A somewhat notoriously nameless rudiment, the Lesson 25 has been a staple of British and American drumming since at least the 18th century and possibly can date its origin back to the 1500s in the English Foot March.
Performed:
The Lesson 25 in 18th and early-19th century American Music:
Though unnamed, Isaac Day’s manuscript (c. 1797) calls it “a Stroke, a three stroke, and two strokes” in Gardner (c. 1788). Benjamin Clark doesn’t list it as a lesson for the drum, but – like the other two – utilizes Lesson 25s throughout his beatings.
These 18th century American manuals heavily use this drum rudiment to end phrases, particularly Single Paradiddle phrases, Flamadiddle phrases, and ending phrases. Additionally, we see the Lesson 25 used to build some common 2-bar phrases.
Early-19th century American manuals continue to heavily employ the Lesson 25 in the same manner.
While neither Ashworth (1812) nor Lovering (1819) name the rudiment, they both utilize it. Lovering includes Lesson 25s in most of his beatings, but doesn’t specify whether the strokes should be heavy or not. Ashworth uses the Lesson 25 in “Quick Step, or Long March” and shows the rudiment can begin with a flam and with a double accent in the final strokes.
Most commonly, the rudiment is called a Three and a Two, to describe the 3-stroke roll followed by two strokes. Robinson (1818) refers to a “Three and a Two” and a “Seven, Three and a Two” and Hazeltine (1810) a “A Seven, a Three and a Two”. In both cases, they note that the final strokes are hard strokes.
Rumrille (1817) refers to the Lesson 25 as the “Accent No. 1”, performed as a stroke, a drag, and two strokes. He is the only one to notate the rudiment as have a hard first and final stroke; the left hand after the drag is normal.
Rumrille also includes the “Accent No. 2” and “Accent No. 3” which are phrases commonly used in 18th and early-19th century drum beatings.
The Lesson 25 in 18th and early-19th century British Music:
This drum rudiment is never named or included as a rudimental lesson in British music; however, it plays a large role in the British duty calls as the foundation of the Scottish Reveille.
The Scottish Reveille is made up of ten separate phrases, most of which utilize Lesson 25-based phrase. Nearly the same British beating continues to be used by the Americans throughout the 19th century.
Rumrille’s Accent No. 1, No. 2, and No. 3 represent the phrases found in the Scottish Reveille, as well as major phrases used throughout American drum beatings.
The Lesson 25 in mid-19th century American Music:
Like Ashworth, neither Klinehanse (1853) nor Nevins (1861) name the rudiment, but they do use it in the Long March with the same double accenting pattern.
Similar to earlier manuals, Hart includes the “Full Three Roll and Two Half Beats” as well as the “Quick Three Roll and Two Quick Beats”, which seem to indicate Lesson 25s. More study is required to get a full sense of how Hart utilizes these rudiments and precisely what he means by the difference between them.
Bruce & Emmett (1862) doesn’t include the Lesson 25 as a proper rudiment, but does provide a compound phrase containing them that he notes is one that is “usually put in the beginning of the 2d part of a fancy Quick-step” (9).
Other drum manuals, such as Howe (1862) and Keach, Burditt, & Cassidy (1861), do not name this drum rudiment. More study is required to see whether they utilize the rudiment in practice.
Strube (1869) includes the Lesson 25 as his final lesson – No. 25, hence where the modern name comes from. He confirms that the major function of them is in the Scotch Reveille and in many quicksteps. His notation includes only an accent on the final stroke, much like Rumrille.
An important note on performing the Lesson 25:
Today we tend to think of the Lesson 25 as commencing on the beat on the drag (1e& 2e&). We have the Inverted Lesson 25, that places an accent on the beat (1 &a 2 &a).
The way nearly all the historic manuals talk about this rudiment is actually the modern Inverted Lesson 25. Day, Gardner, and Rumrille specially include a stroke at the beginning of the rudiment. Hazeltine and Robinson talk about the rudiment in terms of coming out of a roll, suggesting that initial tap. While Clark and Ashworth don’t provide a lesson for the rudiment, the way they use it is as an Inverted Lesson 25.
This tendency continues in the mid-19th century, where most of the Lesson 25’s use is to conclude longer phrases or comes after a 7-stroke roll. Strube’s instructions for performing the Lesson 25 shows this in practice.
This is not to say that the modern performance was never utilized. Rumrille’s Accent No. 3 shows the Lesson 25 played on the beat and off the beat; however, this rudiment is not actually found in any of his beatings except the Scottish Reveille. The compound phrase from B&E is particularly interesting because it shows the rudiment on the beat like the modern style; it also shows the rudiment as alternating, which other manuals usually do not allow.
The Lesson 25 in pre-18th century British Music:
Based on my interpretation of the English Foot March, the march may actually contain Lesson 25s in three of lines. Between Charles I’s Warrant (1633), the Douce MS (c. 1600-1650), and other resources, we have music that makes it possible to reconstruct the original English March.
Charles I’s Warrant provides substantial rhythmic clues, which shows two lines with a rhythm similar to the Lesson 25.
The Douce MS provides us with clues about the rudimental structure. In the position where the Warrant suggests a Lesson 25, Douce tells us to perform a Half Ruffe, a left stroke, and a right stroke. Based on my research, the Half Ruffe is most likely a right stroke and a right-hand drag.
Putting all this together, we see the Lesson 25 as a typical phrase in English marches dating to at least 1600. However, Charles I’s Warrant claims he is laying down notation for the original march, suggesting this is a perfect (or good) reproduction of a march dating to sometime in the 1500s.
For more information about the English March and my interpretation, check out my page on interpreting the English Foot March’.
The Lesson 25 in French Music:
We do not technically see the Lesson 25 in French Music; however, the French do have a rudiment known as the Raté Sauté de 3, which is structurally very similar.
The English Lesson 25 is usually interpreted as an eighth note followed by a 16th note drag, a 16th note left hand, and a final right hand. The drag’s grace notes are usually performed as 64th notes – so there is a lot of breath between the initial stroke and the start of the drag. The drag movement is tight and quick.
In the Raté Sauté de 3, on the other hand, the rudiment is technically four 16th notes. The second 16th note has been embellished and doubled to be two 32nd notes. If you played a Lesson 25 with a very open double stroke in the drag, you would be performing a Raté Sauté de 3.
More Info:
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