virgil donati feature drumscene magazine 2010

7/13/2019 Virgil Donati Feature Drumscene Magazine 2010

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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 greatsuccess 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 thereforerelate 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 prolific for so many years - is it

difficult for you these days, to find musical projects

that inspire your creativity?

No, not at all. These days, one of my biggest sources

16 D R U Ms c e ne I s s ue 6 2

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 first, Virgil and Drumscene have banded

together to marry education and performance, publishing a specially

compiled clinic tour educational handout and sound supplement, forVirgils national Assault Downunder Tour.

This November, Virgil will take fans through some of his unique and

practical concepts first-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 outfit - SEVEN THE

HARDWAY (STH).

Interview By Ray Deegan


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Artist set ups can change regularly.

VIRGIL DONATITECH 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 gratification 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 physicalapproach 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 whatgoals 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 find 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 find that very fulfilling.

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 significance 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 difficult 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 influence, 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 t hings 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 finding 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 canbecome quite difficult 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 find

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 film

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 Hats17 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-2000I Tom 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


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ARTICLE

VIRGIL DONATI - Assault Down Under TourCOMPILATION 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 firmly 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 2:34Bass: 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 HoekstraBass: Ric Fierabracci

4. Micronesia- From Planet X Moonbabies Donati 5:58

5. Midnight Bell 3:58 Mixed by Simon PhillipsBass: Jimmy Johnson

Guitar: Tony MacAlpine Keyboards: Derek Sherinian

*6. 6/8 Drum Ghee90 bpm - Solo Drums 1:50

7. Desert Girl- From Planet X Quantum Donati 6:04Re-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

6:05Mixed by Bernie Torelli, Bunny Brunel, Tony MacAlpine Bass:

Bunny Brunel Guitar: Tony MacAlpine Keyboards: Patrice Rushen

9. The PubMacAlpine 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. Ant artica -Bass & Drums Mix 2:57Mixed and Mastered by

stevescanlon.com Bass: Jimmy Johnson Keyboards: Derek Sherinian

Guitar: Brett Garsed

*13. Seven Five (sixteenths)- Bass and Drums 1:39Bass: Doug Shreeve

*14. Seven Five (triplets)- Bass and Drums 2:05Bass: Doug Shreeve

*15. Groups Of 5100bpm - Solo Drums 1:02

*16. Groups Of 5160bpm 0:41



19. The Puppeteer (sample only) CAB Theatre De Marionettes 2:40

20. Theatre De Marionnette s - Minus Drums 6:07

21. T he Pub- Minus Drums 4:25

22. Guilty- From Seven The Hardway Donati/Boals 4:18Mixed by Roy Z

Guitar and Bass: Tony MacAlpine Vocals: Mark Boals

23. C oming 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


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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


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ARTICLE ARTICLE

GUILTY - Drums 4GUILTY - Drums 3


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HALF PAGE AD

QUARTER

PAGE AD

QUARTER

PAGE AD

26

26 D R U Ms c e ne I s s ue 4 9

GUILTY - Drums 5


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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.


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Layering Grooves In Zones - 2

SEVEN - FIVE (Triplets)

Now I combine the seven and five groupings. In the first four measures I play the sevens

in the right zone, and the fives in the left zone. From measure five to eight, I reverse the

parts, and play fives 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 fives 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 fives etc.

Examples 1 & 2 should be mastered feeling the 4/4 pulse before you try to combine them.

Groups Of Five

Groups Of Seven


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Layering Grooves In Zones - 3

SEVEN - FIVE (Sixteenths)

Here is the same combination of seven and five 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 GrooveIn 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, theright floor-tom in place of the x-hat, and the left hand on the left floor tom.


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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 significant 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 DONATISDOUBLE BASS DRUM FREEDOM

CHAPTER 8 - Developing Paradiddles With The FeetThe Paradiddle will further enhance your proficiency on the pedals, but apart from the technical benefits, 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 co mbined in many ways. The basic paradiddle forms should be

practiced at first, before inserting the extra beat.

Single Paradiddle

Double Paradiddle

Single Paradiddle with Insert

Double Paradiddle with Insert

virgil donati feature drumscene magazine 2010

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