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Unit 1: Composer
Robert Jager was born August 25th, 1939 in Binghamton, New York. He is a graduate from the
University of Michigan. Jager taught for thirty years at Tennessee Tech University as a Music
Professor. He served in the United State Navy for four years as the Staff Arranger/Composer at
the Armed Forces School of Music. Jager's credits comprise over 150 published works for band,
orchestra, chorus, and various chamber combinations. He has conducted and lectured
throughout the United States, Canada, Europe, Japan and the Republic of China. Jager has also
received many awards for his compositions, including being the only three-time winner of the
American Bandmasters Association "Ostwald Award”.
Unit 2: Composition
This piece was composed in 1970 and is in the standard A-B-A form. After the piece was
composed, it was published by Hal Leonard in 1970. This is listed as a grade two piece from
many band repertoire resources. On average, this piece is at least three minutes long.
At letter A (mm. 7) the composer introduces the new primary theme. It is first played by the
clarinets at a piano dynamic (mm. 7-8). Then the low brass continues the melody in mm. 9 at a
subito fortissimo. Then the secondary theme is introduced by the flutes in mm. 27. To end the
piece, the composer applies the fanfare theme used in the intro, to the end of the piece.
Harmony:
This piece is centered around D minor and D Phrygian. The alternation between minor and
Phrygian will be difficult for the ensemble because it will require the students to be really
confident in their musical decisions, especially with their slide positions and partials within the
low brass. The ensemble should know where their sound will resolve to, this will make those
changes easier.
Rhythm:
The rhythmic elements in the piece are not challenging except for a few places. Mm. 27-30
present a typical rhythmic gesture characteristic of many pieces for band. An off beat ostinato in
the low brass support the melody heard in the upper woodwinds.
Make sure to keep the conducting small so that the low brass does not put a lot of weight on
the note and drag the tempo.
Timbre:
This piece contains many examples of textural shifts. The melodic material is first presented
softly by the clarinet. It is continued and expanded in a passage in the horn and low brass. This
is a textural shift because of the instrumentation that changes from the exchange of melody.
One of the more difficult passages in intended to give the piece an immediate contrast in
timbre. This can be found in mm. 17-20. The trumpet section plays their own chorale like
section by themselves for four measures. This is the transition into the new faster section at
letter C.
Woodwinds and low brass can then be heard playing against each other in the development.
Not only does Jager contrast the two timbres, but he also combines a legato pattern with the
rhythmic low brass pattern.
Unit 7: Form and Structure
Unit 9: Resources
1. Chambers, L. (2013, July 17). Carpathian Sketches. Retrieved March 16, 2018, from
https://prezi.com/4wihhpkwzwbq/carpathian-sketches/