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.
One of Debussy’s more recognizable and crowd-pleasing pieces, this arrangement is a challenging piece to perform not for its technical requirements, but more for its expressive demands (dynamics and tempo) and the ability for the ensemble to listen to one another.
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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