Spotlight on Maurice Draughn

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Check out Maurice’s T.I.P.P. instructional series for harp quartet.

We first met Maurice Draughn at a 1996 interview with Pat Terry Ross at Detroit’s famed Cass Techincal High School. We were impressed by the then high-schooler’s perfect hand position and affinity for studies from Method for Harp by Carlos Salzedo, a composer he now credits as an inspiration. It was no surprise to us when nearly 20 years later we got a call from Draughn to discuss listing his works on Harp Column Music. Now an accomplished professional player, Draughn has also been busy arranging classical and inspirational works for harp ensemble and other combinations. His latest project, the Theory in Practice and Performance series for harp quartet, provides much needed instructional repertoire for students at beginning through advanced levels. Read on for more about what inspires Maurice Draughn.

 

What kind of things do you like to arrange/compose?

I like to arrange and compose pieces for harp ensemble that expand the perception of the instrument. This also includes pieces for harp and other instruments such as flute, cello and voice. I also like to re-imagine pieces by established composers by using the harp in combination with other instruments.

 

What’s the arrangement/composition you’re most proud of?

My first arrangement —Three Preludes for Piano by George Gershwin arranged for two harps. I was surprised by the reception of the arrangement. It inspired me to pursue additional projects of arrangements and original works for harp ensemble.

 

What new works have you published recently?

I am excited about my new series for harp ensembles. The T.I.P.P. Series is a multi-level set of pieces that focuses on introducing harpists to theory concepts while providing them with performance pieces in an ensemble setting. Teachers can assign parts to students in their studio and then bring them together to form an ensemble for a studio recital. Each set also includes a worksheet that corresponds with the theory concepts covered in the music. The first two sets cover harmony and theory. An additional set is in the works.

 

Can you give us some background or details about any of the works you have listed on Harp Column Music?

There are a few that are derived from orchestral works. My concept of arranging orchestral works for harp ensemble is to explore the symphonic capabilities of the instrument. My arrangement of Le Tombeau de Couperin is an example of this concept.

 

Where do you look for inspiration?

I am inspired by live and recorded performances of works composed for various instruments besides the harp. The limitations of the harp also inspire me to arrange pieces for harp ensemble.

 

Are there any composers/arrangers who particularly inspire you?

I was initially inspired by the works of Carlos Salzedo and Benjamin Britten. The works of Igor Stravinsky and Alberto Ginastera also inspire me to “think outside the soundboard or box”.

 

What’s your most favorite harp work to play?

The Debussy Danses and Scintillation by Salzedo are probably the two most enjoyable pieces for me to perform.

 

What’s your most favorite harp work to listen to?

Sonatine for Harp by Marcel Tournier.

 

What other music do you enjoy listening to?

I enjoy listening to jazz. Some of my favorite jazz artists are Joshua Redman, Ella Fitzgerald and Gonzalo Rubalcaba.

 

What do you do when you’re not being a musician?

I like to travel and study architecture.

 

See all Maurice’s works on Harp Column Music.

 

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