You Stepped Out of a Dream: Score
Music by Nacio Herb Brown, words by Gus Kahn / arr. Greg Yasinitsky
Item: 00-PR-0005402
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Description
A Latin bossa style superbly arranged by Greg Yasinitsky. Solo for tenor sax (written-out) and a unique soli featuring 2nd trumpet lead. Lead trumpet range is to written G on top of the staff. Blend, balance and a simple bossa groove make this chart very special. This title is available in MakeMusic Cloud.
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, You Stepped Out of a Dream: Score comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.
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Additional Details
Series:
Jazz Band Series
Publisher:
Alfred Music
Page Count:
104
SKU:
00-PR-0005402
More about this title
About the Composer: Nacio Herb Brown
Nacio Herb Brown composed for Hollywood's golden age, crafting melodies that became standards of American popular song. His work appeared in MGM musicals throughout the 1920s and 1930s, establishing him as a tunesmith whose gift for memorable, singable lines made him a collaborator with lyricists like Arthur Freed.
For jazz educators, Brown's melodic material offers accessible yet sophisticated foundation for arrangement study. His songs have endured because they sit naturally in the voice and band, making them ideal vehicles for exploring jazz interpretation and small-group balance.
Why we love this
Yasinitsky's arrangement captures the bossa groove with genuine sophistication, avoiding the typical "play it swinging" default that mars so many Latin jazz ensemble pieces. The written tenor sax solo gives your players a concrete model for the style, while the 2nd trumpet soli (a refreshing departure from predictable lead voice writing) teaches ensemble balance under realistic performance pressure.
What to expect
Sophisticated yet approachable. The bossa lilt carries you along with warm, understated elegance, and the melody unfolds naturally across both the solo voice and the ensemble textures. You'll hear why this standard endured—it has genuine melodic charm without ever demanding virtuosity.
Who it's for
Jazz ensemble directors who want a contest-ready piece that doesn't sound generic. This works for groups with a competent tenor sax soloist and secure rhythm section, ideally at the high school or college prep level where balance and style awareness are developing.
How to get the most out of it
- Lock the cymbal and bass drum into a tight bossa clave. The groove lives or dies with rhythm section precision here, so rehearse that layer separately before layering the horns.
- Balance the tenor sax solo against the soli section behind it. The solo needs air and presence, but those supporting voices should breathe as a unified voice without washing out the front line.
- Shape the 2nd trumpet lead line with clear articulation. This voice sits higher than traditional section playing and benefits from crisp attacks that cut through the ensemble without forcing.
- Let the bossa pulse dictate your tempo. Too fast kills the groove's sophistication; too slow makes it feel labored. Find the pocket where the rhythm section sounds relaxed, not hurried.
How to use it
Program this as a contrasting second half piece on a jazz concert, where it cools the temperature after an uptempo swing number. Its Latin character also pairs well alongside other Latin-tinged charts, and the contest/festival designation means it sharpens your group's competitive readiness while remaining musically rewarding.
Skills your students will build
- Reading and executing written-out jazz solos with style
- Balancing a solo voice against soli textures
- Playing authentic bossa rhythms in a large ensemble setting
- Reading and executing lead trumpet voice writing above the staff
- Listening for and maintaining blend across ensemble sections