Dream: SATB Choral Octavo

Jay Althouse's arrangement respects the song's economy while making it accessible to any choir size. The vocal lines sit beautifully in the middle of the staff, which means you can focus rehearsal time on the real work: creating unified vowels, shaping phrases as a unit, and discovering why Frank Sinatra and countless vocal groups have returned to this song across decades. It's a masterclass in how great songwriting needs almost nothing added to shine.

Warm, conversational, and timelessly elegant. The song inhabits a space between intimate and grand, never requiring a large voice but rewarding one that's centered and connected. There's a wistfulness in the harmony and phrasing that invites singers to listen deeply to one another.

Any SATB choir looking for a song that teaches musicianship through beauty rather than technical display. This works equally well for high school mixed choirs, college ensembles, and community groups. The straightforward vocal lines make it ideal for singers focused on developing mature tone and blend rather than negotiating complex rhythms or ranges.

• Shape the phrase across the bar line rather than landing hard on each chord change; let the accompaniment anchor the harmony while voices find the song's conversational arc
• Isolate the opening unison or octave section to lock blend before parts divide; this establishes the tone quality you'll need throughout
• Balance the inner voices (alto and tenor) so they support rather than compete with the soprano line; use this as your primary tuning and balance exercise
• Use the recorded accompaniment to internalize phrasing and rubato, then gradually shift to live piano to develop responsiveness to a conductor's interpretation

Pair this with other Mercer or Great American Songbook standards to create a program that celebrates American lyric writing. It's also ideal as an opener or closer for a concert, since its emotional clarity and accessibility make it a natural bridge between your audience and your ensemble. It works well in a program about jazz influence on choral music.

• Unified vowel production and sustained tone quality across all four parts
• Phrase shaping and breathing as an ensemble unit
• Harmonic listening and balance awareness, especially for inner voices
• Interpretation of swing and jazz phrasing in a choral setting
• Text clarity and the connection between lyric meaning and vocal line