I Go To Rio (from The Boy From Oz) (arr. Ryan O'Connell): SSA Choral Octavo

Ryan O'Connell's arrangement captures the infectious energy of this Peter Allen classic while making it genuinely singable for SSA choirs. The Latin rhythmic foundation gives your ensemble a chance to explore contemporary pop styling with harmonic sophistication that keeps singers engaged through all 11 pages.

Bright, propulsive, and full of warmth. The Latin percussion foundation paired with that iconic melody creates an immediate sense of travel and excitement, inviting your singers to inhabit the joy and freedom the song promises.

SSA and SSAA choirs looking for contemporary material with real rhythmic drive and harmonic interest. This arrangement works equally well for high school mixed choirs that want to feature their female voices or for treble ensembles seeking pop repertoire beyond the usual suspects.

• Lock in the rhythmic pulse early in rehearsal; the Latin groove only lands when your singers commit to the groove rather than anticipating or dragging.
• Balance the harmony parts carefully, as secondary voices carry essential melodic content that shouldn't disappear under the melody line.
• Color your vowels to match the pop idiom: think warmth and resonance rather than classical purity, especially on the sustained phrases.
• Use the recorded accompaniment to establish the groove and get your singers comfortable with the stylistic demands before removing it.

Perfect for spring concerts or any program aiming to showcase contemporary pop arranging alongside traditional choral fare. The rhythmic accessibility makes it ideal for engaging singers early in the school year while building ensemble skills, and it lands particularly well when paired with other world-music influenced pieces.

• Rhythmic independence in Latin grooves (maintaining steady pulse against syncopated parts)
• Pop vocal stylization and phrasing distinct from classical technique
• Four-part SSA/SSAA voicing balance with moving inner parts
• Harmonic listening to supporting chord structures rather than just the melody
• Ensemble cohesion across sustained rhythmic patterns