An excellent arrangement of the famous Song "Guantanamera"
for Alto Sax and Piano-Jazz/Pop Version. The video for Violin and Piano: https://youtu.be/KNZ5FPLOUuE

The composition is easy to read, fun to play, and sound professional when performed. Arranged by Fishel Pustilnik, a very well known as Composer/Publisher. His books "Jazz & Pop Piano Paradise" (Volumes 1-5) have become a commercial success and a hit with music teachers and students in Canada. (Thousands of books already sold in Canada). They are also starting to enter the US, Brazil, Norway, Russia, Holland, Israel, Belgium, Sweden, Finland, Greece, Latvia, and the UK markets. ?This is a wonderful new publication. These pieces offer much appeal for the young pianist and excellent choice for a supplementary book for students from Grade 3 to 8.? Lore Ruschiensky, Editor, (from the review in ?The Canadian Music Teacher?) ?Yesterday I spent at least two pleasure-filled hours playing through your imaginatively inventive compositions. Congratulations! I trust students will decide to program your well crafted and entertaining works on recitals and examinations." Review from Dr. Jack Behrens, B.Sc. (Julliard), Ph.D. (Harvard), Director of Academic Studies, The Glenn Gould School "I liked this book the best so far. Great work! You have a gift for melody and your arrangements are very playable. Congratulations on the 3rd Volume?. Mark Carlstein, Hal Leonard, Keyboard Publications.

This ever-popular piece is often performed at weddings, funerals and many other solemn

ceremonial events. It has always been a favorite among instrumental players and often used in

recitals or concert encores. This arrangement by Colin Kirkpatrick has been transposed into B

flat to feature the middle to upper range of the saxophone. In is ideal for the intermediate

player who can manage a top ?b? with confidence.
In 1853, the well-known French composer Charles Gounod added his own melody over a rippling

keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major,

BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of

the ?combined? piece was Méditation sur le Premier Prélude de Piano de S. Bach. Gounod?s

original arrangement transposed Bach?s keyboard part from C major into F major and it was

scored for violin (or cello), organ and piano. In 1859, the French music publishing company

Jacques-Léopold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria

(Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m.

27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist

Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered

a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or

possibly an error in the manuscript) remains a matter of conjecture but the fact remains that

the most familiar-sounding version of this piece, recorded countless times by both singers and

instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This

arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859

edition.

An exciting dance in a Latin style in 5/8 time in Rondo form with repeated motifs and a big build up to the coda. the restless and relentless 5/8 groove will offer some challenges to the soloist and accompanist. A great 'show off' piece for a competition or recital. The range is perfect for the advancing Alto Saxophone player.

'Tango Fantasy - Alto Sax & Piano'?: (Duration: 2.12) Higher Intermediate to the Advanced student.
SAMRO, CAPASSO.
Tango, is a passionate union between two dancers. The musical effect that I worked on was exactly that, the passionate union between two musical instruments. Throughout the piece, I endeavored to keep the central theme of the Tango rhythm playing out between the two instruments. I know that at some points I have moved away from the Tango idea, which is why I included the word fantasy in the title. So? for most of the piece, the Tango theme is foremost, and whatever may or may not be Tango material is indeed a fantasy, an idea, a leaning toward the real thing, that is the Tango in Latin Style.
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