We Don't Talk About Bruno (from Encanto) (arr. Mark Brymer): 3-Part Mixed Choral Octavo

This arrangement captures the dark comedic energy of the original while keeping the vocal writing singable for mixed ensembles at the middle school level. Mark Brymer's orchestration choices preserve the song's rhythmic drive and the menacing quality that makes Bruno such a compelling character, all without overwhelming young singers.

Playful and slightly unsettling at once. The song pulses with rhythmic momentum and conversational energy, creating the feeling of being pulled into a conspiracy. There's a lightness to the humor that keeps it fun while the underlying chords and orchestration maintain an edge of mystery.

Middle school and high school choirs looking for repertoire that connects with students' cultural touchstones while building genuine musicianship. This works especially well for groups seeking contemporary material that doesn't compromise on vocal writing or harmonic interest.

• Lock the opening unison line with precision; the rhythmic attack sets the tone for everything that follows and demands synchronized diction.
• Lean into the character work. This song thrives when singers commit to the gossip and mystery rather than treating it as a straightforward pop tune.
• Balance the three parts so the melody stays prominent without the supporting voices disappearing. Brymer's arrangement rewards singers who listen across the full texture.
• Shape the dynamics in service of the story arc. The song builds from whispered rumor to collective declaration, so let phrasing and volume reflect that narrative journey.

This functions well as a concert opener or a strategic programming choice for a family concert where you want to engage younger audience members while keeping the ensemble engaged. It pairs naturally with other contemporary film and theater repertoire, or it can stand alone as a showcase of how modern songwriting serves choral arrangement.

• Rhythmic precision in unison and homophonic textures
• Character expression through vocal tone and articulation
• Balancing melodic clarity with harmonic support in three-part writing
• Stylistic awareness of contemporary pop and musical theater idioms
• Ensemble listening across mixed voicing