Sohn: Humidity Rag
Expected to ship in 1-2 weeks.
Shipping Policy- Composer: Nicky Sohn
- Instrumentation: Piano
- Work: Humidity Rag (2021)
- ISMN:
Description
Duration: 5'30"
written by James Palmer:
In 2021, I launched a multi-composer commission project called "What is a Piano Prelude?" As an experiment, each composer involved was asked to compose a "piano prelude" in their own style/vision with the goal of answering the question in the commission's title.
Humidity Rag was Nicky's response to this question.
Marked "Sticky," this charming piece is essentially a written-out jazz solo for piano that easily matches in substance, originality, and difficulty the similarly-oriented writing of composers like Nikolai Kapustin. The right hand's opening motive turns out to be the main theme of the piece; this versatile motive, with slight variations, is the backbone of each Major section in a loose, small-scale sonata form. At the beginning of Humidity Rag, the main motive is situated in a murky whole-tone sound world that gives the sense of stickiness indicated by the composer. The harmonic fog begins to lift as this section continues; the theme is then presented extrovertedly atop a soulful, repeating I-IV pedal, reminiscent of the harmonic rocking-back-and-forth of twelve-bar blues.
A short developmental section ensues, incorporating grand, virtuosic gestures that perhaps recall the ecstatic writing of Scriabin. We then re-enter the murky, sticky sound world that opened the piece, this time punctuated with short riffs and cadenzas. After landing on a dominant pedal, the music builds intensely into an impassioned statement of the main motive, marked "Nowhere to escape." After this emotional climax, the music winds down, aided by the markings "Even stickier than before" and "Sorry ... even stickier!" The main theme is again the backbone for the closing material, a nostalgic, endearing dénouement to this quirky piece. Humidity Rag comes to a close with an ascending arpeggiated flourish and a spunky, sticky, sforzando chord.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Sohn: Humidity Rag
