Lead Us 77. Past Performance is No Guarantee Lenox 122. Together for So Long Let All Mortal Flesh Keep Silence 10. Bad is Not a Name Let Us Break Bread Together 133. We Can Get Things To Happen Lift High The Cross 115. To Find a Place Lo He Comes With Clouds Descending 49. Informed People Lo He Comes With Clouds Descending 113. Tick-Tock Lobe Den Herren 82. People Will Change Loch Lomond 144. You Took the One Road Londonderry Air 135. We’re Not Alone Lord Of All Being 35. Harvesting Hunger Lord of the Dance 114. ‘Tis a Gift Lord, Enthroned in Heavenly Splendor 94. Storms Will Come Lourdes Hymn 41. I Once Was So Certain Love Divine, All Loves Excelling 56. Land of Gray Love Unknown 20. Diversity in Thought Lyons 9. Assuming There’s Peace Macchabaeus 138. What Are We Doing? Majestic Sweetness Sits Enthroned 117. To Make The World A Better Place Make Me a Captive, Lord 104. There is a Rule of Thumb Marines Hymn 11. Because Violence Can’t End Violence Meine Hoffnung Stehet Feste 62. Long Road Melita 2. A Long Long Way We’ve Come Today Mine Eyes Have Seen The Glory 137. We’re Parents of a Soldier My Hope Is Built On Nothing Less 39. I Have a Garden in the Park My Jesus I Love Thee I Know Thou Art Mine 134. We Mean “Will You Love Me?” My Song Is Love Unknown 20. Diversity in Thought Nearer My God To Thee 85. Seen, Heard and Understood Need 83. Relieving Suffering Nettleton 19. Disassemble Every Gun Nicaea 14. Climbing Up The Ladder Noël Nouvelet 125. Ultimately We May Not Have Free Will Now Thank We All Our God 111. Things Are The Way They Are 302 Traditional Hymn Secular Hymn Nun Danket 111. Things Are The Way They Are O Bless the Lord, My Soul! 70. Oh Child Do Not Despair O For A Thousand Tongues 53. I’ve Never Known a Sinner O God Of Bethel By Whose Hand 31. Go Further Farther O God of Loveliness 129. Walking in Someone’s Shoes O Jesus I Have Promised 5. Achieving Disagreement O Love That Wilt Not Let Me Go 51. Intelligence is a Bouquet O Love, How Deep 116. To Live Our Lives Addiction-Free O Perfect Love 65. No Cheers For David O Sacred Head, Sore Wounded 74. Our Garden Full of Flowers O Sing a Song of Bethlehem 139. When Feeling Lost O Store Gud 141. When Playing Cards O the Deep Deep Love of Jesus 126. Unconscious Bias Ode to Joy (Beethoven) 123. Towards a World That Has No Guns Oh Worship The King 9. Assuming There’s Peace Old Hundredth 47. I’m Marching, Marching Once to Every Man and Nation 126. Unconscious Bias Onward Christian Soldiers 72. Onward, Upward Our God Our Help In Ages Past 100. The Only Path to Peace is Peace Our Great Savior 56. Land of Gray Peace Like a River 79. Peace Like a River Penlan 4. Accommodating Others Picardy 10. Bad is Not a Name Pleading Savior 27. Everyone Must Make a Living Poor Wayfaring Man of Grief 37. I Am the Captain of My Boat Praise God from Whom all Blessings Flow 47. I’m Marching, Marching Praise My Soul The King Of Heaven 143. Why Does This Phrase Have Five Measures? Praise the Lord, Ye Heavens 56. Land of Gray Praise to God, Immortal Praise 96. Swapping Shoes Praise to the Holiest in the Height 87. So Many Ways Praise To The Lord 82. People Will Change Redeemed 67. Nonviolence May Take a Long Time Regent Square 113. Tick-Tock Rejoice, The Lord Is King 121. Today’s the Day Repton 52. It’s Great To Know Some Things By Heart Revive Us Again 109. There’s Claim Number One Rhosymedre 20. Diversity in Thought Ring Out The Old, Ring In The New 116. To Live Our Lives Addiction-Free Rise Up, O Men of God! 70. Oh Child Do Not Despair Rock Of Ages 33. Grief Has Got To Take Its Time Royal Oak 108. There’s a Road Between Our Lands Salve Regina 21. Don’t Choose Sides Salzburg 25. Every Space for Every Face Shall We Gather At The River 46. If We’re Not the Ones Simple Gifts 114. ‘Tis a Gift 303 Traditional Hymn Secular Hymn Since Jesus Came Into My Heart 32. Going Up, Going Up Sine Nomine 112. This Day, This Day Sing of Mary 27. Everyone Must Make a Living Singing Songs of Expectation 126. Unconscious Bias Slane 132. We Can Be Tolerant Soldiers of Christ, Arise 104. There is a Rule of Thumb Sparrow 60. Let’s Stop Making Weapons St. Gertrude 72. Onward, Upward St. Helen 94. Storms Will Come St. Patrick’s Breastplate 118. To Soldiers Lost St. Thomas 70. Oh Child Do Not Despair Still, Still With Thee 28. Everything’s Changing Surrender 42. I Surrender Sutra Hymn 23. Each Little Raindrop Take My Life and Let It Be 69. Nothing’s Heavy with Lots of Hands Tell Me The Old Old Story 61. Let’s Try Something Different The Church’s One Foundation 105. There is an Empty Box The Day Thou Gavest Lord Is Ended 50. Injustice to You is Injustice to Me The Jubilee 122. Together for So Long The King Of Love My Shepherd Is 97. Tall Oaks From Little Acorns Grow The Lord Is King, Lift Up Thy Voice 116. To Live Our Lives Addiction-Free The Old Rugged Cross 106. There is Something Wrong The Solid Rock 2. A Long Long Way We’ve Come Today The Solid Rock 39. I Have a Garden in the Park The Strife is O’er 142. Who’s My Neighbor? There is a Balm in Gilead 26. Everybody Has Their Issues There Is A Green Hill Far Away 117. To Make The World A Better Place Thine Be The Glory (Handel) 138. What Are We Doing? Thy Strong Word Did Cleave the Darkness 126. Unconscious Bias Tis a Gift 114. ‘Tis a Gift Tis So Sweet to Trust in Jesus 34. Happy Be To God Be The Glory 7. All Praise to the Troubled Ton-y-Botel 126. Unconscious Bias Toplady 33. Grief Has Got To Take Its Time Trentham 36. I Am a Terrorist Trust And Obey 120. Today Is My Day Trust in Jesus 34. Happy Be Turn Your Eyes Upon Jesus 43. I Think I Could Work in a Castle Twimfina 12. Borders, Boundaries, Walls and Fences Twimfina 16. Come Live With Us Victory 142. Who’s My Neighbor? Ville Du Havre 22. Don’t Know How I Got Here Wachet Auf 128. Wake, Awake Wake, Awake, for Night is Flying 128. Wake, Awake Warrenton 24. Education is our Destination 304 Traditional Hymn Secular Hymn We Cannot Measure How You Heal 29. For Those Who Have Beliefs Bizarre We Have and Anchor 88. Some Are Young, Some Old We Plough The Fields And Scatter 66. No Need To Sing The Same Notes We Rest on Thee 99. The Many Truths Were You There? 91. Spent Our Treasure Westminster Abbey 86. Skating, Skating What a Friend We Have in Jesus 78. Peace Is Not What I Looked For What Thanks and Praise To Thee We Owe 116. To Live Our Lives Addiction-Free What Wondrous Love is This 76. Parents Gone When I Survey the Wondrous Cross 92. Standing At Bat When Peace Like a River 22. Don’t Know How I Got Here Will Your Anchor Hold 88. Some Are Young, Some Old Wondrous Love 76. Parents Gone Wye Valley 15. Climbing Up The Mountain Ye Banks and Braes 29. For Those Who Have Beliefs Bizarre Ye Servants of God 110. There’s More Than One Way
Your SATB Edition of the Secular Hymnal is a complete compilation of all 12 of the “Roadway” booklets shown on the facing page. The SATB Edition is best for choirs, quartets, friends and families who like to sing in harmony. It’s also great for students of music theory and counterpoint.
TheSolo Edition of the Secular Hymnal (pictured above) is best for individual singers and groups that sing in unison. It contains the soprano (melody) lines and nice large chord symbols to all 144 Secular Hymns. Since there’s no more worry about squashing the alto, tenor and bass voices, the Solo Edition contains melody lines that are in a lower, more comfortable range for us everyday singers. 305 306 PERSONAL NOTES AND EXPLANATIONS
LYRICS
When I was a public school music teacher, I was made very aware that church hymns were inappropriate for the classroom. I was careful to never cross that line. At the same time, I knew from personal experience how useful hymn singing is for building musicianship, for tightening-up a choir, and for learning to sight-read. There is something special about hymns - they’re like musical vitamins. This is the reason why I wrote the Secular Hym- nal. By substituting all religious content with lyrics that everybody would feel comfortable with, we classroom teachers could have our cake and eat it too. We could make use of our heritage of chorale music without violat- ing the religious sensitivities of others. Lyrics are always “about” something. What should I write about that would be appropriate to this revered mu- sic? I certainly couldn’t write 144 sets of lyrics about “oatmeal”. And I have zero appetite for sugary, meaning- less lyrics with contrived rhymes. As I hope you will discover, all the lyrics turned-out to be about something, with “Peace” and “Equality” being among the predominant themes. I hope that you find these new verses to be worthy substitutes for the much loved verses that they replace.
WORD DIVISION
As for dividing words into syllables, I used to be a purest about dividing words so that each syllable began with a consonant. It made sense because that’s how the tongue, teeth and lips work in the mouth to actually form the syllables. And so I was strict about it and paid no regard to how words are conventionally divided in the diction- ary. But even though my syllabification may have been “anatomically” correct, I began to realize that it might not always result in good communication. Maybe singers can’t as readily grasp the meaning of a word when it is divided unconventionally. So now I’m no longer a purist - not even always consistent. I still prefer to begin syl- lables with a consonant, but I’ll happily start with a vowel if I think it might make communication more clear. For example, words ending with the suffix “-ing” will probably be written that way (without a consonant) simply because they seem easier to read.
SOL-FA SONGS
There are 44 hymns that contain only diatonic notes - only the 7 notes that belong to the hymn’s key. There are no outsiders from other keys present to complicate things. That makes these 44 hymns extra easy and fun to sing in solfege (the “Do, Re, Mi, Fa, So, La, Ti, Do” syllables). In early editions of the Secular Hymnal, the solfege syllables were actually printed above the notes for these songs. But no more. It made the scores look too busy and confusing. So now you’ll have to provide your own solfege syllables (which is probably a better way to learn anyhow). The 44 songs that will make the best candidates for solfege singing are all in major keys and are purely diatonic in all voices. They are identified in the index at the front of the book. Each has aSOL-FA “ ” label after its name.
CHORD SYMBOLS
The chord symbols (written above the soprano voice only) are included so that a guitar or piano can be used to support the singing of the melody line. These chords arenot meant to support the SATB parts - in fact they often clash with them! The chosen chord symbols seem to me to create the most clean, logical, functional har- mony for unison or solo singing of the soprano line. 307 CHANGES TO THE TRADITIONAL MUSIC
Hymn Tunes: I feel an obligation to not change a hymn’s melody line. And so the hymn tunes in the Secular Hymnals usually sound exactly the same as the hymn tunes in any other hymnal. The whole purpose of the Secular Hymnal project is to shape new lyrics to the original tunes, not the other way around. Occasionally I may need to make insignificant changes (for example, changing a quarter note to two eighths to accommodate an extra syllable - or vice versa). On rare occasions I might repeat a section. But these minor changes seldom effect the integrity of the original hymn tune.
Alto, Tenor, Bass Parts: I only change the harmony parts when necessary. Even if the parts are choppy and vio- late every part-writing rule, I usually leave them the way they are. In fact wild harmony parts can be fun to sing (as Sacred Harp singers can attest to). However sometimes it is necessary to rewrite the parts in order to avoid copyright infringement (rather common) or when the vocal range is too wide to be humanly singable (rare).
Key: I don’t feel much allegiance to the original key. Being a choir singer myself, I always try to make the sing- ers as comfortable as possible. Who in the world wants to sing outside his or her range? My duty is to find the most comfortable key regardless of how it was originally written.
SOURCES
Although I researched all of the hymns, none of the research was “primary” research. Instead I’ve relied entirely on established sources for my information. The internet is rich with hymn source material and information (such as “www.hymnary.org”) for which I am very grateful. For note-by-note transcription of the old hymns into secular hymns, I more often than not relied on my own copy of “The Christian Life Hymnal” [2012 Print- ing]. I appreciate its crisp scores and its clear references.
Choice of Hymns: In choosing which traditional hymns to transform into secular hymns, my objective was to find tunes that people considered “favorites”. It’s largely from the many published lists of “favorite hymns” that the tunes for the Secular Hymnal were chosen. They were chosen for their diversity, importance, and above all beauty.
Errors: Having checked and double-checked countless times, I’m tempted to claim that there aren’t any mis- takes left anywhere in the book. But I know better than to say something so stupid. So if you find any errors, please let me know so that I may correct them.
COPYRIGHT
To my knowledge I have violated no copyright claims. Whenever there was even a hint of doubt about the copy- right status of an arrangement, I would reharmonize it and then arrange it myself. If you find that I have inad- vertently violated someone’s copyright, please let me know and I will make the necessary changes immediately. (Personally I find that our current copyright law lasts way too long and is unreasonably restrictive. I suggest that composers choose a “Creative Commons” category or just put their material into the public domain as I do).
TYPESETTING
The Secular Hymnal’snotation was created using Sibelius 6 (font: Keyboard Helsinki with Georgia text). The Secular Hymnal’stext was created using Adobe InDesign CS6 (font: Adobe Garamond Pro). 308
NOTES ON THE INDIVIDUAL HYMNS
1. A Beauty Hides in Everyone: This Secular Hymn is built on the 1529 song “Ein Feste Burg” written by none other than Martin Luther him- self. Nowadays the tune is best known as the hymn “A Mighty Fortress Is Our God” [#22 in the Christian Life Hymnal], which is the source that I used. Topic of Song: finding beauty in everyone;
2. A Long Long Way We’ve Come Today: This Secular Hymn is built on the tune “Melita” by John Bacchus Dykes in 1861. Today the tune is best known by the hymns “The Solid Rock” [#411 in the Christian Life Hymnal], and “Eternal Father, Strong to Save” [#600 in the Christian Life Hymnal] which is the source that I used. Topic of Song: creating peace is an accomplishment worth celebrating;
3. A Peaceful Walk: This Secular Hymn is based on a tune composed by Ralph E Hudson. Later the hymn “At the Cross” [#525 in the Christian Life Hymnal] was created from the tune, which is the source that I used. Topic of Song: peace / nonviolence;
4. Accommodating Others: This Secular Hymn is based on the tune “Penlan” written by David Jenkins in 1898. It is more commonly known today as the hymn “In Heavenly Love Abiding” [found on the website “hymnary.org], which is the source that I used. Topic of Song: strong people are those who accommodate others;
5. Achieving Disagreement: This Secular Hymn is built on the tune “Angel’s Story”, written by Arthur Henry Mann in 1881. Today it is more commonly known as the hymn “O Jesus I Have Promised” [#446 in the Christian Life Hymnal], which is the source that I used. Topic of Song: respectful disagreement can be something positive;
6. All Need To Feel Significant: This Secular Hymn is based on the 1861 tune “Eventide” composed by William Henry Monk, which was sub- sequently used for the hymn “Abide With Me” [#575 in the Christian Life Hymnal] which is the source that I used. Topic of Song: seeing others as ourselves;
7. All Praise to the Troubled: This Secular Hymn is based on the 1875 Hymn “To God Be the Glory [#31 in the Christian Life Hymnal] writ- ten by William Howard Doane, which is the source that I used. Topic of Song: accepting others, seeing personality differences as a positive;
8. All the Seven Deadly Sins: This Secular Hymn is based on a traditional folksong which is now popularly known as the hymn “Just a Closer Walk With Thee” [#461 in the Christian Life Hymnal] which is the source that I used. Topic of Song: humorous hymn about “wrath, gluttony, envy, pride, greed, sloth, and lust”; 309 9. Assuming There’s Peace: This Secular Hymn is built on the tune “Lyons”, written by Johann Michael Haydn (the younger brother of Joseph Haydn) in 1770. It was later arranged by William Gardiner in 1815. It is popularly known today as the hymn “O Worship the King” [#10 in the Christian Life Hymnal], which is the source that I used. Topic of Song: acting as if there were peace is a good strategy for creating peace;
10. “Bad” is Not a Name: This Secular Hymn is built on a traditional French tune titled “Picardy”. It is popular today as the hymn “Let All Mortal Flesh Keep Silence”. It can be found as Hymn #82 in the Christian Life Hymnal and as Hymn #46 in the Book of Catholic Worship (1966 Edition). However in these and in other hymnals, the song curiously only occurs as a unison melody. So to be consistent with the other hymns, I decided to harmonize it and ar- range it as a 4-part chorale. Topic of Song: avoid labeling people;
11. Because Violence Can’t End Violence: This Secular Hymn is built on a melody that seems to have started in the 1867 Jacques Offenbach opera buffa titled: “Geneviève de Brabant” (Genevieve of Brabant). The song (Gendarmes’ Duet) was a duet between two police officers. But it is much more popularly known today as the Marines’ Hymn (“From the Halls of Mont- ezuma”). I arranged it as an SATB chorale. Topic of Song: there are better ways to resolve disputes;
12. Borders, Boundaries, Walls and Fences: This Secular Hymn is taken from my musical “Twimfina”. It’s not structured like a hymn, but I included it sim- ply because I like it so much. In fact the refrain “The World Is My Family, I’m Not Afraid” makes the acronym “TWIMFINA”, the name of the play. Topic of Song: the world is my family, I’m not afraid;
13. Building a Door: This Secular Hymn is built on the tune “St. Catherine” written by Henri F. Henry in 1864 (and arranged by James George Walton in the same year). It is popularly known today as the hymn “Faith Of Our Fathers” [#322 in the Christian Life Hymnal], which is the source that I used. Topic of Song: mixing with others is healthful;
14. Climbing Up The Ladder: This Secular Hymn is based on the tune “Nicaea” written by John Bacchus Dykes in 1861. It is known every- where as the famous hymn “Holy, Holy, Holy” [#1 in the Christian Life Hymnal], which is the source that I used. Topic of Song: seeing others as ourselves;
15. Climbing Up The Mountain: This Secular Hymn is built on the song “Wye Valley”, written by James Mountain in 1876. It is popularly known today as the hymn “At the Name of Jesus” [#207 in the Christian Life Hymnal], which is the source that I used. Topic of Song: no pain, no gain;
16. Come Live With Us: This Secular Hymn is the Afterword in my musical “Twimfina”. Topic of Song: living in a “Love Thy Neighbor” world; 310
NOTES ON THE INDIVIDUAL HYMNS (continued)
17. Communication is the Answer: This Secular Hymn is based on the tune “Coronation”, written by Oliver Holden in 1793. Among the hymns that were subsequently built on the “Coronation” tune is the hymn “All Hail the Power of Jesus’ Name” [#57 in the Christian Life Hymnal], which is the source that I used. Topic of Song: communication;
18. Crank and Sprocket: This Secular Hymn is based on the tune “Easter Hymn” which can be found in the Lyra Davidson collection of 1708. It is popularly known today as the hymn “Jesus Christ is Risen Today” [#45 in the Book of Catholic Wor- ship - 1966 Edition], which is the source that I used. Topic of Song: people act the way they are “built”, and so we must be kind to everybody;
19. Disassemble Every Gun: This Secular Hymn is built on the 1813 tune “Nettleton”. It is better known today as the hymn “Come Thou Fount of Every Blessing” [#13 in the Christian Life Hymnal] which is the source that I used. Topic of Song: take apart a gun with a screwdriver and then scatter the parts;
20. Diversity in Thought: This Secular Hymn is built on the tune “Rhosymedre”, written by John Edwards in 1840. It is more commonly known today as the hymn “My Song Is Love Unknown” [#164 in the Christian Life Hymnal], which is the source that I used. Topic of Song: it’s healthful to shake-up our fixed ways from time to time;
21. Don’t Choose Sides: This Secular Hymn is built on the old song “Salve Regina” written in Latin a millennium ago (c.1050). A very popular English setting of the tune is the hymn “Hail Holy Queen Enthroned Above” [#35 in the Book of Cath- olic Worship - 1966 Edition], which is the source that I used. Topic of Song: peace / conflict resolution;
22. Don’t Know How I Got Here: This Secular Hymn is built on the 1876 tune “Ville Du Havre” by Philip Paul Bliss. Nowadays the tune is best known as the hymn “It Is Well With My Soul” also known by the beginning words “When Peace Like a River” [#363 in the Christian Life Hymnal], which is the source that I used. Topic of Song: accepting life;
23. Each Little Raindrop: This Secular Hymn isn’t based on a traditional hymn. Hoping to have a diversity of hymns in my collection, I composed this with a “Buddhist” flavor and titled it “Sutra Hymn”. The pentatonic scale gives it that Asian sound. Later when I was writing new lyrics to all the hymns, this hymn was among them. Topic of Song: “What if everybody did that?” (Immanuel Kant’s “Categorial Imperative”) 24. Education Is Our Destination: 311 This Secular Hymn is based on the old song “Warrenton”, which is found in the 1844 Sacred Harp book. Among the modern hymns built on the “Warrenton” tune is “Come Thou Fount of Every Blessing” [#14 in the Christian Life Hymnal]. I could find no arrangements free of copyright protection, so I arranged it myself to sound like a train. Topic of Song: right to an education;
25. Every Space for Every Face: This Secular Hymn is built on the tune “Salzburg”, written by Jacob Hintze in 1678. It was later harmonized by none other than J.S. Bach. Today it is popularly known as the hymn “At the Lamb’s High Feast We Sing [#326 in the Christian Life Hymnal], which is the source that I used. Topic of Song: certain parts of life should not be sectored off for certain “types” of people;
26. Everybody Has Their Issues: This Secular Hymn is based on the popular African-American spiritual “There is a Balm in Gilead”. I was -un able to find any copyright-free arrangements, so I made the SATB arrangement myself and put it in the public domain. Topic of Song: although some people are good at hiding it, everybody goes through periods of mental instabil- ity;
27. Everyone Must Make a Living: This Secular Hymn is based on the tune “Pleading Savior” by Joshua Leavitt (c.1830). It can also be found as the hymn “Jesus, Thou Divine Companion” [#148 in the Christian Life Hymnal]. However our source is the hymn “Sing of Mary” [#76 in the Book of Catholic Worship - 1966 Edition]. Topic of Song: seeing others as ourselves;
28. Everything’s Changing: This Secular Hymn is built on the 1834 piano composition “Consolation” by Felix Mendelssohn. Today it is popularly known as the hymn “Still, Still With Thee” [#574 in the Christian Life Hymnal] which is the source that I used. Topic of Song: everything is changing; we can be a part of the change;
29. For Those Who Have Beliefs Bizarre: This Secular Hymn is based on the traditional Scottish folk tune “Ye Banks and Braes”. It is more commonly known as the hymn “We Cannot Measure How You Heal” [which can be found at hymnary.org]. The arrange- ments are still under copyright protection so I made the SATB arrangement myself and placed it in the public domain. Topic of Song: accepting people regardless of their strange ideas;
30. For What I’ve Done: This Secular Hymn is based on the 1840 hymn “Come Holy Ghost” by Louis Lambillotte. It can be found as Hymn #14 in the Book of Catholic Worship [1966 Edition], which is the source that I used. Topic of Song: asking for forgiveness;
31. Go Further Farther: This Secular Hymn is based on a tune from the 1615 Scottish Psalter titled “Dundee”. It was harmonized by Thomas Ravenscroft (who lived from 1592 to 1635). It is more commonly known as the hymns: “O God of Bethel By Whose Hand”, and “I To the Hills Will Lift My Eyes”, and “God Moves in a Mysterious Way”. My source for the Dundee arrangement was the online website “hymnary.org”. Topic of Song: keep progressing further and farther; 312
NOTES ON THE INDIVIDUAL HYMNS (continued)
32. Going Up, Going Up: This Secular Hymn is built on the tune “McDaniel”, written by Charles Hutchinson Gabriel in 1914. Today it is more commonly known as the hymn “Since Jesus Came Into My Heart” [#514 in the Christian Life Hymnal], which is the source that I used. Topic of Song: motivational;
33. Grief Has Got To Take Its Time: This Secular Hymn is built on the tune “Toplady” written by Thomas Hastings in 1830. Today it is popularly known as the hymn “Rock of Ages” [#284 in the Christian Life Hymnal], which is the source that I used. Topic of Song: grief is slow but plays a role;
34. Happy Be: This Secular Hymn is based on an 1882 song by William James Kirkpatrick titled “Trust in Jesus”. It is more popularly known today as the hymn “Tis So Sweet to Trust in Jesus” [#414 in the Christian Life Hymnal], which is the source that I used. Topic of Song: 12 contemporary beatitudes;
35. Harvesting Hunger: This Secular Hymn is based on the tune “Arizona”, written by Robert Henry Earnshaw (who lived from 1856- 1929). Today the tune is more commonly known by the hymn “Lord of All Being” [found online at “hymnary. org”] which is the source that I used. Topic of Song: the importance of education;
36. I am a Terrorist: This Secular Hymn is built on the 1888 tune “Trentham” by Robert Jackson. Today the tune is more common- ly known by the hymn “Breathe On Me” [#225 in the Christian Life Hymnal], which is the source that I used. Topic of Song: capital punishment / human condition;
37. I am the Captain of My Boat: This Secular Hymn is built on the song “A Poor Wayfaring Man of Grief” written by George Coles back around 1880. The Latter Day Saints have a version of it [#29 in their 1985 English Language Hymnal]. I like the jaunty melody, but since the copyright status of the LDS arrangement was not clear, I had to do my own SATB arrangement. Topic of Song: acceptance of life / anti-pride;
38. I Declare a Brand-New Me: This Secular Hymn is built on the tune “Cymraeg”, written by Robert Lowry in 1876. It is more commonly known today as the hymn “Here is Love Vast as the Ocean” [#254 in the Christian Life Hymnal], which is the source that I used. Topic of Song: it is healthy to give ourselves a second chance;
39. I Have a Garden in the Park: This Secular Hymn is built on the tune “Solid Rock” by William Batchelder Bradbury, written in 1863. It is more commonly known today as the hymn “My Hope Is Built On Nothing Less” [#410 in the Christian Life Hymnal], which is the source that I used. Topic of Song: parks are important, even for homeless people; 313 40. I Have a Puzzle of the World: This Secular Hymn is built on the tune “St. Peter” written by Alexander Robert Reinagle in 1836. It is more popularly known today as the hymn “How Sweet the Name of Jesus Sounds” [#399 in the Christian Life Hym- nal], which is the source that I used. Topic of Song: solving the world’s problems requires cooperation;
41. I Once Was So Certain: This Secular Hymn is based on a traditional French tune known as the “Lourdes Hymn”. However my source is the hymn “Immaculate Mary” [#43 in the Book of Catholic Worship - 1966 Edition]. Topic of Song: importance of being open and accepting mistakes;
42. I Surrender: This Secular Hymn is built on the 1896 tune “Surrender” by Winfield Scott Weeden. Nowadays the tune is best known as the hymn “I Surrender All” [#305 in the Christian Life Hymnal], which is the source that I used. Topic of Song: rejecting shiny things;
43. I Think I Could Work in a Castle: This Secular Hymn is built on a 1922 tune by Helen Howarth Lemmel. It is more popularly known today as the hymn “Turn Your Eyes Upon Jesus” [#297 in the Christian Life Hymnal], which is the source that I used. Topic of Song: contentment;
44. I Think I’m Right: This Secular Hymn is based on a tune written by George Frederick Root in 1870. Today it is known by the hymn “Come to the Savior, Make No Delay” [found at the “cyberhymnal.org” website], which is the source that I used. Topic of Song: it is very important that we be open to the possibility of being wrong;
45. I Will Look and I Will See: This Secular Hymn is based on the tune “Sagina”, written by Thomas Campbell in 1825. It is popularly known today as the hymn “And Can It Be?” [#247 in the Christian Life Hymnal], which is the source that I used. Topic of Song: “looking for beauty” is a prerequisite for “finding beauty”;
46. If We’re Not the Ones: This Secular Hymn is built on the tune “Hanson Place” written by Robert Lowry in 1864. It is popularly known today as the hymn “Shall We Gather at the River” [#559 in the Christian Life Hymnal], which is the source that I used. Topic of Song: if we don’t do it, it won’t get done;
47. I’m Marching, Marching: This secular hymn is built on the ancient song “Old Hundredth”, which is popular today as the hymn “Praise God from Whom all Blessings Flow”. More than one version is found in the Christian Life Hymnal. I mixed and matched, using the harmony and arrangement from Hymn #21 but the meter and rhythm from Hymn 621 (to avoid the imprecision of fermatas). Topic of Song: stepping out of your group;
48. In The End: This Secular Hymn is built on the 1873 tune “Assurance” by Phoebe Palmer Knapp. Nowadays the tune is best known as the hymn “Blessed Assurance” [#362 in the Christian Life Hymnal], which is the source that I used. Topic of Song: accepting life, being realistic; 314
NOTES ON THE INDIVIDUAL HYMNS (continued)
49. Informed People: This Secular Hymn is built on the traditional English melody “Helmsley”. Today the tune is more commonly known as the hymn “Lo He Comes With Clouds Descending” [#211 in the Christian Life Hymnal], which is the source that I used. Topic of Song: informed people tend to behave more responsibly;
50. Injustice to You is Injustice to Me: This Secular Hymn is based on the song “St. Clement”, written by Clement Cotterill Scholefield in 1874. It is popular today as the hymn “The Day Thou Gavest Lord Is Ended” [#578 in the Christian Life Hymnal], which is the source that I used. Topic of Song: injustice to one is injustice to all;
51. Intelligence is a Bouquet: This Secular Hymn is built on the tune “St. Margaret”, written by Albert Lister Peace. It is more commonly known today as the hymn “O Love That Will Not Let Me Go” [#389 in the Christian Life Hymnal], which is the source that I used. Topic of Song: there are many kinds of intelligence;
52. It’s Great To Know Some Things By Heart: This Secular Hymn is built on the tune “Repton” by Charles Hubert Hastings Parry in 1888. It is popularly known today as the unison hymn “Dear Lord and Father of Mankind” [#475 in the Christian Life Hymnal]. Since the Secular Hymns are all in chorale style, I used the melody to create an SATB arrangement. Topic of Song: the joy of memorizing;
53. I’ve Never Known a Sinner: This Secular Hymn is built on the 1828 tune “Azmon” by Carl Gotthelf Glaser. It was arranged in 1839 by Lowell Mason. Nowadays the tune is best known as the hymn “O for a Thousand Tongues to Sing” [#49 in the Christian Life Hymnal], which is the source that I used. Topic of Song: accepting others, compassion;
54. Journey Forward: This Secular Hymn is based on the 1880 hymn “God Be With You Till We Meet Again” written by William Tomer [#586 in the Christian Life Hymnal], which is the source that I used. Topic of Song: importance of education;
55. Just Because: This Secular Hymn is based on a traditional English tune “Monks Gate”. In 1904 Ralph Vaughan Williams arranged it. It is popularly known today as the hymn “He Who Would Valiant Be” (which I was able to find at “openhymnal.org”). The hymn appeared in the movie “Chariots of Fire” and was sung at Margaret Thatcher’s funeral. The hymn is very irregular and difficult to learn (and difficult to write new lyrics for). And so I (rightly or wrongly) made some simplifying changes so that it could be squeezed into a regular 4/4 meter, 16-bar chorale format. Sorry Ralph. Topic of Song: things aren’t always they way they’re presented - critical thinking is necessary; 56. Land of Gray: 315 This Secular Hymn is built on the old tune “Hyfrydol” written by Rowland Hugh Prichard around 1830. It is a popular tune for hymns, in fact in the Christian Life Hymnal alone there are 5 hymns that use Hyfrydol as their tune, including “Love Divine, All Loves Excelling” [#42 in the Christian Life Hymnal], which is the source that I used. Topic of Song: living with diversity;
57. Let’s Make a Right: This Secular Hymn is based on “Italian Hymn”, written by Felice de Giardini in 1769. It is popular today as the hymn “Come Thou Almighty King” [#4 in the Christian Life Hymnal], which is the source that I used. The list of “world needs” itemized in this Secular Hymn was gleaned from the film “One Peace at a Time”. Topic of Song: a life of service to others;
58. Let’s Ride in our Time Machines: This Secular Hymn is based on the 1912 tune “Garden” composed by Charles Austin Miles, which became the hymn “In the Garden” [#456 in the Christian Life Hymnal] which is the source that I used. Topic of Song: accepting life, accepting others, positive attitude;
59. Let’s Start a Big Commotion: This Secular Hymn is built on the music “Thaxted”, written by Gustaf Holst in 1921. It is popularly known today as the stirring hymn “I Vow to Thee, My Country” [found at the website “newchurchmusic.org”], which is the source that I used. Topic of Song: sometimes attention to injustice can only be achieved by making lots of noise;
60. Let’s Stop Making Weapons: This Secular Hymn is built on the 1905 song “Sparrow” by Charles Hutchinson Gabriel. It is popularly known today as the hymn “His Eye is on the Sparrow” [#378 in the Christian Life Hymnal] which is the source that I used. Topic of Song: against the manufacture of weapons;
61. Let’s Try Something Different: This Secular Hymn is built on the tune “Evangel” written by William Howard Doane in 1867. It is popularly known today as the hymn “Tell Me the Old, Old Story” [#532 in the Christian Life Hymnal], which is the source that I used. Topic of Song: it is a good lifestyle to constantly learn new things;
62. Long Road: This Secular Hymn is built on a tune written by Joachim Neander in 1680 (the year the young man died). The tune began with the lyrics: “Meine Hoffnung Stehet Feste” (My Hope Stands Firm). In 1723 it was adapted and harmonized by J.S. Bach for his Cantata 40. Other hymns that use this tune include: “All My Hope On God is Founded” and “Day of Judgment! Day of Wonders!” My source was the website “hymnary.org”. I admit to changing one melody note (the last note of measure 4 and its chord) to give the cadence a more inter- rogative character. Topic of Song: perseverance; committing to the long haul;
63. Make Just One Brand-New Friend: This Secular Hymn is based on the 1832 song “Foundation” by Joseph Funk. It is more commonly known to- day as the hymn “How Firm a Foundation” [#392 in the Christian Life Hymnal] which is the source that I used. Topic of Song: the importance of having a diversity of friends; 316
NOTES ON THE INDIVIDUAL HYMNS (continued)
64. May We Make Moments of Peace: This Secular Hymn is built on the tune “Duke Street”, written by John Hatton in 1793. It is more commonly known today as the hymn “Jesus Shall Reign, Where’er the Sun” [#39 in the Christian Life Hymnal], which is the source that I used. Topic of Song: little moments accumulate, so create them wisely;
65. No Cheers For David: This Secular Hymn is built on a the popular hymn “O Perfect Love”, written by Joseph Barnby in 1889. It was later arranged by John Stainer in 1898. It can be found as Hymn #546 in the Christian Life Hymnal (which is the source that I used). Topic of Song: supporting peace is better than supporting war;
66. No Need To Sing The Same Notes: This Secular Hymn is built on the German song “Wir Pflugen” (We Plow), written by Johann A.P. Schutz in 1800. The English hymn is titled “We Plow The Fields And Scatter”, which is the source that I used, having found it at the website “hymnary.org”. I only used the first 16 bars. Topic of Song: diversity is richer;
67. Nonviolence May Take a Long Time: This Secular Hymn is built on the song “Redeemed”, written by William James Kirkpatrick in 1882. The hymn “Redeemed” [#268 in the Christian Life Hymnal] is the source that I used. Topic of Song: nonviolence;
68. Nonviolence Must Be Taught: This Secular Hymn is built on the 1911 tune “All in the April Evening” by Scottish composer Hugh S. Rober- ton. I harmonized the tune and arranged it for SATB to avoid possible copyright infringement. (However I put my arrangement in the public domain so you may copy and perform it without worry.) Topic of Song: nonviolence, like other important skills, needs to be taught;
69. Nothing’s Heavy with Lots of Hands: This Secular Hymn is built on the 1827 tune “Hendon” by Cesar Malan. Nowadays the tune is better known as the hymn “Take My Life and Let It Be” [#302 in the Christian Life Hymnal], which is the source that I used. Topic of Song: working together;
70. Oh Child, Do Not Despair: The original tune (St. Thomas) was written back in the 1760’s by Aaron Williams. A number of hymns were written on the St. Thomas tune, including “O Bless the Lord, My Soul” [#35 in the Christian Life Hymnal] and “I Love Thy Kingdom, Lord” [#320 in the Christian Life Hymnal]. However I originally got the melody from the Sacred Harp book - the book of shape-note songs in which the melodies are in the tenor voice instead of the soprano voice. This is why I ended-up writing the arrangement - to get that melody back up into the soprano voice. Topic of Song: welfare of children; 71. Ojalá: 317 Pronounced “Oh-ha-LA”, this Secular Hymn is based on the traditional hymn “Holy God, We Praise Thy Name” which can be found in a 1686 Catholic songbook and currently as Hymn #39 in the Book of Catholic Worship - 1966 edition (which I used as my source). Topic of Song: accepting life;
72. Onward, Upward: This Secular Hymn is built on the song “St. Gertrude”, written by Arthur Seymour Sullivan in 1871. It is popu- larly known today as the hymn “Onward Christian Soldiers” [#438 in the Christian Life Hymnal], which is the source that I used. Topic of Song: a life of service to others;
73. Open Open Up The Window: This Secular Hymn is built on the “Austrian Hymn” written by non other than Franz Joseph Hayden in 1797. It is popularly known today by the hymn “Glorious Things of Thee Are Spoken” [#319 in the Christian Life Hym- nal] which is the source that I used. Topic of Song: face the world and learn from it;
74. Our Garden Full of Flowers: This Secular Hymn is based on the “Passion Chorale” written in 1601 by Leo Hans Hassler. More than a cen- tury later, in 1729, it was harmonized by non other than J.S. Bach. Today the tune is sung in the familiar hymn “O Sacred Head, Now Wounded” [#169 in the Christian Life Hymnal], which is the source that I used. Topic of Song: growing peace;
75. Pain Can Cause: This Secular Hymn is built on the 1907 song “Adelaide” by George Coles Stebbins. Nowadays the tune is best known as the hymn “Have Thine Own Way, Lord” [#298 in the Christian Life Hymnal], which is the source that I used. Topic of Song: be slow to judge people;
76. Parents Gone: This Secular Hymn is built on the old song “Wondrous Love”. The haunting melody (in dorian mode) is thought to be hundreds of years old. Our arrangement is from the hymn “What Wondrous Love Is This” [#174 in the Christian Life Hymnal]. Topic of Song: allegiance to parents;
77. Past Performance is No Guarantee: This Secular Hymn is based on the tune “Mannheim”, written by Friedrich Filitz in 1847. It is popularly known today as the Episcopalian hymn “Lead Us Heavenly Father Lead Us” [found at the “hymnary.org” website], which is the source that I used. (I rightly or wrongly repeated the first 4 measures to give the hymn a more user- friendly AABA structure.) Topic of Song: plan for the future, because that which got us through youth may not work when we are older;
78. Peace Is Not What I Looked For: This Secular Hymn is based on music written by Charles Crozat Converse in 1868. Today it is popularly known as the hymn “What a Friend We Have in Jesus” [#460 in the Christian Life Hymnal], which is the source that I used. Topic of Song: peace comes to those who look for it; 318
NOTES ON THE INDIVIDUAL HYMNS (continued)
79. Peace Like a River: This hymn was already secular so no changes were made to the words. There are many arrangements of this -fa mous African-American song on the internet. The source I used was Hymn #408 in my Christian Life Hymnal. My only contributions are the chord symbols for the soprano melody and the fun 4th verse (which I had heard before, probably at camp). Topic of Song: I’ve got peace, love and joy like a river;
80. People are More: This secular hymn is built on the hard-to-spell tune “Aberystwyth”, written by Joseph Parry in 1879. It is more commonly known today as the hymn “Jesus Lover of My Soul [#395 in the Christian Life Hymnal], which is the source that I used. Topic of Song: we tend to imprison people with labels;
81. People We Need to Meet: This Secular Hymn is based on a Silesian folksong. It is popularly known today as the hymn “Fairest Lord Je- sus” [#53 in the Christian Life Hymnal], which is the source that I used. Topic of Song: accepting those we once rejected;
82. People Will Change: This Secular Hymn is based on the 1685 German chorale “Lobe Den Herren” by Joachim Neander. It is popu- larly known today as the hymn “Praise to the Lord” [#11 in the Christian Life Hymnal], which is the source that I used. Topic of Song: people change whether they know it or not; we must hold on to them;
83. Relieving Suffering: This Secular Hymn is built on the song “Need”, written by Robert Lowry in 1872. The tune is commonly known today as “I Need Thee Every Hour” [#459 in the Christian Life Hymnal], which is the source that I used. Topic of Song: relieving suffering in others;
84. Rise and Shine: This Secular Hymn comes from an old 1825 pentatonic tune called “Holy Manna”. (Pentatonic songs are built on 5-note scales. They can be played using only the black keys of the piano. To my ear these tunes are special and have a Chinese flavor to them.) The hymn “Brethren, We Have Met to Worship” [#581 in the Christian Life Hymnal] is built on this tune and is the source that I used. Topic of Song: motivational;
85. Seen, Heard and Understood: This Secular Hymn is based on the tune “Bethany”, written by Lowell Mason in 1856. It is known today as the hymn “Nearer, My God, to Thee” [#426 in the Christian Life Hymnal], which is the source that I used. Topic of Song: needs of others;
86. Skating, Skating: This Secular Hymn is built on “Westminster Abbey”, written by Henry Purcell around 1680. It is more com- monly known today as the hymn “Christ is Made the Sure Foundation” [#318 in the Christian Life Hymnal], which is the source that I used. Topic of Song: making mistakes is healthy; 319 87. So Many Ways: This Secular Hymn is built on the 1912 tune “Billing” by Sir Richard Runciman Terry. It is more commonly known today as the hymn “Praise to the Holiest in the Height”. The score can be found online at hymnary.org (which is the source that I used). Topic of Song: choosing to live our lives to reduce suffering;
88. Some Are Young, Some Old: This Secular Hymn is based on the hymn “Will Your Anchor Hold” or “We Have An Anchor”, written by Wil- liam James Kirkpatrick in 1882 [#423 in the Christian Life Hymnal], which is the source that I used. Topic of Song: we have to accept that a natural community has a wide assortment of people;
89. Someday When Guns Are Gone: This Secular Hymn is built on the tune “Dennis” by Johann Georg Nageli. It was arranged by Lowell Mason in 1845. It is popularly known today as the hymn “Blest Be The Tie That Binds” [#334 in the Christian Life Hym- nal], which I used as my source. (I added an extra bar at measures 3 and 6 to prolong the held pitches. This regularizes the structure and reflects how the hymn is actually sung in practice.) Topic of Song: future generations will look back in horror at our use of guns;
90. Someone Should: This Secular Hymn is built on the strangely spelled Welsh tune “Cwm Rhondda”, composed in 1905 by John Hughes. However our source is a later hymn titled “Guide Me, O Thou Great Jehovah” [#413 in the Christian Life Hymnal]. Topic of Song: supporting community;
91. Spent Our Treasure: This secular hymn is based on the traditional African-American spiritual “Were You There”. It can be found as Hymn #161 in the Christian Life Hymnal and can also be found online at hymnary.org (which is the source that I used). Topic of Song: the money we spend on weapons could allow our schools and health care services to flourish;
92. Standing At Bat: This Secular Hymn is built on the 1824 song “Hamburg” by Lowell Mason. This is a very simple tune, using only 5 pitches. It is popularly known today as the hymn “When I Survey the Wondrous Cross” [#171 in the Christian Life Hymnal] which is the source that I used. Topic of Song: stepping out of your group;
93. Step by Step: This Secular Hymn is built on the tune “China”, written by William Batchelder Bradbury in 1862. It is quite popularly known today as the hymn “Jesus Loves Me, This I Know” [#274 in the Christian Life Hymnal], which is the source that I used. Topic of Song: unrelenting pursuit of goals should be balanced with other things;
94. Storms Will Come: This Secular Hymn is based on the hymn tune “St. Helen”, written by Sir George C Martin in 1889. It is more commonly known today as the hymn “Lord Enthroned in Heavenly Splendor”. The hymn score can be found online at musescore.com and at other sites. Topic of Song: storms are sure to come - but storms are also sure to go; 320
NOTES ON THE INDIVIDUAL HYMNS (continued)
95. Striving To Be: This Secular Hymn is based on the tune “Pentecost”, written by William Boyd in 1868. It is popularly known today as the hymn “Fight the Good Fight” (which was used in the film “Chariots of Fire”). The source I used was found online at cyberhymnal.org. Topic of Song: striving to be poor instead of wealthy;
96. Swapping Shoes: This Secular Hymn is built on the curiously-named tune “Dix” written by Conrad Kocher in 1838 (and ar- ranged by William Henry Monk in 1865). It is more commonly known today as the hymns “Praise to God, Immortal Praise” [#595 in the Christian Life Hymnal] and “For the Beauty of the Earth” [#171 in the Christian Life Hymnal] which is the source I used. Topic of Song: by putting ourselves into someone else’s predicament, we learn that we would act the same;
97. Tall Oaks From Little Acorns Grow: This Secular Hymn is built on the traditional Irish melody “St. Columba”. It was harmonized by Charles Vil- liers Stanford in 1906. It is popularly known today as the hymn “The King of Love My Shepherd Is” [#370 in the Christian Life Hymnal] which is the source that I used. Topic of Song: friendships often begin with the word “Hello”;
98. The Greatest Walk: This Secular Hymn is based on the tune “Jerusalem”, a 1916 anthem written by Sir Hubert Parry. It was written to a poem by William Blake which began: “And did those feet in ancient time walk upon England’s mountains green?” That subject matter is undoubtedly why it was sung by a choir at the end of “Chariots of Fire” (a 1981 movie about runners in the 1924 Olympics). It’s also why our Secular Hymn is about “walking”. Parry wrote it as a unison song, not as an SATB arrangement. It is a favorite song in England and is sung in Anglican and some Episcopalian churches. However I was unable to find any SATB arrangement that was not under copy- right protection, so I created my own arrangement (and put it in the public domain). Topic of Song: accepting others;
99. The Many Truths: This Secular Hymn is built on a tune used in “Finlandia” by Sibelius. It was subsequently used in the hymn “Be Still My Soul” [#364 in the Christian Life Hymnal]. However that arrangement is still under copyright protec- tion, so I created my own arrangement (and put it in the public domain). Topic of Song: accepting others;
100. The Only Path to Peace is Peace: This Secular Hymn is based on the tune “St. Anne”, written by William Croft in 1708. It is more commonly known today as the hymn “Our God Our Help in Ages Past” [which can be found at the online site “openhym- nal.org”], which is the source that I used. Topic of Song: “fighting” for peace has a history of failure; “peace-ing” for peace must be our strategy;
101. Them Over There: The source of this Secular Hymn is “Lasst Uns Erfreuen” (pre-1623). It was harmonized by Ralph Vaughan Williams in 1906. It is most popular today as the hymn “All Creatures Of Our God and King”. However the hymn “From All That Dwell Below the Skies” [#19 in the Christian Life Hymnal] is the source that I used. Topic of Song: seeing others as ourselves; 102. There Are Times: 321 This Secular Hymn is built on the 1868 song “All to Christ” by John Thomas Grape. It is known today as the hymn “Jesus Paid It All” [#265 in the Christian Life Hymnal] which is the source that I used. Topic of Song: loss of identity through medication, drugs etc.
103. There is a Game: This Secular Hymn is built on a hymn written by William Augustine Ogden in 1885, titled “Bring Them In”, [#361 in the Christian Life Hymnal], which is the source that I used. Topic of Song: behavior beyond control;
104. There is a Rule of Thumb: This Secular Hymn is built on the song “Diademata” written by George Elvey back in the 1860’s. The name “Diademata” comes from the Greek word for “crown”. So it’s not surprising that the most popular hymn writ- ten on this tune is titled: “Crown Him With Many Crowns” [#46 in the Christian Life Hymnal], which is the source that I used. Topic of Song: acceptance of life;
105. There is an Empty Box: This Secular Hymn is built on the tune “Aurelia”, written by Samuel Sebastian Wesley is 1864. It is more com- monly known today as the hymn “The Church’s One Foundation” [#316 in the Christian Life Hymnal], which is the source that I used. Topic of Song: we must preserve that which others consider meaningful and beautiful;
106. There is Something Wrong: This Secular Hymn is built from the hymn “The Old Rugged Cross” written by George Bennard in 1913. The source I used was the Christian Life Hymnal (Hymn #167). Topic of Song: “Killing the Bad Guy” is an ugly game;
107. There’s a Better Way: This Secular Hymn is built on the tune “Blessed Name”, a 19th century American camp meeting melody. It was arranged by Ralph Erskine Hudson in 1887. The source I used is the hymn “Blessed Be The Name” [#37 in the Christian Life Hymnal]. Topic of Song: peace, anti-gun;
108. There’s a Road Between Our Lands: This Secular Hymn is built on a 17th century English melody titled “Royal Oak”, which is recognized today as the popular hymn “All Things Bright and Beautiful” [#243 in the Christian Life Hymnal], which is the source that I used. It was arranged for choir in 1915 by Martin Shaw. Topic of Song: even very different people have common interests that they can share;
109. There’s Claim Number One: This Secular Hymn is based on the hymn “Revive Us Again”, written by John Jenkins Husband around 1815. I found it as Hymn #338 in my Christian Life Hymnal, which is the source that I used. Topic of Song: sometimes we have to decide between two claims that are both true;
110. There’s More Than One Way: This Secular Hymn is built on the tune “Hanover”, written by William Croft in 1708. Today it is more com- monly known as the hymn “Ye Servants of God” [#209 in the Christian Life Hymnal] which is the source that I used. Topic of Song: since there are many ways to live our lives, we should give the deviants some room; 322
NOTES ON THE INDIVIDUAL HYMNS (continued)
111. Things Are The Way They :Are This Secular Hymn is based on the tune “Nun Danket”, written by Johann Crueger in 1647. It is popularly known today as the hymn “Now Thank We All Our God”. The available E-flat arrangement (by Felix Mendels- sohn, I believe) had a rather high tessitura for the sopranos and some really low bass notes (E-flat). I try to avoid such low notes because few can sing them with any power. So I lowered the key to “D” and made a simpler, more user-friendly arrangement and put it in the public domain. Topic of Song: things will remain as they are unless we make changes;
112. This Day, This Day: This Secular Hymn is built on the music “Sine Nomine”, composed by Ralph Vaughan Williams in 1906. It is popularly known today as the hymn “For All The Saints” [#547 in the Christian Life Hymnal], which is the source that I used. Topic of Song: living one day at a time;
113. Tick-Tock: This Secular Hymn is built on the tune “Regent Square”, written by Henry Thomas Smart in 1867. The tune is more commonly known today by several hymns: “Angels From the Realms of Glory” [#98 in the Christian Life Hymnal], “Christ is Made the Sure Foundation” [#317 in the Christian Life Hymnal], and finally the source that I used: “Lo He Comes With Clouds Descending” [#210 in the Christian Life Hymnal]. Topic of Song: accepting “time”;
114. ‘Tis a Gift: This Secular Hymn is built on the very familiar Shaker song “Simple Gifts”, written by Joseph Bracket in 1848. The melody was popularized even more when Aaron Copland used it in his 1944 ballet “Appalachian Spring”. I created the SATB arrangement and put it in the public domain. Topic of Song: ‘tis a gift to be simple;
115. To Find a Place: This Secular Hymn is built on the tune “Crucifer” written by Sydney Hugo Nicholson in 1916. Today it is more commonly known by the hymn “Lift High the Cross” [#203 in the Christian Life Hymnal], which is the source that I used. Topic of Song: the importance of having a home and community;
116. To Live Our Lives Addiction-Free: This Secular Hymn is based on the 1753 tune “Deus Tuorum Militum” (the God of your soldiers). The tune is better known today by hymns such as: “O Love How Deep”, “The Lord is King, Lift Up Thy Voice”, “Ring Out the Old, Ring In the New”, “What Thanks and Praise to Thee We Owe”, and the source that I used from the website hymnary.org: “Bless Thou the Gifts”. Topic of Song: protecting ourselves from addictive substances will give us a kind of freedom;
117. To Make the World a Better Place: This Secular Hymn is built on a tune by William Horsley in 1830. Today it is popularly known by the hymns “Majestic Sweetness Sits Enthroned” [#200 in the Christian Life Hymnal] and “There is a Green Hill Far Away” [#160 in the Christian Life Hymnal] which is the source I used. Topic of Song: hiring someone different than you is very important; 118. To Soldiers Lost: 323 This Secular Hymn is based on the traditional Irish melody “St. Patrick’s Breastplate”. The melody is more commonly known today as the hymn “I Bind Unto Myself Today” [#6 in the Christian Life Hymnal], which is the source that I used. The source is a unison work, so I made the SATB arrangement myself and put it in the public domain. Topic of Song: any social problems that veterans have is of our own making and is therefore our responsibility to solve;
119. To Those Who Came Before: This Secular Hymn is based on the 1906 tune “Down Ampney” by Ralph Vaughan Williams. “Down Ampney” is the town in which Ralph Vaughan Williams was born (on October 12, 1872). It is more commonly known today as the hymn “Come Down O Love Divine” [#216 in the Christian Life Hymnal], which is the source that I used. Topic of Song: we stand on foundations built by others;
120. Today Is My Day: This Secular Hymn is based on the 1887 hymn “Trust and Obey” by Daniel Brink Towner [#504 in the Chris- tian Life Hymnal] which is the source that I used. I added an extra bar after measures 7 and 15 to extend the held pitch. This regularizes the structure and notates the hymn the way it is actually sung in practice. Topic of Song: working towards goals can help stave-off despair ;
121. Today’s the Day: This Secular Hymn is built on the tune “Darwall’s 148th” written by John Darwall in 1770. It is more popu- larly known today as the hymns: “Rejoice, The Lord Is King” [#206 in the Christian Life Hymnal] and “Join All The Glorious Names” [#43 in the Christian Life Hymnal], both of which I used as sources. Topic of Song: making a resolution to change;
122. Together For So Long: This Secular Hymn is built on the old tune “Lenox” written by Lewis Edson in 1748. The familiar hymn “Arise, My Soul, Arise!” is also built on the “Lenox” tune and is the source that I used. Topic of Song: communication;
123. T’wards a World That Has No Guns: This Secular Hymn is built on Beethoven’s 1824 song “Hymn to Joy” from his Ninth Symphony. It was adapted in 1864 by Edward Hodges. Today it appears in hymns such as “Joyful, Joyful, We Adore Thee” [#235 in the Christian Life Hymnal] or “Alleluia, Alleluia! Hearts to Heaven [#190 in the Christian Life Hymnal], which is the source that I used. Topic of Song: peace, anti-gun;
124. Trusting You, Trusting Me: This Secular Hymn is built on the famous “Largo” theme from Antonin Dvorak’s 1893 “New World” sympho- ny. It is popularly known today as the song “Going Home”. I could find no copyright-free SATB arrangements of this song so I arranged it myself and put it into the public domain. Topic of Song: so much of life depends on “trust”; 324
NOTES ON THE INDIVIDUAL HYMNS (continued)
125. Ultimately We May Not Have Free Will: This Secular Hymn is based on the old French melody “Noël Nouvelet”, which can be found online at the web- site “chanted.com”. It is only found as a unison song, so I harmonized it and arranged it for SATB choir. Topic of Song: many of us understand that we don’t have a “free will” and feel that our punitive prisons and our hero-worship is unfair. (Sales Pitch: I wrote a fictional book about a community of determinists with the title “Aren’t We The Lucky Ones” which is still available);
126. Unconscious Bias: This Secular Hymn is based on the tune “Ebenezer”, written by Thomas John Williams in 1890. The tune is better known today by many hymns, including “Come O Spirit, Dwell Among Us”, Thy Strong Word Did Cleave the Darkness”, “Ton-y-Botel”, “O the Deep, Deep Love of Jesus”, “Once to Every Man and Nation”, and “Singing Songs of Expectation” [#321 in the Christian Life Hymnal], which is the source that I used. Topic of Song: we should be mindful of our unconscious biases;
127. Unless There’s No-One Watching: This Secular Hymn is built on the song “Endless Song” by Robert Lowry in 1860. It is popularly known today as “How Can I Keep From Singing” [#509 in the Christian Life Hymnal], which is the source that I used. Topic of Song: relieving suffering in others;
128. Wake, Awake: This Secular Hymn is built on the 1599 German tune “Wachet Auf” by Philipp Nicolai. J. S. Bach subsequently harmonized it and used it in a cantata, which is the source that I used. Topic of Song: motivational;
129. Walking in Someone’s Shoes: This Secular Hymn is built on a Silesian melody and was arranged by Joseph Roff in 1842. Today the tune is best known by the hymn “O God of Loveliness” [#59 in the Book of Catholic Worship - 1966 Edition], which is the source that I used. Topic of Song: understanding and accepting others;
130. We Are People, Plastic People: This Secular Hymn is built on the hymn “Angel Voices Ever Singing”, written by Edwin G. Monk in 1861. It can be found online at the website “openhymnal.org”, which is the source that I used. Topic of Song: it’s not the people, it’s the situations that they are put into that shape them into the characters that they are;
131. We Are Searching: This Secular Hymn is based on the 1886 hymn written by Peter Philip Bilhorn titled “I Will Sing the Wondrous Story” [#507 in the Christian Life Hymnal], which is the source that I used. Topic of Song: “searching” for answers is often more rewarding than “finding” the answers;
132. We Can Be Tolerant: This Secular Hymn is built on a traditional Irish melody titled “Slane”. It is popularly known today as the hymn “Be Thou My Vision” [#386 in the Christian Life Hymnal]. However that arrangement is still under copyright protection, so I reharmonized the melody, created a new arrangement, and put it in the public domain. Topic of Song: a test of true tolerance; 133. We Can Get Things To Happen: 325 This Secular Hymn is built on the popular African-American spiritual “Let Us Break Bread Together”. Since I could find no arrangements of this song that were copyright-free, I made the SATB arrangement myself and put it in the public domain. Topic of Song: people working together can get things done;
134. We Mean “Will You Love Me?”: This Secular Hymn is built on the hymn “My Jesus I Love Thee I Know Thou Art Mine”, written by Adoniram Judson Gordon in 1876. It is Hymn #61 in the Christian Life Hymnal, which is the source that I used. Topic of Song: everything we say can be translated into “Will You Love Me?”
135. We’re Not Alone: This Secular Hymn is based on a very famous Irish melody. Although it may be familiar to some as the hymn “I Cannot Tell”, it is known throughout the world as the folksong “Londonderry Air” or “Danny Boy”. The tune can be found online at the “cyberhymnal” website (which is the source that I used). Since an SATB arrange- ment was not available, I arranged it myself and put it into the public domain. Topic of Song: we’re not alone as long as our nonhuman companions are alive and well;
136. We’re Not At Our Best: This Secular Hymn is built on the Welsh melody “St. Denio” which was adapted and harmonized by John Rob- erts in 1839. It is more commonly known today as the hymn “Immortal, Invisible, God Only Wise” [#18 in the Christian Life Hymnal], which is the source that I used; Topic of Song: “fear” is a crippling emotion from which we must escape;
137. We’re Parents of a Soldier: This Secular Hymn is built on an old American camp-meeting tune, but it is very popularly known today as the “Battle Hymn of the Republic” [#603 in the Christian Life Hymnal], which is the source that I used. Topic of Song: we are all parents of soldiers - but probably not good parents;
138. What Are We Doing? This Secular Hymn is based on a melody from George Frederick Handel’s 1747 oratorio “Macchabaeus”. Among the hymns based on this tune is “Thine Be the Glory” [#188 in the Christian Life Hymnal], which was the source I used. Topic of Song: acceptance of life / human condition;
139. When Feeling Lost: This Secular Hymn is built on the traditional English melody “Kingsfold”. It was arranged and harmonized by Ralph Vaughan Williams in 1906. It is more commonly heard today in the hymns “I Heard the Voice of Jesus Say” [#530 in the Christian Life Hymnal] and “O Sing a Song of Bethlehem” [#146 in the Christian Life Hym- nal]. Topic of Song: it is healthful to learn new things and meet new people;
140. When I Am Down: This Secular Hymn is built on the traditional African-American spiritual “Down To The River To Pray”. Even though it has the conventional number of measures (16, or in this case 32) it feels to me curiously off-balance - enticingly off-balance - as if there are the right number of boxes but they are filled unevenly. I could find no SATB arrangements and so arranged it myself. This tune was used in the film “O Brother, Where Art Thou?” Topic of Song: walking and talking can be a healing combination; 326
NOTES ON THE INDIVIDUAL HYMNS (continued)
141. When Playing Cards: This Secular Hymn is built on the old songO Store Gud which I obtained from a 1903 Swedish songbook. The tune is popularly known today as “How Great Thou Art”. The 1903 arrangement was not pleasing to me and the newer “How Great Thou Art” arrangement was still under copyright protection, so I wrote a new SATB ar- rangement and put it into the public domain. Topic of Song: tolerance, accepting others;
142. Who’s My Neighbor? This Secular Hymn is built on the tune “Victory” by none other than Palestrina in 1588. It was arranged in 1861 by William Henry Monk. It is popularly known today as the hymn “The Strife is O’er” [#191 in the Chris- tian Life Hymnal] which is the source that I used. Topic of Song: our neighbors are those in need, whether near or far;
143. Why Does This Phrase Have Five Measures? This Secular Hymn is built on the tune “Lauda Anima”, written by John Goss in 1869. It is popularly known today as the hymn “Praise My Soul the King of Heaven” [#12 in the Christian Life Hymnal], which is the source that I used. Topic of Song: all music has unexplored depths;
144. You Took the One Road: This Secular Hymn is built on the traditional Scottish folk song “Loch Lomand”, which the world knows by lyr- ics that go something like: “Oh, you take the high road and I’ll take the low road and I’ll be in Scotland before you”. I arranged it for SATB choir and put it into the public domain. Topic of Song: different people taking very different roads just might turn out the same at the end; Recent Works by Secretary Michael
Jo Puma - Wild Choir Music Collection of 36 traditional “Sacred Harp” arrangements with new secular lyrics for our diverse society. This collection has removed the 3 barriers that have kept this music out of our schools: inappropriate lyrics, poor shape-note legibility, and nonstandard use of standard solfege names. Now we all have a chance to experience this exciting early American music. (Book available; free download not yet available)
Secular Hymnal Collection of 144 favorite hymn tunes from around the world. The hymn tunes have been re-notated and given thoughtful egalitarian lyrics that promote peace. Many public schools use them for choral sight-reading practice. Available in both unison/guitar and SATB choir editions. Now we all have a chance to share in these musical treasures. (Books available; free downloads available;)
Twimfina A peace-themed musical play for singing groups of all ages. The story is about a young woman named “Twimfina” (an acronym for “The World Is My Family, I’m Not Afraid”) who runs off to a hostile country. It is scored for voice and piano. The play is divided into 21 segments, many of which can stand alone. This allows an acting group to perform individual segments instead of the entire 2.5 hour play. (Book available; free download available;)
Choral Dialectics A “choral dialectic” is a 4-movement choral work (with or without instruments) in which a rational argument is battled-out musically. There’s only one rule: every choral dialectic must use the following four titles for its four movements: “Credo” - “One Hand” - “Other Hand” - “Go and Do” Secretary Michael has begun working on a series of 6 choral dialectics, some of which are available now; the rest will become available as they are completed in future years.
Aren’t We the Lucky Ones A book-length story about a group of college science students who share an understanding that people don’t truly have a free will. There are no “good people” or “bad people”, just lucky and unlucky ones. This insight carries with it the responsibility to protect the “unlucky” from the wrath of the “lucky” . The students form a community in order to live out their ideals. (Book available - both paperback and digital).
Joy of Piggyback Songs Dozens of fun, short choral works in which more than one melody is sung at the same time. Book (and free internet download) will become available after it is completed.
“Please help create public choirs that are free from religious and nationalistic content so that all singers feel welcome.”
- Secretary Michael