Jacob
TV
G N I M O C S I
k c a r t d n u o s X + A t S e t r R a u O q N x E a s T
S U S E J
BOOMBOX
HOLLAND
SAXOPHONE WORKS by JacobTV
BOOMBOX HOLLAND
QUARTETS PITCH BLACK 11’16’’ for saxophone quartet and boombox 1998 subject: Chet Baker interview on his life in prison, his music, drugs
POSTNUCLEAR WINTERSCENARIO NO.10 12'
for tenor saxophone, piano and boombox 1996 subject: Chet Baker interview on his life in prison, his music, drugs originally scored for cello, piano & boombox
BARITONE SAX
for saxophone quartet 1991-2001 subject: the Gulf War
BELIEVER 7’30’’
JESUS IS COMING 9’20’’
PIMPIN’ 8’30’’
for baritone saxophone and boombox 2007 subject: George Bush & the war in Iraq
for saxophone quartet & boombox 2003 subject: street evangelists
- for baritone saxophone solo & boombox - for sax quartet & boombox featuring the bari bass & drums ad lib 2008 - big band version pos sible subject: pimps
GRAB IT! 9'45'' NEW: version for sax quartet ( 2 altos, tenor, baritone) subject: life sentenced prisoners -DVD for live performances
CONCERTO
THE BODY OF YOUR DREAMS 8'35’’
TALLAHATCHIE CONCERTO 18'
NEW: version for sax quartet subject: the gym, the Abtronic Pro. arrangement by Jose Riojas
for alto saxophone and chamber orchestra 2001 (pic/fl,Fl, ob, Bb cl, bass cl, bsn, dbsn, top, trb, perc,str .) NEW: version for alto sax and w ind band, arr. by Mark Rogers published by MCN Amsterdam PEER Classical NYC First CD recording on the 2CD+DVD box JacobTV-Rainbow Basta 3091732
HEARTBREAKERS
17’ - for saxophone quartet and soundtrack (includes rhythm section ) or: - for saxophone quartet piano, bass, drums and soundtrack 1999-2006 subject: drug addicted prostitutes talk shows videos by Danielle Kwaaitaal
SAX ORCHESTRA POSTNUCLEAR WINTERSCENARIO No.13 13'
TAKE A WILD GUESS
9’35’’ for saxophone quartet & boombox 2008 subject: life in prison
for saxophone orchestra subject: the Gulf War arrangement by Johan van der Linden 2008
PIMPIN’
GRAB IT! X 12 13'
info under: baritone sax
DUO: TENOR+BARI TATATATA 5’02’’ for tenor & baritone saxophone and boombox 1996-2006 ( originally for cello ) subject: Guillaume Apollinaire
SOPRANO SAX THE GARDEN OF LOVE 7'19'' for soprano saxophone and boombox 2001 originally for oboe subject: a poem by William Blake
ALTO SAX
all works except Tallahatchie Concerto published by BOOMBOX Drift 40 NL 3941DC Doorn The Netherlands phone .. 31 343421444 website + on line shop: www.jacobtv.net
[email protected] Tallahatchie Concerto published by: MCN Amsterdam (formerly Donemus) www.mcn.nl
[email protected] PEER Classical New York
[email protected]
JACOBTV SAX ON CD Garden of Love, Billie, Buku, Tatatata, Jesus is Coming: JacobTV - Shining City 2CD+DVD Basta 3091742 Tallahatchie Concerto: JacobTV - Rainbow 2CD+DVD Basta 3091732 www.bastamusic.com
BILLIE 11’10’' for alto saxophone and boombox 2003 subject: the live & times of Billie Holiday
Garden of Love, May this Bliss never end, Buku, Grab it!, Tallahatchie Concerto: BUKU - Arno B. plays JacobTV Basta 3091962
BUKU 8’15’’ for alto saxophone and boombox 2006 subject: the soul of the alto and a tribute to Charlie Parker, Canonball Adderley & Art Pepper
TENOR SAX
Garden of Love, Billie, Grab it!, Pitch Black, Jesus is coming, Postnuclear Winterscenario No.10 on: Pitch Black - The Prism Quartet Innova Records 693 Garden of Love, Billie, Grab it!: Grab it! - Ties Mellema Amstel Records AR005
GRAB IT! 9'45'' for tenor saxophone and boombox 1999 subject: life sentenced prisoners -additional bass & drums parts -DVD for live performances -extended impro version
MAY THIS BLISS NEVER END
for improvising alto sax, saxophone orchestra & drums subject: life sentenced prisoners arrangement by Marco C. De Bruijn video by Michiel Zegers
Postnuclear Winterscenario No,10 on: Aurelia Saxophone Quartet - Sp iritual Overdrive NCU Records
7’54''
Heartbreakers: On Track - New Century Quartet Alanna Records ACD6006
The Boombox Music of JacobTV Performance Practice Suggestions by Connie Frigo Below are general guidelines to consider when preparing one of JacobTVs boombox works. While it is true that the process of learning a piece is quite individual, these steps present a logical sequence of practice, as well as helpful suggestions to guide you toward a deeper understanding of the meaning of these works. !
1. As with many pieces that are written for live instruments and computer-generated accompaniment, it is crucial to first prepare the saxophone part and understand the rhythmic intricacies before attempting to play with the CD. All of TV s boombox works have constant shifting meters and subdividing the pulse is therefore necessary. Aside from various tempo changes that usually signify new sections in each piece, the eighthnote (or sometimes 16th-note) pulse of each section always remains steady. Metronome work is essential in this stage of preparation as it is the only tool that can help you most accurately internalize the pulse. !
2. At the same time that you are learning the instrumental part, you should begin to listen to the CD while studying the score and following the lyrics (without playing.) The lyrics ultimately control the phrasing and direction of the piece; they also become your musical cues, just like you would rely upon certain piano cues in a sonata. 3. The next step is to sing your part with the CD with 100% rhythmic precision, still before playing with the CD. Rhythmic mistakes are not only audible, but also create a difficult situation from which to recover. This is a step to always include in preparation of all of the boombox works, regardless of how many times you have performed the work. Practice time on these works should be equally balanced between score study/ singing and playing with the CD. 4. All of the CDs come with either a midi-recording or an actual recording of the piece with which you should now begin to practice. Once you are comfortable playing along with the midi or actual recording, you should progress to the practice tracks that divide the work into sections, often delineated by tempo changes. 5. Your first goal should be rhythmic accuracy with the CD as the rhythmic cohesion between the solo parts and the CD remains a primary building block of all of these compositions. However, once you master control of the rhythm as written, it is important to switch your focus to the rhythmic and melodic inflection of the voice samples. You will quickly learn that it is not always possible for the voice samples to be notated with 100% rhythmic accuracy; human speech is not designed to fit neatly into the metered notation with which we are most familiar. When you discover these slight differences between the notated rhythm in the solo part with that of what you hear in the lyrics, you should always alter your rhythm to match the rhythm of the voice samples. Listening closely to the melodic inflection in the voice samples is also crucial so that the inflection of the instrumental line matches that of the voice samples. SOUND SUPPORT SUGGESTIONS
While it is true that these pieces were originally conceived to be performed with a ghetto blaster or boombox, it is often difficult, if not impossible, to find a modern unit with enough sound amplification. A solution to this is to connect the boombox to the house PA system (assuming the boombox has a line output ); the boombox can then serve as a monitor, as well as provide a visual effect. If you do not use a boombox for your monitor, and the house speakers are in front of the performer (near the front of the stage), it is necessary to use floor monitors to better ensure the right blend. The audience and the performers should feel engulfed in sound and a mix of house speakers and monitors is often the best way to achieve this. As the performer, you should feel a part of the sound; make sure you have enough sound to play against so you can play out. You may even decide to amp the live instrument(s) as well, add a little reverb when in dry halls etc. in order to blend completely with the soundtrack. Clarity of the lyrics remains an integral part of the effectiveness of these works. To assist in this, the performer should provide copies of the lyrics to the audience. Beyond this, it is important to adjust the timbre levels on the sound system to find the most clarity with the least distortion. A fine line may exist between compromising volume for clarity of lyrics and the performer is ultimately responsible for assessing this based on the individual performance space. As always, it is important to schedule a thorough sound check and invite an educated ear to listen for these vital elements of blend, clarity, and volume. Keep in mind that a large live hall may not be the best venue for these pieces, unless there are curtains or tiles that can be drawn to help dampen the acoustics.
JACOB TER VELDHUIS
JESUS IS COMING for saxophone quartet & boombox
tenor sax
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