Dream: SATB, a cappella Choral Octavo
Words and music by Johnny Mercer / arr. Russell Robinson
Item: 00-PO-0005757
$2.10
Minimum order quantity: 20 copies
One moment…
Description
Written by songwriting legend Johnny Mercer, "Dream" has been covered by artists from Ella Fitzgerald to Michael Bublé. A rubato section in straight eighths opens this rich a cappella setting, before breaking into a moderate swing tempo with finger snaps. A final return to the earlier duple feel leads to a soft, sensitive ending. Perfect for exploring both jazz harmony and stylizations.
Dream: SATB, a cappella Choral Octavo isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.
Request This Title
Tell us you want it.
Start Your Free Trial
Explore everything that's ready to play right now.
Sample Audio
1
Audio File
--:--
0:00
0:00
Sample Video
Additional Details
Series:
Alfred Pop Choral Series
Publisher:
Alfred Music
Page Count:
12
SKU:
00-PO-0005757
More about this title
About the Composer: Johnny Mercer
Johnny Mercer (1909-1976) was one of America's most prolific and versatile songwriters, crafting lyrics for over one thousand compositions across jazz standards, film scores, and Broadway shows. His gift for conversational, singable melodies paired with witty or deeply emotional lyrics made him a favorite of artists across genres; his work with composers like Henry Mancini, Duke Ellington, and Harold Arlen produced standards that remain essential to the Great American Songbook.
Mercer's influence on choral music educators stems from the accessibility and sophistication of his melodies. His songs reward both careful harmonic study and stylistic interpretation, making them invaluable for teaching singers how to balance technical precision with interpretive nuance.
Why we love this
Russell Robinson's arrangement honors Mercer's elegant melody while showcasing the textural range a cappella writing can achieve. The interplay between rubato and swing sections gives singers genuine interpretive choices, and the jazz harmonies are rich enough to sustain interest across multiple rehearsals without becoming academic.
What to expect
The opening unfolds with an unhurried, introspective quality, almost like overhearing a private conversation. Once the swing section enters, the energy becomes grounded and warm, with the finger snaps adding subtle sophistication rather than overt rhythm.
Who it's for
This piece serves choirs ready to navigate jazz harmony and rubato phrasing, particularly those with singers who can handle stylistic flexibility and blend complex chord structures. It works well for upper-level high school or college ensembles seeking Great American Songbook repertoire that challenges without requiring instrumental accompaniment.
How to get the most out of it
- Shape the opening rubato section with clear phrase breathing, allowing the straight eighths to feel lyrical rather than metrically rigid. Avoid pushing into tempo until the ensemble settles into the swing feel.
- Keep the finger snaps crisp and synchronized without overshadowing the vocal line; they should support the groove rather than dominate it.
- Balance the jazz harmonies carefully so inner voices remain audible. The chromatic movement in the arrangement will clarify itself only if each part maintains independence.
- Return to the opening texture with intentional contrast; let singers feel the shift back to the duple feel as a return home, not a retreat.
How to use it
Program this alongside other Mercer standards or as a sophisticated opener for a set focused on American song traditions. The a cappella format makes it flexible for both formal concerts and more intimate recital settings, and its moderate difficulty allows it to anchor a program without consuming disproportionate rehearsal time.
Skills your students will build
- Interpreting rubato and managing transitions between non-metered and metered sections
- Balancing jazz harmonies while maintaining clear voice independence
- Stylistic flexibility (legit singing transitioning into swung rhythms)
- Listening for and tuning chromatic voice movement