There are some familiar faces joining you on this

project, plus a couple of new comers. Can you tell

us about the formation of STH?
Tony MacAlpine and I had spoken about producing a
heavy, progressive rock record with vocals for quite
some time, and STH is the end result. Mark Boals
and Tony actually initiated the writing process while
I was out on the road in 2009. By the time I had
returned to LA, they had already written a batch of
songs. Thats when I became involved, and started
recording the drum tracks, and also wrote a few of
the songs. We asked a young Argentinean, Stefania
Daniel to join us on guitar, and we brought in Doug
Shreeve on bass. Doug has been working with me in
Planet X and my solo band. Hes an incredible talent.
virgil donati
ASSAULT DOWNUNDER
SEVEN THE HARDWAY where did the name
come from?
I think it was Mark who came up with the name.
According to him, it just popped into his head.
The meaning is open to interpretation. For me it
represents the continual struggle we face in life, and
Seven symbolises the seven virtues, seven deadly
sins, or the seven wonders.
You chose ROY Z (BRUCE DICKINSON, JUDAS
PRIEST, HELLOWEEN, YNGWIE MALMSTEEN) to
mix the debut album has the band collectively
produced this release?
We thought he would be a good choice, bearing in
mind the direction of the sound. He has had great
success mixing heavy bands such as Judas Priest
and Halford, so we thought he could bring out the
essence of the band. Tony, Mark and I co-produced,
although I would have liked to have had more time.
But it seems were always working to deadlines.
Mark practically re-invented his singing style to sit
with the music. It was hard work, but I think the
results are there.
This band sounds like it has the potential to attract
a more commercial audience is that the intention
musically?
I really think that adding the human voice as an
instrument will naturally attract an audience that
may not be interested in purely instrumental music.
The extraordinary power of the human voice is
undeniable. The fact that its an instrument were all
in possession of, and that the message it carries is
far more accessible to the general public may have
something to do with it. The masses can therefore
relate to it, and the potential to be drawn in by vocal
music is far greater. But the primary intention of the
band is to play rock music with a progressive edge
to the best of our abilities.
How do you view STH as a musical vehicle for your
expression and playing? It obviously marries genres
that people best know you for, but its still different
again?
I try not to place restrictions on my musical expres-
sion. I think this is a departure from the type of
projects Ive produced in recent times, but I enjoy
laying it down hard and heavy at times. Having said
that, there are some moments on this record. It
takes a few twists and turns occasionally.
Having been so prolic for so many years - is it
difcult for you these days, to nd musical projects
that inspire your creativity?
No, not at all. These days, one of my biggest sources
16 DRUMscene Issue 62
This November, Virgil Donati will return home for a long anticipated
Australian Clinic Tour. After a decade of return OZ tours with some of
the most amazing musicians and collaborations, Virgils vast and loyal
fan base will be treated to a clinic tour of monumental proportions!
In a history making rst, Virgil and Drumscene have banded
together to marry education and performance, publishing a specially
compiled clinic tour educational handout and sound supplement, for
Virgils national Assault Downunder Tour.
This November, Virgil will take fans through some of his unique and
practical concepts rst-hand in a presentation like no other.
So in anticipation of this fantastic event, and to bring fans up to
speed, Drumscene caught up with Virgil recently to talk about life,
drumming and all things musical!
With several new projects on the make, I started by asking him
about the commercially creative progressive rock outt - SEVEN THE
HARDWAY (STH).
Interview By Ray Deegan
Artist set ups can change regularly.
VIRGIL DONATI
TECH SPECS
If your standards are high,
the effort and output required
never diminishes. The nature
of drumming is quite physical,
and it demands a lot of focus
and energy to stay sharp.
However, what feels different
now, is that the effort is
nourishing, both physically
and for the soul.
of inspiration comes from recording in my studio. I
love the recording process, no matter what project I
may be working on, or whatever the style of music.
Theres something about hitting that record button,
which demands the best performance you can give.
Theres a sense of gratication that comes from com-
pleting a track to your satisfaction. Of course, hind-
sight can sometimes change your perspective, and
your enjoyment can be totally shattered (Laughs).
Sometimes Ill just record some ideas Im developing
with my practice, and that can be a big help. You
can listen to playback and get the audience perspec-
tive. Its a great way to enhance your practice.
Being someone who has such a strong physical
approach to playing and life in general what
physical challenges do you face as the years pass?
I mean, is it harder or easier to maintain your high
physical standards based on how youve trained
yourself your whole life?
If your standards are high, the effort and output
required never diminishes. The nature of drumming
is quite physical, and it demands a lot of focus and
energy to stay sharp. However, what feels different
now, is that the effort is nourishing, both physi-
cally and for the soul. It almost takes on a spiritual
quality. Also, remarkably, I feel Ive reached a point
where I can walk away from it, take a short break
and actually feel in full possession of my faculties
when I sit behind a kit again. That was never the
case. In fact, even a rare day away from the instru-
ment was enough to make me feel divorced from
my creative purpose, and for the cobwebs to set in.
Considering how much youve achieved what
goals do you set yourself these days? What achieve-
ments/ambitions do you strive toward or still wish
to attain?
It takes years for the creative process to evolve. Our
attention at various times shifts from the physical
and mechanical challenges drumming confronts us
with, to the musical and rhythmical challenges, and
eventually we learn to respond and interact with
other players. It is a drawn out process. Now, for
me its about trying to nd the balance between
feelings and ideas. Feelings are the central force in
generating great music. By feelings I mean not only
Feel, but also spontaneity, improvisation. Ideas are
preconceived. The ability of being able to unite these
qualities is always a work in progress. I dont think
there is ever an end to that process.
So thats on the drumming level. In terms of gen-
eral achievements, Im concentrating on composing
music that will extend my rhythmic skills and put
them to the service of music. I really enjoy bring-
ing life to new ideas, and involving the talents of
the amazing musicians Im working with. Everyone
brings a unique talent and personality that shapes
the sound. I nd that very fullling.
So its about the balance between improvisation
and the absolute exactitude of the execution of
printed ideas?
In a way yes. When you improvise it is presupposed
that you take risks and cant foretell results. But
there is also an element of our repertoire, or our
inventory of ideas that will naturally surface in our
playing, even if spontaneously, and its the bending
of these ideas to suit the moment, and to weave in
and around the improvisation that creates this bal-
ance. It becomes the improvisation. For example, on
the included CD, the tracks Groups of Five, Groups
of Seven, SevenFive Sixteenths and Seven-Five
Triplets are set in stone. Im playing ideas as written,
and its in the straight 4/4 sections in between the
layered grooves that Im interacting with the bass.
On the other hand what Doug is playing is impro-
vised in reaction to my set parts. Whereas on the
improvised Drum Butter and 6/8 Drum Ghee, you
may hear similar layered grooves that appear spon-
taneously and while one layer is a set idea, the other
is totally improvised. But then, even the zone play-
ing the set layer will switch spontaneously, so you
see what I mean? Things are bending and morphing
at will. It will sound different every time, at times,
more exciting than others. Thats the spirit of improv.
Youre considered by many as a modern pioneer
theres no argument that youve broken new
ground in the last 20 years. How do you view what
youve managed to achieve the success, respect
and recognition you have earned through your
contribution?
Creative activity is not just personal. As I said earlier,
it has the potential to penetrate the depths of our
being and make spiritual connections. I like to call it
the Art of Art. It may seem strange to say, but I feel a
responsibility. Thats what I mean by it just not being
personal. The signicance it brings to me and the
recognition is not a factor. I feel a responsibility that
is more far reaching than any personal approval. Im
just trying to rid myself of the shackles of traditional
thinking, and get on with the future.
Is there still new ground to break? Are there new
discoveries to be made in drumming?
Its very difcult to predict the future. I think in
drumming, as in all the arts, there is always the
promise of new vision and direction. Sometimes the
art world can lose its way, and at times artists may
not be able to identify, and it stimulates a shift of
perspective and values. I feel now that we are set-
tling into this century, a new sense is struggling to
be born in many hearts and minds. For me person-
ally, its about always looking forward. Also, ones
cultural context may have a strong inuence, and
inspire a sense of direction. But the key is to keep
searching. We cant afford to be complacent and
think that the present condition is all that exists or
will exist. If there was no new ground to break, then
we should just throw in our sticks now. We need to
keep the momentum moving forward.
Ok, thats a broad, philosophical answer, but in
more practical terms, what kinds of things are you
developing in your personal practice, to achieve the
possibility of bringing form to these visions?
Firstly, its important to remind the young, inexperi-
enced drum students not to bypass the fundamen-
tals. We must build a strong foundation, and then
move forward from there. If I refer you to the charts
Ive written for the Assault Down Under Tour in this
issue, you can get a good indication of the very ideas
that Im working on in my practice. You can also see
how these ideas can be expressed musically in the
transcriptions of the songs, and of course, you can
hear it in context of the music on the CD ...
Which pre-empts my next question. You have a
special educational handout that has been pub-
lished in this issue of Drumscene to coincide with
the tour. Can you give a synopsis of these exercises
and what can be achieved by mastering their use?
Firstly, there is a complete transcription of the debut
STH single Guilty. There are a few random selec-
tions from my Double Bass Drum Freedom book,
which I will demonstrate at the events. Im including
transcriptions of parts from various tracks off the
CD, which I will also play on the tour. Hopefully
these will help bring a deeper understanding of some
of the parts Im playing on these tracks. I decided
to include one of the most recent concepts Ive
been working on, and that is creating grooves from
polyrhythms, and really making them swing. The
idea I chose is based on stacking various groupings
in a very musical way. It can give you a perspective
on ways to think outside the box, and how there is
so much to discover in the world of rhythm. The
Layering Grooves section is very deep. I absolutely
love this concept, and Im nding more applications
for it. The combinations you can compose are end-
less, and this is just one of many possible examples.
These are the things Ive been talking about through-
out this discussion, put into practice.
Its been a long time since you last conducted pure-
ly a drum clinic tour of Australia - youve mostly
toured with bands in the last 10 years. Is there a
certain degree of excitement and anticipation that
comes with touring your home country and being
welcomed by a home crowd?
Its always a thrill for me to return to the mother-
land, and perform there. Theres a connection to
home that you just cant break, even after 14 years
of living abroad. I try to keep calm and focussed, as
I do on any tour around the world, but in Australia,
I always feel an underlying anxiousness, a desire to
want to give more than I can. Im not sure where
that stems from, but hopefully I will deliver the best
of whats possible for me on the upcoming tour.
Before you reach Australia in November you have a
busy schedule can you talk about the other musi-
cal projects youre maintaining aside from SEVEN
THE HARDWAY?
Im involved with quite a few projects, and it can
become quite difcult to juggle everything at times.
Im producing some new tracks of mine, featuring
some great players, including Dennis Hamm and
Jeff Babko on keys, Raphael Moreira, Brett Garsed
and Charles Altura on guitar, Doug Shreeve and Tom
Kennedy on bass. I dont know if any of the tracks
will have surfaced at the time of this publication,
but they will be available for download from my
site in the near future. Im quite inspired by the
new line up of my band, which features some of
the greatest young players in LA. Doug Shreeve on
Bass, Dennis Hamm on keys, and Charles Altura,
on guitar. Theyre all stunning players. I hope to nd
time to tour this band in the near future, but for now
were just gigging in the LA. Im currently working
on tracks for Tony MacAlpines next solo record. Hes
writing some great material. Ive also just started
work on a special project with a great Indian lm
composer, Sandeep Chowta. That band will feature
Sandeep, a great Indian guitarist, Tony Das, as well
as Charles and Doug from my band and also John
Daversa on trumpet. John is an impressive player,
and composer. He has a contemporary big band here
in LA, and when they play, its one of the few times
Ill actually make an effort to see a band live. We
will be touring India in January, and subsequently
recording. There are also plans for a new CAB live
DVD recording. Thats with the legendary Bunny
Brunel on bass, a wonderful player, whos played
with the best in the business. I always enjoy hang-
ing out with Bunny. Hes quite the storyteller. I just
played on a track for the amazing Australian guitarist
Brett Garsed. Hes currently working on a new solo
record. Allan Holdsworth called and asked for me to
be involved with his next recording. There are some
orchestration and arranging gigs coming in which
I really enjoy. So all in all just trying to create and
interpret music, and obsessed with making beautiful
sounds that will communicate with the audience.
www.seventhehardway.net
www.virgildonati.com
PEARL REFERENCE
22x18 Bass Drum w/o Tom Mount
10x08 Tom (for Air Tom)
10x09 Tom
12x09 Tom
13x10 Tom (for Air Tom)
14x14 Floor Tom
16x16 Floor Tom
18x16 Floor Tom
SNARE DRUMS
VG1450 14x5 8 Ply Composite Shell
M1040 10x4 Sopranino Snare
SABIAN CYMBALS
18 HHXtreme Crash
16 Saturation Crash
14 AAX Stage Hats
17 Saturation Crash
18 Saturation Crash
12 HHX Mini Hats mounted on CLH100 x-hat
20 or 21 Legacy Ride
19 Saturation Crash
14 AAX Mini Chinese
12 HH Mini Hats mounted on remote stand pedal to the
right of BD pedal.
HARDWARE
P-2002B Drum Pedal + Blue Cams (w/PS-85)
S-2000 Snare Stand
D-1000 Drum Throne
H-2000 Hi-Hat Stand +Blue Cam
RH-2000 Remote Hi-Hat +Blue Cam
DCL-300 Drop Clutch
PEARL HARDWARE CONT.
DR-501C Bridge Rack
2 x DR-501CE Drum Rack Extension
RJ-50 Mini-Extension Bar
7 x PCX-100 Pipe Clamps
10 x PCX-200 Pipe Clamp
PCL-100 Pipe Clamp for leg
TH-2000 Tom Holder (long)
3 x TH-2000ITom Holders (Long)
3 x TH-2000S Tom Holder(Short)
3 x CH-2000 Cymbal Holder
5 x CH-1000 Cymbal Holder
2 x AX-38 Adapter
1 x AX-25L Adapter
1 x CLH-1000 Closed-Hat
2 x UX-80 Universal Clamp
2 x TX-100 Tube Extender
REMO HEADS
Ambassador clear on all toms both on top batter side and
bottom resonant side.
Ambassador clear on batter side of bass drum with clear
PS3 on the front resonant side.
Coated Emperor-X on main (VG1450) Virgil Donati
Signature snare drum and Coated Ambassador on (M1040)
Sapranino Snare.
VATER STICKS
Assault - Virgil Donati Signature model
Issue 62 DRUMscene 19
ARTICLE
VIRGIL DONATI - Assault Down Under Tour
COMPILATION CD TRACK LIST
This handout supplement includes an eclectic selection of my ideas, in a hope to further stimulate your rhythmic
appreciation and understanding. After all, the essence of what we do is steeped in rhythm, and I rmly believe
we have barely scratched the surface of whats possible. Some of the transcriptions are featured on the included
CD. There are selections from my Double Bass Drum Freedom book, and Ive also included some ideas that
are on the leading edge, such as the 4-5-6-7 Groove.
Although to many, this may seem esoteric and intimidating, I believe its important to keep moving forward, to
keep searching for new and engaging ways of expressing ideas. Thats why Im sharing these concepts with you.
This is what keeps me inspired and motivated on the drums.
DRUM KEY
*ALL SOLO DRUM AND BASS AND DRUM TRACKS MIXED BY TJ HELMERICH
*1. Abstract Pocket - Bass and Drums 2:34 Bass: Doug Shreeve
2. The Great Og - From Joel Hoekstra The Moon Is Falling Hoekstra 3:45
3. The Moon Is Falling 3:58 Guitar: Joel Hoekstra Bass: Ric Fierabracci
4. Micronesia - From Planet X Moonbabies Donati 5:58
5. Midnight Bell 3:58 Mixed by Simon Phillips Bass: Jimmy Johnson
Guitar: Tony MacAlpine Keyboards: Derek Sherinian
*6. 6/8 Drum Ghee 90 bpm - Solo Drums 1:50
7. Desert Girl - From Planet X Quantum Donati 6:04 Re-mix with
re-recorded Drum/Rhodes Mixed by TJ Helmerich Bass: Jimmy
Johnson Guitars: Allan Holdsworth, Brett Garsed Rhodes: Dennis Hamm
8. Theatre De Marionnettes - From CAB Theatre De Marionettes Brunel
6:05 Mixed by Bernie Torelli, Bunny Brunel, Tony MacAlpine Bass:
Bunny Brunel Guitar: Tony MacAlpine Keyboards: Patrice Rushen
9. The Pub MacAlpine 4:23
Bass: Bunny Brunel Guitar and Keyboards: Tony MacAlpine
*10. Drum Butter - Solo Drums 3:48
11. Antartica - From Derek Sherinian Molecular Heinosity Donati/
Sherinian 5:26
12. Antartica - Bass & Drums Mix 2:57 Mixed and Mastered by
stevescanlon.com Bass: Jimmy Johnson Keyboards: Derek Sherinian
Guitar: Brett Garsed
*13. Seven Five (sixteenths) - Bass and Drums 1:39 Bass: Doug Shreeve
*14. Seven Five (triplets) - Bass and Drums 2:05 Bass: Doug Shreeve
*15. Groups Of 5 100bpm - Solo Drums 1:02
*16. Groups Of 5 160bpm 0:41
*17. Groups Of 7 120bpm 1:13
*18. Groups Of 7 180bpm 0:50
19. The Puppeteer (sample only) CAB Theatre De Marionettes 2:40
20. Theatre De Marionnettes - Minus Drums 6:07
21. The Pub - Minus Drums 4:25
22. Guilty - From Seven The Hardway Donati/Boals 4:18 Mixed by Roy Z
Guitar and Bass: Tony MacAlpine Vocals: Mark Boals
23. Coming Home - From Soul Sirkus World Play Schon/Soto 3:57
Mixed and Mastered by John Ellis Bass: Marco Mendoza Guitar: Neal
Schon Vocals: Jeff Scott Soto
ARTICLE ARTICLE
Drums
GUILTY
Seven The Hardway
Virgil Donati
GUILTY - Drums 2
This is a note for note transcription of the drum part to Guilty, taken from the new Seven The Hardway record.
The Bridge section is the most challenging, with many ghost notes in the mix, and the whole range of 5 toms,
(ghost notes are indicated with smaller note heads). Its a 3 measure phrase, which repeats 4 times. I play a
slight variation on the 3rd measure of every phrase (measures 53, 56, 59, 62).
Note that the verse and pre-chorus sections have looping bass drum patterns, (tracking the guitar riffs) which
are phrased in 5/8, over the straight 4/4 groove, while the bridge pattern is 7/16 within the 4/4 groove.
GUILTY TRANSCRIPTION
ARTICLE ARTICLE
GUILTY - Drums 4 GUILTY - Drums 3
HALF PAGE AD
QUARTER
PAGE AD
QUARTER
PAGE AD
26
26 DRUMscene Issue 49
GUILTY - Drums 5
ARTICLE
MEINL
Theatre De Marionettes - CAB
This is a transcription of the opening to Theatre De Marionettes. In measure four, the
left zone phrases with the synth part, while the right zone keeps playing the groove. In
bar six, the right zone plays the bass phrase simultaneously.
The phrase is the same as the left zone, except it is displaced by two sixteenth notes,
creating an interesting counterpoint.
Layering Grooves In Zones - 2
SEVEN - FIVE (Triplets)
Now I combine the seven and ve groupings. In the rst four measures I play the sevens
in the right zone, and the ves in the left zone. From measure ve to eight, I reverse the
parts, and play ves in the right zone, and sevens in the left zone. Notice that when I
make the transition, the right hand moves to the x-hat (on my right), and the left hand
moves from the piccolo to the main snare.
Layering Grooves In Zones
By dividing parts between the left and right zones, you can create some amazing, pulsating
rhythmic shapes. In this example, the ultimate aim is to combine groups of ves and sevens,
while keeping control of the 1/4 note pulse. This is the challenge. Feeling the pulse is what will
anchor it and make it groove, so dont forget to count.
Of course you can create groupings of your own, including threes and fours, fours and ves etc.
Examples 1 & 2 should be mastered feeling the 4/4 pulse before you try to combine them.
Groups Of Five
Groups Of Seven
Layering Grooves In Zones - 3
SEVEN - FIVE (Sixteenths)
Here is the same combination of seven and ve phrased as sixteenth notes instead of
triplets. Changing your thought process from triplets to sixteenths will inevitably mean
you will have to re-learn the feel, even though the patterns remain the same.
For this variation, I have written it without reversing the parts after four measures, instead
just playing it through to the end of measure seven, which is where the seven grouping
completes the cycle.
4 - 5 - 6 - 7 Groove
In the course of developing my skills in executing polyrhythms, I am discovering
applications that can groove in fascinating, unconventional ways. I would like to share one
of my favorite ideas, combining 4, 5, 6 and 7 beats and making it groove. It goes without
saying that this requires a good understanding of polyrhythms. Firstly I have isolated its
individual parts for clarity, and then combined them in two variations (Ex. 5 & 6)
I like to apply this using various sound sources. As written, Im using the feet on the main
hi-hats, and cable hats, the right hand on an x-hat, and left hand on snare. For a big
powerful sound, the second option is to substitute the bass-drums for the hi-hats, the
right oor-tom in place of the x-hat, and the left hand on the left oor tom.
ARTICLE ARTICLE
CHAPTER 4 - Creative Single Stroke Development
Learning to play syncopated rhythms with the feet is a challenging and pivotal skill to develop.
The fact that you cant rely on a constant stream of notes as an anchorintroduces a signicant independence factor.
However, once we develop this important skill, it can open the doors to creative expression with the double bass drums.
3 Stroke Singles
5 Stroke Singles
5 Stroke Singles in 4/4
EXTRACTS FROM VIRGIL DONATIS
DOUBLE BASS DRUM FREEDOM
CHAPTER 8 - Developing Paradiddles With The Feet
The Paradiddle will further enhance your prociency on the pedals, but apart from the technical benets, unless you are
playing two bass drums with a contrast in pitch, it will not be of any obvious advantage to play paradiddles with the feet.
The approach I have taken to render it an effective pattern, is to insert a beat in between the double of each paradiddle.
I believe this idea generates exciting rhythms,which can be combined in many ways. The basic paradiddle forms should be
practiced at rst, before inserting the extra beat.
Single Paradiddle
Double Paradiddle
Single Paradiddle with Insert
Double Paradiddle with Insert