A Brief (and Incomplete) History of Marching Band Drill Design

I consider myself incredibly fortunate to have started my drum corps journey with Phantom Regiment in the early 1990s. None of us could have known at that time that we were witnessing the end of an era, as the pageantry world was about to lose three visionary drill designers whose innovations forever reshaped the activity, leaving a lasting impact on both drum corps and high school marching band design

Phantom Regiment 1993, end of Fire of Eternal Glory

​John Brazale's journey with the Phantom Regiment began with his work with the color guard, but by 1980, he had taken the reins as the corps’ visual designer. His impact was profound, and even after his passing following the 1992 season, his influence remained deeply embedded in the activity. His work with Regiment, particularly in 1988, 1989, and 1991, was a major source of inspiration for me, and I feel grateful to have marched his final two designs (Phantom Voices and War and Peace). Brazale’s ability to craft elegant, sweeping formations that mirrored the emotional depth of the music made his designs effective and unforgettable.

Steve Brubaker, synonymous with the Cavaliers’ innovative visual style in the 80s and early 90s, worked with the corps from 1981 until his untimely passing in 1992. Brubaker helped redefine what was possible in drill design. The 1992 Cavaliers’ show, co-written with Greg Poklacki, was Brubaker’s final contribution, but his mesmerizing, geometric formations had already cemented his legacy. His 1989 and 1990 designs, in particular, deeply influenced my own approach to drill writing. Watching his kaleidoscopic motion unfold across the field was like witnessing music come to life in a way no one had seen before.

And then, of course, there was George Zingali, a true innovator whose work with the 27th Lancers, Garfield Cadets, and Star of Indiana was nothing short of revolutionary. His groundbreaking designs shattered expectations of what drill could be, combining dynamic movement with deeply expressive visual storytelling. His work with Star of Indiana in 1990 (Belshezzar's Feast) and 1991 (Roman Images), the latter of which earned Star a DCI Championship, remains some of my favorite drill writing of all time.

1991 Star of Indiana

The story of 1991’s “cross-to-cross” rewrite is oft-embellished, with people claiming that Zingali wrote the new ending during Finals Week (or, in some tellings, the night before Finals). In reality, Zingali wrote the new ending when the corps was touring in Massachusetts, and it was first performed at the Lynn show, almost a week before DCI Quarterfinals (the old design involved a cross transitioning into a crown set, and then back out to a cross).

What is not embellished, by all accounts from people who were there (and from what I remember hearing during the season as one of their competitors) is that Zingali taught the new ending without drill charts. He had a vision of how he wanted to end the show, and in a 5-hour frenzy, directed members to their new spots (while visual techs scrambled to  chart the new sets on the fly), finishing sometime around 2am that night, cementing an unforgettable moment in drum corps and drill design history.

To that “pantheon” of designers, I could add many more that have come since, who have all influenced my own drill writing in some way: Myron Rosander. Marc Sylvester. Leon May. Michael Gaines. Pete Webber. Jeff Sacktig. Jamey Thompson. Although I no longer design for über-competitive bands, choosing to focus on “show style” or non-competitive high school and university bands, I still use techniques and ideas learned by watching the work of these gentlemen. Reflecting on their contributions, I can’t help but wonder: when will we see more female designers rise to the top echelons of the activity? The art of drill design is ever-evolving, and I look forward to the day when the field is as diverse and inclusive as the students and performers it serves.

Although the world of drum corps and marching band drill design has changed drastically since "the days of yore," the activity is still deeply rooted in history. As part of a “Marching Band Techniques” course I teach to university music education students, I delve a bit into the history of the activity, and thought it would be fun to take a (non-comprehensive) look at the history and evolution of drill design.

Early Roots

In the United States, the earliest marching bands were university bands, in most cases associated with military ROTC programs. These bands would have emphasized uniformity, discipline, and efficiency. Their "drill" (such as it was) would have been characterized by straight-line formations that moved in block-style units with limited motion, call-and-response maneuvers dictated by the drum major or commanding officer, and was primarily used for parades and ceremonies. Marching styles were highly regimented, emphasizing sharp, 90-degree turns and perfectly measured step sizes. 

It is interesting to note that marching bands existed before they were associated with football halftimes. In fact, the oldest University marching band is Notre Dame’s Band of the Fighting Irish, formed in 1845. Their first performance at a football game, however, came 42 years later in 1887! These early bands would have marched in parade blocks and squad formations. At this point in marching band history, true creative drill design had not yet emerged. The earliest example of something other than a squad-based military formation came from Purdue University in 1907, when they produced a "Block P" during a performance of school songs.

Block P - Purdue University Marching Band

​That same year, the University of Illinois Marching Illini performed what is considered to be the first halftime show, at a football game against the University of Chicago. Over the next few years, almost every university in the Midwest developed a marching band that could entertain the crowd during halftime of games, and before long the trend spread nationwide. The new "fad" caught on with high schools as well, and by the 1950s, most high schools and universities in the country had a marching band program. Drill design of this era would have been incredibly rudimentary, based on squad movements, with marching band directors essentially teaching the members what shapes to get into. It looked like this:

Drill Sequence chart from the late 1950s

Starting in the 1930s, organizations such as Boy Scout troops, VFW (Veterans of Foreign Wars) chapters, and the American Legion began to organize their own marching bands as a service to the local community (i.e., to help keep kids “off the streets.”). Using no woodwinds, these groups featured only drums and brass bugles pitched in the key of G, and eventually became known as Drum and Bugle corps. Early drum corps maintained a military aesthetic, prioritizing uniformity and discipline over artistic visual design.

​Soon, these corps began competing against each other in contests designed to measure performance proficiency. Before long, high school marching bands began to emulate corps and host their own competitions. And once competition entered the picture, organizations looked to outshine each other by any means possible - including marching band formations. 

The Rise of Competition

In the 1960s, Patterns of Motion became the de facto method for teaching and designing drill. This method was based on a constant-motion system using four-player squads marching 8 steps to every 5 yards, utilizing 22 and a half inch steps, at a 2 step interval. If you've ever seen an HBCU (Historically Black College/University) marching band, then you've seen something very closely related to Patterns of Motion.

Patterns of Motion Concept Drill

Created by Bill Moffit, who was band director at Michigan State University at the time, the approach was in stark contrast to the military style of marching in ranks, and performing flanks and column movements. Patterns of Motion revolutionized how college and high school marching band shows were designed and taught. It remained a popular style of drill design up until the late 1980s/1990s, when so-called "corps style" (and the rise of computer software which enabled it) surpassed it in popularity. ​​​

University of Houston marching Patterns of Motion drill

As marching band and drum corps competitions gained popularity, designers began exploring asymmetry, and curved formations began to appear, moving away from rigid squares and blocks. Diagonal movement became more common, allowing for greater visual motion, and drill writers began synchronizing movement with musical phrasing, laying the foundation for modern visual storytelling. A significant influence in this era was Pete Emmons, a designer with the Santa Clara Vanguard, who played a key role in breaking away from symmetrical formations and embracing more fluid, organic movement. Instead of merely moving from form to form, designers started to consider how the drill could enhance the music.

​The formation of Drum Corps International (DCI) in 1972 created a new standard for visual performance, pushing designers to experiment with form, motion, and integration of the entire ensemble. The 1970s and 1980s marked the true revolution in drill design, led by visionary designers who redefined how ensembles moved on the field. Drill design shifted from being merely decorative to becoming a crucial component of the overall performance. The 1970s also saw the formation of Bands of America, then called Marching Bands of America, which further encouraged experimentation in high school marching bands. Shows became more theatrical, incorporating simple thematic elements that laid the foundation for future innovations..

Indiana State University Marching Band (1974) Pregame Drill

"The Golden Age" of the 80s and 90s

The 1980s and 1990s ushered in what many consider the golden age of drill design, largely due to technological advancements and the rise of legendary designers. One of the most important figures in the evolution of drill design was George Zingali, the legendary designer for the 27th Lancers, Garfield Cadets, and Star of Indiana. 

Drawing inspiration from natural phenomena like water droplets, Zingali’s asymmetrical “flex-drill” techniques allowed for fluid, organic formations and continuous motion, with performers shifting seamlessly between forms rather than moving in rigid, predictable ways. Zingali’s innovations culminated in the Cadets’ 1983 DCI Championship-winning show, which changed drill design forever by proving that movement could be as expressive as music itself.

The introduction of Pyware drill design software in the 1980s revolutionized how shows were conceived and executed. Previously, drill had to be manually charted on paper (or dreamed it up on the spot, with performers given the responsibility to write down their assigned set points), but now designers could experiment with complex formations digitally before teaching them to performers.

1991 Phantom Regiment Drill Design by John Brazale

Another critical designer of the era was Steve Brubaker, who worked with The Cavaliers and developed a geometric, mathematical approach to drill. His designs featured angular formations that constantly shifted in visually engaging ways, complex rotating and expanding geometric patterns, and an emphasis on precision and timing, making formations appear to evolve seamlessly. This style became the hallmark of The Cavaliers, leading them to a steady rise up the ranks during the late 80s, culminating in their first DCI championship in 1992 (and eventual dominance during the 2000s with one of Brubaker’s protegés, Michael Gaines).

During this era, the role of the color guard also expanded significantly. Instead of being a separate visual element, guard members became fully integrated into drill formations, using props, dance, and choreography to enhance the storytelling. 

The New Millennium: An Era of Storytelling

The 2000s saw an increasing level of demand for performers, while innovations and improvements to design software like Pyware revolutionized the creation and execution of visual shows. The geometric, dynamic designs of Michael Gaines for the Cavaliers emphasized athleticism and a seamless flow between musical phrases and visual storytelling. His design for the 2002 show Frameworks is often cited as a masterpiece of visual and musical integration (though my personal favourite of this era is his 2000 masterpiece, Niagara Falls).

Jay Murphy’s designs for the Blue Devils leaned into abstract, artistic representations, often focusing on thematic or conceptual shows rather than linear storytelling. His use of minimalist and modern aesthetics redefined the boundaries of what drum corps could convey visually. It's hard to argue with the results...the Blue Devils have racked up 11 of the 25 championships since the turn of the century.

By the 2010s, drill design had evolved into a powerful storytelling tool. Both drum corps and marching bands embraced thematic productions, where every aspect of the show was designed to convey a unified concept. Drill was no longer just about formations, but was used to help mood and emotion, and shows continued to blur the lines between pageantry and theater. Designers began to borrow more heavily from other art forms, such as ballet, modern dance, and film. This was reflected in more expressive body movements and staging.

While DCI is still considered a step above the best high school marching bands in the country, the distance between the two has narrowed, especially in the creative sense. High school bands continued to adopt many DCI-inspired techniques, but with an emphasis on accessibility for younger performers. BOA Championship Week features myriad bands who incorporate large-scale set pieces, projection screens, and lighting effects to enhance the visual storytelling.

Movement is no longer limited to step-based marching…performers frequently run, dance, and interact with props, while integrating modern dance techniques and fluid motion, inspired by WGI (Winter Guard International) and contemporary ballet. Thematic storytelling has become central to BOA performances, with intricate props and large-scale visual effects dominating shows. In many cases (though I am sure some wouldn't admit it), innovations in BOA performances actually influenced DCI instead of the other way around. The fact that many designers work with DCI and BOA (and WGI) groups helps blur those lines.

Drill design now integrates elements of dance and acrobatics, requiring performers to be both musicians and athletes. High-speed direction changes, body movements, and prop manipulation demand advanced training, and must be planned meticulously by the drill designer in conjunction with the creative team. Design has also focused more on dynamic staging, where performers are often grouped in smaller pods or scatter forms to emphasize intimacy and individuality. Straight lines and geometric shapes are still used, but often as contrasts to the more organic forms.

Conclusion: Where do we go now?

The evolution of drill design for marching band and drum corps reflects a continuous push for artistic excellence, technical innovation, and emotional storytelling. From its military origins to its current status as a blend of pageantry, theater, and athleticism, the activity has transformed into a breathtaking visual and musical spectacle.
 
As technology advances and designers seek new ways to engage audiences, the future of drill design promises even greater creativity, complexity, and emotional depth.  Looking ahead, we can expect even more experimentation with staging, visual effects, and interdisciplinary influences. Whether through the seamless integration of props, enhanced storytelling, or entirely new staging techniques, one thing is certain...the evolution of marching band and drum corps drill design is far from over.

Thanks for reading. If you or someone you know needs Custom Drill Design for your band, please consider using me!