Ballymore Down: Concert Band Conductor Score & Parts

Strommen structures this piece so that stylistic variety becomes the teaching tool rather than a liability. Moving through a light dance opening, sustained harmonic writing, and driving 6/8 material trains students to shift their interpretive approach within a single rehearsal, building flexibility and musicianship. The Holst-influenced orchestration and comfortable ranges keep the focus on execution rather than survival, allowing your band to invest real energy in the contrasts that make the piece memorable.

The piece opens with the lightness of a folk dance, then settles into warm, resonant harmonies that ask the band to listen inward. The final section snaps to attention with infectious rhythmic energy, leaving audiences with a bright, forward-moving finish.

This work sits perfectly for Grade 3 concert bands seeking material that teaches stylistic control without overwhelming technical demands. Directors programming a festival or contest performance will find a piece that showcases ensemble maturity through interpretive choices rather than virtuosic fireworks.

• Establish the dance character in the opening section with clarity and buoyancy; mark the exact moment the texture shifts to broader harmonies so players can reset their sound without losing momentum.
• The sustained middle section asks your ensemble to balance individual voices while supporting a unified harmonic shape; spend rehearsal time on how the dynamic contour breathes across phrase boundaries.
• Bring the 6/8 finale to life by locking the subdivision early; the rhythmic drive depends on players hearing the pulse subdivided consistently, even when written rhythms suggest otherwise.
• Use the two-page format to mark sectional rehearsal points clearly in your conductor parts; this helps students track where they are and anticipates the style shift before it arrives.

Program this in a festival rotation where you need a piece that demonstrates interpretive range; the three contrasting sections give adjudicators clear evidence of stylistic awareness. It also works well early in the season when you want to build ensemble discipline around character changes before tackling more technically demanding material.

• Shifting interpretive approach across contrasting sections (dance, sustained, and rhythmic styles)
• Balancing individual voice independence with harmonic cohesion in sustained passage work
• Reading and executing rhythmic patterns in different meters (6/8 finale)
• Responding to conductor cues that mark transitions between contrasting textures