Stewart Copeland

A hard, precise rimshot used as the main backbeat voice, cutting through the mix

Practise: Practise finding the exact rim-and-head contact point slowly before adding tempo

Comes out of: Stage 1 — Foundations — rimshot and cross-stick control

Heard in: Roxanne · Can't Stand Losing You · Don't Stand So Close to Me

Using cross-stick as a primary groove voice rather than only for quiet verses

Practise: Play a full groove using cross-stick throughout, focusing on a consistent click tone

Comes out of: Stage 1 — Foundations — rimshot and cross-stick control

Heard in: Roxanne · Can't Stand Losing You · Driven to Tears

A busy, syncopated hi-hat pattern with off-beat accents borrowed from reggae and ska

Practise: Loop the pattern slowly with a metronome on 2 and 4, exaggerating the off-beats first

Comes out of: Stage 2 — Core grooves — reggae-rock hi-hat patterns

Heard in: Walking on the Moon · Message in a Bottle · Don't Stand So Close to Me

A ride bell pattern that emphasises off-beats, giving Message in a Bottle its urgency

Practise: Play the bell pattern alone first, then layer in the snare and kick underneath

Comes out of: Stage 3 — Signature techniques — syncopated ride bell

Heard in: Message in a Bottle · Every Little Thing She Does Is Magic · Synchronicity II

A single splash hit dropped on an unexpected beat to punctuate the groove

Practise: Play a steady groove and insert one splash hit in a different spot each pass

Comes out of: Stage 1 — Foundations — rimshot and cross-stick control

Heard in: Roxanne · Can't Stand Losing You · Don't Stand So Close to Me

Shifting the snare backbeat off beats 2 and 4 by an 8th note while keeping the groove danceable

Practise: Play the groove with the snare on the displaced beat, counting out loud until it locks

Comes out of: Stage 2 — Core grooves — reggae-rock hi-hat patterns

Heard in: Walking on the Moon · Driven to Tears · Don't Stand So Close to Me

A sparse kick pattern inspired by reggae's one-drop, leaving space for the hi-hat to lead

Practise: Practise the kick pattern alone first, resisting the urge to add extra kicks for support

Comes out of: Stage 2 — Core grooves — reggae-rock hi-hat patterns

Heard in: Walking on the Moon · De Do Do Do, De Da Da Da · Spirits in the Material World

Playing fast punk-influenced tempos while keeping dynamics tight and controlled

Practise: Play a fast groove at low volume first, only gradually increasing intensity

Comes out of: Stage 1 — Foundations — rimshot and cross-stick control

Heard in: Roxanne · Can't Stand Losing You · Don't Stand So Close to Me

Using toms and cymbals together to build tension, as in King of Pain's arrangement

Practise: Map out a short orchestrated figure across toms and a splash, then insert it into a groove

Comes out of: Stage 4 — Fills & transitions — splash accents

Heard in: Roxanne · Every Little Thing She Does Is Magic · Synchronicity II

A rapid, controlled hi-hat foot chatter used as a textural layer under the hands

Practise: Practise the foot chatter alone at a slow tempo before layering hands on top

Comes out of: Stage 2 — Core grooves — reggae-rock hi-hat patterns

Heard in: Walking on the Moon · Message in a Bottle · Don't Stand So Close to Me