About the T.I.P.P. Series
This piece is part of Maurice Draughn’s T.I.P.P. Series (Theory in Practice and Performance), a multi-level set of instructional and performance pieces designed to introduce student harpists to the fundamentals of theory – harmony and rhythm. The pieces contained in each set may also be used as performance pieces in the form of a suite or stand-alone work. The concept for the T.I.P.P. Series arose from the composers’ interest in creating works for students in the H.I.P.P. program (Harp Instruction and Performance Program), an afterschool program that introduces young learners to the harp. Students were able to build their knowledge of theory as they developed technique on the harp. Each piece has “free-style fingering” which allows the instructor to craft fingering conducive to the level and physique of the student.
About Musical Meters
“Anomaly” utilizes mixed meter and a double harp choir effect. The piece begins with a processional of bell tones leading into the chorale. The chorale is performed antiphonally between two harps while the remaining harps interject a short response between each phrase of the chorale. The piece continues with an interlude of ostinatos that provide an ethereal effect over the returning chorale. Eccentricity is derived from the eccentric nature of asymmetric meter. The rhythmic drive of the piece is highlighted through the shifting of groups between meters. “Eccentricity” has a charming melody that is played over an accompanying drone. The piece includes sound effects that enhance the accompaniment figure. “Synchrony” was composed using polymeter and polyrhythmic devices. The piece begins with various melodic patterns played in different meters. The middle section develops into a flashy array of gushing chords and glissandi that eventually taper out into a chorale. The chorale continues to build momentum up to the grand finale. Musical Tones can be paired with Musical Meters to create the suite below.
Tones and Meters
“Twelve Tone Waltz”