Foundations — rimshot and cross-stick control Building a crisp, controlled backbeat voice using rimshots and cross-stick
• A consistent rimshot with even volume on every hit • Cross-stick technique with a clean, focused click • Switching cleanly between rimshot and cross-stick mid-groove Unlocks: The verse groove of Can't Stand Losing You at half speed
Heard in: Roxanne · Can't Stand Losing You · Driven to Tears
Leads to: Stage 2 — Core grooves — reggae-rock hi-hat patterns
5 part session · warm-up, build, push, apply · from 84 BPM
Core grooves — reggae-rock hi-hat patterns Playing busy, syncopated hi-hat patterns that still feel relaxed
Carries in from: Stage 1 — Foundations — rimshot and cross-stick control
• Off-beat hi-hat accents in a reggae-influenced pattern • Locking the hi-hat pattern with a simple one-drop-style kick • Keeping the pattern light and controlled even as it gets busier Unlocks: The hi-hat groove behind Walking on the Moon
Heard in: Walking on the Moon · Message in a Bottle · Driven to Tears
Leads to: Stage 3 — Signature techniques — syncopated ride bell
6 part session · warm-up, build, push, apply · from 76 BPM
Signature techniques — syncopated ride bell Using the ride bell as a syncopated, off-beat voice rather than a steady pulse
Carries in from: Stage 2 — Core grooves — reggae-rock hi-hat patterns
• Ride bell patterns that land on off-beats against a steady groove • Combining bell patterns with hi-hat foot chatter for texture • Keeping the underlying pulse rock steady while the bell syncopates Unlocks: The ride bell pattern driving Message in a Bottle's verse
Heard in: Walking on the Moon · Message in a Bottle · Don't Stand So Close to Me
Leads to: Stage 4 — Fills & transitions — splash accents
6 part session · warm-up, build, push, apply · from 148 BPM
Fills & transitions — splash accents Dropping splash cymbal hits into unexpected places for punctuation
Carries in from: Stage 3 — Signature techniques — syncopated ride bell
• Single splash hits placed on off-beats inside a groove • Splash-into-fill combinations that lead cleanly into a chorus • Restraint — using the splash sparingly so it stays a surprise Unlocks: The splash punctuation through Roxanne's chorus hits
Heard in: Roxanne · Can't Stand Losing You · Don't Stand So Close to Me
Leads to: Stage 5 — Advanced coordination — displaced snare and independence
6 part session · warm-up, build, push, apply · from 92 BPM
Advanced coordination — displaced snare and independence Moving the snare off the expected backbeat while keeping the groove danceable
Carries in from: Stage 4 — Fills & transitions — splash accents
• Snare displacement patterns that shift the backbeat by an 8th note • Four-limb independence with a busy hi-hat foot and displaced snare • Ghost notes filling the gaps left by the displaced backbeat Unlocks: The displaced backbeat feel in Driven to Tears
Heard in: Roxanne · Can't Stand Losing You · Driven to Tears
Leads to: Stage 6 — Song applications — Outlandos d'Amour and Reggatta de Blanc
6 part session · warm-up, build, push, apply · from 132 BPM
Song applications — Outlandos d'Amour and Reggatta de Blanc Putting the rimshot, hi-hat and bell vocabulary into full song form
Carries in from: Stage 5 — Advanced coordination — displaced snare and independence
• Roxanne's tense, tightly controlled groove and dynamics • Message in a Bottle's driving ride-bell verse groove • Walking on the Moon's spacious reggae-rock feel Unlocks: A full run-through of Message in a Bottle
Heard in: Roxanne · Can't Stand Losing You · Walking on the Moon
Leads to: Stage 7 — Advanced song studies — Zenyatta Mondatta era
6 part session · warm-up, build, push, apply · from 148 BPM
Advanced song studies — Zenyatta Mondatta era Faster tempos, tighter dynamic control and more intricate hi-hat work
Carries in from: Stage 6 — Song applications — Outlandos d'Amour and Reggatta de Blanc
• Don't Stand So Close to Me's tight, punchy groove at speed • Driven to Tears' displaced, urgent backbeat feel • De Do Do Do, De Da Da Da's deceptively simple restraint Unlocks: Don't Stand So Close to Me played through at full tempo
Heard in: Roxanne · Can't Stand Losing You · Walking on the Moon
Leads to: Stage 8 — Signature performances — Ghost in the Machine
6 part session · warm-up, build, push, apply · from 142 BPM
Signature performances — Ghost in the Machine Denser arrangements with saxophone and synth requiring even tighter restraint
Carries in from: Stage 7 — Advanced song studies — Zenyatta Mondatta era
• Spirits in the Material World's tight, minimal groove • Every Little Thing She Does Is Magic's driving but controlled feel • Invisible Sun's dark, restrained half-time groove Unlocks: Spirits in the Material World's groove locked in cleanly
Heard in: Roxanne · Can't Stand Losing You · Walking on the Moon
Leads to: Stage 9 — Challenge workouts — Synchronicity intensity
6 part session · warm-up, build, push, apply · from 138 BPM
Challenge workouts — Synchronicity intensity Full-band intensity with intricate hi-hat and bell work sustained under pressure
Carries in from: Stage 8 — Signature performances — Ghost in the Machine
• Synchronicity II's driving, urgent groove at tempo • King of Pain's tom-and-cymbal orchestration • Wrapped Around Your Finger's tense, spacious restraint Unlocks: Synchronicity II played through with no drop in intensity
Heard in: Roxanne · Can't Stand Losing You · Message in a Bottle
Leads to: Stage 10 — Mastery — beyond The Police
6 part session · warm-up, build, push, apply · from 150 BPM
Mastery — beyond The Police Applying reggae-rock intricacy and restraint to any material
Carries in from: Stage 9 — Challenge workouts — Synchronicity intensity
• Improvising syncopated hi-hat and ride-bell patterns over new grooves • Applying rimshot and cross-stick voicing to unfamiliar songs • Free improvisation balancing intricacy with dynamic restraint Unlocks: Improvising a Copeland-style groove and fill over any song on request
Heard in: Walking on the Moon · Message in a Bottle · Driven to Tears
6 part session · warm-up, build, push, apply · from 130 BPM
