“Flow is like Mudra meets Marimba Spiritual meets Trevino.”
– Dr. Eric Willie, Assistant Professor of Percussion, UNC Greensboro
I have always wanted to write a piece featuring a percussion soloist with a backing percussion group, a la Marimba Spiritual, Mudra, and Shadow Chasers. My new piece Flow does just that! It features a soloist who alternates between snare drum and marimba, accompanied by percussion trio.
Flow was commissioned by Dr. Eric Willie, Assistant Professor of Percussion at University of North Carolina Greensboro. He premiered the piece at PASIC 2013 accompanied by the Science Hill Percussion Ensemble. Below is a video performance of Flow from Eric’s PASIC premiere as well as an audio midi sample. The piece is now available for performance and can be purchased via my sheet music store.
I’m so thankful that Eric commissioned this piece. He is such a big supporter of new works for percussion and an absolutely stellar musician. Thank you, Eric!
I’ve spent the last year of my life writing and recording a new album called TEN with my band Break of Reality. I am happy to report that the album is officially out and available on iTunes and Bandcamp!
I contributed my drumming, percussion-ing, composing and producing on this album, and I think you percussionists out there will especially enjoy hearing a new arrangement of my piece Six, scored for piano, marimba, glockenspiel, drumset and three cellos!
I hope you can download the album and spread the word to your students, colleagues, music friends, and anyone else that you think would enjoy it! Here are the links: Purchase on iTunes : Purchase on Bandcamp
Thank you all for your support and happy listening!
The cover of TEN featuring the artwork of Lauren Yandell.
In the studio with my bandmate Patrick Laird.
I recorded drums at Barber Shop Studios in NJ. Great drum room here!
I video recorded two of my marimba solos months ago in my home. I thought it would be fun doing a video project from my home’s “music room” as opposed to a formal recital hall. After going back and listening to the takes, the classical musician in me told me not to post them online. “They aren’t perfect enough. The sound quality isn’t great. You could have played better.” So, I didn’t release them…
Just yesterday, I went back and visited these videos again with fresh ears. The rock musician in me said, “Why haven’t you posted these videos? Don’t listen to that classical guy! Raw + uncut is a good thing. Music shouldn’t be perfect, it should be genuine.”
The rock musician won out, and I’m happy to share these videos with you today!
Anthem and Dance! both come from a collection of short marimba solos I composed in 2011 entitled Song Book, Vol. 1. Anthem is a straight ahead pop tune. Dance! is inspired by two of my favorite musicians: Argentinian composer Alejandro Vinao and Flea, bassist in Red Hot Chili Peppers & Atoms for Peace.
My new sextet Catching Shadows performed live by Eastman Percussion Ensemble! Big hugs to Sarah Persichetti, Sam Um, Emily Park, Max Kanowitz, Sean Lowery, and Jarryd Elias for such a rockin’ performance, and to Michael Burritt & Eastman for commissioning this work. Sheet music now available.
I just returned from PASIC 2013 in Indianapolis, and I’m still moved by the whole experience. Just WOW. It was such a special event, one that I will never forget. Here are some photos from my trip:
Thanks to Mostly Marimba for selling my music at their booth! And, thanks to my wife Amanda for designing these!!!
w/ the Eastman crew that premiered my new piece Catching Shadows! Thank you Sam, Max, Emily, Sarah, Sean, and Jarryd!
w/ Keith Aleo, an amazing percussionist, educator, and a supporter of my music. Thanks Keith!
w/ Aaron Staebell and Amy Garapic at Eastman’s post concert reception. ESM can throw a serious party.
Absorbing huge amounts of knowledge from Alejandro Vinao, w/ Chris Jones, Michael Burritt and Mark Boseman.
Officially a Malletech artist. WOWZA!
w/ Eric Willie, who premiered my new piece Flow with the Science Hill Percussion Ensemble. This guy can play ya’ll!
So lucky to have gone to this Third Coast concert at the Indianapolis Museum of Art!
w/ Shannon Frier, who was a big help to me at the Mostly Marimba booth!
2+1 reunion w/ Annie Stevens and Andrea Venet!
Stoked about all of these albums I brought back home with me!
w/ Chris Jones and Maria Finkelmeier. We were Michael Burritt’s first MM class at Eastman in 2008!
Brian Stotz (middle) MADE the sixxen that Eastman performed on. w/ Aaron Staebell, Maria Finkelmeier, & Amy Garapic.
Eating steaks w/ Sean Connors from Third Coast Percussion at St. Elmo. I’m pretty sure the guy behind us is about to sneeze…
w/ the gang (George Clements, Sean Connors, Mark Boseman, and Aaron Staebell
Mr. Beck ya’ll!
Michael Burritt, John Beck, and a bunch of their students!
Hotel selfie w/ Aaron Staebell, George Clements, and Mark Boseman, three of my best friends and unbelievable percussionists!
Thankful to Eric Willie, Michael Burritt, and Julie Hill for programming my music for so many other percussionists to hear. Thankful to Mostly Marimba for allowing a self published composer like me to have some booth space to sell my music. And, thankful to all my friends, new and old, for a wonderful time.
Aaron, George, and Mark: Can’t wait for next year guys.
Three years ago, I made sandwiches. For money. That was my job. It was 2010, right after graduating from Eastman with my master’s degree, and right after my interview with NPR, where I said:
“if all else fails and I can’t find a job… I’ll just have to get a normal job for the first time in my life.”
And I did.
Of course, I wanted to do music stuff to make money, but that doesn’t happen right away. “OK world! I have a degree! Give me money!” Not that easy.
So, I walked next door to Eastman and stopped in at Java’s Cafe, where I ate lunch nearly everyday as a student. Their sandwiches are that good. I asked if they were hiring. They weren’t, but the manager and I had developed a friendship over the years (because I was there EVERYDAY), and he said:
“We don’t have any barista openings, but we could use an extra person to make sandwiches. We can pay you our hourly rate, and you’ll get a free sandwich whenever you work.” I was sold! Like I said, those sandwiches are GOLD.
I was in charge of the tomato-basil-mozzarella sandwich, the Plain Jane chicken sandwich, and a few other “easy” sandwiches. The difficult sandwiches were left to my co-workers, who were WAY faster at making sandwiches; my music skills didn’t translate to sandwich skills… But, they kept me around anyway.
My days would consist of sandwich making in the mornings, and job hunting / composing music in the afternoons. At that time, I shared an apartment with my girlfriend, now wife Amanda. I remember her coming home from work and asking “How is the job hunt going?”. My response: “I can’t find a job. Also, I started writing a marimba duo.”
I’m sure those are the last two things a potential future spouse wants to hear:
“Can’t find a job” and “marimba duo”… Yikes.
Thankfully, Amanda was supportive. She thought I could benefit from having a website that I could send along with my job inquiries. So, she helped me put a website together.
As the summer ended, I finished my marimba duo and called it Into the Air. I found a small teaching job at a local community music school and I respectfully bowed out of my sandwich making job, which I was tremendously gracious for. (For the record, I STILL eat lunch at Java’s nearly everyday, and every now and then, I still get the employee perks too!)
At that point, I thought I should try and sell sheet music for Into the Air on my website, (to bring in extra money, but mostly to get my music out there).
I created a MIDI recording of the piece with Finale Print Music, (which honestly sounded like toy marimbas). I then created a PayPal account, a sheet music section on my website, and VOILA! I had a “sheet music store” (just one piece to sell, but still, it was something!)
Then, I sold a million copies overnight!!!
No one bought my piece, for months. It just sat there.
I was a little discouraged and thought about removing my sheet music store all together. But Amanda encouraged me to let it be. “It takes time” she would say. In the meantime, life was getting a little more settled. I was teaching, building up a studio, and writing more music (why not?).
I gave the piece to two dear friends (and fantastic percussionists), Mark Boseman and Chris Jones, who gave the world premiere of the piece in early March, 2011 at Eastman. Along with their great performance came a great recording, which I used to replace my toy piano MIDI sounds on my website. THANK YOU CHRIS & MARK.
And then, on March 21, 2011, something great happened. I got an email from PayPal saying:
“Payment Received from Erik Mullins”
I sold my FIRST score!!! I was SO STOKED!
I scurried to FedEx to make copies of the piece and shipped it out to Erik right away, along with an ever-so-thankful email.
This started an email thread, where Erik and I talked about my music. He was a student at Ohio University, and wanted to program the piece on a recital. Erik then asked if I was working on other stuff. So, I told him about some other projects I was working on, and we’ve been in touch ever since.
THREE YEARS LATER…
Fast forward to present day. I just returned from a three day residency at Ohio University, where I was a guest artist of the school of music. I gave clinics in music business, coached their percussion ensemble, and performed a joint concert of my music with the OU percussion studio. It was AWESOME!
My host was Roger Braun, a fantastic percussionist and the percussion professor at OU. Over a Jimmy John’s sandwich, Roger shared with me how OU came to find out about me and my music.
It was Erik.
Erik had spread word around the OU percussion studio about my music, and soon other duos were ordering Into the Air, along with some of my other pieces, like Bloom for marimba quartet and some of my solo stuff.
Here’s the best part of this whole story. The first piece I programmed at my OU concert:
Into the Air. I played the piece with Erik Mullins. It was surreal and special. What a small, crazy, amazing world. THANK YOU ERIK.
THE FIRST FOUR
In 2011, I sold exactly four copies of Into The Air. That’s all. FOUR. Anyone in the publishing business would tell you “THAT’S A TERRIBLE NUMBER”.
But, those four people have been instrumental in helping spread my music throughout the percussion world. I’ve already mentioned Erik. Here are the other three:
Gary Shuda was the next person to buy the piece. We also exchanged emails about my music, and on Dec. 6, 2011, Gary and his friend Ben Coleman gave me this:
Their video performance has been a HUGE discovery tool for Into the Air. I just searched for “marimba duet” on YouTube, and Gary’s video is one of the first things to come up. Crazy. So grateful. THANK YOU GARY.
Ben Andrews was the third person to buy the piece. Ben also gave me a great YouTube performance, and introduced my music to his teacher Phillip O’Banion. Phillip recently commissioned me to write a new multi-percussion solo. How did Phillip find out about my music? Through Ben. THANK YOU BEN.
The fourth person to buy the piece was Josh Spaulding, a student at University of Tennessee at Martin. Josh spread my music around his percussion studio, (they’ve programmed Into The Air, Bloom, Six, and 2+1), and sure enough, I’ll be an artist / composer in residence at his school next year, which includes the premiere of a new piece I’m writing for their wind ensemble. THANK YOU JOSH.
Into The Air was a major tipping point for my composing career. It’s been programmed hundreds of times all around the world and has become a standard in the percussion duo repertoire (that’s WEIRD to say, but I heard Michael Burritt say it once, so I’m gonna go with it.)
Being a musician is like a Sigur Rós song; a slow and steady build. Hang in there. It’s ok to make sandwiches. Be nice to people. You never know. It takes time (thanks Mandy.)
Our music world is SMALL, and people you don’t know can help you. That’s certainly what happened to me. Erik, Gary, Ben, and Josh gave my composing career a foundation and gave me confidence to keep it going.
I get lots of emails from performers saying “It’s so nice to actually be talking to the composer!” That’s one of the many reasons I like self-publishing my pieces. There’s no middle man. Just me and the performer. There’s an immediate line of communication which allows me to create a relationship with performers like Erik, Gary, Ben, and Josh. They’re not just numbers on a spread sheet, and I’m not just a name on a score. We’re people having a musical collaboration. The least I can do is open up my email to talk about it.