We Don't Talk About Bruno (from Encanto) (arr. Mark Brymer): SSA Choral Octavo

Mark Brymer's SSA arrangement captures the rapid-fire energy and rhythmic complexity of this showstopper without sacrificing the joy that makes it irresistible to young singers. The orchestration and harmonic texture stay true to the original while being entirely singable for middle and high school choirs, and the familiarity of the source material practically guarantees audience engagement.

Buoyant and playful, with an undercurrent of mystery and mischief that keeps listeners leaning in. The arrangement captures the infectious momentum of the original while the SSA voicing creates a bright, unified sound that feels modern and engaging without losing the composition's theatrical punch.

Middle school and high school choirs seeking a contemporary showpiece that connects with student audiences while offering genuine musical challenges. Directors programming film music or looking to build repertoire that energizes concerts will find this arrangement both accessible and rewarding for their ensembles.

• Establish the rhythmic momentum early in rehearsal by isolating the syncopated passages that define the song's driving pulse, then layer in the melodic lines once the rhythm section feels secure.
• Balance the Soprano 1 and Soprano 2 lines carefully during the melodic sections so neither overwhelms the other; mark dynamics clearly in your score to prevent the arrangement from becoming muddled.
• Let the repetitive, gossip-like quality of the lyrics inform your phrasing; encourage singers to articulate consonants with energy while keeping vowels consistent across the ensemble.
• Use the recorded accompaniment to lock the ensemble's tempo and style, but rehearse a cappella sections to strengthen internal listening and blend.

Open a concert with this piece to establish energy and connection with your audience immediately, or position it mid-program as a palate-cleansing moment that shifts mood and tempo. The 18-page octavo makes it substantial enough to stand alone as a feature piece rather than a filler selection.

• Syncopated rhythm reading and execution
• Ensemble blend in fast-moving harmonic progressions
• Diction clarity at faster tempos with rhythmic precision
• Maintaining independence within layered, repetitive vocal lines
• Stylistic interpretation of contemporary film music for choral settings