Salute, Op. 125 Brass Quintet - Digital Sheet Music

SKU: A0.1481813

It has become somewhat of a personal custom as a musician in the United States Air Force Bands to compose a fanfare as a close colleague retires from service, or as Commanders are reassigned elsewhere. However, this composition is far from a fanfare. MSgt Ryan Heseltine, a fine horn player who retired in 2023, and with whom I enjoyed making fine music in the brass quintet setting for several years, expressed his desires for a more beautiful custom piece of music to be played at his retirement ceremony. Of course, I obliged. This piece, “Salute,” is the result, rendered as an emotional expression of respect and gratitude for his service as well as his friendship.

Fittingly, the horn is featured in this work. As an appropriate complement, the use of flugelhorns instead of trumpets best balance the warmth of the horn’s melodic expressivity. During the creation of this somewhat somber work included images of photos and slow-motion scenes from MSgt Heseltine’s 24 years of service in the Air Force Bands; retrospective, introspective, and wistful.

This composition was begun with MSgt Heseltine’s retirement in mind. The title was also given on the first day of composition. The work was completed on January 8, 2023, and premiered at MSgt Heseltine’s retirement ceremony on April 5, 2023. The retiree played the horn part in the ceremony.

Some musical notes: the tenuto markings in the horn part signify a degree of agogic accent; that is, giving the marked note a slightly longer rhythmic value within the beat. In the other parts, the tenuto markings that land on an eighth note followed by an eighth note rest signify to hold the note for the full value.

During rehearsal and performance of this work, be cognizant of the player who has the melodic content. In the horn part, the featured sections are clearly marked, but not so in the other parts. Be aware of the melody. Accompanying rhythmic complexities should be heard but not dominant.

Exaggerate all dynamics, and do not shy away from loud markings. The climaxes must truly climax. Subito differences are crucial. Subtle expressive dynamics that are not marked are encouraged for human interpretation of phrases and instrumental interplay.

Two musical influences helped shape this piece: first, “Rhosymedre” by Ralph Vaughan Williams (1872-1958), which we performed together as a brass quintet arrangement; and a symbolic allusion to a children’s song with the first line “Where love is, there God is also.” The latter song is subtly referenced toward the end, in the horn for four measures at letter F.