DOUBLE DRAG & STROKE

Just like the progression from Drag to Single Drag Tap, the Double Drag Tap is simply adding one more single drag to the Single Drag Tap.  This rudiment is written and interpreted in a few different ways, but the foundation that they all have in common is two single drags on the same hand followed by an accented stroke. More often than not, you will encounter this rudiment in either the 6/8 time signature, or any triplet based passages.  Like the Single Drag Tap, the taps in the Double Drag Tap are often played with tiered dynamics, attempting to lead the ear towards the accented stroke.

In the same way as the ratamacue progresses from single through to triple, the double drag and stroke does the same.  Two drags are played either open or closed on the same hand, followed by a single acented stroke on the opopsite hand. Not an overly common rudiment across the Royal Marines but can be found within many solos, study pieces and exercises.

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The Double Drag Tap is often used in Reveille compositions and therefore in Swiss literature linked to the “Reveille Rudiment Family.” As all Reveille strokes, it is a combination of double strokes which are played piano and major strokes with forte accents to profile the rhythm and characteristic of the rudiment. The Double Drag Taps starting tempo is 60 quarters per minute and after continuous accelerating it ends with a tempo of 104 (quintuplet).  In the final tempo, the grace notes can be played in three different styles:

– Evenly spaced and hence aim for a triolic sound

– a small pause before the grace notes and therefore aim for a “swing” (mostly played like this at Swiss drum competitions)

– bind the grace notes to the following main stroke, aiming for a very neat style

For all three different styles, the rhythm of the main strokes must be respected.

 In Swiss drumming, the Double Drag Tap often occurs in traditional Reveille compositions, which have been often used in the past for military reasons.

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