Chords for Stewart Copeland masterclass

_ _ _ _ _ [Dbm] Keen to help Alad get [A] over his drumming crisis,
[Ab] Eriks organized a masterclass with one of the most famous drummers in the world. _
_ _ [Ebm] _ _ _ Stuart Copeland from the police created a [Ab] unique drum sound by fusing rock
with other very different styles of music.
_ [Dm] _ _ _ _ [A] _ _
_ _ _ _ _ _ _ _
_ _ [Bb] _ _ _ _ _ _
_ _ Stuart shows Alad the amazing skill he uses on [E] the classic police song,
Can't Stand Losing You.
_ It's _ _ [D] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [A] _ _
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ _ _ _
_ _ amazing.
_ _ Stuart begins by checking out Alad's basic drumming technique
by arranging a little jam with him. _ _
_ Bada do do bada do do bada do do bada _ _ _ _ _ [A] _ _
_ [E] _ _ _ _ _ [A] _ _
_ [C] _ _ _ _ _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ _ _ _
_ _ [A] _ _ _ _ [E] _ _
_ _ [A] _ _ _ _ [E] _ _
_ _ [A] _ _ _ _ _ [Abm] _
_ _ do do
Ok, that's good, you got that.
[C] I should be practicing that a lot, shouldn't I?
I told you that.
Ok, let's work on a song that you're actually going to_
What's the Led Zeppelin song?
We're talking about rock _ _ _ _ and roll.
For me, that's going to be hard.
Your right hand is going to get really tired
and the main thing about that right in there, yeah,
is to just relax.
And relaxing is what it's all about.
And also before the gig, _ do your exercise.
Eat your Wheaties and do your_
Because the more you relax, _ the less gas you have to burn.
_ _ [G] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [A] _
_ _ [C] _ [A] Stuart notices Alad's big flaw.
[E] _ _ _ _ _ _
_ _ [A] _ [Ab] Lonely, lonely, lonely _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [B] _ _
_ [A] _ _ _ _ _ _ _
_ [E] _ Cool. _ _ _ _
_ _ We didn't go through the whole song.
But the thing that I can see that you're _
_ burning so many calories
because all up your shoulder is _ like_
[F] _ _
_ _ Just _ _ loosen _ up and it'll be a lot easier.
It's a full on song, isn't it?
It's a full on song.
The thing is that the whole song is a lot longer than that.
You know there's an expression
which is to play outside your instrument.
And what that means is that you're not in here
thinking, okay, I will now strike the snare drum
followed by an execution of the bass drum.
You're not thinking.
You're focusing on the rest of the band.
And guess what?
Your hands actually work better that way. _ _
It's like the old thing of the, you know,
ask a _ centipede how he walks and he's going to trip.
You know? _
As soon as he starts thinking about it,
oh my God, a hundred legs, you know?
And so it's the same thing.
You get outside your [Ab] instrument
and everything will come more naturally.
I mean, it's really interesting
that you've actually been able to crack the basis of it.
Thanks.
_ Cool, man.
Good luck.
Really, really brilliant to meet you.
All right.
Cool.
I hope you have a good show.
It's incredible.
It's like every time I see Eric play, it's incredible.
You know, and it's like because you aspire to be anything
or like one eighth of as good as they are.
But _ I'm just happy that, you know,
I didn't expect him to be so amenable
and so kind of up for it.
And, you know, he doesn't give lessons to anyone,
he was saying to me.
No one at all.
He won't do master classes with anyone in the world.
He has to do one lesson a year in LA
and he hates doing it.
And he's come here
and he's like given so much of himself, you know?
Yeah.
I definitely feel more kind of _ _ energetic about it now.
Like I feel like I want to attack the drums a lot more
than just kind of, you know, sit behind them.
I feel like I, [N] you know, I really can't.