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.
This series was commissioned specifically to provide quality steel band music for beginning steel bands. The six pieces in this collection represent a variety of styles, composers and difficulty and can serve as an entire semester’s repertoire.
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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