Haut Metall Holz

Michael Huestis

General Info

Year of Published: 2020
Publisher: Tapspace
Difficulty: Intermediate
Duration: 00:02:30
Cost: $33.00

Instrumentation

Player 1: Snare drum, field drum, tambourine, castanets, foot tambourine
Player 2: Bongos, surdo, cajon, high brake drum
Player 3: Congas, low brake drum, log drum, crash cymbal
Player 4: Timbales, 2 cowbells, 2 woodblocks
Player 5: 2 concert toms, horizontal bass drum, splash cymbal, crash cymbal, ribbon crasher

Description

Michael Huestis’s Haut Metall Holz (haút me’tal holts) is an intermediate-level quintet for percussion. The title comes from the German words describing the three types of instruments used by each of the five performers: skin, metal, and wood. It is a high-energy piece that includes extreme dynamic contrasts, intricate grooves, and featured moments for each of the performers. Musical motifs passed between performers and interlocking rhythms throughout the composition make this quintet a fun challenge for performers. This piece was written in 2019 for the Rogers Middle School Percussion Ensemble from Prosper, Texas, under the direction of Mr. Shane Snyder and was premiered on March 5th, 2020.

= Review

Translated as “skin, metal, wood,” “Haut Metall Holz” is a quintet for indefinitely pitched percussion instruments composed in 2019 for the Rogers Middle School Percussion Ensemble. The score includes clear setup suggestions and a download link for individual parts. Michael Huestis’ performance notes helpfully describe instrument and mallet/stick logistics in detail for each player. Huestis also suggests that “Haut Metall Holz” be performed without a conductor, providing a great opportunity for young players to engage in chamber music skills. Many of the instruments called for are common to a middle school or high school concert band, although some may need to be purchased or substituted in order to perform the piece.

This loud and energy-filled piece will certainly engage young players, and also provide a challenge with its mixed meters and syncopated rhythms. Each part has a written-out solo, giving each member a chance in the spotlight. I also appreciate the opportunity for students to work on navigating small multiple percussion setups and the logistics entailed. The cajón part involves bass, slap, and finger techniques, which require some experience that may be outside the realm of basic concert band technique. I do find it curious that the parts have a notation key, but the score does not. Minor point, though; all together, a great educational resource.

Works for Percussion by this Composer

Ensemble

A Little Tango
Haut Metall Holz
Large Up
Me Irie
Socal Gal

Flexible Ensemble

Bomba para los Niños
Doppeltone
The Cat's Pajamas