A season debrief doesn’t have to be a big production. One hour with your staff, the right paperwork on the table and a handful of honest questions will tell you more about next year’s show than anything you’ll hear at a convention. Here’s how I’d run it.

When to hold your season debrief

Within a few weeks of your last performance. Any sooner and everyone is still tired and protective of the show. Any later and you’re working from memory, which is kind to the parts that went well and vague about the parts that didn’t.

Put it on the calendar now, the same way you’d schedule a sectional. If it isn’t on the calendar, concert season will take the hour.

Who should be in the room

Your directors, your percussion and guard staff, and anyone else who taught the show every week. If your drill writer or arranger can join by phone for part of it, even better. Keep the group small enough that people will say what they actually think.

Your students get their own step, which I’ll get to below. They see things from inside the block that you can’t see from the tower.

What to bring

• Every judge’s sheet and recorded commentary from the season
• Your rehearsal notes, or whatever you used to track what you worked on
• A recording of your last performance, ideally from the press box
• Your season calendar, with the dates the music, drill and props actually arrived

Go through the show one movement at a time

Play the recording and stop after each movement. For each one, ask the same four questions:

• What landed with the audience and the judges?
• What did we rehearse all season and never get clean?
• Was the music too hard, too easy or about right for each section?
• Did we change anything mid-season, and why?

Be specific about sections. “The opener was hard” doesn’t help you next year. “The opener’s trumpet feature was too high for the players we had in October” does. That second sentence is the kind of thing you’ll want to hand your arranger in the spring.

Read the judges’ comments for patterns

Lay all the sheets out together and look for what comes up more than once. One judge mentioning thin trumpets is an opinion. Four judges mentioning it across three contests is a planning note for next year.

Write down only the repeats. The one-off comments were part of that day. The patterns are part of your band.

Look at how the season got built

This is the part most debriefs skip, and it’s often where next year gets won or lost. Ask:

• When did the music arrive, and when did we really need it?
• Did licensing, purchase orders or the drill hold anything up?
• What would we have told our writer in the spring if we’d known then what we know now?

If licensing slowed you down, start that process earlier next year. I wrote a director’s guide to getting every song approved that walks through the timeline. If the music didn’t fit your band as well as you hoped, a good arranger can fix most of that before the first rehearsal, as long as you tell them what you learned. Here’s how I adapt music to a band and how to ask for changes.

Ask your students

Your section leaders and seniors know things you don’t, like which parts they practiced at home and which ones they quietly gave up on. You don’t need a long survey. Three questions are enough:

• Which part of the show did you practice the most on your own?
• Which part never felt secure, even at the last performance?
• What would you change about how we learned the show?

A short conversation with your section leaders works too. Either way, ask before the seniors graduate and the answers leave with them.

Turn it into a keep and change list

End the hour with two columns: what you’ll keep doing next year and what you’ll change. Keep it short and concrete. “Get music by May 1” is a change you can act on. “Be more organized” isn’t.

That list becomes the starting point for next season’s planning: your roster, your show concept, your budget and your conversation with your arranger. Save it somewhere you’ll find it in February.

Get the free debrief worksheet

I turned this whole process into a fillable worksheet: the show movement by movement, the judges’ patterns, how the season got built, and your keep and change list, all on a few pages you can fill in on screen or print for your staff. It’s the first chapter of my planning workbook for directors, and it’s free.

Download the free debrief worksheet

What’s next

Once your debrief is done, the next step is looking ahead at the band you’ll actually have next fall: who’s graduating, who’s moving up, and what each section can play well by October. That’s where next season’s show starts. If you’d like help with that part, let’s talk, or listen through my library and save the pieces that fit your band.

Planning next season?

Plan a show that fits the band you’ll actually have in October.

A 54-page fillable workbook for band directors, from the season debrief to a plan you can hand to any arranger. Start with the free sample.

See the planning guideGet the free sample

Frequently asked questions

How long should a marching band season debrief take?

About an hour with your staff, plus a few minutes to collect answers from your students. If it runs much longer, you’re probably solving next year’s problems instead of naming them. Write them down and solve them in the spring.

Should students be part of the debrief?

Yes, but separately. A short survey or a conversation with your section leaders gets you honest answers without putting students in a staff meeting. Ask before your seniors graduate.

What should I do with the results?

Turn them into a short keep and change list and bring it to every planning conversation for next season, especially the first one with your arranger. The more specific you are about what didn’t fit your band, the better next year’s music will fit.

About the author

Evan VanDoren spent nine years as a band director at Cedar Park High School in Texas, where the band won three UIL State Marching Championships. He is the brass composer and arranger for the Santa Clara Vanguard and writes marching band music for programs across the country.

The post How to Run a Marching Band Season Debrief (Free Worksheet) appeared first on Evan VanDoren Music.

Here are ten strategies to sharpen your marching band show in the final weeks before competition day.

1. Know Exactly What Judges Are Looking For

Before you fine-tune your performance, study how UIL evaluates marching band shows. The three core captions, music performance, visual performance, and general effect, each tell a different story.

• Music: tone quality, blend, intonation, rhythmic clarity.
• Visual: posture, alignment, and clarity of movement.
• Effect: pacing, emotional connection, and coordination between music and drill.

Review the UIL Marching Band Handbook and rank your program’s strengths. That way, you’ll know exactly where to focus your rehearsals.

2. Set One Clear Goal for Every Rehearsal

The best marching band shows aren’t built by running the entire production over and over. Instead, they’re refined through focused, intentional work, and each rehearsal should have one specific objective:

• “Clean drill transitions in Part 2.”
• “Lock in balance between front ensemble and brass.”
• “Shape phrasing in the ballad.”

First, write it on the board. Then say it out loud, and track progress. When every minute has a purpose, your band will grow faster than programs that simply “run the show again.”

3. Revisit Fundamentals Every Day

Even elite UIL marching band shows can fall apart if basic fundamentals slip, so dedicate time every day to the basics, the same daily habits I break down in breathe like a pro: mastering stagger-breathing in marching bands:

• Long tones for tone consistency
• Balance and tuning across the ensemble
• Rhythmic precision and subdivision
• Consistent articulation and release

As a result, clean fundamentals make a big show feel effortless, and the audience, and the judges, can always tell.

4. Clean the Visuals Until They Shine

No matter how strong your music is, visual clarity can make or break a marching band show. That’s because judges reward bands that look intentional, confident, and unified. Focus on:

• Posture and body carriage
• Consistent horn angles
• Step size and timing
• Smooth transitions between sets

A show that moves together reads stronger from the box, even if the drill itself isn’t overly complex, the same idea behind 4 essential tips for teaching marching band drill like a pro.

5. Structure Rehearsals Like a Championship Program

Winning bands use structured, repeatable routines. Try this framework for your UIL marching band rehearsals:

• Warm-up (15 min): tone, time, tuning
• Sectionals (30–45 min): targeted problem-solving
• Full ensemble (45–60 min): integration and endurance
• Run & reflect (10–15 min): one complete performance plus feedback

In short, consistency in your structure builds consistency in performance.

6. Record, Watch, and Listen

One of the most underused tools in marching band show preparation is playback. In fact, recording every full run helps directors and students hear and see what’s actually happening.

• Audio playback exposes timing and balance issues.
• Video playback highlights spacing and body alignment.
• Peer review sessions help students own their growth.

So, schedule a “listen-only” day once a week, no playing, just analysis. It’s one of the fastest ways to get better.

7. Train the Mind Like You Train the Body

Great marching band shows aren’t just performed, they’re imagined long before the performance. Because of that, visualization and mental preparation are powerful tools for consistency under pressure. Encourage students to:

• Mentally walk through the entire show.
• Visualize entering the field, executing sets, and hearing the crowd.
• Use controlled breathing before each rep to stay calm and focused.

In other words, confidence is a rehearsal habit, not an accident.

8. Perfect the First Impression

In fact, UIL judges start evaluating your marching band show before the first note. Everything, from how the ensemble walks onto the field to how students carry themselves, sets a tone. Make sure your band:

• Enters with purpose
• Moves with consistency and control
• Demonstrates professional posture and poise

Together, small details like horn angle, step-off timing, and alignment send a powerful message: we’re ready.

9. Shift from Cleaning to Performing

Two weeks before the contest, it’s time to stop “fixing” and start performing, because this is when your marching band show transforms from clean to captivating.

• Rehearse in full uniform.
• Treat every run as a live performance.
• Focus on musical expression, not just accuracy.

After all, judges and audiences both respond to energy, confidence, and storytelling. Clean is the floor, connection is the ceiling.

10. Keep Perspective (and Enjoy the Moment)

When contest week arrives, above all, remember what your students have achieved. Marching band shows are about growth, musically, visually, and personally. UIL results matter, but they don’t define your program, a perspective echoed in what John Wooden can teach marching band programs. So, celebrate progress:

• Consistent improvement over the season
• Teamwork and discipline
• The pride of performing something bigger than yourself

If your students walk off the field proud and connected, you’ve already won.

Final Thoughts on Your UIL Area Marching Band Show

The most successful marching band shows are built on clarity, confidence, and consistency, not luck. So, prioritize focused goals, clean fundamentals, and intentional performance habits. When your students understand why they’re rehearsing a certain way, their energy shifts, and so does your entire show.

FAQ About Marching Band Shows

What makes a great marching band show?
A great marching band show combines clear musical execution, visual precision, and emotional storytelling. That’s because judges and audiences connect most with programs that sound balanced, look confident, and communicate a unified idea.

How do I design a marching band show that stands out at UIL?
Start with a strong concept that fits your ensemble’s strengths. Keep drill readable from the press box, choose music your students can perform confidently, and emphasize clarity over complexity. In the end, a well-rehearsed, achievable show always outperforms a messy one.

When should I start preparing my marching band show for UIL?
Many directors begin conceptual planning in winter or early spring. Drill writing and arranging typically start by late spring, with full ensemble rehearsals beginning in summer band camp. That early preparation allows time to refine before the UIL season begins.

What are the biggest mistakes bands make with their UIL marching band shows?
Common pitfalls include over-designing drill, under-rehearsing fundamentals, and neglecting timing between music and movement. As a result, simpler, well-executed ideas usually earn higher scores than ambitious but inconsistent ones.

Contest Day and Beyond

What’s the best way to clean drill and visuals before UIL competition?
Break transitions into small chunks, rehearse them with a metronome, and videotape from the press box. Focus on posture, timing, and alignment. That way, clean arrivals and departures between sets make the entire production look sharper.

How do I manage nerves on UIL contest day?
Simulate performance conditions during rehearsals, full uniform, props, electronics, and timing. Also, use breathing techniques and mental visualization to keep students calm and confident.

How can I make my marching band show more engaging for audiences?
Use dynamic pacing, clear visual focus points, and musical contrast. In particular, audiences love shows with emotional range, moments of intensity followed by moments of release.

Where can I find new marching band show ideas or music?
Explore EvanVanDoren.com/marchingbandshows for customizable, competition-ready shows written specifically for high school and collegiate ensembles.

About Evan VanDoren

Evan VanDoren is a composer, arranger, conductor, and former high school band director whose music is performed by ensembles across the United States and beyond. He works with band programs to create music and marching band productions designed around the strengths of their students and programs. Learn more at evanvandoren.com.

Planning next season?

Plan a show that fits the band you’ll actually have in October.

A 54-page fillable workbook for band directors, from the season debrief to a plan you can hand to any arranger. Start with the free sample.

See the planning guideGet the free sample

The post 10 Ways to Sharpen Your Marching Band Show Before UIL Area appeared first on Evan VanDoren Music.

As a former band director and current composer, I’ve seen firsthand that success in marching band isn’t only about musical ability or visual execution. It’s about building the right culture and mindset.

In this article, I’ll walk through these five enemies, show how they can sneak into your band room or rehearsal field, and give practical strategies to overcome them so your marching band shows reach their true potential.

1. Entitlement: Thinking Success Will Just Happen

Success in marching band shows never comes by accident. Yet entitlement often creeps in after a good run, a sweepstakes trophy, or a strong early performance.

• The Danger: Students start to believe that past success guarantees future rewards. They may think, “We worked hard last year, so we’ll be great again this year.” But entitlement robs the hunger and drive that fuel excellence.
• The Reality: Every show, every season, every rehearsal is a reset. Greatness must be earned daily.

Band Room Example:
You’ve just finished a strong Friday night performance. Students show up on Monday a little less focused, assuming the show will hold together. Instead, drill sets unravel, music feels sluggish, and confidence dips. That’s entitlement at work.

What Directors Can Do:

• Celebrate achievements, but quickly reset expectations.
• Reinforce that yesterday’s performance doesn’t win today’s contest.
• Highlight stories of bands who “rested on their laurels” and slipped quickly in competition.

Key takeaway for marching band shows: Entitlement kills growth. Hunger and humility fuel it.

2. Lack of Discipline: Cutting Corners in the Small Things

Discipline is the backbone of every successful marching band. Without it, talent is wasted potential.

• The Danger: When students cut corners, arriving late, skipping reps, letting technique slide, the show suffers. The smallest lapses compound into bigger failures on the field.
• The Reality: Consistency matters more than occasional brilliance.

Band Room Example:
Your brass section nails a big hit in rehearsal but struggles with the fundamentals: posture, step size, or even horn angles. Without daily discipline, those flaws grow louder than the music itself.

What Directors Can Do:

• Establish non-negotiables: punctuality, correct step size, consistent sound quality.
• Praise students not just for “big wins” but for daily habits, the ones that make shows bulletproof.
• Remind students that judges see the details they overlook.

Key takeaway for marching band shows: Greatness isn’t about doing things once at a high level. It’s about doing them every time, even when no one’s watching.

3. Circumstances Over Vision: Letting Excuses Win

Every marching band director has faced obstacles: bad weather, broken instruments, limited rehearsal time, student absences. The average band lets those circumstances dictate their effort. The best bands stick to their vision, no matter what.

• The Danger: Students give in to excuses: “We can’t practice outside today,” “It’s just too hot,” “We’re tired from last night’s game.” Excuses kill consistency.
• The Reality: Vision is what keeps a band locked in. Circumstances change, but the standard doesn’t.

Band Room Example:
Rain pushes rehearsal into a cafeteria. Instead of losing focus, the top programs pivot: they run sectionals, do body warmups inside, refine musical phrasing. The conditions shift, but the vision stays the same.

What Directors Can Do:

• Keep the standard clear: “We get better every day, no matter what.”
• Share stories of world-class groups, like DCI corps, who rehearse in parking lots, gyms, or even hallways when needed.
• Model positivity. If the director leans into excuses, so will the students.

Key takeaway for marching band shows: Conditions don’t determine greatness. Vision does.

4. Self-Pity: Feeling Sorry for Yourself

Few things derail a season faster than self-pity. Students, and sometimes directors, get stuck in the trap of comparing themselves to stronger programs or dwelling on setbacks.

• The Danger: Self-pity drains resilience. Instead of finding solutions, students spiral into negativity.
• The Reality: Everyone faces adversity. The difference is whether you move forward or sit in the mud.

Band Room Example:
Your band receives tough feedback at a contest. Instead of using it as fuel, some students mope, saying, “We’ll never be as good as [insert rival school].” This mindset makes improvement almost impossible.

What Directors Can Do:

• Reinforce that setbacks are part of growth.
• Teach students to own mistakes, not wallow in them.
• Frame challenges as opportunities: “This critique shows us exactly where to improve.”

Key takeaway for marching band shows: Self-pity stalls progress. Resilience accelerates it.

5. Complacency: Believing You’ve Arrived

The moment a band believes it has “arrived,” decline begins.

• The Danger: Students, or directors, ease up after achieving early goals: a high score at a regional, a clean run-through at practice. Complacency turns champions into ex-champions.
• The Reality: Staying great requires more hunger and humility than getting great in the first place, the same mindset shift I cover in how a growth mindset transforms marching band shows.

Band Room Example:
Your percussion section nails their feature midseason. Spirits soar. But in the next few rehearsals, their focus slips. Suddenly, that once-stellar moment starts falling apart by October.

What Directors Can Do:

• Keep raising the bar, even when things feel solid.
• Remind students that competitors are always improving.
• Instill the mindset: “Good enough” is never good enough.

Key takeaway for marching band shows: Complacency creates decline. Hunger creates legacy.

Bringing It All Together: The 5 Enemies of Greatness in Marching Band

Marching band shows thrive when directors and students guard against these five enemies:

1. Entitlement: thinking success is automatic.
2. Lack of discipline: ignoring the small details.
3. Circumstances over vision: letting excuses dictate effort.
4. Self-pity: feeling sorry instead of moving forward.
5. Complacency: believing you’ve already arrived.

Greatness in marching band isn’t reserved for the most talented groups. It belongs to those who show up every day with hunger, humility, and discipline. The same principle drives what John Wooden can teach marching band programs about building a lasting culture.

If you want your marching band shows to truly inspire, whether on the football field, at a BOA regional, or in your own community, it starts with culture. Build a program that refuses to let these enemies in, and your students will carry those lessons far beyond the season.

What’s Next?

Looking to strengthen your program? Explore my Marching Band Shows, proven productions tailored for success, or check out Build Your Show to customize the perfect fit for your band. Dive into my blog on marching band fundamentals to see how daily habits fuel long-term success.

Your students deserve a show, and a season, that teaches them how to chase greatness the right way.

Frequently Asked Questions About Marching Band Shows

What makes marching band shows successful?
Successful marching band shows combine strong musical performance, precise visual design, and consistent rehearsal discipline. Programs that maintain clear goals, avoid entitlement, and focus on daily improvement create shows that inspire both audiences and judges.

How do you keep students motivated in marching band?
Students stay motivated in marching band when directors set high standards, celebrate progress, and connect each rehearsal to the bigger vision of the show. Clear communication, accountability, and building a culture of discipline help students push through challenges.

Why do some marching band shows fall short?
Marching band shows often fall short when groups struggle with discipline, allow excuses to dictate effort, or become complacent after early success. Maintaining hunger, humility, and consistency prevents a show from plateauing.

How can directors improve their marching band shows mid-season?
Directors can improve marching band shows mid-season by refining fundamentals, addressing detailed feedback from judges, and re-centering students on discipline. Shifting focus from big moments to small daily habits often produces the most growth.

What’s the biggest lesson students learn from marching band shows?
Students learn that greatness requires resilience, humility, and consistency. The habits built on the rehearsal field, discipline, teamwork, and perseverance, stay with them long after the season ends.

About Evan VanDoren

Evan VanDoren is a composer, arranger, and former high school band director who helps music programs bring world-class marching band shows to life. Through VanDoren Music, he creates custom and pre-commissioned shows designed to help directors lead, teach, and inspire with confidence.

The post The 5 Enemies of Greatness in Every Marching Band Program appeared first on Evan VanDoren Music.

Sections: Fit and expectations | The music and adaptation | Cost and payment | Copyright licensing | Process and timeline | Add-ons | Using the music | About me

Fit and Expectations

What is an adaptable arrangement?

It’s a marching band show I’ve already written for another program and then rescored for yours. I rewrite the parts around your instrumentation, your section strengths, and your players’ skill level, so the show fits your band rather than a hypothetical one.

How is that different from a custom commission?

A commission is written from scratch for one program and takes several months. An adaptable arrangement starts from music I’ve already written and proven on the field, and I rescore it for your ensemble in three to five weeks. The writing quality is the same. The starting point and the timeline are different. I also take a limited number of original commissions each year, so if your concept needs entirely new music, we can talk.

What’s the difference between an adaptable arrangement and a Complete Show?

A Complete Show is published as a full package of winds, percussion and sound design, built from public domain music and ready to download today. An adaptable arrangement starts from a show in my catalog and is rescored around your band, covering the woodwind and brass book. One is ready now. The other is fitted to your players.

Do you write shows for small bands?

Yes. I regularly rescore shows for programs with fewer than forty winds, including first-year and rebuilding bands. Instead of keeping a separate small-band catalog, I rewrite any show around your actual instrumentation, so a smaller ensemble gets a full-sounding book instead of one with parts missing. We start with the players you expect on the field and shape the arrangement around them.

Do you only work with bands in Texas?

No. I’m based in Cedar Park, Texas, but I write for programs across the country, from UIL, Bands of America, and USBands circuits to high schools and universities nationwide. The process runs by email and video, so distance doesn’t change turnaround or communication.

Are the shows suitable for contest?

I write with adjudication in mind, for programs competing at UIL, Bands of America and regional circuits, and for bands whose biggest stage is Friday night. Pacing, contrast and clarity are built into every show, and the parts are written so students can play them cleanly, which is what judges hear first. I can’t promise placements, and nobody honest can. What I can promise is music your students will want to rehearse.

Can I mix music from different shows?

Yes. A lot of directors do. I rework transitions and adjust each selection so the final show reads as one cohesive production, not a collection of assembled parts.

Can I see the music before I commit?

You can listen to everything on my website and SoundCloud, where selections are grouped into playlists by mood and genre. Perusal scores are available on request. I send initial every-other-page scores and check availability for your region, and you get full-length perusal scores once I receive your payment or purchase order.

Do you write original shows?

Yes, but I take a limited number each year. Those start with a conversation about your season, your design team, and what you want the show to be, so the best move is to reach out.

Do you have anything for football season?

My stand tunes are written for the bleachers, football games, and pep rallies. You can buy them one song at a time on Sheet Music Direct and print them the same day.

The Music and Adaptation

What do I receive?

Woodwind and brass music adapted to your ensemble: PDF scores and individual parts, plus a personalized audio mockup so you can hear your version of the show. You also get Dorico and MusicXML files for rehearsal preparation and for working with your percussion arranger, and anything you add on comes with it.

Do you write percussion and sound design?

Not for adaptable arrangements. You have a few options. You can contact the show’s original percussion arranger or sound designer for their materials, bring in someone I recommend to write custom parts, or work with someone local you already trust. If you’re building a design team, I can connect you with people for percussion arranging, visual design, program coordination, costumes, flags, and props. Complete Shows are the exception, since they include percussion and sound design.

How hard will the music be?

I write for the middle of your group, about 80 to 90 percent of the ensemble. Your strongest players will pick it up quickly, with a spot or two that pushes them, and I keep them engaged with range, features and solos. Your middle should find it a real challenge, taking roughly half to two-thirds of the season to perform at a high level once the visual demands are added. Your bottom 10 percent may find it a stretch at first, which is true for every band.

After nine years as a band director, I’m also thinking about how the music will feel to play and teach: comfortable ranges, playable fingerings, and places to breathe.

Will you write easier alternate parts?

Not up front. Easier parts written before anyone has played a note tend to sell students short. Late in the season, once you know who needs what, I can lighten the specific spots that are too much while keeping the real music intact.

What changes are included?

Anything that fits the music to your band: reassigning a solo, thinning a part for a weaker section, moving a line to a stronger group, simplifying a run that’s out of reach, adjusting ranges. If the request is about who plays what and how hard it is, it’s included. If it changes what the music actually is, that’s a creative request, and it’s a separate conversation that may carry additional fees.

How do I tell you what to change?

Through my Adaptation Questionnaire, using measure numbers from your full-length perusal scores. A request like “make the horn solo at measure 98 a clarinet solo” is exactly what I need. If you’d rather hand the creative calls to me, tell me to use my judgment, and I’ll build around everything you’ve told me about your band.

What are your defaults on parts?

Piccolo players read the flute part and drop the octave where it makes sense. I choose how many parts each section gets based on what sets your group up to succeed, unless you have a specific need. If your low brass needs treble clef parts, flag it on the questionnaire and I’ll provide them.

Can I request changes once the season starts?

Yes. Adaptation revisions are included through your competitive season, specifically limited rewrites and musical edits from delivery until November 1 or the end of your competitive season, whichever comes first. Revisions usually turn around in a few days. Larger changes that alter the show are handled as a separate project with a quote.

Cost and Payment

How much does a show cost?

An adaptation of one of my shows is $3,500. That covers all the woodwind and brass music, fully adapted to your ensemble, along with the collaborative process described on this page. Licensing fees, percussion, sound design, and creative rewrites aren’t included unless your quote says so. An adaptation also costs less than a new commission, which leaves more of your budget for the rest of the production.

How do I pay?

Most schools send a check. I also accept purchase orders from accredited schools and districts, deposits, and credit cards, so tell me what your finance office needs. The first payment is due net 30 from the date of your quote. I start writing once payment, a deposit, or an approved purchase order is in.

My finance office is slow. Is that a problem?

Tell me, and we’ll work it out. Districts move at their own speed, and I’d rather solve it with you than escalate. I keep an updated W-9 on hand and can provide a sole source letter if your district needs one.

What if I need to cancel?

Reach out before your music is delivered, and I’ll look at a refund case by case. The further along the writing is, the less likely a refund becomes. Once the music is delivered, fees are final. Licensing fees and clinic fees are non-refundable in every case.

Copyright Licensing

Do I need copyright licenses?

For arrangements of existing songs, yes. Every piece in your show needs a license from its copyright holder, and a license only counts once it’s approved and paid. Licensing has to be handled before I start writing, so it’s one of the first things we take care of. Your program pays the license fees. My Complete Shows use only public domain music, so they need no licenses.

How does licensing work with you?

Your quote includes one of three licensing options. Waive Copyright Support means you handle all of the licensing yourself. With the Copyright Acquisition Package, I apply to copyright holders, track every approval, and you pay the license holders directly. With the Copyright Full Service Package, I apply, pay the license holders on your behalf, and you reimburse me for those fees along with transaction and service fees. My licensing guide walks through each route in detail.

When should licensing start?

The day you accept your quote. Approvals can come overnight or take weeks, and waiting only delays delivery.

Do I have to use Tresona?

No. Tresona is the easiest route for most directors, but it adds a service fee. Going straight to a publisher is usually cheaper and takes more legwork. If you go outside Tresona, keep me posted, since I won’t get notifications automatically.

Can you start writing before my licenses are approved?

My default is no. I wait for approval. If you’d rather not wait, you can choose to have me write while approval is pending. The risk is that if a license is denied, you’d need to pick replacement repertoire, secure its licensing, and pay a fee for the replacement arrangement.

Can I switch licensing packages later?

Yes. Email me, and I’ll take it from there.

Process and Timeline

What happens after I accept my quote?

You get an invoice and a client portal where your quote and documents live. From there, you handle three things: payment, licensing and the Adaptation Questionnaire. Once those are in, I review everything and email any clarifying questions. When you reply with final approval, I add your music to my writing schedule. You can see the whole sequence in this process flowchart.

How long until I get my music?

Three to five weeks once your project is green-lit, meaning your payment (or purchase order), your approved licensing and your completed questionnaire are in and you’ve given final approval. Everything arrives at once, and licensing fees need to be paid before I can send the finished music. With the Priority Music Delivery Package, it’s 7 business days.

When should I start?

Directors who need music before summer rehearsals generally start in the winter and early spring, though starting earlier or later is usually workable. Writing can begin well before February if your licensing and paperwork are ready.

Why wait for full-length perusal scores before the questionnaire?

The questionnaire asks for edits by measure number. You can’t tell me what to change in measure 98 if you can’t see measure 98. Full-length scores arrive as soon as I receive your payment or purchase order.

Will I hear from you while I wait?

Yes. You’ll get a short weekly update on where everything stands and anything I need from you.

Do I have to sign a contract?

Accepting your quote digitally means you’ve agreed to my terms and conditions, and that confirmation is binding. If anything in the process doesn’t match what we discussed for your show, reply and tell me.

Add-Ons

What does the Build Your Sound Design Package include?

For $675, you get a sample pack of ready-made audio files developed with sound designer Justin Shelton, a step-by-step guide showing which samples to use at which moments, and a tutorial on audio setups for every budget. Customization and technical support may be available at an additional cost. It doesn’t include sound design from shows I’ve written for other commissions.

What does the Music Fundamentals Package include?

For $875, I build a custom fundamentals program for your band: breathing, long tones, flexibility, articulation, and style, plus Show Articulation Exercises, short daily drills made from the toughest passages in your music. The exercises are simple on purpose, because students need to breathe, sound good, and articulate together before they can do it while moving. It’s delivered after your show music and is licensed to your program for indefinite use, though it can’t be shared with other programs.

What does Priority Music Delivery cost, and how does it work?

It’s $975. Your music is delivered in 7 business days instead of the usual 3 to 5 weeks. The clock starts once licensing is approved and paid, payment or a purchase order is received, and your edit information is in.

What is the Virtual Clinic Package?

For $1,175, you get three 45-minute Zoom sessions with Katie VanDoren, a two-time UIL 6A State Champion and former head director at Vandegrift HS. You send a rehearsal or performance video ahead of time (up to 15 minutes), and she gives feedback in a conversational format. The sessions expire at the end of the Performance Year.

What’s included at no extra charge?

Edits that fit the music to your ensemble, in-season editorial support, 15-minute check-in calls through the summer and your season, and recommendations from my network of designers.

Using the Music

How long can we perform the show?

Through the school year in which you first perform it publicly. A school year runs July 1 through June 30.

Can I share the notation files with my staff?

Yes, with anyone directly involved in producing your show, including drill designers, visual staff, your percussion arranger, and other directors working on it. Please don’t pass them to other programs.

Will another band near me have the same show?

Shows are offered regionally, first come, first served, and accepting your quote reserves yours. I make reasonable efforts to keep identical or similar arrangements out of the same competitive environment, and that depends on accurate information from you. It doesn’t cover percussion, sound design, your show title or visual design from other sources. If UIL realigns classifications and two schools end up with similar arrangements, priority goes to whoever reserved first.

Can I use the original show’s drill and visuals?

My arrangement doesn’t include them. If you want to use the original production’s drill, choreography, props, flags, or costumes, you’ll need permission from the designers who created them.

Can we record or stream our performances?

That depends on the copyright license for your arrangement, not on my agreement with you. Check that any recording or streaming plans fall within your license.

About Me

Who writes these shows?

I did, and I adapt them myself. There’s no arranging team and no account manager, just me. I spent nine years as the band director at Cedar Park High School in Texas, where the band won three UIL State Championships, and now I’m the brass composer and arranger for the Santa Clara Vanguard. Learn more here.

How do I get started?

Browse the shows, listen to what grabs you, and send me a note with a title or two and a little about your band. Don’t worry if you don’t know your final numbers yet. Most directors don’t until summer. If we’ve already talked, just reply to my last email and tell me which music you want to pursue.

Planning next season?

Plan a show that fits the band you’ll actually have in October.

A 54-page fillable workbook for band directors, from the season debrief to a plan you can hand to any arranger. Start with the free sample.

See the planning guideGet the free sample

The post Marching Band Show FAQ: What Directors Ask Before We Work Together appeared first on Evan VanDoren Music.

The weeks get shorter, the rehearsals longer, and every director you talk to sounds the same: “I just need to make it to next week.”

But this stretch of the season (the pressure, the exhaustion, the repetition) is also where the real growth happens. It’s where your program learns to endure, where students learn to lead, and where your marching band show begins to breathe on its own.

The October Fog

Ask any director what October feels like and they’ll tell you: it’s a blur of performances, buses, and exhaustion. But beneath that chaos lies something powerful: momentum.

By now, students have found their stride. The show’s story is clearer. The ensemble is starting to connect dots that once felt impossible. And yet, as the band gets better, many directors get more anxious, afraid to let up, afraid to lose control, afraid to stop.

Here’s the secret: you don’t win October by pushing harder. Instead, you win it by paying attention.

Reframing the Work

This month isn’t just about cleaning sets or fine-tuning drill. It’s about refining perspective.

Shift from Construction to Connection

In August, you build. In October, you connect: ideas, phrases, emotions, and people. The best shows evolve not because they’re cleaner, but because they mean more to the students performing them, the same shift I write about in how a growth mindset transforms marching band shows.

Replace “Fixing” with “Finishing”

Directors often chase perfection at the expense of presence. There’s a moment when you have to stop reworking and start reinforcing, when “almost there” becomes “enough to share.” Finishing strong isn’t about squeezing one more rep. Instead, it’s about inspiring one more great performance.

Change Your Questions

Instead of asking, “How clean are we?” try:

• Are we playing with purpose?
• Are we connecting to the story we’re telling?
• Are we still enjoying the process?

The Art of Coaching, Not Controlling

By mid-season, your students don’t need a drill sergeant. They need a coach. Positive Coaching Alliance, a national nonprofit focused on youth coaching, builds its entire philosophy around this same idea: trusting relationships get more out of young performers than control does.

A mentor once told me, “By October, your job is to get them to believe in what they’ve built.” That’s the pivot: from teaching notes to teaching confidence. It’s the same lesson behind what John Wooden can teach marching band directors.

Encourage students to perform with conviction, to trust what they’ve rehearsed, and to rediscover joy in the details. If you’ve done your job well, October is when you can finally start letting go, which also means giving your student leaders real room to lead, the same idea behind building better bands through personal leadership.

Rest, Reflection, and Recovery

Here’s the part directors forget: creativity needs oxygen. Between long Saturdays and Monday rehearsals, build in moments of rest, not just for your body, but for your mind. NAfME’s own guidance on teacher self-care makes the same point: rest isn’t optional during a demanding season, it’s what keeps you effective. I go deeper on this in 10 vital reasons music educators need rest.

• Take 10 minutes after rehearsal with no music, no notes, no phone.
• Watch a run-through just to enjoy it, no checklist, no clipboard.
• Write down one thing that went right that day.

You’ll notice how much clarity returns the moment you stop trying to solve everything.

Remember Why You Started

When you strip away the scores, the schedules, and the stress, what remains is simple: people making music together. That’s the point of all this.

The competition season may define your calendar, but the connections define your legacy. You’ll forget the scores. Your students won’t forget how this month felt.

Final Thoughts

October doesn’t slow down for anyone. You can. This is the heart of the season: emotional, exhausting, beautiful.

And if you pause long enough to notice, you’ll realize something powerful: you’re not just cleaning a marching band show. You’re shaping an experience your students will remember for life.

So take a deep breath. Look around. This is what all that work was for.

FAQs About Marching Band Season Burnout

Why does October feel like the hardest month of marching band season?
Students are improving fast, but rehearsals are longer, contests are stacking up, and directors often push harder instead of paying closer attention. That combination is what makes October feel heaviest.

How can directors avoid burnout during marching band season’s busiest stretch?
Build in small, deliberate moments of rest, watch a run-through without a clipboard, and remember why you started. Burnout usually comes from treating rest as optional instead of part of the plan.

What does it mean to coach instead of control a marching band?
It means shifting from correcting every detail to building trust, letting students perform with conviction instead of just following instructions. By mid-season, students need confidence more than they need more notes.

What’s the difference between “fixing” and “finishing” a marching band show?
Fixing chases perfection and never really stops. Finishing means recognizing when a show is ready for the audience instead of one more round of rework.

How much rest should directors build into an October rehearsal schedule?
Even small breaks help: 10 minutes of quiet after rehearsal, one run-through watched purely for enjoyment, or a single moment of reflection each day. Consistency matters more than duration.

About the Author

Evan VanDoren is a composer and arranger who creates custom marching band shows for schools across the country. He helps directors design meaningful, musical productions that bring out the best in their students. Learn more at evanvandoren.com/marchingbandshows.

The post Marching Band Season Burnout: Finding Meaning in October appeared first on Evan VanDoren Music.

The show you choose matters. However, how you build the room around it matters just as much. It is the part directors talk about far less. These five habits are not about what kind of show you pick. Instead, they are about what you do in the room once you have picked it. They work regardless of whether your concept is emotional, entertaining, or somewhere in between.

1. Explain the why before the what

Most seasons start with a folder of music and a drill packet. Students learn notes and sets before anyone has told them what any of it is actually for.

That sequencing quietly teaches students that meaning is optional, something staff might explain later if there is time. Flip it instead. Spend real time in the first rehearsal or two on why this show, why this music. Why now, before a single note gets learned. Students who understand the intent from day one interpret every subsequent rehearsal differently. Students waiting to be told what it means experience the same rehearsal in a different way.

2. Give every section a visible stake, not just the features

Ownership concentrates around whoever gets the feature moment unless a director works against that gravity on purpose. Every section needs at least one passage where the design genuinely depends on them, not just technically but narratively. That includes the ones playing supporting harmony for six of eight minutes.

Name that moment out loud in rehearsal. A student who knows their part is load-bearing to the show’s meaning invests differently. A student who suspects they are filling space does not invest the same way.

3. Close the loop after every performance

Most programs debrief technical execution after a show: clean sets, missed entrances, tuning. Almost none debrief the emotional and narrative side, like what the crowd actually responded to, what moment landed. What did not read the way the design intended.

That conversation, even five minutes long, tells students their performance was received as something meaningful rather than just scored. Skipping it teaches students the emotional content was decoration. Including it teaches them it was the point.

4. Protect one real moment of student creative input

This does not require handing over the design process. It requires one specific, bounded decision, a transition idea, a visual detail. A phrasing choice, that is genuinely left open for section leadership or the ensemble to shape.

The boundary matters as much as the freedom. An unstructured “tell us what you think” rarely produces usable ownership. A specific, scoped decision almost always does. It only takes one per season to shift how invested students feel in the rest of the show.

5. Let students see the whole arc, not just their part

Section rehearsals naturally narrow focus to sixteen counts at a time. Left unchecked, that narrowing has a real cost. Students can go an entire season without ever seeing how their eight measures connect to the show’s full trajectory.

Share the pacing map instead. Walk the whole ensemble through where the show peaks, where it breathes. Why, at least once before it is fully built. Students who can place their own part inside the larger shape tend to perform it with more intention. Students executing an isolated fragment rarely bring that same intention.

Why these habits change performance quality

None of this depends on which concept you chose. A well-run rehearsal room can build real ownership around almost any show. A poorly run one can flatten even a genuinely strong concept into something students just execute.

Researchers studying self-determination theory in music education have found something specific. Autonomy and a genuine sense of ownership predict engagement and persistence far more consistently than external pressure or reward. That tracks closely with what habit four is actually doing.

A related study on autonomy-supportive music teaching connects that same sense of ownership directly to flow and well-being during rehearsal. This is the mechanism behind habits one and three specifically. Students who understand intent and see their impact reflected back to them regulate their own focus more effectively. Students who are simply being directed do not regulate focus the same way.

It is also part of why I care so much about retention strategies. The ones that work start with the rehearsal culture itself, not just recruiting. I cover the broader process of building a concept worth this kind of rehearsal energy in my complete guide to crafting engaging marching band shows. The mindset side of this work connects directly to what I have written about building a growth mindset in marching band. Both are ultimately about how a program treats effort and meaning day to day, not just what it programs each fall.

FAQ: student ownership of your show

Do these habits work with any type of show concept?
Yes. They are independent of genre or theme. An entertainment-driven show and a deeply reflective one both benefit from the same rehearsal-room practices. Because ownership comes from how staff introduce, discuss. Reflect on the material, not from which category the concept falls into.

Which of these five habits matters most if I can only start with one?
Explaining the why before the what tends to have the largest downstream effect. Since it sets the frame every other habit builds on. Students who understand intent from day one interpret everything that follows differently, feature moments, feedback, creative input. Students who are still waiting for context read those same moments another way.

How much time does closing the loop after a performance actually require?
Five to ten minutes is usually enough to make a real difference. The value comes from consistency, doing it after every performance, not from the length of any single conversation.

Isn’t giving students creative input risky for a director who needs the show to stay cohesive?
Not if the input is scoped to a specific, bounded decision rather than left open-ended. A defined choice, one transition, one visual detail, gives students real ownership without putting the show’s overall cohesion at risk.

Can these habits help a program that already struggles with rehearsal focus?
Often, yes. Disengagement in rehearsal is frequently a symptom. Students often do not understand why the work matters or do not see their own impact on the final product. Several of these habits address that root cause directly rather than just asking for more focus.

About the Author

Evan VanDoren is a composer, arranger, conductor, and former high school band director. Ensembles across the United States and beyond perform his music. In addition, he works with band programs to create music and marching band productions that highlight the strengths of their students and programs.

The post 5 Rehearsal Habits That Build Real Student Ownership of Your Show appeared first on Evan VanDoren Music.

Prefer to watch? Here’s the 7-minute video version of this guide.

Want the short version to keep next to you while you work? Download the Quick-Look Guide.

First things first: your full-length perusal scores

By now you should have two things from me: every-other-page perusal scores, and your Adaptation Questionnaire. Hold off on the questionnaire until you have your full-length perusal scores. Those come as soon as I receive your payment or a guarantee of payment, like a purchase order.

Here’s why I make such a big deal of it. The questionnaire asks exactly what you’d like me to change, down to the measure. You can’t tell me what to change in measure 98 if you can’t see measure 98. Without the full scores open in front of you, you’re guessing, and neither of us wants that.

So the order is simple:

1. You already have every-other-page scores, so you can start getting to know the music.
2. Once your payment or purchase order is in, I send your full-length perusal scores.
3. Then, and only then, sit down with the questionnaire.

If you get a due-date reminder before your full-length scores arrive, or you need more time, just tell me and I’ll move the date.

The short version

Everything I do comes down to one idea: your music should fit your band. Not a band twice your size, and not the band you’re hoping for by October… the band that walks onto the field at your first rehearsal.

That idea shapes every choice below. Read it once, and the questionnaire will make a lot more sense.

How hard your music will be

When I adapt your music, I aim the difficulty at about 80 to 90% of your ensemble. In plain terms, I’m writing for the middle of your group, not the top and not the bottom.

Your strongest players will pick up the music fairly quickly, with maybe one or two spots that really push them. That’s on purpose. I keep them engaged in other ways: range, exposed features, solo moments, leadership, and the simple challenge of playing well while moving. They’ll be challenged as complete musicians, even when the notes alone feel a little easy.

Your middle, the majority of your band, should find the music a real challenge. Once you add in everything they’re doing visually, it should take them half to two-thirds of the season to perform it at a high level. That’s the sweet spot.

Your newest players may find the music a bit much at first. That’s normal, and it’s true for every band, whether you march 300 or 30. Challenging those students with the real music is usually good for them, and more often than you’d expect, they surprise you with how far they come by the end of the season.

Late in the season, once you really know your players, you’re the best person to fine-tune. If a student can’t quite handle every bar, have them play most of the real music and simplify the few spots that are genuinely too much, usually a feature or a technical run. You’ll have the notation files, so you can make those changes yourself, or just mark up their parts with a pencil. That keeps the arrangement whole while meeting each student where they are. And if you’d like my help with any of it, I’m just an email away.

Why I don’t write alternate parts up front

For the reasons above, I don’t build alternate parts at this stage. Easier parts written now, before anyone has played a note, tend to sell your students short and water down the music.

The better move is fine-tuning late in the season, for the specific students and specific passages that need it. So when you get to the note on alternate parts at the end of the questionnaire, that’s the thinking behind it. If you have a situation you’d like to talk through, email me.

What I adjust, and what’s a separate conversation

This line matters when you get to the edit section.

Included: any adjustment that takes the music as it’s already written and fits it to your band’s size and strengths. Reassigning a solo, thinning a part for a weaker section, moving a line to a stronger group, simplifying a run that’s out of reach. That’s the work, and it’s all part of the process.

Not included: creative changes, meaning rewrites that change what the music actually is rather than fitting it to your band. We can absolutely have that conversation. It’s just a separate one, and it can come with a separate fee.

A quick gut check: if the request is about who plays what and how hard it is, it’s included. If it’s about changing the music itself, it’s a creative request.

How to give me great edit requests

The edit section is where you tell me exactly what you want. Be specific, and point me to measure numbers from your full-length perusal scores. The more precise you are, the better your chances of getting music your students will be successful with.

Requests like these are exactly what I need:

• “In the opener, measures 36 to 44, I’m worried about the trumpet range. Our trumpets are young.”
• “I’d love the horn solo at measure 98 to become a clarinet solo.”
• “The clarinet run at measure 112 feels too exposed. Can you thicken it or simplify it?”

And if you’d rather hand the creative calls to me, that’s a real option, and plenty of directors take it. Just tell me to use my judgment, and I’ll shape the music around everything you’ve told me about your band.

A few defaults, so you’re not guessing

Unless you tell me otherwise, here’s how I handle a few things.

• I don’t usually write a separate piccolo part. Your piccolo players read the flute part and drop down the octave where it makes sense. If you’d like something different, the questionnaire has a spot for it.
• I choose how many parts each section gets (how many clarinet parts, how many trumpet parts and so on) based on what gives your group the best shot at success. If you have a specific need, tell me and I’ll honor it.
• If your low brass players need treble-clef parts, just flag it on the questionnaire and I’ll provide them.

Before you submit

A few tips that save us both time:

• List your instrumentation conservatively. Count the players you’re confident will be on the field, not the best-case number.
• You can save the questionnaire as a draft and come back to it anytime.
• If you’re working with a program coordinator, bring them in on this. Their input belongs in your answers.
• Put everything in the questionnaire in its final form, including anything you’ve already told me in an email or on a call, so I have it all in one place.

What happens next

Once your questionnaire, payment and licensing are all in, I’ll review everything and send you any clarifying questions. Your final approval puts your music on my writing schedule, and you’ll have it within 3 to 5 weeks after that, or within 7 business days if you’ve chosen the priority package. If you’d like the bird’s-eye view, here’s how the whole process works.

Take your time with the questionnaire. The more you tell me, the better I can build to your band. Questions along the way? Email me at evanvandoren@gmail.com.

Planning next season?

Plan a show that fits the band you’ll actually have in October.

A 54-page fillable workbook for band directors, from the season debrief to a plan you can hand to any arranger. Start with the free sample.

See the planning guideGet the free sample

The post How I Adapt Your Marching Band Music (and How to Ask for Changes) appeared first on Evan VanDoren Music.

Marching band copyright licensing is the least fun part of building a show, so it’s easy to put off. It’s also the step most likely to derail everything else. This guide covers how it works, who does what depending on the package you picked, and how to handle it yourself if that’s your route.

The Short Version

• Every piece in your show needs a license from its copyright holder.
• Your licenses have to be approved before I start writing. Your music is delivered once they’re fully paid.
• The licensing should begin the moment you accept your quote.  Approvals could happen overnight – but they could also take weeks. Don’t wait on this one.

A license only counts as acquired when it’s approved and paid. Keep that sentence in mind, and the rest of this page gets easier.

Which Path Are You On?

Your quote included one of three copyright options. Here’s what each one means in practice.

Waive Copyright Support means you handle licensing yourself. You apply, you pay the licensing fees, and you send me the signed licenses and proof of payment.

With the Copyright Acquisition Package, I handle the applications and monitor for approval. You pay for the licenses once they’re approved.

With the Copyright Full Service Package, I apply, and I pay the license holders on your behalf. You approve two estimates along the way and then send me payment for the fees.

Jump to your section: Full Service, Acquisition, or handling it yourself.

If You Choose Full Service

This is the easy button. I do the work, and you get back to teaching. Here’s how it goes:

1. Once we settle your repertoire, I apply for the licenses, most likely through Tresona Music.
2. I email you an early estimate covering the expected licensing fees, any processing fees, and my full-service package fee. I’ll ask you to sign a short acknowledgment that you received it.
3. I monitor the approval process and tell you right away if we hit a hiccup.
4. When your licenses are approved, I send a final estimate in the form of a quote. You accept it to confirm we’re moving forward, and I confirm I’ve received your licensing package fee (a PO works too).
5. I pay for the licenses on your behalf, and you send me payment to cover those fees.

You approve an early estimate, approve a final estimate, and send payment. I reach out at every step, so you don’t have to keep track of anything on your end.

If You Choose Acquisition

With the Copyright Acquisition Package, I do the searching, applying, and follow-up. Your part is paying for the licenses. I’ll keep you posted as approvals come in, and you pay the licensing fees directly.

The one thing that slows Acquisition projects is a gap between approval and payment. Approval lets me start writing, but payment is what releases your music, so paying promptly protects your delivery date.

If You’re Handling Licensing Yourself

If you waived copyright support, licensing is yours to run. It’s more manageable than it looks, and the steps below are how most directors do it. Approved, signed licenses let me start writing. Proof of payment lets me release your music to you once written.

Start With Tresona

The simplest way to secure licenses is to use an intermediary between you and the copyright holders. Tresona Music is the one directors use most, and the one I reach for. Their online system makes finding, applying for, tracking, and paying for licenses reasonably simple.

The trade-off is cost. Tresona charges a service fee on top of the licensing fee, and it can add to the total.

Here’s the good news. You can make an account, apply for licenses, and wait for approval before paying a single cent. If you’re unsure about a selection, apply anyway. If you change your mind, ask them to delete the request before you pay the licensing fee.

Start by “Requesting your License”

The hardest part really is knowing where to start. Start by clicking “Request License” or “Request Arrangement License”.  From there, you’ll go through a series of questions that you can answer using mostly common-sense logic. You’ll need to select your specific ensemble or organization in the Tresona system. If you’ve never requested a license through Tresona before, you’ll need to create it first. The process is fairly simple. Just follow the step-by-step instructions on the screen.

Search for your Title

Next, you want to search Tresona for the song title of the specific source material you’re using. My name won’t appear because you’re not licensing the arrangement from me. You’re licensing the source material that I’m arranging.

Search by song title first. If you can’t find it, try alternate spellings or different versions of the composer’s name. Usually, the work is somewhere in Tresona’s system.

If you still can’t find it, you can submit a title that isn’t in their system by selecting “Add New Composition”. Be as descriptive as possible, including the source material’s title and composer. It’s also helpful to include a YouTube link to a recording of the source material so Tresona can identify exactly what you’re requesting.

Only Call It a Medley If It’s a Medley

Tresona will ask whether your selection is a medley, meaning it’s paired with other pieces. Think before you say yes, because a medley can raise your total price.

Apply for each piece as its own request unless two pieces are used together within one single movement of your show. If a movement combines two selections (or more), apply for those titles as a medley. If you’re not sure how to classify your arrangement, ask me before you submit.  

A good way to tell if your arrangements need to be listed as a medley is to look at how they appear in your Perusall scores. If multiple pieces or selections appear within the same Perusall score, that’s a good indicator that you should apply for them as a medley. If the source material appears in separate perusal scores, submit them as separate requests.

Don’t Forget to Name Me as Your Arranger

When Tresona asks for your arranger, search for Evan VanDoren. A few different profiles can show up. Pick the one that lists “N/A” as the organization.

If you’re not sure which entry to choose, take a screenshot and send it to me before you continue. I’m happy to clarify.

This step matters because listing me as your arranger lets me see the licenses you’ve applied for and track their status, including when permissions are approved and payments are received.

Why do they ask for a Rehearsal Date?

Honestly, I’m not sure, but I usually list May 1st.  The date you choose won’t have much impact on the process!

Check Public Domain Claims Before You Apply

I’ve seen Tresona make mistakes with public domain music. If you believe a piece doesn’t need a license because it’s in the public domain, do your research before you apply, so you have something to back that up.

Cornell’s copyright term and public domain chart is a good place to start. As a rough guide, U.S. works published before 1931 are in the public domain, but later works follow more complicated rules, and a modern arrangement or edition of an old tune can carry its own protection. If Tresona tries to charge you for a piece you’re confident is public domain, don’t be bashful about contacting them to ask.

Another easy way to gauge whether a piece is in the public domain is to ask an AI tool like ChatGPT, Google Gemini, or Claude. Providing the composer’s name, where and when the piece was published, and the composer’s death date can often give you a useful starting point. AI isn’t always accurate on copyright questions, so don’t rely on its answer alone, but it can help when you’re unsure about a piece’s copyright status.

Apply, Then Wait for Approval

Once you submit your requests, the next move is patience. Nothing gets paid until a license is approved, and a license isn’t yours until it’s approved and paid.

Watch the Approval Clock

Tresona can be slow. Each request in the portal lists an approximate approval time, so keep an eye on it. If you’re a week or so past that estimate, or a few weeks have passed without approval, email them and ask about the delay. A little poke from a customer sometimes pushes a title through faster.

At the same time, the listed approval windows can be wildly inaccurate. I’ve seen selections with a 90-day approval window approved overnight, while others listed at seven days have taken months. Regardless of the listed timeframe, if a few weeks have passed without an update, it can help to send Tresona a quick email to check the status. Sometimes a small nudge is enough to get the process moving.

When Titles Get Approved

When titles are approved, you’ll receive a notification, and I’ll receive the same notification if I’m listed as your arranger. At that point, you can pay immediately or wait until all of your titles are approved and pay for them together.

There’s no need to notify me when a title is approved or paid. I’ll receive those notifications automatically, so you can move forward with payment whenever you’re ready.

Life Without Tresona: Going Straight to the Publisher

You can skip Tresona and go directly to the copyright holder. It takes more legwork to find out who owns the rights, and more paperwork and correspondence once you do. It’s also almost always cheaper.

The ASCAP repertory search can help you find who owns a title’s publishing rights, which can save you a lot of time.

If you go this route, or any route outside Tresona, let me know and keep me updated. I won’t get emails or notifications automatically, so it’s up to you to keep me posted.

What I Need From You

However you secure a license, I need two things: the signed license, so I can start writing, and proof of payment, so I can release your music.  In many cases, when you obtain a license outside the Tresona system, getting a copy of the license itself is easy. Most licensors will provide one automatically, which you can simply forward to me. Proof of payment, however, can sometimes be harder to obtain.

If a license holder or publisher asks you to pay by check, they may receive and process the check without sending any confirmation. If you obtain a license outside of Tresona, or the license is only available through another source, plan to follow up and confirm that they received your payment.

Once you have written confirmation of payment, simply forward it to me. This can be as simple as an email response from the licensing entity confirming that they received your payment.

Why would I go outside of Tresona?  And where would I go?

Typically, when licenses aren’t available through the Tresona system, you need to acquire them directly from the rights holder or publisher. A few common sources are:

Boosey & Hawkes

Boosey & Hawkes no longer lets Tresona administer licenses on their titles. That doesn’t mean the license isn’t available; it just means you’ll apply directly with Boosey & Hawkes instead. The process is a bit more involved, but still manageable.

You can submit your application here. They’ll ask for a score and MP3 of your arrangement, so reach out to me, and I’ll send those over. You’ll also need to list your arranger’s address on the application, so email me, and I’ll provide mine.

Boosey & Hawkes tends to correspond directly with the director without looping in the arranger, so forward me anything they send and CC me on your replies. That’s the only way I’ll know where things stand.

They handle contracts through DocuSign, so watch for a DocuSign email once they approve your selection. When you sign, save a copy for your records. That signing session is the only time you’ll have access to the agreement.

Once approved, they’ll send an invoice, and you’ll pay them directly. They don’t automatically confirm receipt of payment, so once you expect they’ve received it, check in and forward me their reply. An email from them confirming payment is all I need. If you run into a snag at this stage, Dallas Sutter (dallas.sutter@concord.com) handles this for Boosey & Hawkes.

Short version: apply via the link, CC me on the thread, sign what they send you, and confirm payment once it’s paid.

Dunvagen Music Publishers

A handful of titles are administered by Dunvagen Music Publishing, and Dunvagen doesn’t let Tresona handle licensing on their behalf. That doesn’t mean the license isn’t available; it just means you’ll go straight to Dunvagen instead of through Tresona. The process takes a bit more legwork, but it’s still straightforward.

Start with this fillable PDF. I’ve already added my name and signature where they’re needed, so you just need to fill in the rest:

• Page 1: the date and the composition title
• Page 2: your institution’s name and address, and your name, email, and phone number under “Requested by”

Send it in as directed on the form, and CC me on that email. Dunvagen often corresponds directly with the director without looping in the arranger, so from here on, forward me anything they send you and CC me on your replies. That’s the only way I’ll know where things stand.

Once approved, Dunvagen will send an invoice, and payment goes directly to them. They don’t send payment confirmation automatically, so once you expect they’ve received it, check in and forward me their reply. An email from them saying they’ve received payment is all I need.

Short version: fill out the PDF, CC me on the thread, and forward payment confirmation once you have it.

Music Murphy Press (MSync Licensing)

Murphy Music Press handles “permission to arrange” licenses through MSYNC Licensing. Reach out to them directly at msynclicensing@gmail.com, or contact Jen Zimmerer at jzimmerer@murphymusicpress.com, who handles most of these requests.

They’ll send you a license document to fill out, sign, and return. Payment goes to them, either by card through a Square invoice or by check mailed to Murphy Music Press c/o MSYNC Licensing, 3403 Napa Blvd, Avon, OH 44011. Once they’ve received payment and your signed license, they’ll send back a countersigned copy.

Once you have that countersigned license and proof of payment, forward both to me.

John Mackey

This is the easiest license on the list. John Mackey built part of his website to handle the whole process in one sitting: pick your piece, add it to your cart, and pay. You’ll get the license and payment confirmation instantly, no waiting on approval, no back and forth.

Start here. Once you’ve got your license and payment confirmation, forward both to me and you’re set.

I’m in over my head – can I just have Evan handle it?

Yes, of course… Just email me and let me know which package you’d like to pursue, and I’ll take it from there!

Frequently Asked Questions

When should the licensing process start?

As soon as you accept your quote. Waiting only pushes your timeline back, since approvals can take weeks.

Do I have to use Tresona?

No. Tresona is the easiest route for most directors, but you can go directly to a publisher, which is usually cheaper and takes more work. If you go outside Tresona, keep me posted on your progress.

When do I get my music?

I start writing once your licenses are approved. Your music is delivered once the licenses are fully paid.

How long do approvals take?

It varies by title. Tresona lists an approximate approval time for each request in your portal. If you’re a week past that estimate, or a few weeks have gone by, email them to ask.

What if I think a piece is in the public domain?

Research it before you apply so you can back up the claim. Cornell’s public domain chart is a solid starting point, and I’m glad to take a look with you. If Tresona charges you for something you’re sure is public domain, ask them about it.

Can I switch to Acquisition or Full Service after I’ve started?

Yes. Email me and let me know which package you’d like, and I’ll take care of the rest.

Questions about any of this? Email me or reach out on my contact page. If you’re still choosing music, you can browse my marching band shows or the full catalog.

Planning next season?

Plan a show that fits the band you’ll actually have in October.

A 54-page fillable workbook for band directors, from the season debrief to a plan you can hand to any arranger. Start with the free sample.

See the planning guideGet the free sample

Evan VanDoren is a composer and arranger who writes marching band shows and concert music for programs at every level. He spent nine years as a band director at Cedar Park High School, where the band won three UIL State Championships, and he serves as the brass composer and arranger for the Santa Clara Vanguard. Explore his work at evanvandoren.com.

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