We Don't Talk About Bruno (from Encanto) (arr. Paul Murtha): Jazz Ensemble Conductor Score & Parts
By Lin-Manuel Miranda / Arranged by Paul Murtha
Grade: 3
Item: 35-PK01088650
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Description
Here's the popular hit from Disney's "Encanto" skillfully adapted for young jazz ensemble. This great-sounding chart features a moderate Latin groove and short solos (written or ad lib.) for tenor sax and trombone.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK01088650
More about this title
About the Composer: Lin-Manuel Miranda
Lin-Manuel Miranda is a composer, lyricist, and playwright who has fundamentally shaped contemporary musical theater. His work on Hamilton revolutionized how audiences engage with history through hip-hop and traditional musical vocabulary, while Encanto demonstrates his gift for creating deeply human stories through music that resonates across age groups and cultures. For music educators, Miranda's output represents a rare combination of accessibility and sophistication; his melodies stick in students' heads while his harmonic language and rhythmic complexity reward close study.
Why we love this
Paul Murtha's arrangement strips away none of the song's infectious personality while keeping the technical demands realistic for young players. The moderate Latin groove sits comfortably in an ensemble that's still building jazz vocabulary, and those written tenor and trombone solos give your section leaders something genuinely singable without requiring advanced comping skills from the rhythm section.
What to expect
Bright, propulsive, and irresistibly hummable. The Latin energy creates forward momentum that keeps younger players engaged, while Miranda's hook remains instantly recognizable; students feel connected to something current and culturally present rather than historical.
Who it's for
Young jazz ensembles with at least one year of jazz experience and solid fundamentals in their sections. This works beautifully for groups ready to move beyond swing feels into Latin grooves while still needing highly singable material with genuine chart architecture.
How to get the most out of it
- Lock the Latin pulse in your rhythm section first. The groove's pocket determines whether this lands as infectious or mechanical, so spend rehearsal time isolating bass and drums before layering melody.
- Treat the written solos as a springboard rather than a ceiling. Once students master the notated lines, encourage them to embellish or improvise around the changes, keeping the contour recognizable.
- Balance the horns against the groove rather than having them dominate it. This chart works best when the Latin feel remains the main character and the melodic lines support rather than compete.
How to use it
This pairs naturally with a contemporary music concert or a family-friendly program that acknowledges what students hear outside the rehearsal room. It's equally effective as a pops concert anchor or as part of a film music set, and the moderate difficulty makes it an excellent confidence builder mid-season.
Skills your students will build
- Latin jazz rhythm section fundamentals (tumbao bass lines, clave-based comping patterns)
- Improvisation over a moderate vamp in a minor key center
- Ensemble balance with a mixed texture of horns and rhythm section
- Counting and entering confidently across written solos and background figures