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Peanut Vendor 29 E7 Cuban Rumba El Manisero

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Peanut Vendor 29 E7 Cuban Rumba El Manisero 16 Peanut Vendor 29 E7 Cuban Rumba El Manisero. Son Prégon 52 # # j j The Peanut Vendor (El Manisero), is music based on a traditional Cuban rumba rhythm, popular in Havana, and is one of # œ. œ œ Œ Œ œ œ. œ œ Œ the first authentic Latin dance styles to be imported and recorded in the USA. In 1930 the lyricist Don Azpiazu introduced a V œ œ œ œ œ œ œ œ œ œ œ œ œ song version to the United States which in 1931, became the first Latin number ever to top the popular charts. œ. œ œ œ œ w œ. œ œ œ œ The song, supported by its Cuban percussion, inspired a Latin dance craze in urban North America. Congas were often J J featured in the music and players such as Desi Arnaz (of “I Love Lucy” fame) became known in mainstream popular 3 0 0 3 0 1 1 1 1 1 1 1 culture, making successful recordings and appearing in films and on radio. 0 0 2 2 0 0 The orchestras of Xavier Cugat, Machito, and Johnny Rodriguez ( “Mulatica”) created a vibrant Latin Jazz music in New 2 2 2 2 York which then influenced many musicians of which Stan Kenton, Charlie Parker and Dizzy Gillespe are but three. 0 4 0 0 4 There are 3 aspects to this arrangement of Peanut Vendor: 1. The music is based on 2 chords I and V7, which, in the key of A, are A and E7, and which repeat continually, with one 1. 2. measure for each chord. To simplify reading the notation, the chord symbols are shown only over the first 2 measures. 55 A A 2. There is a voice leading middle pattern which is played or implied and which can appear as the top, bass or accompanying line. # # œ œ œ œ j j œ œ œ 3. The melody, if the music is sung, will change with the improvised words; here, as an instrumental, the basic pattern (with V # ‰ œ œ œ œ œ œ. œ œ Œ . œ. œ œ the voice leading pattern on top) opens the piece, establishes the feel and then reappears after each embellishment of the œ œ œ œ. œ œ œ. œ œ melody. The measures 69 to 84 offer some ideas for constructing an improvisation before the playout and fade Coda at J œ. œ œ œ œ œ. œ œ Œ measure 85 to the end. œ. J œ J 0 2 0 0 0 0 0 0 3 2 0 2 2 1 1 2 2 2 2 0 2 2 2 . 2 2 0 0 0 0 Chords continue A & E7 (one measure each) throughout the piece 0 0 2 4 . q»184 1/2CV CII 1 A E7 # # œ œ œ œ œ œ œ œ œ œ œ œ A C # 4 Œ œ œ Œ œ œ œ œ Œ œ œ Œ œ œ œ œ 58 L V 4 œ œ ˙ ˙ ˙ ˙ # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ ˙ ˙ ˙ ˙ V # œœ œœ œœ œœ œœ œœ ‰ #œ 5 4 2 2 0 5 4 2 2 0 œ œ œ n˙ 5 5 7 3 3 5 5 7 3 3 œ. œ. œ T 6 6 4 4 6 6 4 4 œ œ œ œ A 0 2 0 2 5 0 0 J9 0 0 0 0 5 0 0 J9 0 0 0 0 5 4 2 B 0 0 0 0 0 0 0 0 5 4 6 6 6 6 2 0 4 0 4 0 4 3 0 0 5 1/2CV 1/2CV Last time To Coda œ œ E7 # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 61 fi V # ‰ œ œ œ ‰ œ œ ‰ œ œ œ ‰ œ œ ˙ ˙ ˙ ˙ # j œ œ œ œ œ œ ˙ ˙ ˙ ˙ ## œœ. œœ œœ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ Œ V œ . œ œ œ. œ. 5 4 2 2 0 5 4 2 2 0 œ. œ œ 5 5 7 3 5 5 7 3 J œ œ œ œ œ ‹œ 6 6 4 6 6 4 J J œ 0 2 0 2 0 0 0 0 0 4 0 0 7 0 0 0 4 0 0 7 0 0 0 0 3 3 3 3 5 3 3 5 1 1 4 4 4 4 2 0 2 0 2 2 4 4 0 2 3 9 II 2 # A # ˙ ww ˙ ww 64 V # Œ œœ ˙˙ w Œ œœ ˙˙ w 1/2CII ˙ 3 ˙ # # œ œ 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # ‰ œ œ œ œ œ œ œ œ œ œ V œ œ œ œ. ‰ ‰ 0 0 0 0 œ œ œ. 2 2 3 2 2 3 œ. J œ œ Œ 4 4 4 4 4 4 J J 0 0 0 2 0 0 0 0 0 2 4 4 2 2 0 0 2 4 4 2 2 0 0 0 3 2 0 1 1 2 0 2 2 4 0 4 SP1184 © 2013 Spartan Press Music Publishers Limited, Strathmashie House, Laggan Bridge, Scottish Highlands, PH20 1BU, UK SP1184.
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