Until We Meet Again: 2-Part Choral Octavo
Traditional Irish Blessings, music by Ruth Morris Gray
Item: 00-PO-0008016
Minimum order quantity: 20 copies
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More about this title
About the Arranger: Ruth Morris Gray

Ruth Morris Gray serves as Director of Choirs at Rosemead High School in California, where she has shaped choral programs since 2004. Her compositional output exceeds 100 published works, grounded in formal training that includes a Bachelor of Music in Piano Performance and Composition from Biola University and a Master of Arts in Music Composition from UC Santa Barbara.
Gray's creative work flows from deep roots in both performance and pedagogy. Beyond her prolific publishing record, she holds a California Single Subject Music Credential and continues to compose, teach, direct, and perform. Her life outside the music studio centers on travel, reading, swimming, and cycling with her husband, Douglas.
Why we love this
Gray captures something genuine in this arrangement: the emotional weight of a farewell without overshooting into sentimentality. The weaving of multiple Irish blessings into a cohesive 2-part texture shows her gift for honoring source material while making it singable for mixed age ensembles. That subtle Celtic groove keeps the piece moving forward even as the text invites reflection, which makes it rewarding to conduct and genuinely affecting to hear.
What to expect
Warm and unrushed, like a friend's steady hand on your shoulder as you part ways. The Celtic inflection gives the piece a sense of place and tradition, while the gentle harmonic movement feels both ancient and intimate.
Who it's for
Any choir seeking a meaningful graduation piece that avoids the overly familiar. The 2-part voicing welcomes developing ensembles, younger singers, and community choirs, yet the text and harmonic sophistication satisfy more experienced groups.
How to get the most out of it
- Lean into the rubato suggested by the text. Irish blessings work best when singers honor the natural phrasing of the language rather than rushing to fill every beat.
- Balance the two parts so neither disappears; this is not a solo plus accompaniment but a conversation between equal lines.
- Let the recorded accompaniment anchor your tempo choices in early rehearsals, then gradually release singers to shape phrases with slight freedom once the harmony sits.
- Consider the acoustics of your performance space when setting dynamic levels. The gentleness of this piece demands clarity, not volume.
How to use it
Close a graduation ceremony or end-of-year concert with this piece, letting it serve as the final benediction rather than another song on the program. It also works beautifully as a processional or recessional when choirs need something more personal than standard fanfares.
Skills your students will build
- Singing two independent harmonic lines with balance and blend
- Interpreting text with attention to language rhythm and natural phrasing
- Sustaining tone quality on longer phrases without breath support strain
- Understanding how harmonic color (minor/major inflections) reinforces emotional content