As promised, I have released both of The Gathering Mist’s full-length albums as one jam packed two-hour/33 track download-only collection through Bandcamp.com, which is graciously offered in a variety of formats by them … ***FOR JUST $9.00*** … (or more, if you so choose). The tracks are also sold individually there for just $1.00 each, but c’mon, the full collection is available just as easily, right in the same place Most importantly, the beautiful cover artwork by Jen Mitlas ties it all together very nicely for a great finishing touch!
Years of The Mist: The Complete Collection – album cover by Jen Mitlas
Like I said in my previous Gathering Mist update, I still plan to re-do a couple of these tracks in the near future under the name “The Gathering Re-Mixt” (album artwork by Clint Cooper/Jen Mitlas!). I am currently finishing up one track, and it sounds incredible – looking forward to sharing it with everyone as soon as it’s ready! Any guesses which track it could be? You have a 1/33 chance of being right…
The Gathering Re-Mixt album cover by Clint Cooper/Jen Mitlas
Both of The Gathering Mist’s separate full-length albums, “Rhythmic Epiphany” and “Reservoir,” will continue to be available from CDBaby.com, Amazon mp3, and iTunes, but the Collection album will be available exclusively through Bandcamp (Click HERE). Again, a HUGE thanks to most of the people who contributed tracks or helped out in any way with the original two full-lengths.
***Look for more instrument showcase and technique demonstration blogs soon, as well as an AWESOME play-through video of another track from The Gathering Mist – take a guess which one? Again, 1/33 chance…
The Gathering Mist – new video play-through preview
Jeff Willet playing an E minor pentatonic HAPI Drum
Getting back into showcasing some of the different percussion instruments that I play, I definitely feel that the HAPI Drums deserve some recognition. They have brought some of my pieces to life with their unique melodic and percussive qualities, and captured audiences’ eyes and ears for a few years now, hopefully not just because they look like waffle-makers (although that would a be great selling point – “Free Waffles with Purchase of CDs!” – I’ll consider it). As for their percussive and melodic capabilities, they are precision-tuned steel tongue drums in a set key, played with fingers or mallets (I prefer fingers), with a sound somewhere between a Hang Drum/HandPan and a vibraphone. The different pitches come from the different sized cut outs on the top of the instrument, and the percussive tones can be achieved by hitting in between those notes or in the center of the drum on the logo.
A Brief Description
The HAPI Drum is another example of an “idiophone” – you hit it, it resonates, and thats where the sound comes from – very simple design (in the same family as my Udu Drums). The notes are strategically positioned around the top of the instrument so that when you hit one note, the other notes around it ring sympathetically to create its unique timbre, which I can only describe as “colorful” and packed with overtones, yet when you hit one note and mute all the others, it has a very dry/dull sound – go figure, you sneaky ears!
Tuning, Usage and Design
As I mentioned before, each HAPI drum is in a set key. There are plenty of options available as to which key, but choose carefully to pick the one that appeals most to you. I first went with the E minor pentatonic tuning because of how well it would go with my Kalimbas (in A minor), and then I added the D minor pentatonic to have a full octave and a half of the D Dorian scale between both of them. This continuous series of notes in a scale (each drum has 8 notes total, these two have 4 overlapping notes) allows for some nice melodic applications in a few pieces, while sometimes I’ll take a more rhythmic approach – I’ve even used them for bass lines occasionally.
Playing and Recording Techniques
Mic position for a HAPI Drum
As far as the playing technique goes, there really is no right or wrong way to play a HAPI Drum! I often use something similar to tabla techniques with them for more precision and speed. Because the instrument has such a long sustain, muting techniques are a nice contrasting touch to use also. For more recent recordings, I’ve been treating them like guitar tracks, and “doubling” the tracks – playing it twice, each on mono tracks panned hard right & left to fill up the stereo image a bit more. To record these wonderful instruments, I’ve had the best luck with a large-diaphragm condenser mic positioned about 12 inches/30cm directly over the center of the drum, in a cardioid pickup pattern. For recording two HAPI Drums at the same time, place the mic at the same height, centered between the two drums (or just use two mics). Any other positioning will affect how present certain notes will be (closer notes to the mic will be louder, and those further away won’t be heard as well).
See And Hear For Yourself
For anyone curious as to what HAPI Drums actually look and sound like, here are a few examples of pieces featuring them from The Gathering Mist’s albums. They always seem to interact well with any other instrument too:
“From The Four Winds”
My ONLY critique about this instrument is its name, which isn’t really a major concern. HAPI stands for Hand Activated Percussion Instrument, which doesn’t describe what it specifically is at all. Most percussion instruments are hand-activated, and these even also include mallets to “activate” the sound with as well. But that being said, they’re incredible instruments and I appreciate everyone who’s checked them out! For more info on Hapi Drums, check out the blog that I wrote to introduce them at Steve Weiss Music, where they can now be purchased too!
“my, what nice 8th notes you have…”<— Nope, not even close:
Instead of showcasing a specific instrument for this blog post, I want to explain a little bit about a layering concept that I often use as a compositional tool and when I perform live to “beef up” the rhythmic nature of a piece. I haven’t heard any other names for it, so I’ll refer to it as the process of “Rhythmic Complementing.”
Strategic Rhythm Placement to Fill Up the Groove in Your Music
Different from rhythmic counterpoint and polyrhythms, rhythmic complementing (or, … rhythomplementing?) is a way to thicken up the rhythmic texture of a piece of music by filling in the gaps created by the main rhythm. Once applied, the result is a measure of all 16th notes (in the example I’ll give), or just a busier groove than what you started out with, regardless of the meter. There is no exact formula for how to do this, other than this simple set of instructions:
1. Write out the main rhythm of the piece.
2. Write another rhythm above or below the first one, making sure to place a note where there was a rest or held-out note in the first one, to fill in the gaps or “complement” it.
3.a.) Keep in mind this second rhythm should make sense on its own, too. Notes in the second rhythm can certainly overlap and/or double those in the first rhythm in order to make it all flow better together AND separately.
b.) Or, leave some gaps and fill in only strategically, sparingly, or wherever it makes the most sense or feels right for you and for the piece (although this could be considered rhythmic counterpoint).
4. Expand rhythms out into melody/notation for your instruments of choice.
Intro to “Ceramics” by The Gathering Mist
Keep in mind that not every piece calls for this, so listen for the context of when to use it and when not to. This works well in live music settings also! Its easiest in a group with a drummer and a percussionist, but experiment with other instrumentations too!
A clear example of this is in a piece I did called “Ceramics” from The Gathering Mist’s album, “Reservoir” (notated above – follow along!), which starts off with a jembe playing a syncopated rhythm in 11/8, panned to one side. After four bars a dumbek enters, panned to the other side, playing a complementary rhythm to the jembe, still in 11/8. Four bars later at measure 9, the jembe and dumbek switch parts but the same principle still applies. Once the dumbek enters on the first beat of measure 5, the rest of that beginning section to the piece sounds like straight 16th notes because of this rhythmic complementing process. Enjoy!
There are a couple subtle hints of this technique sprinkled throughout other tracks I did for both of The Gathering Mist’s albums. And keep in mind, this isn’t necessarily confined to only percussion instruments…
To explain a bit of background on this project, it was all written consecutively over about two and a half years, from the summer of 2008 when I first had the idea for the project until the release of the 2nd full length album, “Reservoir,” on Tuesday, December 14th, 2010. It was a LOT of fun to see my ideas come to life in the form of those pieces of music, and while yes they could always be improved upon, I’m proud of what I accomplished with them. My technique on a lot of instruments was pushed in order to play those parts, and a lot of new ground was explored compositionally for me as well, not to mention all of the practical audio engineering experience!
I think of The Gathering Mist’s music as one continuous thought across both albums, since I wrote it all consecutively. Because of this, I plan to remove both of my albums from iTunes, CDBaby, Amazon, etc and then combine them into one double album simply named, “The Gathering Mist.” Most likely available as a download only, it will feature all 33 original compositions across both albums currently available. I’ve received a lot of positive feedback and recognition from the music, so I want to keep it in rotation and see what happens.
From here on out, any new material that I write will be under a different name. What name, I have no idea right now. But everything I’ve written over the past year and a half since releasing “Reservoir” has had a slightly different sound thanks to new influences, new instruments, new equipment, and a few personal changes in my life (for the better) – just everything moving forward and progressing to the next step. Expect BIG things from my next album, there is a lot of interest in it already! Some very exciting well-known guest artists are in the works, and the music is so intense with such a great groove!
Exciting things are brewing, and I’ll be sure to keep you all updated the entire way! As of right now my main focus is a project called Illusionarium with my very talented girlfriend, Jen Mitlas. She always impresses the hell out of me with everything she writes, and its a privilege and an honor (and a lot of fun!) to make a concept album like this with her!
Again, thank you for your continued interest and support of the music that I thoroughly enjoy making and sharing with you all.
Check out Jen’s announcement of Illusionarium for some awesome new music from us!
Check out the new piece that Jen Mitlas and I did over the weekend
The Udu drum is another favorite percussion instrument of mine. It comes in all shapes and sizes, and I really enjoy the variety of sounds it can make and the many applications for those sounds in different musical settings. Originally a Nigerian instrument, I have also heard it played in a Latin music setting as part of a Jazziz Magazine CD, gently providing a groove for an acoustic guitar and female singer.
The Udu drum is a unique combination of an idiophone (opposite of a smartphone, try to keep up) and an aerophone. The sound comes from hitting the exterior (usually made of clay) and controlling the air within the resonating chamber(s) by covering or uncovering either of its two characteristic holes. It looks like a water jug/pot with an extra hole in the side (“Udu” translates to “pot” in the Igbo language, I’m told).
Because of the overall teardrop shape of this instrument, the Helmholtz principle of acoustics kicks in and produces a deep low earthy sound when one of its holes are hit and covered by your hand, (forcing the air into the resonating chamber, and out thru the open hole) with the ability to bend the pitch up from there as you release your hand. How low does it go? The larger the resonating chamber, the lower the pitch, and believe me these things could easily pass for an 808/bass drop effect!
The way I use Udu drums in my music varies depending on which kind(s) I believe would fit best with the piece. I am working on a piece now called “Footprints” which features all three Udus playing back and forth and “complimenting” each other’s rhythms and pitches to make it sound like its played all on one instrument. After that, the piece develops and picks up speed which calls for an adaptation of Indian tabla techniques to be played on the Udus – first on one drum, then doubled on another, and then switched up a bit to bring in the third Udu for a more straight-ahead groove to bring the piece to a fiery close. A demo with scratch tracks was previously released of this piece, but I have reworked much of it with only a bit more to go at this point. Look for the final version soon!
I have also featured the Udu drums in a few pieces with The Gathering Mist – see if you can pick out their unique sounds:
In “Ceramics,” I used the Udu pictured below to bring in some low-end to support the tuned flower pots, shekere, tambourine, and melodic HAPI Drums for much of the middle section. Lots of very interesting layering combinations and rhythmic/melodic concepts in this piece…
…as well as little subtle parts in many other pieces across both albums – bonus points for recognizing those too!
Paul Orsulak and me practicing for our percussion recital, late 2009 - this same instrument heard on The Gathering Mist albums!
The marimba used to be a sore subject for me until a couple years ago. The high school I went to is well known for their show-style band and drum line, aka no pit band/front ensemble/indoor drum line/weekend tournaments. Friday night is game night – and you won’t be able to hear much afterwards. Our drum line was always right around 25-30 deep, usually with 8 snares, 6-8 bass drums, 3-4 “squints,” and 6-8 cymbal players. Like I said, no mallets. More on the Rolling Thunder Drumline later though…
Concert season would include mallet parts for most pieces – and as I was one of the few percussionists there who could read music, I would sometimes play these parts while everyone else would get the cool drum parts. I would try to make the best of it though, especially on Robert W. Smith’s epic piece for concert band, “Africa,” for which I was on chimes with 2 mallets – a difficult part in itself with 8th note triplets while the rest of the band played with a straight 8th feel. I remember a couple other pieces where I was “stuck on bells” or some other “lame mallet instrument.” Great. But then I went to college…
To audition for the college I would eventually graduate from, I needed to perform a snare drum piece, a timpani piece, and a mallet piece, along with whatever else was involved (sight-singing, yada yada yada). I spoke with Nancy Zeltsman (before I really knew who she was) and she gave me a 2-mallet marimba solo called “Hegira” for my audition that one of her students, Carrie Magin, had composed, along with a CD for reference which helped a lot (Thanks Nancy!). I spent every night in a practice room learning that piece in addition to the famous timpani piece “March” by Elliot Carter – turns out its a really fun piece with stick-flipping, quintuplet and septuplet phrasing, and polyrhythms – my favorites!
These were the most difficult pieces for those instruments I had ever done, and I was really on my own learning them for an audition. But long story short it went well. Got in, did my time, graduated, here we all are. Studying with the percussion teacher there was very beneficial to my own playing as well as for my solo project The Gathering Mist. I had written a piece which I wanted to feature fingerstyle acoustic guitar on, but it was a difficult part. The rest of the album was just about finished when I remembered that the one track still had programmed MIDI guitar scratch tracks on it – unacceptable for the finished product after so much work on everything else. Since my fingerstyle acoustic guitarist search came up dry, I said “screw it, I’ll just play it myself on marimba.”
At that point I was comfortable enough playing with 4 mallets, and the recording went pretty smoothly after a bit of practice. Hearing the playback of the two tracks on my first solo album, Rhythmic Epiphany and then on the one track from my second album Reservoir that feature the marimba, it made me a little more self-confident with my mallet playing. Proof that the best way to improve is to (practice a lot first) record yourself, listen back, and be your own biggest critic with regard to timing, tone, etc. The way I think about it is similar to voice-leading on 4-part choral-style music – Soprano, Alto, Tenor, Bass – you have 4 mallets, two in each hand – yes there’s 5 octaves worth of possible notes to play, but wherever your next note is, one of those four mallets is going to be closest to it, so you don’t have to work as hard as you would with only two mallets (this goes for linear playing only – thicker chordal textures have more notes, so yes more mallets.)
So I got more and more used to it, and ended up playing the huge 5-octave marimba with 4-mallets for two pieces in my senior recital (another piece only required 2 mallets but was WAY more difficult, go figure), as well as a few other pieces for other recitals here and there. My experience with the marimba happened at a good time too – right as I was getting into other forms of melodic percussion – especially the Kalimba and HAPI Drums.
Anyway, why I’m posting this: I ended up overcoming some difficulties I guess and now I’m proud enough of the results to include it on a few tracks for The Gathering Mist – Enjoy!