The Drag – also referred to as the 3-stroke roll or Half-Drag – also appears to be a universal rudiment. The history of drag rudiments suggests it is probably the oldest numbered roll, though more evidence is required to say that with authority.
Performed:
The Drag in English Music:
Early use of the Drag
Arguably, the Drag can be found in the Douce MS (see my discussion on the half and whole Ruffe in the Douce MS and the English March).
In The Young Drummer’s Assistant (c. 1780), they appear as “Draggs” and frequently occur throughout the camp duty.
Issac Day calls them a “Dragg”, while Gardner and Ben Clark name them a “3-Stroke”.
The drag is utilized throughout in marches as part of the Lesson 25, Double Drag, and Single Drag, though rarely as an independent thought.
later use of the Drag
Moving into the 19th century, more names appear for the Drag. The British appear to continue the name “Drag”, as seen in Potter. The Americans, however, use the name “Half Drag”. Ashworth (1812) and Rumrille (1817) first use this name, which continues with Klinehanse (1853), Nevins (1862), and Bruce & Emmet (1862). This name is in reference to another, extinct, rudiment called the “Full Drag”.
The name “3-stroke roll” remains popular throughout the 19th century. Hazeltine (1817) and later Howe (1862) and Hart (1862) use the name 3-stroke roll. During the American Civil War, the name “Ruff” begins to replace the name Drag.
Keach, Burditt, & Cassidy (1862) refer to drags as “Ruffs”. Likewise, Bruce & Emmett refer to “The Ruff” and later to “The Half Drag”, without defining any clear distinction between the two (7). Later, Strube (1869) uses “Ruff” in his 25 lessons.
It certainly seems easy to understand the American shift from Drag to Half Drag. The use of the term 3-Stroke Roll is also clear from the structure of the rudiment and possibly from French influence over the American army. While the term Ruff appears to be adopted out of the blue in the mid-19th century, the term “Ruff” or “Ruffle” actually has a long history of military use for rolls.
The Drag in French Music:
Because of their nature as a short roll, the French refer to Drags as Le Ra de 3 Coups, or the roll of 3 strokes.
A translation of Philidor’s drum beatings shows a wealth of drags utilized throughout his manuscript. They are easily identified based on its specific structure of two 32nd notes (or two 64th notes) leading into a single stroke.
Drags are also used in one 1754 ordonnance, L’Appel, and appear in later ordonnances as Double Drags and Single Drag in different reveille beatings.
Drag Variations
Since the Drag is such an old and simple rudiment, over the history of the drag other rudiments have incorporated the drag to create roll-like movements and unique effects.
As we will discover, some of these variations appear to be quite old and nearly universal. Some of these variations are unique (or mostly unique) to specific nationalities.
As I have the opportunity to, I will add more research on distinct rudiments. For now, explore these options:
Do you have any questions or observations about performing the Drag in an historic manner? Contact me.