The Parting Glass: SATB a cappella Choral Octavo
Scottish Folk Song / arr. MaryAnne Muglia
Item: 00-PO-0007576
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About the Arranger: MaryAnne Muglia

MaryAnne Muglia brings together classical choral training with contemporary arranging sensibilities. Based in Arizona, she holds a degree in choral education and has built a reputation for writing accessible yet sophisticated arrangements across multiple genres, from folk to jazz to pop. Her work appears regularly in educational and professional ensembles nationwide.
As an educator, Muglia directs vocal jazz and a cappella programs at Chandler Gilbert Community College while mentoring choirs across the country through clinics and virtual coaching. She is also an active performer with the TikTok-based treble ensemble @rldazemusic, where she regularly contributes to arrangements and recordings. This combination of teaching, performing, and composing keeps her deeply connected to what singers of all levels need and want to sing.
Why we love this
Muglia's gift is making a song feel both intimate and inevitable. The arrangement passes the melody between sections in a way that keeps the song moving without rushing it, and her use of rubato creates natural breathing space that lets your singers inhabit the text fully. This is the kind of closer that lingers after the lights fade.
What to expect
This version of The Parting Glass unfolds with quiet tenderness. The melody surfaces naturally in each section, supported by warm harmonic underpinning that never overwhelms the text. By the final refrain, singers and listeners alike feel the weight of a sincere goodbye.
Who it's for
This arrangement serves high school, college, and community choirs looking for a respectful, emotionally grounded closing number. It works equally well in concert settings and for meaningful send-off moments like graduations, retirements, or year-end celebrations where the text carries real weight.
How to get the most out of it
- Honor the rubato markings throughout. These gentle pauses between phrases aren't indulgences; they're invitations for your singers to connect emotionally with the text.
- Balance blend over blend. With no instrumental support, each voice part's tone color matters. Spend rehearsal time on vowel unification, particularly in the moments when all four parts move together.
- Let the melody breathe when it travels between sections. The soprano carries it first, then passes it along; each section should own their moment without waiting for the next entrance.
- Consider a slight ritardando in the final phrase to give the benediction ("Goodnight, and joy be with you all") its full weight.
How to use it
Reserve this for your concert finale, where it can serve as a genuine closing statement rather than filler. It pairs beautifully with other folk-based repertoire or as the emotional punctuation mark at the end of a program that spans multiple styles. It also creates a memorable moment for graduation ceremonies, alumni events, or any occasion where singers are acknowledging an ending.
Skills your students will build
- Singing a cappella with pitch stability and rhythmic independence
- Passing melodic lines between sections with seamless continuity
- Shaping rubato phrases without losing forward motion
- Balancing four-part SATB harmony in an unaccompanied setting
- Connecting emotionally to text and translating that to musical phrasing