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Home , Brett Garsed, Bunny Brunel, Jimmy Johnson (bassist), Mark Boals, MoonBabies, Roy Z

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 (, , , ) 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 Interview By Ray Deegan ‘ASSAULT DOWNUNDER’ 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 we’re always working to deadlines. Mark practically re-invented his singing style to sit with the music. It was hard work, but I think the This November, Virgil Donati will return home for a long anticipated results are there. This band sounds like it has the potential to attract Australian Clinic Tour. After a decade of return OZ tours with some of a more commercial audience – is that the intention musically? the most amazing musicians and collaborations, Virgil’s vast and loyal I really think that adding the human voice as an fan base will be treated to a clinic tour of monumental proportions! instrument will naturally attract an audience that may not be interested in purely instrumental music. In a history making first, Virgil and Drumscene have banded The extraordinary power of the human voice is undeniable. The fact that it’s an instrument we’re all together to marry education and performance, publishing a specially in possession of, and that the message it carries is far more accessible to the general public may have compiled clinic tour ‘educational handout and sound supplement’, for something to do with it. The masses can therefore Virgil’s national “Assault Downunder Tour”. relate to it, and the potential to be drawn in by vocal music is far greater. But the primary intention of the This November, Virgil will take fans through some of his unique and band is to play rock music with a progressive edge to the best of our abilities. practical concepts first-hand in a presentation like no other. How do you view STH as a musical vehicle for your expression and playing? It obviously marries genres So in anticipation of this fantastic event, and to bring fans up to that people best know you for, but it’s still different speed, Drumscene caught up with Virgil recently to talk about life, again? I try not to place restrictions on my musical expres- drumming and all things musical! sion. I think this is a departure from the type of projects I’ve produced in recent times, but I enjoy With several new projects on the make, I started by asking him laying it down hard and heavy at times. Having said that, there are some ‘moments’ on this record. It about the commercially creative outfit - SEVEN THE takes a few twists and turns occasionally. Having been so prolific for so many years - is it HARDWAY (STH). difficult for you these days, to find musical projects that inspire your creativity? No, not at all. These days, one of my biggest sources

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. 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. That’s 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. He’s an incredible talent. 16 DRUMscene Issue 62 of inspiration comes from recording in my studio. I “If your standards are high, So it’s about the balance between improvisation I’ve written for the ‘Assault Down Under Tour’ in this writing some great material. I’ve also just started with the best in the business. I always enjoy hang- love the recording process, no matter what project I the effort and output required and the absolute exactitude of the execution of issue, you can get a good indication of the very ideas work on a special project with a great Indian film ing out with Bunny. He’s quite the storyteller. I just may be working on, or whatever the style of music. never diminishes. The nature printed ideas? that I’m working on in my practice. You can also see composer, Sandeep Chowta. That band will feature played on a track for the amazing Australian guitarist There’s something about hitting that record button, In a way yes. When you improvise it is presupposed how these ideas can be expressed musically in the Sandeep, a great Indian guitarist, Tony Das, as well . He’s currently working on a new solo which demands the best performance you can give. of drumming is quite physical, that you take risks and can’t foretell results. But transcriptions of the songs, and of course, you can as Charles and Doug from my band and also John record. called and asked for me to There’s a sense of gratification that comes from com- and it demands a lot of focus there is also an element of our repertoire, or our hear it in context of the music on the CD ... Daversa on trumpet. John is an impressive player, be involved with his next recording. There are some pleting a track to your satisfaction. Of course, hind- and energy to stay sharp. inventory of ideas that will naturally surface in our …Which pre-empts my next question. You have a and composer. He has a contemporary big band here orchestration and arranging gigs coming in which sight can sometimes change your perspective, and playing, even if spontaneously, and it’s the bending special educational handout that has been pub- in LA, and when they play, it’s one of the few times I really enjoy. So all in all just trying to create and your enjoyment can be totally shattered (Laughs). However, what feels different of these ideas to suit the moment, and to weave in lished in this issue of Drumscene to coincide with I’ll actually make an effort to see a band live. We interpret music, and obsessed with making beautiful Sometimes I’ll just record some ideas I’m developing now, is that the effort is and around the improvisation that creates this bal- the tour. Can you give a synopsis of these exercises will be touring India in January, and subsequently sounds that will communicate with the audience. with my practice, and that can be a big help. You ance. It becomes the improvisation. For example, on and what can be achieved by mastering their use? recording. There are also plans for a new CAB live www.seventhehardway.net can listen to playback and get the audience perspec- nourishing, both physically the included CD, the tracks Groups of Five, Groups Firstly, there is a complete transcription of the debut DVD recording. That’s with the legendary Bunny www.virgildonati.com tive. It’s a great way to enhance your practice. and for the soul.” of Seven, Seven–Five Sixteenths and Seven-Five STH single ‘Guilty’. There are a few random selec- Brunel on bass, a wonderful player, who’s played Being someone who has such a strong physical Triplets are set in stone. I’m playing ideas as written, tions from my ‘Double Freedom’ book, approach to playing and life in general – what and it’s in the straight 4/4 sections in between the which I will demonstrate at the events. I’m including physical challenges do you face as the years pass? layered grooves that I’m interacting with the bass. transcriptions of parts from various tracks off the VIRGIL DONATI I mean, is it harder or easier to maintain your high On the other hand what Doug is playing is impro- CD, which I will also play on the tour. Hopefully TECH SPECS physical standards based on how you’ve trained attention at various times shifts from the physical vised in reaction to my set parts. Whereas on the these will help bring a deeper understanding of some yourself your whole life? and mechanical challenges drumming confronts us improvised Drum Butter and 6/8 Drum Ghee, you of the parts I’m playing on these tracks. I decided If your standards are high, the effort and output with, to the musical and rhythmical challenges, and may hear similar layered grooves that appear spon- to include one of the most recent concepts I’ve required never diminishes. The nature of drumming eventually we learn to respond and interact with taneously and while one layer is a set idea, the other been working on, and that is creating grooves from is quite physical, and it demands a lot of focus and other players. It is a drawn out process. Now, for is totally improvised. But then, even the zone play- polyrhythms, and really making them swing. The energy to stay sharp. However, what feels different me it’s about trying to find the balance between ing the set layer will switch spontaneously, so you idea I chose is based on stacking various groupings now, is that the effort is nourishing, both physi- feelings and ideas. Feelings are the central force in see what I mean? Things are bending and morphing in a very musical way. It can give you a perspective cally and for the soul. It almost takes on a spiritual generating great music. By feelings I mean not only at will. It will sound different every time, at times, on ways to think outside the box, and how there is quality. Also, remarkably, I feel I’ve reached a point ‘Feel’, but also spontaneity, improvisation. Ideas are more exciting than others. That’s the spirit of improv. so much to discover in the world of rhythm. The where I can walk away from it, take a short break preconceived. The ability of being able to unite these You’re considered by many as a ‘modern pioneer’ ‘Layering Grooves’ section is very deep. I absolutely and actually feel in full possession of my faculties qualities is always a work in progress. I don’t think – there’s no argument that you’ve broken new love this concept, and I’m finding more applications when I sit behind a kit again. That was never the there is ever an end to that process. ground in the last 20 years. How do you view what for it. The combinations you can compose are end- case. In fact, even a rare day away from the instru- So that’s on the drumming level. In terms of gen- you’ve managed to achieve – the success, respect less, and this is just one of many possible examples. ment was enough to make me feel divorced from eral achievements, I’m concentrating on composing and recognition you have earned through your These are the things I’ve been talking about through- my creative purpose, and for the cobwebs to set in. music that will extend my rhythmic skills and put contribution? out this discussion, put into practice. Considering how much you’ve achieved – what them to the service of music. I really enjoy bring- Creative activity is not just personal. As I said earlier, It’s been a long time since you last conducted pure- goals do you set yourself these days? What achieve- ing life to new ideas, and involving the talents of it has the potential to penetrate the depths of our ly a drum clinic tour of - you’ve mostly ments/ambitions do you strive toward or still wish the amazing musicians I’m working with. Everyone being and make spiritual connections. I like to call it toured with bands in the last 10 years. Is there a to attain? brings a unique talent and personality that shapes the Art of Art. It may seem strange to say, but I feel a certain degree of excitement and anticipation that It takes years for the creative process to evolve. Our the sound. I find that very fulfilling. responsibility. That’s what I mean by it just not being comes with touring your home country and being personal. The significance it brings to me and the welcomed by a home crowd? PEARL REFERENCE PEARL HARDWARE CONT. recognition is not a factor. I feel a responsibility that It’s always a thrill for me to return to the mother- 22”x18 Bass Drum w/o Tom Mount DR-501C Bridge Rack 10”x08 Tom (for Air Tom) 2 x DR-501CE Drum Rack Extension is more far reaching than any personal approval. I’m land, and perform there. There’s a connection to 10”x09 Tom RJ-50 Mini-Extension Bar just trying to rid myself of the shackles of traditional home that you just can’t break, even after 14 years 12”x09 Tom 7 x PCX-100 Pipe Clamps thinking, and get on with the future. of living abroad. I try to keep calm and focussed, as 13”x10 Tom (for Air Tom) 10 x PCX-200 Pipe Clamp Is there still new ground to break? Are there new I do on any tour around the world, but in Australia, 14”x14 Floor Tom PCL-100 Pipe Clamp for leg discoveries to be made in drumming? I always feel an underlying anxiousness, a desire to 16”x16 Floor Tom TH-2000 Tom Holder (long) 18”x16 Floor Tom 3 x TH-2000I Tom Holders (Long) It’s very difficult to predict the future. I think in want to give more than I can. I’m not sure where 3 x TH-2000S Tom Holder(Short) drumming, as in all the arts, there is always the that stems from, but hopefully I will deliver the best SNARE DRUMS 3 x CH-2000 Cymbal Holder promise of new vision and direction. Sometimes the of what’s possible for me on the upcoming tour. VG1450 14”x5 8 Ply Composite Shell 5 x CH-1000 Cymbal Holder art world can lose its way, and at times artists may Before you reach Australia in November you have a M1040 10”x4 Sopranino Snare 2 x AX-38 Adapter 1 x AX-25L Adapter not be able to identify, and it stimulates a shift of busy schedule – can you talk about the other musi- SABIAN CYMBALS 1 x CLH-1000 Closed-Hat perspective and values. I feel now that we are set- cal projects you’re maintaining aside from SEVEN 18” HHXtreme Crash 2 x UX-80 Universal Clamp tling into this century, a new sense is struggling to THE HARDWAY? 16” Saturation Crash 2 x TX-100 Tube Extender be born in many hearts and minds. For me person- I’m involved with quite a few projects, and it can 14” AAX Stage Hats ally, it’s about always looking forward. Also, one’s become quite difficult to juggle everything at times. 17” Saturation Crash REMO HEADS 18” Saturation Crash Ambassador clear on all toms both on top batter side and cultural context may have a strong influence, and I’m producing some new tracks of mine, featuring 12” HHX Mini Hats mounted on CLH100 x-hat bottom resonant side. inspire a sense of direction. But the key is to keep some great players, including Dennis Hamm and 20” or 21” Legacy Ride Ambassador clear on batter side of bass drum with clear searching. We can’t afford to be complacent and Jeff Babko on keys, Raphael Moreira, Brett Garsed 19” Saturation Crash PS3 on the front resonant side. think that the present condition is all that exists or and Charles Altura on guitar, Doug Shreeve and Tom 14” AAX Mini Chinese Coated Emperor-X on main (VG1450) Virgil Donati 12” HH Mini Hats mounted on remote stand pedal to the Signature snare drum and Coated Ambassador on (M1040) will exist. If there was no new ground to break, then Kennedy on bass. I don’t know if any of the tracks right of BD pedal. Sapranino Snare. we should just throw in our sticks now. We need to will have surfaced at the time of this publication, keep the momentum moving forward. but they will be available for download from my HARDWARE VATER STICKS Ok, that’s a broad, philosophical answer, but in site in the near future. I’m quite inspired by the P-2002B Drum Pedal + Blue Cams (w/PS-85) Assault - Virgil Donati Signature model more practical terms, what kinds of things are you new line up of my band, which features some of S-2000 Snare Stand D-1000 Drum Throne developing in your personal practice, to achieve the the greatest young players in LA. Doug Shreeve on H-2000 Hi-Hat Stand +Blue Cam possibility of bringing form to these visions? Bass, Dennis Hamm on keys, and Charles Altura, RH-2000 Remote Hi-Hat +Blue Cam Firstly, it’s important to remind the young, inexperi- on guitar. They’re all stunning players. I hope to find DCL-300 Drop Clutch enced drum students not to bypass the fundamen- time to tour this band in the near future, but for now tals. We must build a strong foundation, and then we’re just gigging in the LA. I’m currently working Artist set ups can change regularly. move forward from there. If I refer you to the charts on tracks for Tony MacAlpine’s next solo record. He’s Issue 62 DRUMscene 19 VIRGIL DONATI - Assault Down Under Tour COMPILATION CD TRACK LIST

*1. Abstract Pocket - Bass and Drums 2:34 Bass: Doug Shreeve 12. Antartica - Bass & Drums Mix 2:57 Mixed and Mastered by stevescanlon.com Bass: Keyboards: 2. The Great Og - From Joel Hoekstra “The Moon Is Falling” Hoekstraa r3:45ticle Guitar: Brett Garsed 3. The Moon Is Falling 3:58 Guitar: Joel Hoekstra Bass: Ric Fierabracci *13. Seven Five (sixteenths) - Bass and Drums 1:39 Bass: Doug Shreeve 4. Micronesia - From Planet X “Moonbabies” Donati 5:58 *14. Seven Five (triplets) - Bass and Drums 2:05 Bass: Doug Shreeve 5. Midnight Bell 3:58 Mixed by Bass: Jimmy Johnson *15. Groups Of 5 100bpm - Solo Drums 1:02 Guitar: Tony MacAlpine Keyboards: Derek Sherinian *16. Groups Of 5 160bpm 0:41 *6. 6/8 Drum Ghee 90 bpm - Solo Drums 1:50 *17. Groups Of 7 120bpm 1:13 7. Desert Girl - From Planet X “Quantum” Donati 6:04 Re-mix with re-recorded Drum/Rhodes Mixed by TJ Helmerich Bass: Jimmy *18. Groups Of 7 180bpm 0:50 Johnson Guitars: Allan Holdsworth, Brett Garsed Rhodes: Dennis Hamm 19. The Puppeteer (sample only) CAB “Theatre De Marionettes” 2:40 8. - From CAB “Theatre De Marionettes” Brunel 20. Theatre De Marionnettes - Minus Drums 6:07 6:05 Mixed by Bernie Torelli, , Tony MacAlpine Bass: Bunny Brunel Guitar: Tony MacAlpine Keyboards: 21. The Pub - Minus Drums 4:25

9. The Pub MacAlpine 4:23 22. Guilty - From Seven The Hardway Donati/Boals 4:18 Mixed by Roy Z Bass: Bunny Brunel Guitar and Keyboards: Tony MacAlpine Guitar and Bass: Tony MacAlpine Vocals: Mark Boals

*10. Drum Butter - Solo Drums 3:48 23. Coming Home - From Soul Sirkus “World Play” Schon/Soto 3:57 Mixed and Mastered by John Ellis Bass: Guitar: Neal 11. Antartica - From Derek Sherinian “Molecular Heinosity” Donati/ Schon Vocals: Sherinian 5:26

*ALL SOLO DRUM AND BASS AND DRUM TRACKS MIXED BY TJ HELMERICH

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 what’s possible. Some of the transcriptions are featured on the included CD. There are selections from my ‘Double Bass Drum Freedom’ book, and I’ve 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 it’s important to keep moving forward, to keep searching for new and engaging ways of expressing ideas. That’s why I’m sharing these concepts with you. This is what keeps me inspired and motivated on the drums.

DRUM KEY GUILTY TRANSCRIPTION

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). It’s a 3 measure phrase, which repeats 4 times. I play a GUILTY - Drums 2 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 article article Drums Seven The Hardway Virgil Donati GUILTY - Drums 3 GUILTY - Drums 4

article article GUILTY26 - Drums 5

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26 DRUMscene Issue 49 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 ainterestingrticle counterpoint.

MEINL Layering Grooves In Zones Layering Grooves In Zones - 2 By dividing parts between the left and right zones, you can create some amazing, pulsating SEVEN - FIVE (Triplets) rhythmic shapes. In this example, the ultimate aim is to combine groups of fives and sevens, Now I combine the seven and five groupings. In the first four measures I play thesevens while keeping control of the 1/4 note pulse. This is the challenge. Feeling the pulse is what will in the right zone, and the fives in the left zone. From measure five to eight, I reverse the anchor it and make it groove, so don’t forget to count. parts, and play fives in the right zone, and sevens in the left zone. Notice that when I Of course you can create groupings of your own, including threes and fours, fours and fives etc. make the transition, the right hand moves to the x-hat (on my right), and the left hand Examples 1 & 2 should be mastered feeling the 4/4 pulse before you try to combine them. moves from the piccolo to the main snare. Groups Of Five

Groups Of Seven Layering Grooves In Zones - 3 4 - 5 - 6 - 7 Groove SEVEN - FIVE (Sixteenths) 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 Here is the same combination of seven and five phrased as sixteenth notesinstead of of my favorite ideas, combining 4, 5, 6 and 7 beats and making it groove. It goes without triplets. Changing your thought process from triplets to sixteenths will inevitably mean saying that this requires a good understanding of polyrhythms. Firstly I have isolated it’s you will have to re-learn the feel, even though the patterns remain the same. individual parts for clarity, and then combined them in two variations (Ex. 5 & 6) For this variation, I have written it without reversing the parts after four measures, instead I like to apply this using various sound sources. As written, I’m using the feet on the main just playing it through to the end of measure seven, which is where the seven grouping hi-hats, and cable hats, the right hand on an x-hat, and left hand on snare. For a big completes the cycle. powerful sound, the second option is to substitute the bass-drums for the hi-hats, the right floor-tom in place of the x-hat, and the left hand on the left floor tom. CHAPTER 8 - Developing Paradiddles With The Feet The 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 combined in many ways. The basic paradiddle forms should be EXTRACTS FROM VIRGIL DONATI’S practiced at first, before inserting the extra beat. DOUBLE BASS DRUM FREEDOM Single Paradiddle 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 can’t rely on a constant streama ofr notesti ascle an anchorintroduces a significant independence factor. article However, once we develop this important skill, it can open the doors to creative expression with the double bass drums.

3 Stroke Singles

Single Paradiddle with Insert

5 Stroke Singles Double Paradiddle

5 Stroke Singles in 4/4

Double Paradiddle with Insert