The Boombox Music of JacobTV Performance Practice Suggestions by Connie Frigo Below are general guidelines to consider when preparing one of JacobTV's boombox works. While itis 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, itis 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 eighth- note (or sometimes 16"-note) pulse of each section always remains steady. Metronome work is essential in this stage of preparation as its 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 ina sonata. 3. The next step Is to sing your part with the CD with 100% rhythmic precision, stil 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. 6. 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, itis 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 itis true that these pieces were originally conceived to be performed with a ghetto blaster or boombox, itis often difficut, if nt impossible, to find a modem unit with enough sound ampification. 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. It 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), itis 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 instruments) as well, add a little rovers 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, itis 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, itis 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.PIMPIN’ for baritone sax and soundtrack or sax quartet and soundtrack featuring the baritone sax, was composed between August 2007 and February 2008 It is dedicated to two great baritone saxophonists and dear friends: Connie Frigo in the USA and Willem van Merwijk in the Netherlands. PIMPIN’ can be performed also as a sextet: with double bass and drums ad libitum. Also, a big band version was arranged for CLAZZ, and recorded on their first album. PIMPIN’ is based on orignal speech by American pimps and prostitutes. Duration: 8:32 The piece has six movements. 1 Mouth like an uzi 2.Charisma 3 Why am | doing this? 4 The full 100% 5 Like Picasso 6 Hahahaha CD tracks: 4 Pimpin’ midi 2 2bars before Am 1 - Mouth like an uzi 3 2 bars before B m 30 - Charisma 4 2 bars before Cm 103 - You believe 5 2 bars before D m 130-1 mean 6 2 bars before E m 186 - and | had some of them 7 2 bars before F m 244 - Hahahaha 8 Pimpin’ performance soundtrack track A (the 3 accompanying horn parts on tape) 9 Pimpin’ performance soundtrack track B (no horns on tape) 10 Pimpin’ click track LEFT, soundtrack RIGHT For those who wish to perform PIMPIN with a click track OR with live bass and drums OR with big band. Wire the clicktrack to a headhone system and the soundtrack to the PA. PIMPIN’ 1 Man! Like my mouth -My mouth is like an uzi ‘Armed and dangerous with a double clip You know what I'm sayin’? My mouth is like an uzi, Armed and dangerous with a double clip. 2 You gotta have charisma, you gotta have charm Artistry man! I's a real talent man, but: You gotta have finesse, you know what I'm sayin’? Charm is keyword that's my name. What's up man? | got four, five bitches that I'm breakin’ for this shit every day right? Man! God - and - stand on itYou faggot motherfucker, ‘I'm a bitch’, What's really goin’ on? Ifyou caught her dancing, how you're gonna keep her? ‘What you gotta do to keep the bitch? ''m cuttin’ her head back to the fat meat! God - and - stand on it and He was on Twenty-Twenty you understand me? God damn nothing and get down Stand on it ike a rock and - fat meat! What's really goin’ on? They killed her motherfuckin’ ass man, She's dead too that was Sandy-Babe Tell her I'm coming over to bust that thing out Stand on it and get down See, and if | would have seen that I'd be the damned pimp ‘And man is this dried, he got peeled so, Next day they come back, they wanna uzi the whole block! Hahaha! And | got my first ring on the waiste! When they're on the track: ain't no drugs , period. Bitch ain't on the track if | catch a bitch on a track that smoke some weed or drank on the track: I'm kickin’ her ass, period. ‘And he teaches you the stuff about, you know, What you should do, what you shouldn't do, you know. It's up to, it’s really up to the girls she wanna obey about what he... But she don't know the ins and outs and the ins and outs, the outs and the ins Love don't mix with this pimpin’! ‘The hell are you talking about? 3 You believe you're gonna be something with that person, ‘And uh and live with that person forever And then you have these thoughts in the back of your mind, Like: you know why am I doing this? The thought of getting killed by a trick has come across my mind I'm sure a lot of whores minds Recently | had a friend, her name was Lisa ‘And she had been dating a person, uh And he killed her... They found her bones And they found another whore, her throat was slashed 4 I mean it takes the full one hundred motherfuckin’ percent Abitch gonna stay in your motherfuckin’ comer, go stand up like The Statue of Liberty, you know what I'm sayin’? | know it's about going on, I'm her babe you know what I'm sayin’, young girls and everything Hahahaha, shee uh The more that you keep on tryin’ keep on come get her The farther away that she’s gonna be from you, you know what I'm sayin’? Hell tryin’ to stay down like four flat tires, with two spare inner tubes! Hell no | love for my daughter to sell it Than to be givin’ it away, you know what I'm sayi Love for my daughter to be called a whore Than for my daughter to be called a tramp ‘Time when a bitch fucks more than one man That makes her attractive anywayNow, as they say: manipulatin’, | had whores on and off, you know what I'm sayin’? But at the same time...bitch Manipulatin’ the bitch, see: The bitch was manipulatin’ ah ho | had whores ‘As a matter of fact: | went through a problem with that shit before you know what I'm sayin’? He said: Well | ain't no pimp | said: | already know that, now | see in this day and age Pimpin’! That's what it takes, baby! Pimpin’, you know? What's there what else to take you know Ishit | mean God But then | turn around - pimpin’ - a few months later ‘And see him - pimpin’ ‘And the bitch on the motherfuckin’ 5 ‘And | had some of them whores right? Man they're motherfuckin’ right He suited and jerked from ear to ear right? you know what I'm sayin’? It's a whole bunch I'm sayin’ Like Picasso playin’ a painting Anybody can't paint like Picasso you know what I'm sayin’? Artistry man! ‘And it was popular back then to go to schoo! with dutfie bag full of candy! ‘And ! was doin’ that so | always thought | was a natural right? What's up man? But: you know many called upon but there's only a chosen few Man they're motherfuckin’ right! He suited and jerked from ear to ear right? | figured out what he was doing I'm cutting her head back to the fat meat! ‘That's about the worst motherfuckin’ thing about this pimpin’ That a motherfucker ever gonna know Damn you can't tell him shit! ‘There’s no worst thing! Love don't mix with this pimpin’ The hell you are talking about? Instead of concentrating on gettin’ some God damned money “Cause that's what she needs to do That's our profession God damned motherfuckin’ money God damned motherfuckin’ money Love don't mix with this pimpin’ The bitch gotta fuck with me! Baby! Pimpin’, you know? “Cause f a whore don't get no instruction, She gonna be headin’ for self destruction! 6 Hahahahahahahahahaha Hihihihihihinihi Hahahahahahahahahaha Well it sucks You know does he truly love me? Oris this a figment of my imagination? 1'm cuttin’ her head back to the fat meat!dacobTV PIMPIN’ {or sax quartet & boombox wth double bass & drums ad i, solo part or baritone sax = SSS SSceprrit"1315719= S212325262729