Music connects naturally to other subjects, too. A teacher can use it to bring history lessons to life, explore rhythm and rhyme in a poetry unit, or reinforce concepts in math class. Music also supports social and emotional learning, building skills like empathy, self-expression, and collaboration. The qualities of an impactful music teacher go beyond teaching notes and rhythms, and the sections below cover what makes them last.

Defining Goals and Expectations for Student Success

Clear goals give your music students direction. When they know what they’re working toward, whether that’s mastering a specific piece or a technique, they can track their own progress and feel real accomplishment when they hit a goal.

Expectations for behavior and progress do similar work. When you communicate them clearly, students know what’s expected in terms of behavior, practice habits, and participation, and that structure keeps rehearsal focused. Setting expectations also gives you a framework for tracking growth, similar to the growth-mindset approach behind how a growth mindset transforms marching band shows. You can spot exactly where a student needs support and target your feedback there instead of guessing.

Recognizing and Celebrating Student Achievements

Recognizing your students’ achievements is one of the simplest ways to build motivation. A student who nails a difficult passage or turns in a strong recital deserves to hear that you noticed, whether that’s a quiet word after rehearsal or a public shout-out in front of the group.

Celebrating those wins builds a supportive room. Students take real pride in being recognized, and that pride pushes them to set higher goals for themselves. It also strengthens the trust between you and your students: when they feel valued for their effort, they’re more likely to open up and collaborate. That kind of trust starts with how you lead, which is the whole idea behind building better bands through personal leadership.

Respecting and Appreciating Student Effort

One of the clearest qualities of an impactful music teacher is respecting effort just as much as results. Acknowledging hard work and dedication validates the effort itself, not just the outcome. Specific, positive feedback when a student improves or works through a tough passage reinforces that effort is what you’re actually watching for.

That respect builds a classroom where students feel safe taking real risks. When they know their effort is valued, they engage more and try things they might otherwise avoid. That safety gives them room to explore their musical abilities and express themselves, which builds the confidence that carries a love of music well past your classroom.

Valuing Students’ Time and Maximizing Learning Opportunities

Using class time well is part of being an effective music teacher. Every minute matters, and careful lesson planning makes sure you’re using it for actual learning instead of logistics.

Well-used time also lets you go deeper into the material. Prepping materials and instruments in advance cuts down on transitions and disruptions, so students stay focused and engaged throughout the lesson. Being organized this way shows students you respect their time, and that respect goes both directions.

Igniting Passion and Enthusiasm for Learning Music

Sparking real passion for music starts with lessons that actually engage students, not just move them through material. Interactive games, technology, and guest musicians all give students a reason to stay curious instead of just compliant.

Connecting music to real-world examples helps students see why the work matters. Giving them choices in their own musical journey, whether that’s repertoire, practice approach, or a leadership role in the section, builds ownership and enthusiasm that outside pressure can’t manufacture. That kind of ownership is also one of the biggest levers for keeping students in your program long-term, which I get into in 5 strategies for retaining students in music ensembles.

Fostering Meaningful Connections with Students

Strong teacher-student relationships are central to being an impactful music teacher. Getting to know your students, their needs, interests, and how they learn best, helps you teach them as individuals instead of a group.

Open communication and active listening strengthen that relationship. A safe, non-judgmental space for students to share their thoughts, concerns, and musical goals helps them feel heard. Involving family and the broader community adds a wider support system and more perspectives to draw from. That kind of relationship-building, the same idea behind the mentorship advantage that keeps band directors improving, works just as well between a teacher and a student as it does between colleagues.

Creating a Positive Learning Environment

A positive classroom atmosphere is essential for your students’ growth. It directly improves engagement and learning outcomes, and positive reinforcement paired with clear communication reinforces a supportive, respectful room.

A sense of belonging and inclusivity encourages students to collaborate instead of compete. Give students a safe, nurturing space where they feel comfortable taking risks, and use calming music when the moment calls for focused work, or more energetic music to liven things up. A positive environment like this is the foundation students need to reach their full musical potential.

Incorporating Cultural Responsiveness in Music Teaching

Cultural responsiveness is a core part of building an inclusive, equitable classroom. It starts with examining your own biases and understanding the cultural backgrounds your students bring into the room. Adapting your teaching methods and curriculum to reflect those backgrounds validates your students’ identities and experiences.

Involving family and community strengthens those cultural connections and builds a sense of belonging. Giving students chances to share their own cultural knowledge, and to take action on things that matter to them, builds empowerment and social awareness. A culturally responsive classroom is one where every student feels valued, respected, and represented.

Conclusion: The Qualities of an Impactful Music Teacher, in Practice

Being an impactful music teacher goes well beyond teaching musical skills. It means setting clear goals, celebrating real achievements, respecting effort, using class time well, sparking genuine passion, building real relationships, creating a positive room, and teaching in a way that’s culturally responsive. None of that happens by accident. It’s a set of habits you build rehearsal by rehearsal.

The qualities of an impactful music teacher aren’t a checklist you finish once. They’re the daily habits that shape whether your students walk away from your program with real musicianship and a lifelong love of music, or just a season of memorized notes.

Frequently Asked Questions About Great Music Educators

Why are great music teachers so impactful?
Great music teachers go beyond teaching notes and rhythms. They build confidence, spark creativity, and create a room where students feel valued. That influence shapes musicianship, but also life skills like perseverance and teamwork.

How does music education benefit students outside of music?
Music education improves language skills, supports mathematical thinking, and boosts social-emotional learning. Active music engagement strengthens communication, empathy, and collaboration, skills that carry over into every subject and into life.

What role do goals and expectations play in music education?
Clear goals give students direction and purpose. When teachers set expectations for behavior, practice, and performance, students gain structure and accountability, which helps them achieve steady growth and success.

Why is celebrating student achievements important in music?
Recognizing milestones, whether a successful recital, improved tone, or consistent practice, builds self-esteem and motivates students to keep progressing. Celebration creates a culture of encouragement and pride.

How can teachers show respect for student effort?
Acknowledging hard work, offering specific praise, and creating a safe space for risk-taking validate student effort. This builds trust and encourages students to stay engaged, even when learning is challenging.

What makes an effective music classroom environment?
An effective environment is structured yet positive. It minimizes distractions, values student time, and cultivates inclusivity. This balance allows students to focus, collaborate, and explore music confidently.

How do music teachers ignite passion in students?
Great teachers spark enthusiasm by using creative lesson plans, incorporating technology, connecting music to real-world experiences, and sharing their own passion for music. This inspires students to take ownership of their learning.

Why is cultural responsiveness important in music teaching?
Cultural responsiveness ensures that all students feel represented and respected. By integrating diverse musical traditions and inviting students to share their cultural experiences, teachers create an inclusive classroom that values every identity.

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.

The post The Qualities of an Impactful Music Teacher, Explained appeared first on Evan VanDoren Music.

BOA North Texas Regional (Prosper)

Five of my custom bands were in the same 28-band field, and three of them made finals. Hebron won the day with 88.60.

• Argyle HS
  Prelims: 1st in Class AAA, 80.500 (5th overall)
  Finals: 5th, 83.525
  Captions: AAA Outstanding Music, AAA Outstanding General Effect
  Show: Theia’s Light
• Wylie HS
  Finals: 6th, 82.925
  Prelims: 6th, 79.450 (5th in Class AAAA)
  Show: Luna
• Aledo HS
  Prelims: 3rd in Class AAA, 77.300 (10th overall)
  Finals: 9th, 78.900
  Show: The Other Side of Here
• Reedy HS
  Prelims: 4th in Class AAA, 75.550 (13th overall)
  Captions: AAA Outstanding Visual
  Show: Drawn Together
• Wakeland HS
  Prelims: 7th in Class AAA, 72.650 (19th overall)
  Show: Sacred Spaces

Argyle sweeping Music and General Effect in a class this deep says the music and the visual package are telling the same story. Reedy missed finals by one spot, and still walked away with the AAA Visual award. Five of my custom shows in one field made for a long, good day in Prosper.

BOA Central Texas Regional (San Marcos)

Class AA at San Marcos was a clean sweep for my bands: 1st, 2nd and 3rd.

• Long Creek HS
  Prelims: 1st in Class AA, 71.950
  Captions: AA Outstanding Music, AA Outstanding Visual
  Performed in finals as the Class AA champion
  Show: Mix of Selections from Evan’s Catalog
• Legacy Ranch HS
  Prelims: 2nd in Class AA, 71.100
  Captions: AA Outstanding General Effect
  Show: Mix of Selections from Evan’s Catalog
• Wimberley HS
  Prelims: 3rd in Class AA, 63.800
  Show: Empire City

Long Creek got a second run in the stadium Saturday night, and that experience matters for a smaller band heading into UIL.

BOA West Texas Regional (Midland)

• Andrews HS
  Prelims: 6th in Class AA, 66.550
  Show: Mix of Selections from Evan’s Catalog
• Coronado HS (Lubbock)
  Prelims: 7th in Class AA, 65.050
  Show: Mix of Selections from Evan’s Catalog
• Palo Duro HS
  Prelims: 9th in Class AA, 61.150
  Show: Mix of Selections from Evan’s Catalog

All three West Texas bands now have a full BOA judging panel’s tapes to work from, which is about the best feedback you can get before region.

Texas invitationals

Most local contests didn’t post official recaps, so several of these come from TxBands threads or the bands’ own posts.

• Davenport HS
  Comal Classic: Grand Champion
  Conference 4A: 1st
  Captions: Music, Marching, Percussion, Color Guard
  Show: Mix of Selections from Evan’s Catalog
• Pleasanton HS
  Harlandale Marching Festival: 1st
  Captions: Guard, Percussion
  Show: Mix of Selections from Evan’s Catalog
• Lewisville HS
  Golden Triangle Marching Contest: 1st in finals
  Prelims: 1st
  Captions: Music, Visual, Color Guard
  Show: Midnight Habañera
• North Forney HS
  Royse City Marching Classic: 1st in Big School finals
  Captions: 6A Band, Percussion, Guard
  Show: Mix of Selections from Evan’s Catalog
• Stevens HS
  USBands Conn-Selmer Classic: Texas: 5th in finals, 82.900
  Captions: Best Percussion
  Show: Mix of Selections from Evan’s Catalog
• Mineola HS
  Royse City Marching Classic: 2nd in Small School finals
  Captions: Outstanding Guard; 3A Band, Percussion, Guard
  Show: Mix of Selections from Evan’s Catalog
• Brewer HS
  Sound of Springtown: 2nd in finals
  Captions: Music Performance
  Show: Powerline
• Farmersville HS
  Celina Marching Invitational: 2nd in finals
  Show: Mix of Selections from Evan’s Catalog
• Gatesville HS
  Golden Triangle Marching Contest: 2nd in Class 2A
  Finals: 11th
  Show: Mix of Selections from Evan’s Catalog
• Van Alstyne HS
  Celina Marching Invitational: 5th in finals
  Show: … the Sun, the Moon, and all the Stars
• Denison HS
  Celina Marching Invitational: 6th in finals
  Show: Mix of Selections from Evan’s Catalog
• Benbrook HS
  Golden Triangle Marching Contest: 8th in finals
  Show: Mix of Selections from Evan’s Catalog
• MacArthur HS (Irving)
  Golden Triangle Marching Contest: 9th in finals
  Show: Assim!lated
• Klein HS
  Lone Star Preview: 12th in finals, 77.825
  Show: Light & Shadow

Davenport’s caption list jumped out at me. Winning Music, Marching, Percussion and Color Guard at one contest means nobody on that field was carrying anyone else. Lewisville won prelims and finals at Golden Triangle with Music, Visual and Color Guard, and North Forney and Mineola both came home from Royse City with hardware.

Around the country

• Finneytown HS (OH)
  MSBA Mason Invitational: 1st in class
  Captions: Music, Visual, General Effect, Guard, Percussion
  Show: Mix of Selections from Evan’s Catalog
• Arcadia HS (CA)
  SCSBOA Valencia Field Tournament: 1st in 6A, 79.100
  High score of the day
  Show: Fractured
• Corona del Sol HS (AZ)
  ABODA Corona del Sol Invitational: 1st in Division I, 81.388
  High score of the day
  Show: Short Circuit
• Goshen HS (IN)
  ISSMA Open Class B Regional: Gold
  Captions: Music and Effect Distinctions
  Show: The Shape of Things to Come
• Floyd Central HS (IN)
  ISSMA Open Class B Regional: Gold
  Captions: Music and Effect Distinctions
  Show: Mix of Selections from Evan’s Catalog
• Ankeny HS (IA)
  Valleyfest Showdown: 4th in Class A
  Captions: Best Drum Majors
  Show: Short Circuit

Two different bands are playing Short Circuit this fall, in Arizona and Iowa, and both had a good Saturday. Corona del Sol hosted their own contest and still put up the top score.

What’s next

UIL region contests take over Texas this week, and a lot of these bands are on the field again by Saturday. I’ll keep posting marching band contest results as they come in. If your band is heading into region or area, here are my ideas for standing out at UIL Area.

Already thinking about next fall? Browse the 2026 show catalog, see my full list of marching band shows, or start sketching your own with the Build Your Show tool. When you’re ready to talk, reach out here.

FAQ

How do Bands of America class awards work? In prelims, bands are grouped into Class A, AA, AAA or AAAA by school size. Each class gets its own placements and its own Outstanding Music, Visual and General Effect awards, so a band can win its class without making the 12-band finals.

What is a class champion exhibition? At a BOA regional, a class champion that doesn’t make finals is invited to perform again during the finals session as an exhibition. Long Creek did that in San Marcos on Saturday.

Can an adaptable show win at this level? Yes. Long Creek won Class AA at BOA Central Texas with a mix of selections from my catalog, adjusted to the band before they started learning it. See how adaptable shows work.

About the author

I’m Evan VanDoren, a composer and arranger based in Austin. I spent nine years as band director at Cedar Park High School, where we won three UIL State Championships, and I now write for Santa Clara Vanguard. My work is published through RWS Music and Alfred Music, and I write adaptable and custom marching band shows for programs across the country.

Sources

• Bands of America North Texas Regional results 2026
• Bands of America Central Texas Regional results 2026
• Bands of America West Texas Regional results 2026
• SCSBOA Valencia Festival recap (CompetitionSuite)
• ABODA Corona del Sol Invitational recap (CompetitionSuite)
• TxBands: 2026 Golden Triangle Marching Contest thread (fan-posted, unofficial)
• TxBands: 2026 Celina Marching Invitational thread (fan-posted, unofficial)
• TxBands: Royse City Marching Classic thread (fan-posted, unofficial)
• TxBands: USBands Conn-Selmer Classic thread (fan-posted, unofficial)
• IN Bands: ISSMA Regional at Carroll HS results
• IN Bands: ISSMA Regional at Evansville North results
• Lewisville Band on Instagram, Oct 10 (reported by the band)
• TxBands: 2026 Sound of Springtown Marching Showcase thread (fan-posted, unofficial)
• TxBands: 2026 Lone Star Preview thread (fan-posted, unofficial)
• Davenport HS Band on Instagram, Oct 10 (reported by the band)
• Pleasanton HS Mighty Eagle Band on Instagram, Oct 10 (reported by the band)
• Finneytown Bands on Instagram, Oct 11 (reported by the band)
• Ankeny Bands on Instagram, Oct 10 (reported by the band)

The post Marching Band Contest Results: October 10, 2026 appeared first on Evan VanDoren Music.

The Sound of Trust

Every fall, directors everywhere face one big question: What show are we going to do this year? It’s exciting, and a little terrifying, because the right show can energize your students and define your season, while the wrong one can make you dread every rehearsal.

I’ve been in your shoes. Before I started VanDoren Music, I was a high school band director. I remember the late nights searching for the perfect chart, wondering whether the music would arrive on time, and hoping it would sound as good on the field as it did in my head.

Today, more than 136 directors nationwide have given VanDoren Music a five-star review. That tells me something simple: directors want reliability, collaboration, and confidence, not just notes on a page.

Browse Marching Band Shows →

Reliability Isn’t Optional. It’s the Foundation.

Band directors live by the calendar. There’s no “push this deadline” when contest season is staring you in the face. That’s why reliability isn’t a selling point for me, it’s a promise. As a result, my clients get their music on time or early, because I’d rather stay up late than make you wait.

“Evan delivers early, communicates clearly, and makes our job ten times easier.”

“Having Evan on board gives me peace of mind that our show will always sound its best.”

When you stop worrying about deadlines, you can focus on what matters most: your students and your sound.

Music That Makes Bands Sound Bigger and Better

The best compliment I can get is: “Our band sounded bigger than ever this year.” That’s not magic, it’s design. I write to your strengths so your students sound confident and mature, no matter your size or experience level.

“His orchestrations are brilliantly thoughtful and allow the ensemble to achieve maximum clarity and sonority.”

“The music sounds more difficult than it actually is.”

So, great writing stretches an ensemble just enough to grow without crushing confidence, and the goal is simple: give students room to win.

Collaboration That Feels Effortless

From our first conversation, I ask detailed questions: instrumentation, story, goals, and the moments you want to create. Then I stay involved, through edits, adjustments, and check-ins as the season unfolds.

“He answers every email like we’re his only client.”

“He checks in during the season and makes edits on the fly.”

“Working with VanDoren Music is stress-free.”

I don’t want our work to feel transactional. Instead, I want it to feel like we’re co-creating something your students will remember for the rest of their lives.

Student Success Comes First

Every chart starts with one question: How will this feel for the kids? If they’re not lit up by the music, nothing else matters. Directors tell me my shows reignite motivation and make rehearsals fun again. That’s the best feedback I can get.

“The music was engaging from the first read-through to the final performance. Students were proud to play it.”

When students love what they’re playing, they rehearse better, perform stronger, and grow faster.

Building Programs Through Partnership

One thing that makes me proud is how many directors come back year after year. Those long-term partnerships are where the real magic happens, the same trust I write about in the mentorship advantage that keeps band directors improving.

“We’ve been using Evan for three years, total game changer.”

“He’s arranged for us since 2017. We’ll be using him for years to come.”

When I work with a program over multiple seasons, I start to really understand the DNA of that ensemble, their instrumentation, their personalities, their sound. Because of that, I can push creative boundaries while still writing something that fits like a glove.

From Small Schools to National Finalists

It doesn’t matter if your band is 35 winds or 200. Every program deserves music that helps them shine, the same payoff I get into in 10 life-changing benefits of marching band.

“Our 3A band sounded like a 6A finalist. The kids couldn’t believe it.”

That’s the joy of arranging, to help ensembles sound bigger than they are.

At the same time, I’ve had the privilege to write for nationally recognized programs like Santa Clara Vanguard, Cedar Park HS, and Rouse HS. These experiences keep me connected to the cutting edge of design while never losing sight of what matters most: clear writing, student growth, and emotional storytelling.

The Philosophy Behind My Writing

When I sit down to write a new show, I think like a teacher first and a composer second. I want every player to have a meaningful musical role, and I want every impact moment to earn its volume. Above all, I want every melody to make students feel proud.

To me, great design isn’t about complexity, but about clarity and connection.

“Evan’s writing gives every student a chance to shine while serving the story.”

“His music tells a story the audience can feel.”

136 Voices, One Message in These Marching Band Show Reviews

When I look through all 136 reviews, the themes repeat again and again:

• Communication
• Reliability
• Collaboration
• Student engagement
• Peace of mind

That’s not coincidence, but rather the culture I’ve worked to build. I’m grateful for every director who’s trusted me to bring their vision to life. I know what it means to hand someone your fall season and say, “Here, write the soundtrack for our students’ memories.” That’s not a job. It’s a responsibility.

Let’s Build Your Next Show

If you’re planning next season, or just exploring new ideas, I’d love to talk. Whether you’re looking for a proven show from the catalog, like Frozen in Time, or something brand new, I’ll help you find the perfect fit.

You can browse my full catalog of marching band shows or build your own custom production.

Your music will arrive on time, sound incredible, and make your season easier.

Frequently Asked Questions

How are your shows different from other pre-written marching band shows?
Every show in my catalog started as a custom commission: it was originally written for a real ensemble and refined through real performances. Because of that, each one can be adapted to your instrumentation, skill level, and story.

Can you tailor a show to fit my smaller band?
Absolutely. Many of my happiest clients are smaller programs. I re-orchestrate each show to make sure your students sound full, balanced, and confident, without over-writing or watering things down.

What if I need the music quickly?
I understand deadlines. That’s why every agreement includes a clear delivery schedule, and I’m proud to say I’ve never missed one. Most directors receive their full score and parts ahead of schedule.

Do you offer edits or in-season support?
Yes. I stay involved throughout your season. If you need an edit, balance adjustment, or voicing tweak, I handle it personally. My job isn’t finished when the PDFs arrive. Instead, it’s finished when you perform with confidence.

More on Booking and Support

Can I mix and match movements from different shows?
Of course. Directors often combine movements to create something unique. I’ll make sure transitions, keys, and pacing work seamlessly.

How do I get started?
Visit evanvandoren.com/marchingbandshows to browse, listen, and request perusal scores. Once you’ve found something that excites you, we’ll talk details, timeline, and customizations to make it yours.

How much do your marching band shows cost?
Pricing varies depending on whether you’re licensing an existing show or commissioning a new one. But every project includes my personal involvement, full customization, and ongoing support.

Can you help my team choose the right show?
Yes. I’ve helped hundreds of directors find a show that fits their vision, students, and schedule. If you’re unsure, I’ll guide you toward something that aligns with your ensemble’s strengths and goals.

Band directors choose VanDoren Music because they want more than charts. They want clarity, dependability, and heart.

Browse Marching Band Shows →

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.

The post Marching Band Show Reviews From 136+ Band Directors appeared first on Evan VanDoren Music.

Light It Up! A Hard Rock Hanukkah

Turn up the volume this holiday season with a high-octane mashup of “Hanukkah”, “Oh Hanukkah” and “Dreidel, Dreidel, Dreidel” in the style of Queen, Led Zeppelin, the Trans-Siberian Orchestra, and more! Driving rhythms, edgy harmonies, and a full-throttle rock groove power this certified head-banger. With optional electric guitar, electric bass, and a flexible drum set part, this accessible chart delivers maximum energy and is a guaranteed showstopper for any holiday performance.

Grade 2 / 2:30′ / 2025 / JWPepper Editors’ Choice Award 2026

Ho-Ho-Ho, Cha-Cha-Cha!

With lots of percussion and using just the first 6 notes of the Bb major scale, this fun, upbeat piece is perfect for your students’ first winter concert! Your audience will enjoy seeing their young musicians perform this blend of “Up on the Housetop” and “Deck the Halls” with a Latin flare! Come join in the holiday fun!

Grade 0.5 / 1’30” / 2025

Light the Menorah!

Join in a vibrant celebration of Hanukkah! Colorful, lush harmonies give way to a rousing, lively dance sure to get the audience to its feet! “Ner Li” (I have a candle), “Hanukkah, Oh Hanukkah,” and “Hava Nagila” (Let us rejoice) blend together into a musical tapestry embodying the joy and rich traditions of the holiday. Invite your audience to Light The Menorah at your next winter concert!

Grade 4 / 5’30” / 2024

Jingle Jam

If you want to get your audience clapping along, look no further! Jingle Jam is a feelgood holiday celebration that features many of your favorite classics, including “Up on the Housetop,” “Deck the Halls,” “The 12 Days of Christmas”, “O Tannenbaum,” “God Rest Ye Merry Gentlemen,” and of course, “Jingle Bells!” A host of percussion instruments ensures everyone feels the groove and prepares them to embrace the spirit of the season! Jingle Jam is the perfect way to conclude your holiday concert!

Available for Concert Band & String Orchestra

Grade 2 | 2:30 | JWPepper Editor’s Choice 2024

“Not So Silent Night”

Every child imagines witnessing Santa Claus coming down the chimney, delivering presents under the tree, and enjoying milk and cookies. This programmatic work envisions a movie-like soundtrack to these events… until things take an unexpected turn.

Our scene begins with Santa descending down the chimney, cautiously taking in his new surroundings to avoid waking the home’s sleeping residents. He tiptoes around the house, humming Christmas tunes like “Silent Night,” “Jingle Bells,” and “Up on the Housetop” under his breath. Carefully placing the presents under the tree, he briefly pauses to ensure no one is awakened. As time passes, Santa becomes more comfortable with his surroundings, becoming less conscious of the noise he makes. Eventually, he breaks into full-throated merry singing as he continues his work.

Suddenly, Santa becomes very aware he’s not the only one in the room!  Around the corner peers a newly awakened pet dog and not a friendly one!  Panic sets in as Santa collects himself, and a full-blown chase breaks out as Santa makes for his exit!  After a prolonged chase around the house, Santa makes his way up the chimney and out of the house! With a sense of relief, Santa and his reindeer fly off to the next house, where further antics no doubt await in what has become a Not So Silent Night.

Starting with a clever tango and ending with a cartoon-esque chase scene, this winter concert music will engage the imagination of your students and audience alike!

Grade 3 | 4:30 | JWPepper Editor’s Choice 2023

“Fanfare for the Festival of Lights”

“Fanfare for the Festival of Lights” weaves two traditional Hanukkah melodies into a colorful, rousing celebration!  “Ma’oz Tzur”, translated, means “rock of ages”, and hints at the strength of faith felt by the Jewish people when reflecting on the story of Hanukkah.  In contrast, “The Dreidel Song” leans into a more playful side of the Hanukkah holiday, referencing a song about an often-played children’s game. 

The composer writes, “As a young Jewish musician growing up in the United States, I performed an untold number of Christmas selections around the holiday season.  And, truthfully, I enjoyed them all!  The concert band repertoire includes a wealth of masterfully crafted selections composed and arranged from melodies and concepts tied to the Christmas holiday.  However, there are decidedly fewer opportunities for young Jewish musicians to perform music derived from their own cultural and religious heritage. My hope is that through creating this brief work, Jewish musicians will have the opportunity to perform music from their background while all musicians join together in a musical celebration of the joy and awe of the holiday season!”

Grade 3.5 | 2:30 | JWPepper Editor’s Choice 2022 | Bandworld Top 100

Conclusion

Winter concerts provide a wonderful opportunity for concert band directors to showcase the skills and talents of their musicians. By adding some exciting new winter concert selections to your program, you can create a memorable and engaging performance that will delight both you and your audience. With these two new selections, you can take your audience on a magical journey through the snow-covered landscape, spread holiday cheer, and capture the spirit of the winter season. So what are you waiting for? Start practicing and get ready for a winter concert program that is sure to be a hit!

The post Winter Concert Coming Up? Start With These Pieces appeared first on Evan VanDoren Music.

What Is the Bandworld Top 100?

Every fall, one team runs Bandworld Magazine, the Western International Band Clinic (WIBC), and the American Band College (ABC). That team listens to all of the new concert band music in print for the coming school year. They also review a handful of important reissues. From that stack, they pick 100 compositions for live sight-reading sessions. That list becomes the Bandworld Top 100.

The first reading happens at WIBC, a convention for band directors and students that has met in Seattle each November since 1979. This year, the WIBC Directors’ Band reads the list on November 21 and 22. Next, the ABC Directors’ Band reads it again in June. ABC is a summer master’s degree program for band directors, and it has met in Ashland since 1989.

This marks the 34th year of a directors’ reading band at WIBC and the 39th at ABC. Directors from more than 40 states and 5 countries play in those sessions. As a result, the list travels far beyond the room, because those directors take their favorites home and share them with colleagues.

Bandworld also posts the Top 100 in its free online magazine, along with recordings and links to publishers. In addition, every score and recording sent to the project joins the ABC Center for Research in Concert Band Literature. That collection already holds more than 49,000 items. You can learn more about the clinic on the Western International Band Clinic website.

Inspirare (Grade 4)

Inspirare is an original concert work in the RWS Symphony Band series. It opens with brass fanfares and driving percussion, then moves through mixed meters and quick bursts of rhythmic color. The middle section hands the spotlight to the woodwinds for a warm, lyrical stretch. After that, the earlier themes return and build to a soaring finish.

The piece runs about six and a half minutes. At Grade 4, it fits a strong high school band or a university ensemble. It works as either a concert opener or the centerpiece of a program. Inspirare also earned a spot on this fall’s JW Pepper Editor’s Choice list.

• Grade 4, about 6:30
• RWS Music Company, RWS Symphony Band series
• Listen to Inspirare at RWS Music

Vienna Philharmonic Fanfare (Grade 5)

Richard Strauss wrote this fanfare in 1924 for the Vienna Philharmonic’s first ball, a benefit for the orchestra’s pension fund. The orchestra has played it at every ball since. Strauss scored the original for a large brass and timpani group: six trumpets, eight horns, six trombones, two tubas, and two sets of timpani.

My version updates that scoring for today’s ensembles. A full wind ensemble can play it, or the brass section can play it on its own. It lasts about two and a half minutes, so it makes a dignified opener for a concert, a graduation, or any ceremony.

• Grade 5, about 2:30
• RWS Music Company, full wind ensemble or brass alone
• Listen to Vienna Philharmonic Fanfare at RWS Music

Why the Bandworld Top 100 Helps Directors

Choosing literature takes hours, and most directors can’t hear every new release. A curated list narrows the search. Because working directors sight-read each piece, the Bandworld Top 100 also shows how a work sounds on a first read, alongside the polished demo recording.

Three other RWS titles made this year’s list too: Oh No Ringo! by Robert W. Smith, Pride Within by Mark Lortz, and Ben Hawkins’s setting of Gershwin’s Third Prelude.

Thank you to the Bandworld, WIBC, and ABC team for the work behind this list, and to everyone at RWS Music Company. To hear more of my concert band writing, browse my music page. You can also read more about my background or find more posts on the blog. If you have a question about either piece, or want to talk about a commission for your ensemble, get in touch here.

FAQ: The Bandworld Top 100

What is the Bandworld Top 100?
The Bandworld Top 100 is an annual list of 100 new concert band works. The team behind Bandworld Magazine, WIBC, and the American Band College picks it each fall. Directors’ reading bands sight-read the list at WIBC in Seattle each November and at ABC the following summer.

When will directors read these pieces?
The WIBC Directors’ Band reads the 2026-27 list on November 21 and 22 in Seattle. The ABC Directors’ Band reads it again next June.

What grade levels are Inspirare and Vienna Philharmonic Fanfare?
Inspirare is Grade 4 and runs about six and a half minutes. Vienna Philharmonic Fanfare is Grade 5 and runs about two and a half minutes.

Can a brass section play Vienna Philharmonic Fanfare alone?
Yes. I scored it so a full wind ensemble or a brass section on its own can perform it.

Where can I get these pieces?
RWS Music Company publishes both works. You can hear recordings and order scores and parts through the RWS Music website.

Who publishes the Bandworld Top 100?
Bandworld Magazine, the free online magazine from the nonprofit WIBC, Inc., posts the list along with recordings and links to publishers.

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 Two New Works Selected for the 2026-27 Bandworld Top 100 appeared first on Evan VanDoren Music.

Updated October 8, 2026: added Panther Creek, Hondo, Fossil Ridge, North Forney, Decatur, Cicero-North Syracuse, West Seneca, Brookland, Del Norte and Norman North, and moved the results into lists so they read better on phones.

These are the marching band contest results from Saturday, October 3, 2026, for the bands performing my shows this fall. Storms rolled across Texas all day. Start times slid by hours, and HEB and McKinney cancelled finals outright. The bands still showed up and played like it was November.

Here are the headlines. Rouse and Cedar Park went 1-2 at the Vista Ridge Marching Festival, just 0.025 apart. Argyle won Class 5A at HEB and swept every 5A caption it could. Goshen and Ryle each placed in the top two of Class AAA at Bands of America regionals in Toledo and Louisville. Davenport won the USBands San Antonio Regional, and Hendersonville posted the top score of the day at Bandapalooza in Tennessee. Decatur won Class AA at Mill Creek in Georgia, and Panther Creek finished 2nd at Don Hanna.

I was a band director for nine years. I remember what it takes to get a full band through warmup, a weather delay and a performance with their focus intact. Every director and student below earned this one.

Vista Ridge Marching Festival: Rouse and Cedar Park go 1-2

The closest finish of the weekend happened in my own backyard. Twenty bands marched prelims at Gupton Stadium in Cedar Park, and two of my custom-show programs ended up at the top.

• Rouse HS
  Finals: 1st, 85.400
  Prelims: 2nd, 85.000
  Show: Out Of Print: A World Built From Stories
• Cedar Park HS
  Finals: 2nd, 85.375
  Prelims: 1st, 85.675
  Show: The Heart Within

Cedar Park led after prelims by 0.675. Rouse came back that night and won finals by 0.025, which is about as close as a contest gets. Both shows are custom builds, written from the ground up for those two bands. I taught at Cedar Park for nine years, so watching them trade places with Rouse at the top of a 20-band field was a strange and happy night for me.

Weiss HS, performing a mix of selections from my catalog, also made finals and placed 6th (76.775). Official recaps: finals and prelims.

Cedar Park’s run at BOA Austin last fall is in last year’s recap, if you want to see how this season compares.

HEB and McKinney: weather-shortened, still strong

The Metroplex got the worst of the storms. HEB at Pennington Field started more than three hours late and ran prelims only. McKinney also skipped finals. Neither host had posted official recaps as of Sunday night, so these numbers come from posted prelims results.

• Argyle HS
  1st in 5A, 3rd overall (80.85)
  HEB Marching Contest
  Show: Theia’s Light
• Aledo HS
  3rd in 6A, 4th overall (79.40)
  HEB Marching Contest
  Show: The Other Side of Here
• Wylie HS
  2nd overall
  McKinney Marching Invitational
  Show: Luna
• Reedy HS
  6th overall
  McKinney Marching Invitational
  Show: Drawn Together

Argyle’s day stands out. Along with the 5A title, they took the 5A awards for music, visual, general effect and color guard. Aledo finished behind only Marcus and Southlake Carroll among the 6A bands, which is a tough pair to chase in October.

At McKinney, Wylie placed 2nd in a field of more than a dozen bands and won the color guard award. Reedy finished 6th. Both shows still have a month of cleaning ahead before UIL, and I like where they’re headed. If your band is gearing up for that stretch, my list of ways to make your show stand out at UIL Area is worth a read.

Houston area: Clear Lake and Atascocita

Clear Lake, performing Of Faun and Fable, placed 3rd in Class AAA at the Iowa Colony Regional at Alvin ISD’s Freedom Field, scoring 78.500 in prelims. They finished 14th overall and just missed the 12-band finals cut. That’s an early-season number in a deep field, with most of the season still ahead. Full scores are on HornRank.

Across town, Atascocita, performing mixed selections, placed 2nd overall at the Galena Park ISD Marching Band Festival and won the woodwind award. Woodwind awards don’t happen by accident. That’s a section doing its homework on tone and balance, and it’s a nice payoff for the director who keeps pushing it.

USBands San Antonio Regional: Davenport wins

Six of my bands marched the USBands San Antonio Regional, and all of them made the 13-band finals.

• Davenport HS
  Finals: 1st, 83.3
  Prelims: 1st in Group IV, 82.4
  Show: Mixed selections
• Orange Grove HS
  Finals: 5th, 76.4
  Prelims: 1st in Group II, 76.1
  Show: Mixed selections
• MacArthur HS (San Antonio)
  Finals: 8th, 74.1
  Prelims: 3rd in Group III, 75.1
  Show: Mixed selections
• Wimberley HS
  Finals: 10th, 70.5
  Prelims: 2nd in Group II, 70.8
  Show: Empire City
• Southside HS
  Finals: 11th, 68.1
  Prelims: 3rd in Group II, 70.7
  Show: Mixed selections
• Memorial HS (San Antonio)
  Finals: 13th, 63.1
  Prelims: 1st in Group I (only band in the group), 65.1
  Show: Mixed selections

Davenport won Group IV in prelims and then won the regional by 1.8 points over John M. Harlan. Orange Grove won Group II, with Wimberley and Southside right behind them in the same group. Six bands playing my shows at one contest is a lot of my music in one stadium, and I’m grateful to every one of those directors. Official scores are on the USBands event page.

More Texas results

• Long Creek HS
  1st in 5A prelims with 5A Music and General Effect, 4th in finals
  Warrior Coliseum Invitational, San Antonio
  Show: Mixed selections
• Panther Creek HS
  2nd of 13, 84.750, with the visual award
  Don Hanna Memorial, Denton
  Show: Hydrodynamics
• Hondo HS
  1st in Class 3A
  Seguin Marching Festival
  Show: Mixed selections
• Fossil Ridge HS
  11th of 13, 68.060
  Don Hanna Memorial, Denton
  Show: Mixed selections
• North Forney HS
  15th of 21 in prelims (finals cancelled)
  McKinney Marching Invitational
  Show: Mixed selections
• Lamar HS (Arlington)
  2nd in Group II, 78.1
  USBands North Texas Regional, Fort Worth
  Show: Five
• Farmersville HS
  4th of 12 in finals
  Melissa Marching Showcase (Small School)
  Show: Mixed selections
• Denison HS
  10th in finals
  Aubrey Marching Classic
  Show: Mixed selections
• Stevens HS
  Did not make finals
  Vista Ridge Marching Festival
  Show: Mixed selections
• Van Alstyne HS
  Did not make finals
  Melissa Marching Showcase (Small School)
  Show: …the Sun, the Moon, and all the Stars

Long Creek won Class 5A in prelims at Warrior Coliseum and took the 5A music and general effect awards before finishing 4th at night. Lamar placed 2nd in Group II at the USBands North Texas Regional, behind Eagle Mountain. Farmersville made the Melissa small-school finals and finished 4th. Up in Denton, Panther Creek placed 2nd at Don Hanna with an 84.750 and took the visual award, and Hondo won Class 3A at Seguin.

Bands of America regional results: Goshen and Ryle

Two of my bands outside Texas marched Bands of America regionals on Saturday, and both made finals.

• Goshen HS (IN)
  Class AAA: 1st, with all three class captions
  Finals: 2nd of 12, 82.100
  Regional: Northwest Ohio, Toledo
  Show: The Shape of Things to Come
• Ryle HS (KY)
  Class AAA: 2nd
  Finals: 4th of 12, 79.050
  Regional: Kentucky, Louisville
  Show: Mixed selections

Goshen won Class AAA and swept the class awards for music, visual and general effect. In finals they placed 2nd overall behind Jenison. Ryle took 2nd in Class AAA in a 30-band field and finished 4th in finals, ahead of Campbell County and Paul Laurence Dunbar.

Goshen’s show is a new one I wrote for them this year. Ryle is running a mix of selections from my catalog of adaptable marching band shows, adjusted to fit their instrumentation and strengths. Results like these are why I build every show to flex. A director shouldn’t have to choose between a show that fits their band and one that can compete.

Arizona, Tennessee, Indiana and Massachusetts

• Mountain Ridge HS (AZ)
  1st of 6 in Division I, 83.500
  Desert Ridge Invitational, Mesa
  Show: Mixed selections
• Highland HS (AZ)
  4th of 6 in Division I, 78.225
  Desert Ridge Invitational, Mesa
  Show: Mixed selections
• Boulder Creek HS (AZ)
  6th of 6 in Division I, 73.238
  Desert Ridge Invitational, Mesa
  Show: Mixed selections
• Hendersonville HS (TN)
  1st in Primetime, 91.167, 1st in percussion and color guard, top sweepstakes score of the day (91.717)
  Bandapalooza, Portland
  Show: Midnight
• Lake Central HS (IN)
  Gold rating with Music, Visual and Effect distinctions
  ISSMA Scholastic Invitational, Plymouth
  Show: A Picture’s Worth
• Everett HS (MA)
  1st in Open Group IV (only band in the group), 78.0
  USBands at B.M.C. Durfee, Fall River
  Show: Mixed selections

Mountain Ridge won Division I at Desert Ridge one week after winning the BOA Arizona Regional. Hendersonville won its division at Bandapalooza and swept the band, percussion and color guard scores, with the highest sweepstakes total of any band there. Lake Central earned a Gold rating with all three distinctions.

Georgia, New York, South Carolina, California and Oklahoma

• Decatur HS (GA)
  1st in Class AA with every AA caption, 85.700
  6th of 13 overall
  Georgia MBC, Mill Creek
  Show: Mixed selections
• Cicero-North Syracuse HS (NY)
  82.100 in National Class
  NYSFBC field band show
  Show: Inner Compass
• West Seneca HS (NY)
  76.100 in Large School 2
  NYSFBC field band show
  Show: Mixed selections
• Brookland-Cayce HS (SC)
  3rd overall, Superior rating
  1st Field Commander, 2nd Percussion and 2nd Color Guard in 4A, plus an Outstanding Soloist award
  Show: Sonic Boom
• Del Norte HS (CA)
  2nd in Class 5AA, 63.000
  SCSBOA Rancho Bernardo Field Tournament, San Diego
  Show: On Air
• Norman North HS (OK)
  6th place
  Mustang Marching Invitational, Mustang
  Show: Mixed selections

Decatur won Class AA at Mill Creek and swept every AA caption, including music, visual, effect, color guard and percussion. Cicero-North Syracuse posted an 82.100 in National Class. Brookland came away from its first contest of the fall with a Superior rating and three 4A caption awards, and Norman North’s band called its 6th place at Mustang their best run of the season.

What’s next

The calendar only gets busier from here. More BOA regionals and UIL region contests land over the next three weekends, and I’ll post marching band contest results for my bands as they come in. Congratulations to every student, director and staff member who made October 3 worth writing about.

If you’re already thinking about next fall, browse the 2026 show catalog or start sketching your own with the Build Your Show tool. When you’re ready to talk it through, reach out here and we can set up a call.

FAQ

Where can I find official marching band contest results? Bands of America posts class awards and finals scores on each regional’s results page at marching.musicforall.org. Texas invitationals usually post recaps through CompetitionSuite, and many fans share scores on HornRank and TxBands.

Why didn’t some contests hold finals on October 3? Severe weather delayed several Texas contests by hours. HEB and McKinney ran prelims only and cancelled finals to keep students safe.

Do your adaptable shows hold up against custom shows at contests? Yes. Ryle placed 2nd in Class AAA at the BOA Kentucky Regional this weekend with a mix of selections from my catalog, and Atascocita placed 2nd at Galena Park the same way. Every show is adjusted to the band’s instrumentation and strengths before they start learning it, which is what lets it compete. See how adaptable shows work.

About the author

I’m Evan VanDoren, a composer and arranger based in Austin. I spent nine years as band director at Cedar Park High School, where we won three UIL State Championships, and I now write for Santa Clara Vanguard. My work is published through RWS Music and Alfred Music, and I write adaptable and custom marching band shows for programs across the country.

Sources

• Vista Ridge Marching Festival 2026 finals recap
• Vista Ridge Marching Festival 2026 prelims recap
• BOA Northwest Ohio Regional 2026 results
• BOA Kentucky Regional 2026 results
• HornRank: Iowa Colony (Houston II) prelims
• TxBands: 2026 HEB Marching Contest thread (fan-posted, unofficial)
• TxBands: 2026 McKinney Marching Invitational thread (fan-posted, unofficial)
• TxBands: 2026 Galena Park ISD Marching Band Festival thread (fan-posted, unofficial)
• USBands San Antonio Regional 2026 scores
• USBands North Texas Regional at Eagle Mountain 2026 scores
• USBands at B.M.C. Durfee 2026 scores
• Warrior Coliseum Invitational 2026 results
• Desert Ridge Invitational 2026 recap
• Bandapalooza 2026 recap
• InBands: 2026 ISSMA Scholastic Invitational, Plymouth
• TxBands: 2026 Melissa Marching Showcase (Small School) thread (fan-posted, unofficial)
• TxBands: 2026 Aubrey Marching Classic thread (fan-posted, unofficial)
• TxBands: 2026 Vista Ridge Marching Festival thread (fan-posted, unofficial)
• Don Hanna Memorial 2026 recap, posted on TxBands (fan-posted, unofficial)
• TxBands: Don Hanna 2026 thread (fan-posted, unofficial)
• McKinney Marching Invitational 2026 prelims recap, posted on TxBands (fan-posted, unofficial)
• Hondo HS: email from the band director, October 8 (reported by the director)
• Decatur HS Band Boosters (reported by the band boosters)
• NYSFBC 2026 scores
• Brookland-Cayce Bearcat Band on Instagram, October 4 post (reported by the band)
• SCSBOA Rancho Bernardo Field Tournament 2026 recap
• Norman North Bands on Instagram, October 6 post (reported by the band)

The post Marching Band Contest Results: October 3, 2026 Recap 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?

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.

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.

Updated October 8, 2026: added Chapin, Blythewood, Rio Rancho, Grand Junction, Mansfield Legacy, Mansfield Summit and Hondo, and moved the results into lists so they read better on phones.

These are the marching band contest results from Saturday, September 26, 2026, for the bands performing my shows this fall. Forty of them competed somewhere that I could track, from four Bands of America regionals and four USBands regionals to invitationals in Texas, Arizona, Indiana, Oklahoma, North Carolina and Tennessee.

Here are the headlines. Clear Lake won the USBands Houston Regional with an 85.1, and Reedy won the Wylie Marching Invitational with a sweep of the finals captions. Mountain Ridge won the BOA Arizona Regional in Flagstaff and took the finals awards for music and general effect. Argyle won Class AAA at the BOA Dallas Mid-Cities Regional and swept the class captions. Jordan, Seaforth and Sanderson each won their class at the Panther Creek Invitational in Cary, North Carolina. Mineola came home from Texarkana as grand champion. Chapin won Class 4A at the Swamp Classic in South Carolina.

Late September is when a show is still half on the field and half in the director’s head. I spent nine years as a band director, and I know how much of this month is spent cleaning drill that’s still new. Results like these this early say a lot about the work these programs put in over the summer.

BOA Dallas Mid-Cities Regional: Argyle, Wakeland and Waxahachie

Three of my custom-show programs marched at Pennington Field in Bedford, in a prelims field of 23 bands.

• Argyle HS
  Class: 1st in AAA, with Music, Visual and GE
  Finals: Did not march finals
  Prelims: 3rd, 79.950
  Show: Theia’s Light
• Wakeland HS
  Class: 2nd in AAA
  Finals: 12th, 75.450
  Prelims: 9th, 75.600
  Show: Sacred Spaces
• Waxahachie HS
  Class: 8th in AAAA
  Finals: 11th, 76.000
  Prelims: 10th, 75.375
  Show: Get To The Point

Argyle won Class AAA and swept all three class captions, finishing 3rd overall in prelims. They qualified for finals but didn’t march it. According to the Cross Timbers Gazette, the band had another commitment in Melissa that day. Wakeland finished right behind them in AAA and made finals. Waxahachie made finals too and raised its score from 75.375 in prelims to 76.000 at night. Making a BOA final in September is a good sign for both of them.

BOA Arizona Regional: Mountain Ridge wins Flagstaff

Four of my bands marched at the Walkup Skydome, and all four made finals in a 13-band field.

• Mountain Ridge HS
  Class: 1st in AAAA
  Finals: 1st, 77.650, with Outstanding Music (shared) and General Effect
  Prelims: 1st, 76.975
  Show: Mixed selections
• Corona del Sol HS
  Class: 2nd in AAAA
  Finals: 3rd, 75.400
  Prelims: 2nd, 74.900
  Show: Short Circuit
• Catalina Foothills HS
  Class: 2nd in AAA
  Finals: 5th, 74.950
  Prelims: 5th, 74.050
  Show: Listen
• Sandra Day O’Connor HS
  Class: 6th in AAAA
  Finals: 7th, 73.200
  Prelims: 8th, 70.850
  Show: A Picture’s Worth

Mountain Ridge led after prelims and held on at night to win the regional. Sandra Day O’Connor had the biggest jump of the four, gaining 2.35 points from prelims to finals and moving up a spot. Mountain Ridge is running a mix of selections from my catalog of adaptable marching band shows, which is a nice answer to anyone who thinks an adaptable show can’t win a BOA regional.

More Bands of America: Central Ohio and North Houston

• Rock Ridge HS (VA)
  Finals: 8th, 72.950
  Prelims: 7th of 24, 72.900, 3rd in AA
  Regional: Central Ohio, Columbus
  Show: Fractured
• Klein HS
  Finals: Did not advance
  Prelims: 24th of 28, 66.000
  Regional: North Houston, Shenandoah
  Show: Light & Shadow

Rock Ridge made the trip from Virginia, placed 3rd in Class AA and made finals. Klein was in a deep North Houston field and didn’t advance. September scores are a snapshot, and there’s a lot of season left for them to build on.

North Carolina and Tennessee: three class titles at Panther Creek

• Jordan HS (NC)
  1st in Class 3A, 85.030
  Panther Creek Invitational, Cary
  Show: Mixed selections
• Seaforth HS (NC)
  1st in Class 4A, 83.780
  Panther Creek Invitational, Cary
  Show: Fractured
• Sanderson HS (NC)
  1st in Class 2A, 80.730
  Panther Creek Invitational, Cary
  Show: Monarch(y)
• Hendersonville HS (TN)
  2nd in Class B, 77.338
  Wolf Pack Classic, Gallatin
  Show: Midnight
• Cascade HS (TN)
  2nd in Large Division AAA, 78.520
  Stones River Championship, Murfreesboro
  Show: New Frontier

Three of my bands won three different classes at the same contest. Jordan posted the top score of the three at 85.030. Seaforth and Rock Ridge are both marching Fractured this fall, in two different states, and it’s fun to watch the same show take on two different personalities. In Tennessee, Hendersonville finished 2nd in Class B at Liberty Creek, 0.837 behind Station Camp, and Cascade placed 2nd in its division at Siegel.

Arizona, Indiana and Oklahoma: Highland wins at home

• Highland HS (AZ)
  1st in Division I, 73.175, high score of the day
  ABODA Highland Invitational, Gilbert
  Show: Mixed selections
• Boulder Creek HS (AZ)
  2nd in Division I, 69.350
  ABODA Highland Invitational, Gilbert
  Show: Mixed selections
• Goshen HS (IN)
  1st in Open Class B, 78.650, Best Music, Best Visual and Best General Effect
  Penn Carnival of Bands, Mishawaka
  Show: The Shape of Things to Come
• Norman North HS (OK)
  6th in finals, 71.40
  Yukon Marching Invitational, Yukon
  Show: Mixed selections

Highland won its own invitational in Gilbert with the top score of the day and a sweep of the Division I captions, and Boulder Creek finished right behind them. Goshen won its class at Penn and took every caption award, a week before winning Class AAA at the BOA Northwest Ohio Regional. Norman North made finals in Yukon in a field led by Mustang and Westmoore.

USBands: Clear Lake wins Houston

Nine of my bands marched USBands regionals in Webster, Buda, Manor and Saginaw.

• Clear Lake HS
  Finals: 1st, 85.1
  Prelims: 1st in Group V, 84.3
  Regional: Houston, Webster
  Show: Of Faun and Fable
• Heights HS
  Finals: Did not advance
  Prelims: 7th in Group III, 69.8
  Regional: Houston, Webster
  Show: Monarch(y)
• Weiss HS
  Finals: 4th, 80.1
  Prelims: 1st in Group IV, 76.6
  Regional: Central Texas, Buda
  Show: Mixed selections
• Stevens HS
  Finals: 5th, 79.0
  Prelims: 4th in Group V, 76.2
  Regional: Central Texas, Buda
  Show: Mixed selections
• Eaton HS
  Finals: 5th, 78.9, Best Color Guard
  Prelims: 3rd (tie) in Group V, 78.0
  Regional: Saginaw
  Show: Mixed selections
• Memorial HS (San Antonio)
  Finals: 9th, 65.6
  Prelims: 1st in Group I (only band in the group), 65.2
  Regional: Central Texas, Manor
  Show: Mixed selections
• Midlothian Heritage HS
  Finals: Did not advance
  Prelims: 3rd in Group III, 76.4
  Regional: Saginaw
  Show: Mixed selections
• Fossil Ridge HS
  Finals: Did not advance
  Prelims: 5th in Group IV, 75.3
  Regional: Saginaw
  Show: Mixed selections
• Lamar HS (Arlington)
  Finals: Did not advance
  Prelims: 2nd in Group II, 70.5
  Regional: Saginaw
  Show: Five

Clear Lake won Group V in prelims and then won finals by almost two points, ahead of C.E. King and West Fork. Their show, Of Faun and Fable, is a custom build around Debussy, Roussel and Ravel, and it posted the top score of any of my Texas bands that day. Weiss won Group IV in prelims and gained 3.5 points by finals. Stevens and Eaton both finished 5th in finals, and Eaton’s color guard took Best Color Guard at Saginaw. Midlothian Heritage just missed the Saginaw finals with a 76.4, higher than two bands that made it from other groups.

Texas invitationals

Most of these results come from fan posts, since the hosts hadn’t posted official recaps when I checked. Pearsall’s comes from the official Hill Country recap. I’ll update the rest if official numbers show up.

• Reedy HS
  1st in 5A prelims with Outstanding Music and Visual, 1st in finals with every caption
  Wylie Marching Invitational
  Show: Drawn Together
• Independence HS (Frisco)
  2nd in 5A prelims, 3rd in finals
  Wylie Marching Invitational
  Show: Mixed selections
• Farmersville HS
  1st of 13
  Chris Lovejoy Marching Invitational, Whitesboro
  Show: Mixed selections
• Del Valle HS
  1st in the contest’s 3A prelims division, did not make finals
  Cap City Marching Festival, Austin
  Show: Curlicue: Kinetic Whimsy
• Pearsall HS
  7th of 8 in 4A
  Hill Country Marching Festival, Fredericksburg
  Show: Mixed selections
• Mineola HS
  Grand champion, swept Class 3A, finals Best Percussion
  Pleasant Grove Marching Invitational, Texarkana
  Show: What Lies Beneath
• Brewer HS
  2nd in 5A prelims, 3rd in finals
  Wildcat Marching Festival, Godley
  Show: Powerline
• Benbrook HS
  Competed, not among the 10 finalists
  Wildcat Marching Festival, Godley
  Show: Mixed selections
• Life HS Waxahachie
  Competed, not among the 10 finalists
  Wildcat Marching Festival, Godley
  Show: Mixed selections
• Panther Creek HS
  7th in finals
  Melissa Marching Showcase
  Show: Hydrodynamics
• North Forney HS
  10th in finals
  Melissa Marching Showcase
  Show: Mixed selections
• Cigarroa HS
  1st
  MPB Classic, Carrizo Springs
  Show: Mixed selections
• Jasper HS
  11th in finals
  Plano East Marching Invitational
  Show: Mixed selections

Reedy had a huge night at Wylie, winning 5A in prelims and then sweeping every finals caption, which fans in the thread called the first sweep at that contest. Independence finished 3rd in the same finals. Farmersville won at Whitesboro the same day it also performed at Mesquite. Mineola also had a big day, sweeping Class 3A in prelims and then winning the whole contest at night. Cigarroa also took a 1st at Carrizo Springs. If your band is looking ahead to the UIL stretch, my list of ways to make your show stand out at UIL Area is worth a read.

South Carolina and Colorado: Chapin wins 4A

• Chapin HS (SC)
  1st in Class 4A, 80.050
  Swamp Classic, Lexington
  Show: Aurora
• Blythewood HS (SC)
  3rd in Class 6A, 84.300
  Swamp Classic, Lexington
  Show: Mixed selections
• Rio Rancho HS (NM)
  2nd in Open Class finals, 76.050
  Legacy Marching Festival, Thornton CO
  Show: Mixed selections
• Grand Junction HS (CO)
  2nd in Class 5A and 3rd overall in finals, 67.700
  Colorado West Festival, Grand Junction
  Show: Hieroglyphics

Chapin won Class 4A at the Swamp Classic, hosted by River Bluff, a week after River Bluff won the Mustang Classic. Blythewood posted the higher score of my two bands there at 84.300, in a tough 6A class. Rio Rancho made the drive up from New Mexico and finished 2nd in Open Class, and Grand Junction placed 3rd overall at Colorado West.

More Texas: Mansfield and Hondo

• Mansfield Legacy HS
  5th in finals, 4th in prelims
  Mansfield Preview of Champions
  Show: Mixed selections
• Mansfield Summit HS
  11th of 14 in prelims
  Mansfield Preview of Champions
  Show: Mixed selections
• Hondo HS
  2nd in Class 3A
  Southwest ISD Marching Classic, San Antonio
  Show: Mixed selections

Mansfield Legacy made finals at the Preview of Champions and finished 5th. Hondo took 2nd in Class 3A at Southwest ISD, then won 3A at Seguin a week later.

What’s next

October is here, and the schedule fills up fast with more BOA regionals and UIL region contests. I’ll keep posting marching band contest results for my bands as they come in. Congratulations to every student, director and staff member who made September 26 worth writing about.

If you’re already thinking about next fall, browse the 2026 show catalog or start sketching your own with the Build Your Show tool. When you’re ready to talk it through, reach out here and we can set up a call.

FAQ

Where can I find official marching band contest results? Bands of America posts class awards and finals scores on each regional’s results page at marching.musicforall.org. USBands posts official scores under the Scores tab on each event page at usbands.org. Many state circuits and invitationals post recaps through CompetitionSuite, and fans share scores on HornRank and TxBands.

Why didn’t Argyle march finals at BOA Dallas? BOA’s results don’t give a reason. The Cross Timbers Gazette reported that the band had another commitment in Melissa that day.

Can an adaptable show win a Bands of America regional? Yes. Mountain Ridge won the BOA Arizona Regional on September 26 with a mix of selections from my catalog. Every show is adjusted to the band’s instrumentation and strengths before they start learning it, which is what lets it compete. See how adaptable shows work.

About the author

I’m Evan VanDoren, a composer and arranger based in Austin. I spent nine years as band director at Cedar Park High School, where we won three UIL State Championships, and I now write for Santa Clara Vanguard. My work is published through RWS Music and Alfred Music, and I write adaptable and custom marching band shows for programs across the country.

Sources

• BOA Arizona Regional 2026 results
• BOA Dallas Mid-Cities Regional 2026 results (prelims recap, finals recap)
• BOA Central Ohio Regional 2026 results
• BOA North Houston Regional 2026 results
• NCBA recap: Panther Creek Invitational 2026
• Wolf Pack Classic 2026 recap (CompetitionSuite)
• Stones River Championship 2026 recap (CompetitionSuite)
• Cross Timbers Gazette, September 28, 2026 (news report)
• USBands DeMoulin Central Texas Regional (Manor) 2026 scores
• ABODA Highland Invitational 2026 recap
• InBands: 2026 Penn Carnival of Bands
• marching.live: 2026 Yukon Marching Invitational
• Hill Country Marching Festival 2026 recap
• TxBands: 2026 Wylie Marching Invitational thread (fan-posted, unofficial)
• TxBands: 2026 Chris Lovejoy Marching Invitational thread (fan-posted, unofficial)
• TxBands: 2026 Cap City Marching Festival thread (fan-posted, unofficial)
• TxBands: 2026 Pleasant Grove Marching Invitational thread (fan-posted, unofficial)
• TxBands: 2026 Wildcat Marching Festival, Godley thread (fan-posted, unofficial)
• USBands Houston Regional 2026 scores
• USBands DeMoulin Central Texas Regional (Hays) 2026 scores
• USBands Saginaw Regional 2026 scores
• TxBands: USBands Saginaw thread (fan-posted, unofficial; color guard award only)
• TxBands: 2026 Melissa Marching Invitational thread (fan-posted, unofficial)
• TxBands: 2026 MPB Classic thread (fan-posted, unofficial)
• TxBands: 2026 Plano East Marching Invitational thread (fan-posted, unofficial)
• Swamp Classic 2026 recap (CompetitionSuite)
• Colorado Bandmasters: Legacy Marching Festival 2026 recap
• Colorado Bandmasters: Colorado West Festival 2026 recap
• Mansfield Preview of Champions 2026 prelims recap, posted on TxBands (fan-posted, unofficial)
• Mansfield Preview of Champions 2026 finals recap, posted on TxBands (fan-posted, unofficial)
• Hondo HS: email from the band director, October 8 (reported by the director)

The post Marching Band Contest Results: September 26, 2026 Recap appeared first on Evan VanDoren Music.