The Cuban classic Peanut Vendor is one of the most popular of hundreds of songs based on a street seller’s cry. This Reggae arrangement is no exception in the song’s history of stylistic interpretations.
The Cuban classic Peanut Vendor is one of the most popular of hundreds of songs based on a street seller’s cry. Written in 1928, it has stood the test of time with scores of renditions in various genres. Stan Kenton, Chet Atkins, Dean Martin and Anita O’Day have all had success putting their own personal spin on the tune.
This arrangement is no exception in the song’s history of stylistic interpretations. While the drums lay down a one drop reggae groove, the melody weaves through its various sections over counter melodies traded by the double seconds and cellos. After the melody plays through twice, it modulates to G minor for a high energy, Latin flavored soli by the tenors. Then it’s back to G major for the restatement of the melody over the original reggae groove.
Here are six duets for Tenor and Double Seconds by Malika Coletta. There is one beginner level piece and five that range from easy intermediate to intermediate. The styles include two Calypsos, Bossa Nova, Pop, classical and a lullaby. Add them to any program for a great contrast. Sold in a package or individually. Please see individual pieces for audio samples.
Peanut Vendor
$25.00
The Cuban classic Peanut Vendor is one of the most popular of hundreds of songs based on a street seller’s cry. This Reggae arrangement is no exception in the song’s history of stylistic interpretations.
Description
The Cuban classic Peanut Vendor is one of the most popular of hundreds of songs based on a street seller’s cry. Written in 1928, it has stood the test of time with scores of renditions in various genres. Stan Kenton, Chet Atkins, Dean Martin and Anita O’Day have all had success putting their own personal spin on the tune.
This arrangement is no exception in the song’s history of stylistic interpretations. While the drums lay down a one drop reggae groove, the melody weaves through its various sections over counter melodies traded by the double seconds and cellos. After the melody plays through twice, it modulates to G minor for a high energy, Latin flavored soli by the tenors. Then it’s back to G major for the restatement of the melody over the original reggae groove.
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