One of the questions I am often asked - especially by former students setting out to write their own drill for the first time -  is: "How do I write for my band when it's this small?" After good-naturedly reminding them that we discussed this very issue in our Marching Band Procedures courses "back in the day," I usually chat with them about strategies that have worked for me when designing for smaller, younger, or less experienced groups.

Over the years, I’ve written drill for ensembles as large as 400 members and as small as 26. Both ends of that spectrum come with their own unique challenges and rewards, but designing for smaller groups requires a completely different mindset, one that balances visual impact, musicality, and achievable staging for limited numbers.

Since drill-writing season is fast approaching, I thought I’d share a few insights and tips for those of you writing drill for small marching bands. Whether you’re a first-timer or a seasoned designer working with a newer program, these ideas should help get the creative gears turning and help anyone who might be struggling to find a style that works with their own small/young groups.

And hey, if you’d rather not go it alone, I’m always available to write your drill for you. Check out my portfolio and send me a message.  I'll be happy to chat with you about writing your marching band's drill this season.

Now, let’s get into the tips for designing drill for smaller or younger bands…

Simplicity Wins
This one took me a long time to really learn:  Keep. It. Simple.

Not every set has to be flashy or complex to make an impact. In fact, some of the most effective drill I have written uses simplicity as a strength. Clean, purposeful staging often lands harder than constant movement ever could.

When you are writing for a small or developing band, simplicity isn't just a stylistic choice, it's a strategic one. Giving your students a few moments of less demanding movement provides visual and musical “breathers” that help with performance quality. Not every set needs to be a big reveal. Sometimes, the smartest design move is to keep things readable, intentional, and (most importantly) achievable. Your band will execute better, and your audience will appreciate the clarity.

Shape and Form
Choosing the right types of forms can make or break your visual program, especially when you are writing for a small band. Each style of form carries its own strengths, challenges, and visual impact. Here’s a breakdown of the major types and how to use them effectively:

• Linear forms are high risk, high reward. Lines are visually powerful. They are also brutally honest. Linear forms are harder to align, but easier to space. Because they're so easy to recognize, even to someone with no marching band experience, any mistakes in alignment are immediately obvious. That is why linear forms are best saved for dramatic, high-impact moments when you want tension and precision to shine. Use them when the music calls for clarity or intensity, and make sure you give your performers the time and tools to clean them thoroughly.

• Block formations are old school...but still terrifically effective when done right. While block forms are not as common in today's modern drill styles, they are far from obsolete. These military-inspired shapes can create powerful moments, especially with smaller bands. Their simplicity and uniformity make them easy to clean and effective for staging impacts or unison movement. When used sparingly...and intentionally...block formations can bring a sense of tradition, order, and strength to your show. (We’ll talk more about how to space them for smaller bands in an upcoming section).

• Curvilinear drill is all about motion and musicality. These forms are more forgiving when it comes to visual exposure: slightly off intervals are less noticeable to the audience. But they're also deceptively tricky to set and clean, especially if the curves are symmetrical or tightly wound. Spacing is critical here. Without solid intervals, curvilinear drill can quickly turn into a mess. Use it for lyrical or flowing musical moments, and don't be afraid to simplify if things start looking muddy. Curvilinear forms are often used for reduced tension moments, as well as flowing musical ideas.

• Symmetrical drill used to dominate the field. These days, it's most common in college bands, show bands, and similar non-competitive ensembles. Symmetry is easier to design (you're often just mirroring across the 50 yard line), but it's also easier to mess up. Any flaw in the mirror image will stand out immediately. If you go this route, clean execution is everything. When done well, symmetrical forms feel satisfying and grounded. Just be sure your performers are ready for the pressure of high visual exposure.

• Asymmetry is the name of the game in most contemporary drill design. It offers more creative freedom and is generally less prone to visual exposure because there is no direct mirror image to compare against. However, that freedom can be a challenge for newer writers. Without the visual “template” that symmetry provides, designing sets that look intentional and structured can be tough. These forms can also be harder for audiences to latch onto, especially if they're expecting more traditional shapes. That said, with thoughtful spacing and staging, asymmetry can be incredibly effective, especially for musical moments that build or evolve over time.

With some of those basics of drill design out of the way, let's talk about issues encountered when writing specifically for smaller or younger bands.

GroupThink
When you are designing drill for a smaller ensemble, section cohesion is everything. Keeping sections together - winds, percussion, and color guard - helps reinforce musical confidence and visual clarity. Even within those groups, keeping similar instruments close can make a noticeable difference, both musically and visually.

Yes, we all know to keep high brass near high brass, low brass near low brass...but don’t stop there. If you are familiar with the score (and you should be), you can group instruments that play similar musical roles, even if they aren't technically in the same section. For example, you can combine mellophones with alto saxophones, or low brass with tenor saxes, or trumpets with piccolos/flutes/clarinets if they share similar musical material at any given point.

When instruments playing the same material are staged near each other, you boost ensemble confidence and clean up the sound. Plus, it gives you a more visually homogenous look, which is always a win for small bands trying to maximize their on-field presence. Careful drill writing that reinforces the score? That's where small bands can really shine.

​The Power Zone
If there's one drill design principle that matters most for smaller or less experienced bands, it’s this: Stay in the (Power) Zone. Top-tier BOA bands and DCI corps can spread coast-to-coast across the field and still deliver musical impact, ensemble cohesion, and clean visuals. Smaller groups? Not so much. The wider you spread them, the more you risk losing projection, clarity, and control.

The Power Zone (roughly the middle 30 yards of the field, centered around the front hash and the 50-yard line) is your best friend. It's where your band will sound fullest, stay together most easily, and connect visually with the audience. Pulling too far outside this zone usually results in watered-down sound and shaky ensemble timing.

Don't mistake the “power zone” for a “boring box.” A creative drill designer can still work plenty of magic within this area. You can create dynamic staging, layered impact points, and strong visual moments, all while keeping the band positioned for success. Plus, by keeping performers in the audience's primary sight lines, your best moments won't get lost in the corners of the field. It's all about doing more with less, and making sure your band always plays (and looks) bigger than it is.

The Power Zone

Intervals
When designing for a small band, interval size matters more than you might think. Too tight, and your band looks cramped, too wide, and you risk losing musical cohesion. So what's the magic number? Three.

2-step intervals often make the group look smaller than it actually is. 2-step is visually compact, but not exactly impressive from the stands. 4-step intervals can make your band look larger, but can spread your winds too far apart, especially in curvilinear or symmetrical forms. That often leads to phasing, lack of ensemble confidence, and weaker musical impact.

3-step intervals hit the sweet spot. They give your drill a more expansive, open look while keeping your players close enough to stay together musically. This interval works wonderfully in curvilinear forms, where flow and spacing are key. It offers the best of both worlds: a bigger visual footprint without sacrificing cohesion (or power).

In short? If you want your small band to look and sound stronger, 3-step interval spacing is the way to go. You can experiment with using other intervals: I've used a 2.5-step interval in the past, to mixed results. Check out the examples below:

While 3-step intervals are great for curvilinear forms and keeping smaller bands tight without looking cramped, they don't work quite as well in geometric shapes or traditional fronts. Why? Simple: they break the natural flow of the “On, 2 Off, or In Between” (O2OIB) alignment method that we've taught students forever. This simple spacing system has made it easy for decades of performers to find their place on the standard 8-to-5 grid, and 3-step intervals throw that off just enough to cause problems in fronts and precise forms.

Instead, when writing geometric shapes, fronts, or linear forms, go with 2-step intervals for tight, powerful formations that maintain cohesion, or 4-step intervals for broader coverage and a more expansive visual look (provided it does not spread your band too far apart). Both of these options align naturally with the 8-to-5 grid, making it easier for students to clean and easier for designers to build around.

As mentioned earlier, block formations can pack a punch. Even a simple block can convey message and meaning. But your blocks will have more impact if they are "windowed." In a standard block (for example, 4-step spacing left-right and front-back), you run the risk of looking smaller due to the negative space created between columns. You also have the issue of directional brass instruments playing directly into the back of the person that is 4 steps in front of them (an even bigger issue for trombone players if your block is smaller than 4-step intervals).

With windowed blocks, each row is offset, allowing all performers to be visible, helping project the sound without any obstructions (i.e., every spot will have more free space in front of them), and making the group look larger by visually filling the negative space. The offset rows create depth and visual interest in a way that the standard block does not. See the images below for an example.

The Color Guard
 If you have a small marching band, you probably have a small color guard. And if you are working with a small color guard, you have probably faced the temptation to spread them across the field to make them look bigger. In my experience, that is usually a mistake. 

If your guard has fewer than 12 members, keep them together. Splitting a group of eight guard members into two groups of 4 on either side of the field might seem balanced, but it severely weakens their visual impact. Their strength lies in motion, color, and ensemble effect, and that is amplified when they move as one. A unified color guard enhances clarity, power, and contributes more significantly to the visual package, especially in small-band settings.

One of the most effective ways to feature your guard is to integrate them into the band itself (especially in blocks). It adds visual interest and gives the impression of a larger, more coordinated ensemble. Although there are obvious size and ability level differences, think of the moment in the 1993 Phantom Regiment show when the guard pops out from behind the horn players in Fire of Eternal Glory. How could you do something similar with your guard? Moments like this are simple, but highly dramatic and visually unforgettable.

Of course, you need always be mindful of intervals with guard staging. Depending on the choreography, it is always advisable to keep the guard at a minimum 6-step interval, with 7- or 8-step intervals (or larger) being better for complex choreography. 

A football field is a massive stage. Large university and high school marching bands make that stage appear smaller through sheer size. Smaller bands operate at a disadvantage in this particular area, but...what can we do about it? Luckily, there is no need to reinvent the wheel. Bands of all sizes have been experimenting with redefining the field boundaries for decades.

One of the best ways to "shrink" the field and make your band seem larger in the process is to use props or other backdrop devices to help focus the audience's attention on the perceived field, instead of the actual field dimensions. This creates visual boundaries that frame your band, and reduces negative space. Check out the two examples below. Even simple props like the ones pictured on the right can help to reduce the field and make the ensemble look bigger.

Cutting off the Field

Jackson Academy from Mississippi has been doing this for 30+ years. As far back as I can remember, they have had successful marching bands (especially relative to the size of the institution), and they were one of the earliest bands to show the power of making the field look smaller.

Jackson Academy, 2011

However, keep in mind: Props can be difficult and finicky. If you are going to use them to help change the field boundaries, make sure they look polished (well-painted, not held together by duct tape, etc.), make sure they are easily transported and can be set up/broken down in an easy manner that doesn't take long, and make sure they can withstand outdoor conditions. Especially wind. I'm sure every band director and drill designer has horror stories they can relate about props that have made sudden, wind-assisted dashes for "freedom."

​Even simple elements like sideline banners, wing props, or minimalist backdrops can create a more intimate, focused stage. The key is making them intentional and functional. Props that are fully integrated with your show theme allows for your performers to interact with them more organically throughout the show.

At the end of the day, you are still writing drill that comes to life only when in motion. When writing for small or developing bands, that often means striking a balance between musical integrity and visual energy. Here are a few techniques that can help maximize your show’s effect, without burning out your performers.

Counter-Motion
One of the easiest ways to make your show feel more dynamic, without increasing tempo or step size, is to use counter-motion. When different sections move in opposing directions, it creates the illusion of speed and complexity, even at a moderate temp, standard 8-to-5 pace. This technique can simulate higher velocity and inject excitement and energy into transitions and impact moments. It can also make small bands look larger by  filling more of the field visually, even if overall movement is limited.

Staggering Responsibilities
You don't need to have everyone moving all of the time. Instead of making everyone march during every phrase, stage the band's movement in layers. When one group is playing a complex or expressive line, let them hold position while others move around them. This adds visual contrast, without a sacrifice in sound.

You know who has absolutely MASTERED this, even though they could probably jazz run at 180bpm and still play most of their music flawlessly? The Blue Devils. Go watch any of their shows from the past several decades, and you'll see plenty of examples of intelligent drill design and staging, especially the staggering of musical and visual responsibilities. This has the added benefit of helping prevent fatigue/giving certain sections of the ensemble a break from movement.
​
Size Matters
Large step sizes and complex, intricate musical passages simply do not mix. You want to make sure your members are at their most confident during their most difficult or expressive musical moments. Having them moving backwards at a 6-to-5, or doing jazz runs of 4-to-5 across the field, completely upends that maxim.

Save the larger step sizes for percussion features, or for sections that accompany the main melodic motives. This will result in a more confident and polished musical AND visual performance.

What say you? Did I miss any obvious design tips for smaller or less-experience groups? Feel free to chime in with tips or tricks that have worked for you.

And as mentioned earlier, check out my services if you find yourself in need of a drill writer or music arranger for your marching band this season (or check out my existing stock of marching band music arrangements).

You’ve just secured a great high school teaching job, and are now officially a band director. You set up your band camp schedules, you assign instruments, you buy all the music, and your drill designer has sent you the opener drill. You are ready for greatness! Until you step outside to the rehearsal field and realise that no one has bothered to line it over the summer months, and you’re staring at a big empty field of green grass. What do you do now? 

Don’t fret. After familiarizing yourself with this guide, you will never be without the knowledge of how to line a field – any field – for use by your marching band, and your field will never look like this:

"Oops"

• Tape measure (200 feet or longer). These are not easily found at hardware stores, so you may need to purchase one online. One is good, two is better.
• Marking Rope (360 feet or longer). This is a long rope that will act as a painting guide. If your rope is too thin or too delicate, it will eventually fray and break, especially once it is caked and heavy with paint, so you may want to consider getting an extra one.
• Spray Paint. Lots and lots of spray paint, 95% of it white (you may want to use a different colour like red or orange for certain field elements such as centerfield, or for painting the tops and bottoms of the numbers on a field). If you can afford a precision field striper (see below), it will make the work go faster.
• Metal spikes (optional). They will help keep the rope in place if you are alone.

Note: It is possible to purchase field lining “kits” from band-specific retailers (such as Bandshoppe) for anywhere between $300 and $600. While these are certainly handy, they are not absolutely necessary, as long as you have the tools listed above and at least three people to help.

Please read these directions carefully before you begin to set the field markings. It is not an easy thing to “erase” a poorly-marked field and start over!

1. Pre-Marking Decisions. Decide how much “field” you need. It makes little sense for a marching band of 40 members to line an entire 120 yards of football field (100 yards plus the two end zones) if the drill is only set inside the 30-yard lines. Obviously, larger bands may need a full-sized field, and medium-sized bands may need a slightly smaller field, etc.

2. Set the Front Sideline. As mentioned above, this can be up to 360 feet if you are painting a full field plus end zones (100-yard field, two 10-yard endzones / 120 yards x 3 feet = 360 feet). If, for example, you only need enough field to accommodate a show that stays between the 25-yard lines, you’d set a 150-foot sideline (25-yard line to 25-yard line = 50 yards, 50 x 3 feet = 150 feet). Set the line with your tape measure and marking rope running alongside it. Make sure to pull the rope taut! Remove the measuring tape, leave the rope in place, and paint the Front Sideline. 

3. Set the front yard line “ticks.” Decide where the 50-yard line is going to be, and place a large perpendicular “tick” for it at the Front Sideline. Then set out sideways from the 50-yard line tick and place small ticks for the other yard lines, every 5 yards (15 feet). If you use End Zones, don’t forget that they are 10 yards wide (i.e., 30 feet). This process needs to be incredibly accurate in order to get the field dimensions correct, so please measure your yard line distances carefully!

4. Set Center Field. Welcome to the magic of triangulation! This step is best accomplished with a field-lining accomplice (or two). Measure out 200’ of the tape measure, with one person (p1) holding the 0’ mark, another person (p2) holding the 100’ mark, and a third person (p3) holding the 200’ mark. Have (p1) go to the Side One 30-yard line tick on the Front Sideline, have (p3) go to the Side Two 30-yard line tick on the Front Sideline, and finally, (p2) should pull the two 100’ lengths tight out onto the field. This should be 80’ from the sideline, and marked as the center (many like to use a big orange or red “X” here, though white paint is perfectly acceptable as well).

• For more precision, you can also triangulate using the 45-yard line ticks, placing 0’ on Side One and 60’ on Side Two and pulling the tape measure out onto the field to mark where the 30’ notch is located. You will then have another “road marker” you can use when laying down the string to paint the 50 yard-line.
• ​​b) You should now have three marks you can line up for the 50-yard line: the Sideline tick, Center Field, and the ticks created from the method above (a).

Setting Center Field

5. Set the 50-yard line. Measure 160’ from the front sideline, making sure to cross all of your points in a straight line, and mark where the back sideline should be. Set down the marking rope and paint the 50-yard line. During this process, you should paint tick marks for your front and back hashes. Hash marks are placed in different areas of the field depending on whether the field is used for high school, college, or NFL (and let’s not even get started with Canadian football fields). 

• For high school fields, the front and back hash marks are 53’4” (53 feet, 4 inches) from the front and back sidelines, with 53’4” in between hashes (field is divided into equal thirds).
  
• For college fields (and Texas/Massachusetts high schools), the front and back hash marks are 60’0” from the front and back sidelines, with 40’0” in between hashes.
  
• For professional/NFL fields, the front and back hash marks are 70’9” from the sidelines, with 18’6” in between hashes.

Pro Tip: It might be handy to have a pre-measured length of marking rope (separate from the main marking rope) or thin chain to use for quickly setting the hash marks.

6. Set the End lines. This step obviously only applies to marching bands that require a full field. Measure out 200’ of the tape measure, with (p1) holding the 20’ mark, (p2) holding the 100’ mark, and (p3) holding the 200’ mark. Keeping in mind that an End Zone is 10 yards/30 feet long, have (p1) stand on the Front Sideline at the back of the End Zone (in other words, 10 yards/30 feet past the Goal Line tick). 

7. Have (p3) stand at the 10-yard line tick on the Front Sideline, and have (p2) pull the line taut, much in the same way as was done for the 50-yard line. (p3) should line up with the center mark. Put a mark in this spot (make sure the rope is taut!). Now paint the Side One End Line (160’ from front sideline to back sideline). During this process, you should also paint tick marks for your front and back hashes, to be painted once the yard lines and back sideline are finished. Repeat this process for the Side Two End Line.

Setting End Zones

8. Set the Back Sideline. At this point, you should have two End Line ticks, as well as the 50-yard line tick on the Back Sideline and should be able to pain the Back Sideline by intersecting your guide rope from End Line to End Line through the 50-yard line tick. Put down tick marks every five yards/15 feet for each yard line

9. Set your remaining yard lines. Connect the tick marks on the front sideline to the back sideline and paint your yard lines. Always make sure your guide rope is taut!

​10. Set your Hash Marks. You can similarly now run your guide rope from end zone to end zone through the hash mark ticks and paint your front and back hash marks.

The following regulations govern the lining of football fields at the HS and college levels, and should be kept in mind:

• All yard lines should be white and 4 inches in width.  Exceptions for the NCAA: Sidelines and end lines may be more than 4 inches in width. The goal line may be 4 inches or 8 inches in width, and maybe of contrasting color. 
• Hash-marks should be 24 inches in length and 4 inches in width, parallel to the sideline and bisecting each 5 yard line. NCAA hashes are 60 feet from the sidelines, HS hashes are 53 feet 4 inches from the sidelines. 
• White field yard line numbers not to exceed 6 feet in height and 4 feet in width are recommended. The tops of the numbers must be 9 yards from the sidelines. 
• White directional arrows next to the field numbers (except the 50) indicating the direction toward the nearest goal line are recommended. The arrow is a triangle with an 18 inch base and two sides that are 36 inches each. 

The following videos may be useful in helping to understand field lining:  

• It generally takes one can of spray paint to paint two full yard lines. 
  
• Lines last longer if you paint both directions the first time you lay it down.
  
• Always pull the tape or marking rope as tautly as possible, and be very precise when using the measurement ticks on the tape (e.g., measure from where “0” is on the tape, not from the “claw” end or another spot). 
  
• It is often helpful to paint any “landmarks” that may exist on your stadium’s field…for example, a center field logo, or the yard line numbers (you don’t have to paint the full numbers if you don’t have the necessary stencils; often painting the tops and bottoms of the numbers will suffice).
  
• The natural “crown” of a field can slightly affect your measurements. Double check everything before you begin…it isn’t easy to correct mistakes once paint is laid down. 
  
• A team of four students, with the Director to supervise all measuring, works best.

Got any tips that can help make field lining even easier? Any corrections or elaborations on anything above? Feel free to leave a comment!

​And as always, if you are in need of marching band drill design or music arrangements, check out the linked pages for the services I offer.

I consider myself incredibly fortunate to have started my drum corps journey with Phantom Regiment during the early 1990s. None of us could have known at the 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 drill design.

Phantom Regiment 1993, end of Fire of Eternal Glory

​John Brazale's journey with the Phantom Regiment began with his work for the color guard, but by 1980, he had taken the reins as the corps’ drill writer. 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 been a part of his final two drill designs (1991's Phantom Voices and 1992's 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 (the 1989 New World Symphony production spurred me to audition for the Regiment).

Phantom Regiment 1989: From the New World 

Steve Brubaker, synonymous with the Cavaliers’ innovative visual style of the 1980s and early 1990s, 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 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). 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 he influenced countless high school marching band drill writers of the 80s and 90s.

Cavaliers 1990: Cavalier Anthems

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. 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 early 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. His work with Star of Indiana helped win them the 1991 DCI Championship with the legendary Roman Images show, but my absolute favourite drill of his from any point in his career has to be the 1990 design for Belshezzar's Feast.

Star of Indiana 1990: Belshezzar's Feast

The story of 1991’s “cross-to-cross” rewrite is one of those drum corps urban legends that is oft-embellished, with people claiming 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).

Star of Indiana 1991: Learning the Cross-to-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.

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 long before they were associated with football halftimes: 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 over the next decade or two, marching bands would spread to most high schools and universities in the United States.

Nor was marching and music limited only to schools: ​​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.

Drill design during this era would have taken one of two primary forms:

• Military Drill, in other words, strict military precision drill with plenty of files and ranks based on squad movements, very similar to the earliest parade styles, or;
• Pageantry Drill, in which marching band directors essentially taught the members what shapes to get into, and forms transitioned between one another  by means of a "scatter." Incidentally, remnants of this style remain today in the form of "Scatter Bands" such as the Stanford University Marching Band. "Drill" for this style would have looked like this:

Sequence chart from the late 1950s

A.R. Casavant was one of the most influential figures in the transition to the more dynamic and expressive visual designs seen in modern marching bands and drum corps. His concepts challenged the rigid, symmetrical block formations of military-style bands as well as the chaotic, anarchic style of pageantry bands, paving the way for the fluid, musical storytelling that defines contemporary marching ensembles.

Casavant attended the Tennessee Military Institute (TMI) in Sweetwater, TN, where he studied business administration and led the school's regimental band. After graduating in 1938, he remained as an instructor while attending the University of Tennessee at Knoxville on a track scholarship. In 1938 he started the band program at McMinn County High School in nearby Athens, TN, later moving to Chattanooga High School. During this time, Casavant also led the local American Legion Post drum and  bugle corp to a state marching championship in 1952 and 1953.

During this time, he began to develop a method of marching and maneuvering that drew on the best that each existing drill style had to offer, and incorporated dance, theater, and art, with a focus on crisp geometric forms. His developing method was based on much research into various military styles, mathematics, physical education, and theatre. Casavant's "path vocabulary" (a method of getting from one place to another geometrically, without scattering) would come to be known as "Precision Drill."

Examples from Casavant's "Precision Drill" textbook

​​Precision Drill became a sensation when Casavant's Chatanooga High School marching band performed on national television during a Washington Redskins home football game in 1955. Casavant would go on to author over 40 books on his method, and marching in general. At the end of the 1958-59 school year, demand was so great for Casavant's services around the country that he left Chattanooga High School to pursue clinical teaching full time.

​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 1980s and 1990s ushered in what many consider the golden age of drill design. With the DCI World Championships being regularly broadcast on PBS, drum corps shows became more widely accessible, inspiring high school and college marching bands to adopt more theatrical and innovative drill concepts. At the same time, Bands of America (BOA) was rapidly growing, turning into the premier high school marching competition circuit in the United States. With this increased exposure, designers were motivated to create more intricate and visually compelling shows, knowing their work would be seen by larger audiences beyond just those in stadiums.

One of the biggest game-changers of this era was the introduction of Pyware 3D Drill Design Software in 1982. Before this, drill writers wrote their drill manually, either meticulously charted on paper grids or, in some cases, improvised on the field with performers recording their individual coordinate points. This method was not only slow and time-consuming, but also limited the ability to experiment. 

1991 Phantom Regiment handwritten drill design by John Brazale

With Pyware, designers could now

• Visualize formations in real time instead of relying solely on imagination.
• Experiment with transitions digitally, making it easier to test and refine concepts before teaching them.
• Create intricate, multi-layered formations that would have been nearly impossible to chart efficiently by hand.
• Easily modify and adapt drills, allowing for more precision and flexibility in the design process.

Pyware quickly became an essential tool for high school band directors and emerging drill writers, making advanced design concepts more accessible to ensembles beyond elite DCI drum corps or BOA bands.

Full Disclosure: I am a long-time user of Pyware, and currently serve as one of their beta testers, but I began my career writing drill by hand (still have my old tools, see below), then transitioning to an old program called DrillQuest, before finally upgrading to Pyware in 2004.

​Tools of the trade for marching band drill writers before Pyware

Another major shift in this era was the expanded role of the color guard. Previously, guards performed parallel to the band, often serving as a separate visual component. However, with the rise of theatrical storytelling in marching productions, guards became an intrinsic part of the overall design. Guard began to be integrated into the corps or band, either inside of forms (instead of always in the back or the sides), or actually becoming part of the formation, making them an active part of the overall field picture.

The use of props and elaborate equipment (such as rifles, sabers, and large-scale flags) were used to enhance visual storytelling, and guards saw an increased emphasis on dance and expressive movement, borrowing techniques from ballet and modern dance.

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.

Drill Chart designed with Pyware

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 Marching Band Drill Design for your band, please consider using me!

A few weeks ago, I was invited to share my insights on arranging music for marching bands with a Marching Band Techniques class at Western Illinois University. Reflecting on the evolution in my style over the past 25 years, I decided to summarize my presentation into a blog post, figuring that it might be of interest to others, so...here's a bit of a deep dive into the art - and science - of arranging music for marching bands.

The specific example I used in my lecture was my arrangement of the Smashing Pumpkins' 1996 hit, "Tonight, Tonight." It's a song I've always enjoyed, making the arrangement process a pleasure rather than a chore. Arranging music you like can significantly enhance your work quality and enjoyment. Even though I take on all kinds of projects, there's a special joy in working on tunes you can listen to repeatedly.

If you don't know the tune, take a moment to listen to it - you may find that you've heard it before, though you may not have known its name or who performed it:

THE FOUNDATION: LISTENING and TRANSCRIBING
When arranging, especially without a provided score or lead sheet, the process begins by listening to the original tune multiple times to capture the correct melody, rhythms, and harmonies. From teaching courses on orchestration for years, I'm well aware that MIDI versions of many pop and rock songs can be found online, and that many student arrangers are drawn to using these because it cuts down on the amount of work.

Unfortunately, this also robs students of an opportunity to use their ears critically, an invaluable skill in arranging. I myself prefer working from a reliable score/lead sheet or directly transcribing by ear to avoid inaccuracies - too often I've seen MIDI files that have contained numerous errors in rhythm, harmony, and sometimes even the melody itself!

For tricky sections, especially in faster music, I will sometimes use software like Amazing Slowdowner, which allows me to slow down the music without altering the pitch. This helps in catching any complex rhythms or pitches I might miss at full speed. Sometimes, I'll also adjust the pitch to better fit the desired key for the arrangement.

After thoroughly familiarizing myself with the tune, I begin inputting the melody into Finale, sometimes using the piano* for help with complex passages or harmonies. I then create a 5-line sketch of the arrangement. This sketch helps streamline the structure (see below), especially when dealing with longer songs that need to be condensed into a 1:30 to 2:00 marching band arrangement.

*I recently had to use the piano for an arrangement of a fun-but-silly tune by Thank You Scientist, which had very complex and rapid passages in the middle section. Here is how that one turned out, in case you're curious. 

SELECTING YOUR STRUCTURE
One of the trickiest parts of arranging pop or rock music for marching bands is deciding which sections to cut. Pop and rock songs are famous for their catchy repeated verses, choruses, and hooks, but that repetition doesn't translate well to marching band performances, especially when the original song is longer than two minutes.

Here is where my own biases come into play: While I have certainly enjoyed arrangements that present a very different "take" on the music being arranged, when it comes to rock and pop music, my preference is to stay as faithful to the original as I can. These types of arrangements are typically not used in competitive marching band shows (although there are plenty of examples of successful uses of pop/rock music in BOA-type shows), but are most often presented by bands seeking to entertain a football crowd on Friday nights.

A conversation I once had with a well-meaning (but somewhat blunt) football dad convinced me that arrangers sometimes outthink themselves when it comes to arranging pop and rock music. Most of the time, the audience simply wants to be able to recognise the song being performed. My high school band was performing an arrangement that took various wild liberties with the music. It was not well-received by the 99% football crowd. I guess the previous two paragraphs can be summarized by saying: Know your audience. 

Typically, I approach the topic of song structure by first identifying each section. I try to always use the song's intro, especially if it's short and impactful. Repeated verses are usually presented just once, or at most twice if the song's structure really demands it. Choruses are included once or twice, but other song structures like breaks or interludes (think of those classic 1980s guitar solos) are often left out, though they can sometimes be used to great effect if you have a wind soloist that is capable, or even a guitar or keyboard player in the pit. Refrains and bridges are used on a case-by-case basis. Remember, most marching band arrangements need to fit within a 1:30 to 2:00 timeframe, so significant editing will often be necessary, especially for longer songs like "Tonight, Tonight."

To create a cohesive arrangement, I start with a 5-line sketch that includes the song's intro, a verse or two, a chorus or two, and a coda or ending. This process can be challenging, especially with 1980s music where many songs end with fades that don't work in a marching band context. My sketches typically contain two treble clef lines, two bass clef lines, and a basic drumset part. This helps me think about the rhythmic elements and how to incorporate drum parts later on.

Here is a glimpse into my initial sketch for "Tonight, Tonight":

As you can see/hear, I ended up cutting out a few of the more repetitive sections, though I knew right away I wanted to use that arpeggiated guitar lick that starts at 0:38 in the original...but how best to do it? And for that matter, how can we get the majestic full sound of the introduction, while also musically portraying the softer verses? This is where orchestration enters the picture. 

THE ART OF ORCHESTRATION
Orchestration is crucial for a compelling arrangement. Understanding what each instrument can and cannot do, and where they sound best, is essential. Early in my career, much of this was trial and error for me, but now I rely on a solid grasp of instrument capabilities. This was not always the case...I still keep a handful of arrangements I did early in my career that I keep as a reminder to myself of how much I've learned (one chart in particular had 3 different flute parts, 3 different clarinet parts, 3 alto sax parts, 2 tenor sax parts, 3 mellophone parts, and also featured intricate rhythms that would be near impossible to clean for use on a marching field).

Since then, I've found more success employing the "less-is-more" philosophy of instrumentation. Unless you've got a huge, huge band with tons of woodwinds, it doesn't make a lot of sense to split parts that much. Most music you arrange is going to have only 4-6 different things happening at once  (unless of course you are arranging Rite of Spring). 

Here’s a typical breakdown I use for marching band instrumentation:

• Flute/Piccolo
• Clarinet (sometimes split into two parts)
• Alto Sax (sometimes split into two parts)
• Tenor Sax
• Trumpet 1-2-3
• Mellophone (sometimes split into two parts)
• Trombone 1-2
• Baritone
• Sousaphone
• Cymbals
• Snares
• Tenors
• Basses
• Drumset
• Sideline (Pit) Percussion

Successful combinations include Alto Saxes with Mellophones, Tenor Saxes with Trombones, Tenor Saxes with Baritones, Trumpets and Flutes/Piccolos, Trumpets and Alto Saxes, Clarinets and Mellophones, Clarinets and Baritones, and many more, depending on the colour you want from the group. Each combination needs careful consideration of their roles and dynamics to ensure a balanced sound.

One way you can learn about this is by studying other arrangers' work. From the great Tom Wallace (you've no doubt played some of his charts...he is also the staff arranger for the University of Georgia Redcoat Marching Band) I learned to use the trombones/baritones as a harmonic foundation. His arrangements feature lush, 3- and 4-part harmony using the low brass that is just hard to beat. From Jay Bocook I learned how to use the woodwinds in a way that will ensure they are heard. From Jay Dawson I learned how to add to a melody so that the end result is that the melody is heard more prominently...even when you haven't changed anything about it by itself. And from myriad great arrangers out there, I learned about using middle voices for acrobatic countermelodies. 

If you're not familiar with instrument ranges and tessituras, I highly suggest taking an orchestration or instrumentation course (if you're still in college), or picking up a book on those topics. For me, discovering Kennan's/Grantham's "The Technique of Orchestration" in college was a game-changer. I read it cover-to-cover, and it helped me truly understand the ranges of the instruments, where they sound great, how best to combine them, etc. Definitely worth picking up (especially if you can find an earlier edition that doesn't cost as much as the later ones).

Using notation software (Finale, in my case), I set up a template that includes the layout I prefer, my preferred fonts, my preferred expressions and articulations, and the correct playback sounds for each instrument (I use NotePerformer for my wind instrument sounds, and Virtual Drumline for the percussion sounds). The template allows me to work quickly during the summer months, when I might have a slew of music to arrange...not having to start from scratch with every project is a time-saver.

There were tweaks after I completed it, to be sure. One of the healthier habits I've gotten into is to set aside a finished arrangement for at least 24 hours, so I can come back to it with fresh eyes and ears. Doing this has saved me from making silly mistakes, and more than a few times has also allowed a new orchestrational idea to percolate during my down time, helping me to improve the arrangement.  I highly recommend this strategy to anyone who is writing any sort of arrangement. 

Since I've given you examples of my process and used the actual Finale playback for them, a note of caution about these types of playback files: Notation programs play back everything with mechanical precision. They will "overcome" your mistakes - for example, if you write a flute part in the bottom part of the staff and expect to hear it on the field, you better have them amplified, or have no one else playing (even then, you may not hear them!) However, a notation program will play it back and it will be audible, fooling you into thinking that all is well. This is where your "inner ear" becomes indispensable.

FINAL THOUGHTS
​Arranging music for marching bands combines technical skills with creative artistry. Whether you're cutting sections to fit time constraints or carefully choosing instrument combinations, each step requires attention to detail and a deep understanding of both the music and the ensemble. By embracing these principles and continually honing your skills, you can create engaging and memorable marching band arrangements.

Got a specific question? Feel free to comment below, and I'll do my best to check in and answer. Remember, the ultimate goal is to bring the music to life in a way that resonates with both the performers and the audience. Happy arranging!

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If you are interested in purchasing the arrangement discussed in this post, or any other arrangement, please visit this page.

If you are in need of a custom arrangement, I am happy to help there too! Contact me for details.