Dear Bands of America Directors,
Welcome to Bands of America 2026!

On behalf of Music for All and the entire Bands of America community, welcome to another incredible season of music, performance, and shared experiences on and off the field.
Bands of America exists to create positively life-changing experiences through music, and every ensemble that takes the field contributes to that mission. Whether this is your first BOA event or your twentieth, we are honored to have you here.

At its core, Bands of America is about excellence, growth, and opportunity. It is a place where students learn discipline, teamwork, creativity, leadership, resilience, and pride in representing their schools and communities. The competitive aspect of BOA is important, but the lasting impact comes from the experiences students and educators share together throughout the journey.

The rules and procedures outlined in this handbook are designed to support a fair, consistent, and positive experience for all participating ensembles. They exist to help ensure that every band competes on an even playing field while allowing students and educators to focus on what matters most: performance, learning, and musical achievement

We also recognize that behind every performance are countless hours of preparation from directors, staff members, parents, volunteers, adjudicators, and event personnel. Thank you for the commitment, care, and passion you bring to this activity and to the students we serve.

Most importantly, we hope every participant leaves a Bands of America event inspired! Inspired by the performances they experience, the friendships they build, and the realization that they are part of something much larger than themselves.

Thank you for being part of the Bands of America family. We look forward to seeing you on the field this season.
Dr. James Weaver
CEO and President, Music for All, Inc.

Bands of America is a program of Music for All, Inc. Music for All’s mission is to create, provide, and expand positively life-changing experiences through music. Our vision is to be a catalyst to ensure that every child across America has access and opportunity to participate in active music-making in their scholastic environment. Bands of America (BOA) programs and events exist to activate and advance our mission and vision.

We believe that music and arts education is a core to students’ education and must be available to all students. Music for All is an advocate for music and arts education. Our educational programs support the efforts of music teachers on the high school and middle school levels, as well as provide positively life-changing experiences for students.

From the first step on the field to the excitement of the awards ceremonies, Bands of America Championships create an aura of excellence for student performers, teachers, parents, and fans that fosters healthy competition and development for students and band directors, all in an atmosphere of celebration for the entire band program.

Our Bands of America Championships, presented by Yamaha & Sweetwater, provide opportunities to perform in outstanding venues, receive quality evaluation, and to observe other bands, all in a positive, affirming, and celebratory atmosphere.
Participating bands receive commentary from the most skilled judges and educators in the nation. For the band director, Bands of America Championships are an opportunity to demonstrate excellence, and to evaluate the achievement of your students, as well as the progress of your program on a national level.

Before participating in 2026 Bands of America events, band directors will be required to acknowledge and agree to BOA’s educational philosophy and revised policy regarding the use of electronics and amplification.

Even though we value competition for the purposes described above, an “Input Only” option, or Festival Class, is available for programs that are interested in the educational feedback and personal evaluation, without the competitive aspect of a Bands of America Championship. See Section 6.03 for more information.

The purpose of the Bands of America Advisory Committee is to provide input to Music for All leadership on all aspects of BOA’s Fall Championship programs and events. The scope of the committee will focus on the marching band aspects of the organization with commitment to helping provide positively life-changing experiences for all participating bands. The committee is comprised of directors representing each of the four classes and of diverse geography. More information and a current roster of the Bands of America Advisory Team can be found at marching.musicforall.org/about.

1.01 All Bands comprised of Students up to and through the twelfth grade are eligible for Bands of America Regionals, Super Regionals, and Grand National Championships.

1.02 At the beginning of each school year, the enrollment of each participating school must be verified by its principal or superintendent. Enrollment is based on the number of all students in grades 10-12, using the enrollment numbers used in determining funding at the state level for each school.
The deadline for enrollment verification forms is 30 days prior to event, with the principal’s or superintendent’s signature. If enrollment changes (in a way that affects a band’s classification) after that date, written documentation of that change must be sent to Bands of America with the principal’s or superintendent’s signature verifying the change at least two (2) weeks prior to the next BOA Championship in which the band is participating.
If there is further question as to a school’s enrollment, Bands of America will defer to the enrollment numbers used by that school’s state for state-run band contests (if school enrollment is the classification criteria for that state’s contest) and/or interscholastic athletic team classifications.

1.03 Bands of America has a four-class system. Bands are assigned to classes based on the following enrollment levels (grades 10-12):

Class A – 600 or fewer Class AA – 601 – 1285
Class AAA – 1286 – 1810
Class AAAA – 1811 or more

Per our commitment to re-evaluate the classification system, classification numbers are examined and reset every three (3) years by a procedure that considers the composition of Bands of America Championship participation using three years of data. The maximum enrollment number for Class A remains constant, while the enrollment levels for Classes AA, AAA, and AAAA are adjusted to levels (for the next three years) that would have established equal, cumulative numbers of participants in each class over the prior three (3) years. The current classification numbers began with the Fall 2025 season, and the next reclassification will occur effective Fall 2028.
For purposes of determining enrollment, a principal or superintendent must certify enrollment and consider all those students in the grades 10-12 population as reported on Fall State and/or FTE funding reports.
We do not announce or publish band classifications before or during events. Appreciation of art requires subjective reactions. Our intention is to not draw attention to classification, so as to eliminate expectations of a band’s performance based on class, including those of the adjudicators.

2.01 Bands of America is committed to full compliance with the copyright laws of the United States and requires all enrolled bands to comply with copyright laws including: performance and/or use of arrangements of copyrighted music, use of copyrighted visual images and other materials, as well as the use of copyrighted audio or spoken text, and the display of copyrighted words and images.

2.02 The Law – The Copyright Law of the United States of America is a federal system of laws, rules, and regulations that creates a set of rights and protections for the creators of original works. See Title 17 of the United States Code for further information.
The protection extends to literary works, musical works, dramatic works, compilations, computer programs, choreographic works, graphic works, sculptural works, audio-visual works – in short, any creative work that is fixed in a manner that can be perceived by human eyes or ears, or through machines (whether existing now or later developed). Protected are (1) the right to reproduce the work, (2) the right to perform the work publicly, (3) the right to display the work publicly, (4) the right to create new works based on or derived from the work, (5) the right to initially distribute the work, and (6) the right to digitally transmit sound recordings of the work.

2.03 Bands of America Participant Requirements
All documentation must be submitted for Music for All (Bands of America) to fulfill its legal and administrative obligations. Unless a Band is performing original music, published music as purchased and scored, or music in the public domain, Bands must obtain permission to arrange or adapt the music being performed.
Bands must inform Music for All of their show’s musical content and provide evidence that it has purchased or otherwise obtained written permission/license from the copyright holder to use and arrange music. This includes similar documentation for any visual images and/or audio presented.
Bands will not be permitted to participate until they have provided Music for All with a copyright report. This copyright report identifies all music being played and requires participating directors to submit the proper licensing for each composition. Please note that each song needs to be reported individually, including each song within a medley.
The law requires individuals to obtain permission to arrange or adapt copyrighted material prior to creating any arrangements. It is recommended that permission to arrange requests be submitted as early as possible and prior to committing to your show concept and content. Consider the publishers’ processing needs and submit permission requests at least three (3) months prior to the date by which you plan to start arranging. Do not wait until your entire show has been written/arranged.
If you are planning to participate in Bands of America events or other events where your show may be streamed, we also encourage that you inquire (of the publisher/copyright holder/copyright service provider) whether there may be restrictions or prohibitions on the synchronization (video recording and distribution) of the music selected and whether the rights’ holder expects unusually high royalties or fees to ensure.
Special Note: Permission to arrange typically is granted to specific arrangers, for specific performances, by specific bands and for a designated period of time. If a Band has gained permission to arrange in the past, it does not necessarily guarantee that that permission may be relied on in future years or that permission will automatically be granted again. Use of copyrighted visual images in the form of artwork, props, signage, and other media may also require permission/license in advance of Performance.
Similarly, the use of copyrighted printed materials and broadcast of copyrighted spoken word and sounds require permission and license. Participating Bands are required to provide Bands of America with evidence of the grant of such permission(s). Bands should contact publishers and copyright holders directly concerning these matters. We also encourage you to contact Bands of America when you have questions or are otherwise in doubt.

2.04 Understanding Copyright & Compliance
Music for All (Bands of America) provides online resources related to the understanding of copyright law and compliance at marching.musicforall.org/copyright.
PENALTY: Participants who fail to comply with or knowingly violate copyright law may be penalized up to and including disqualification.
Special Note: Civil and criminal penalties may be imposed upon violators for copyright infringement. Civil remedies include an award of monetary damages, substantial statutory damages, which in cases of willfulness, may total up to $250,000 per copyright violation. Copyright law and compliance is not applicable only to Bands of America programs and events. It is the law and applicable generally to most public performances.

Music for All (MFA) is committed to providing, maintaining, and operating a fair and equitable housing system that is transparent to participants. The Bands of America (BOA) Housing Bureau has been set up to allow MFA to secure and assure the availability of hotel rooms at the lowest/best available large group pricing while accommodating the needs of all participating bands.

Bands of America Housing Bureau Policy: All competing and exhibition bands and their booster groups* utilizing hotel accommodations for their stay during Bands of America Grand National Championships, the Indianapolis Super Regional Championship, and the St. Louis Super Regional Championship are required to make their hotel reservations through the BOA Housing Bureau.

Competing and exhibition bands may use Ballad Health East Tennessee Housing Partners at the Ballad Health East Tennessee Regional Championship. Bands that violate this policy will not be permitted to perform and forfeit all enrollment fees.
     *For policy purposes, a “booster group” is defined as a group of parents/boosters who consolidate and make collective hotel sleeping room arrangements.

Why a Housing Bureau?
Bands of America operates multiple large scale “city-wide” events that are held in large and popular convention communities like Indianapolis and St. Louis which often occupy more than half the inventory of premium hotel accommodations.

Music for All works with cities years in advance to secure venue commitments and to assure the adequacy of supporting (housing) infrastructure. The commitments we make are firm contracts with monetary guarantees for use of and payment for contracted venue space and sleeping rooms. Showing the value of hotel business in these locations allows the local community to feel confident in their commitment to lease stadium and convention facilities to Music for All. In essence, our 2026 Fall participants are filling guest rooms that were contracted as early as 2020.
Additional information, including housing bureau timeline and preference forms, can be found at: marching.musicforall.org/housingbureau

BOA Housing Bureau Administrator: Nolan Cummings | cmcglobal – housing@musicforall.org – 317-635-4755

Music for All depends on a variety of resources in order to support the organization’s mission and vision, including ticket sales and admissions, the sales of merchandise, as well as sponsorships and the raising of grant funding from other institutions. In order to maintain the substantial contribution that our sponsors provide and in order to maintain the value and integrity of our family of sponsors, the use of a corporate brand, logo, or mark is not allowed in a performance or on the performance field without the prior written approval of Music for All.

Exceptions: Equipment that arrives with a manufactured logo that is original or within the normal practice of the manufacturer or equipment that incorporates a Band/School name, insignia and/or logo.

Bands of America Regional Championships are open for enrollment on a first-come, first-served basis up to the maximum enrollment established by BOA. Up to thirty-two (32) bands may be accepted into a Regional Championship. There are no qualifying contests to attend. All high school Bands are eligible (See 1.01 and Section 16.01).

Registration is complete once an application form has been submitted, a consent form signed by both the band director and school administrator, and the enrollment/registration fee has been paid (or a half-fee deposit with the balance to be paid by May 15). Bands that have not paid the full fee by May 15 will forfeit their performance draw. If fees are not paid by May 31, the application will be canceled without refund. For registrations submitted after March 31, the deposit option is not available, and the full fee must be submitted.

Bands with outstanding balances from previous seasons will not be permitted to enroll in future BOA events until all such outstanding balances are paid.

As part of the enrollment/registration fee, each participating band will receive thirty-one (31) credentials for adults working with the band (6 name badges, 25 field passes). Each band may purchase up to ten (10) additional credentials, for a total of 41 credentialed adults. All additional credentials must be purchased 30 days in advance, by credit card only, online via the Director Name Badge & Credential Form. The combination of additional name badges and field passes may not exceed ten
(10). Of those ten, a maximum of four (4) may be name badges.

Director/Staff Name Badges: Each band will be issued six (6) Director/Staff Name Badges. Up to four (4) additional Director/Staff Name Badges can be purchased. All Director/Staff Name Badges are valid for Finals (access to stadium spectator areas), regardless of whether the Band advances or not.

Field Passes: For Prelims, each Band will receive twenty-five (25) Prelims field passes. Up to an additional ten
(10) field passes may be purchased, minus the number of additional Director/Staff Name Badges purchased. For those bands that advance to the Finals competition, you will receive twenty-five (25) Finals field passes, plus the number of additional field passes purchased for Prelims. If your Band does not advance to Finals, Prelims Field Passes may be turned into the box office in exchange for a Finals Ticket at the conclusion of the Prelims Awards Ceremony.

Medical Staff Passes: A maximum of two (2) Band Medical Staff passes will be distributed per Band. Passes must be requested 30 days in advance online via the Director Name Badge & Credential Form. These passes will provide access to stadium spectator areas, as well as pre-performance flow and field access during the Band’s performance only. Adults with these passes must limit their role to medical responsibilities and are NOT to assist with any band performance equipment (i.e., moving, setting up, etc.

Educational Video: Participating directors will be provided a link to an educational video copy of their band’s Prelims performance through BOX5 Media. Bands that advance to Finals will also receive an educational video copy of their band’s Finals performance. The link to performance videos will be emailed to directors as soon as possible after each performance. Directors’ educational videos will be captured from our “high camera” vantage point. Videos will be available to download one educational copy or stream online.
Directors who do not want access to the professional recorded educational copy from BOX5 Media and wish to record their own educational copy, may choose to opt out per the regulation below.

• Only one (1) educational copy of a performance is allowed per copyright law.
• If you choose to opt out, you will not have access to the BOX5 professional educational recording.
• This option allows for a single person, with proper credentials (Director/Staff Name Badge or Field Pass), to video their Band’s performance from the Director’s Viewing Area.
• Bands may not video from the spectator seating area, press box, or any other video decks/platforms at venues.
• The Video Opt-Out process will occur via the 2026 Information Form and must be submitted 30 days prior to performance to be considered eligible.

6.01 The purpose of the preliminary competition (Prelims) at Bands of America Regional Championships is two-fold. First, it will determine each Band’s ranking in relation to the Criteria Reference (see Section 26). Secondly, it will determine which Bands will participate in the finals competition (Finals) of the Championship.

6.02 Equal priority scheduling will be given to all complete registrations postmarked on or before January 31. Complete registrations received on or before the designated postmark date of January 31 are eligible for the initial random draw determining performance times. After January 31, performance times, if available, will be based on the postmark of application, with the earlier postmark receiving the later performance time. A complete registration consists of an application, a signed consent form, and payment.
Performance order will be mixed between all classes during preliminary competition. The previous year’s champion band (from the same event/same location) has the option of choosing their desired performance time if complete registration is received by postmark criteria. Bands of America retains the right to alter the schedule to accommodate the needs of the event.
The BOA “Point System”: If more applications are received by the designated postmark date than there are spots in a show, a point-system is used to determine which bands are eligible for the initial random draw. Points are allotted based on a Band’s participation in Bands of America events over the previous four years.
The point-system assigns points using the following criteria: two points per year for attending Grand Nationals, and one point for attending one or more Regionals or Super Regionals each year, with a total of three possible points per year (12 points maximum for a four-year period).
If a Band does not have enough points to receive a performance spot, they will be place on a wait list. Bands that remain on the wait list through the event, rather than withdrawing, will be assigned one point for that event.

Wait Lists: From time to time, Bands (for whatever reason) may withdraw from events, creating performance opportunities for new entrants. When wait listed bands enter the show, they will be slotted first in the performance order noting the following exception: When last minute (two weeks or less from event date) vacancies occur, Bands of America may fill the open spot in the schedule with a wait-listed band rather than assigning that band the earliest performance time. This will be done to alleviate inaccuracies and errors that could result after final scheduling, program books, and other materials have gone to print.

6.03 A Festival Class (Input Only) option is available for Bands that are interested in receiving educational input and personal evaluation, without the competitive aspect of the event. In this class, Bands will receive verbal commentary on their performance along with private scores and a division rating (see Section 27). Scores and ratings of such participants will not be announced and will not appear on recaps. Festival Class participants will not be eligible for any awards.

6.04 An Awards Ceremony, involving Drum Majors, will follow the conclusion of Prelims. Each enrolled Band receives a Regional Recognition Award, and each Band Student receives a Regional Participant patch segment (provided at Band Check-In) and personalized certificate (delivered electronically after the event). Awards will be presented for 1st, 2nd and 3rd place in each class as well as Highest Achievement Awards in each class for Outstanding Music Performance (the highest average of the two Music Performance scores), Outstanding Visual Performance (the highest average of the two Visual Performance scores) and Outstanding General Effect (the highest total of all three General Effect scores). At the conclusion of the Preliminary awards ceremony, the top twelve (12) scoring Bands regardless of classification will be announced in random order and invited to perform in the evening Finals competition.

7.01 The evening Finals competition will be comprised of the top twelve (12) scoring Bands, regardless of class. The Finals competition will be devoid of any classes.

7.02 Any Class Champion Band, if not among the twelve (12) highest scoring Bands performing in Finals competition, will be invited to perform in exhibition at the opening or closing of the Finals competition. Performance time for exhibition bands will be determined by the Contest Director and BOA Staff. The Director or representative(s) of each such Band should attend the meeting of Finalist Directors (see Section 7.03).

7.03 Immediately following the announcement of Finalist Bands, a required meeting for the Director or representative(s) of each Band competing and exhibiting in Finals will be held in an area designated at each site. It is encouraged to bring Drum Majors, as logistics for Finale will be discussed.
The Regional Championship Finalist performance schedule will be finalized based on a pre-draw conducted at the Band Check-in process prior to Preliminary Performances. The top 6 scoring Bands from Prelims will be assigned the last 6 Performance times in numerical order according to the pre-draw. The next 6 will be assigned the first 6 Performance times in numerical order according to the pre-draw. In the event of a 12th place tie, the draw will be adjusted to top 6, second 7 (or similar, according to the number of finalists).

7.04 Directors have asked us to find a way to allow students to return at no cost to watch their peers perform in sessions in which they are not performing. We are pleased to make this student-centered opportunity available at all Bands of America Championships. Performing students are admitted free for Regional Finals. Non-finalist Band Students will need to enter a designated stadium gate to watch Finals. Director/Staff Name Badges and Medical Staff Passes are valid for general admission stadium seating. Adults representing non-Finalist Bands may exchange Prelims field passes for Finals tickets at the box office at the conclusion of the Prelims Awards Ceremony.

7.05 Regional Championships will feature a full Band “Olympic style” retreat with each of the 12 Finalist Bands and any Class Champion exhibition Bands. Awards and medallions for Class Champions will be presented during the Finals Awards Ceremony. Awards will be presented for 1st through 12th place, as well as Highest Achievement Awards for Outstanding Music Performance (the highest average of the two Music Performance scores), Outstanding Visual Performance (the highest average of the two Visual Performance scores) and Outstanding General Effect (the highest total of all three General Effect scores).

Bands of America Super Regional Championships are open for enrollment on a first come, first served basis up to the maximum enrollment established by BOA. Enrollment can be up to eighty-four (84) Bands. There are no qualifying contests to attend. All high school Bands are eligible (See 1.01 and 16.01).

Registration is complete once an application form has been submitted, a consent form signed by both the band director and school administrator, and the enrollment/registration fee has been paid (or a half-fee deposit with the balance to be paid by May 15). Bands that have not paid the full fee by May 15 will forfeit their performance draw priority. If fees are not paid by May 31, the application will be canceled without refund. For applications submitted after March 31, the deposit option is not available, and the full fee must be submitted.

Bands with outstanding balances from previous seasons will not be permitted to enroll in future BOA events until all such outstanding balances are paid.

As part of the enrollment/registration fee, each participating band will receive thirty-one (31) credentials for adults working with the band (6 name badges, 25 field passes). Each band may purchase up to ten (10) additional credentials, for a total of 41 credentialed adults. All additional credentials must be purchased 30 days in advance, by credit card only, online via the Director Name Badge & Credential Form. The combination of additional name badges and field passes may not exceed ten (10). Of those ten, a maximum of four (4) may be name badges.

Director/Staff Name Badges: Each band will be issued six (6) Director/Staff Name Badges. Up to four (4) additional Director/Staff Name Badges can be purchased. All Director/Staff Name Badges are valid for Finals (access to stadium spectator areas), regardless of whether the Band advances or not.

Field Passes: For Prelims, each Band will receive twenty-five (25) Prelims field passes. Up to an additional ten
(10) field passes may be purchased, minus the number of additional Director/Staff Name Badges purchased. For those bands that advance to the Finals competition, you will receive twenty-five (25) Finals field passes, plus the number of additional field passes purchased for Prelims.

Medical Staff Passes: A maximum of two (2) Band Medical Staff passes will be distributed per Band. Passes must be requested 30 days in advance online via the Director Name Badge & Credential Form. These passes will provide access to stadium spectator areas, as well as pre-performance flow and field access during the Band’s performance only. Adults with these passes must limit their role to medical responsibilities and are NOT to assist with any band performance equipment (i.e., moving, setting up, etc.)

Educational Video: Participating directors will be provided a link to an educational video copy of their band’s Prelims performance through BOX5 Media. Bands that advance to Finals will also receive an educational video copy of their band’s Finals performance. The link to performance videos will be emailed to directors as soon as possible after each performance. Directors’ educational videos will be captured from our “high camera” vantage point. Videos will be available to download one educational copy or stream online.
Directors who do not want access to the professional recorded educational copy from BOX5 Media and wish to record their own educational copy, may choose to opt out per the regulation below.

• Only one (1) educational copy of a performance is allowed per copyright law.
• If you choose to opt out, you will not have access to the BOX5 professional educational recording.
• This option allows for a single person, with proper credentials (Director/Staff Name Badge or Field Pass), to video their Band’s performance from the Director’s Viewing Area.
• Bands may not video from the spectator seating area, press box, or any other video decks/platforms at venues.
• The Video Opt-Out process will occur via the 2026 Information Form and must be submitted 30 days prior to performance to be considered eligible.

9.01 Enrollment at a Super Regional Championship will consist of up to eighty-four (84) bands competing in two days of preliminary competition followed by a Finals competition.
A maximum of 52 bands may compete on Friday, with the remaining 32 on Saturday. Two panels will be utilized for Super Regional Prelims. The judging responsibility will be divided into Prelims 1 and Prelims 2 panels, alternating between blocks (a group of up to 14 bands performing back-to-back). To best balance the championship, a historical record of that championship’s past three (3) years of Finalists will be distributed evenly between Prelims 1 and 2.
If there are 64 or fewer bands enrolled in a Super Regional Championship, there will be one judging panel for both days of Prelims, and a different panel of judges for Finals.

9.02 The day of a Band’s Prelims Performance will be based on a participant’s choice of Day of Performance and Distance from the Event criteria. The established criteria and procedures are as follows:

• The Super Regional Application form will include an option to automatically designate Friday as a preferred day of Performance.
• Any BOA Regional Champion, Super Regional Champion, Grand National Class Champion, or Grand National Champion from the previous season enrolled in the event may choose its day of Performance (Friday or Saturday).
• The thirty-two (32) Bands that are the farthest distance from the Performance venue will be given priority for a Saturday Prelim Performance time. Additionally, after Saturday slots have been filled, the remaining participating Bands (those geographically closest to the Performance venue), will have a Prelim Performance time on Friday.

Once the day of Performance is assigned, Prelims Performance times will be based on random draw. To accommodate Friday or Saturday football game demands, any Band may request an earlier performance time than drawn on a first-come, first-served basis (taking into consideration those Bands that do not wish to be pushed later in the day). Consideration will be given, and efforts made by Bands of America to create a workable schedule to allow Bands to perform and still fulfill their school commitments that weekend.
In the event that performance spots remain in the show, Bands that apply after the postmark date will be placed in the earliest Prelim times on Friday, on a first come, first served basis based on postmark date of the complete registration (e.g. placed in order of latest available Performance time to earliest).
From time to time, Bands (for whatever reason) may withdraw from events, creating performance opportunities for new entrants. Such new entrant Bands will be assigned to a Friday morning performance time. In the event a Saturday Performance time should come available by virtue of a withdrawal, new Bands added (from the waitlist or Friday Performance Bands) will be assigned the earliest Saturday Performance times available.
When a waitlist band enters a show, they will be slotted first in the performance order noting the following exception: When last minute (two weeks or less from event date) vacancies occur, Bands of America may fill the open spot in the schedule with a wait listed band rather than assigning that band the earliest performance time. This will be done to alleviate inaccuracies and errors that could result after final scheduling, program books and other materials have gone to print.

9.03 An Awards Ceremony involving Drum Majors from all Friday and Saturday Prelims Bands will follow the conclusion of Saturday’s Prelims competition and will operate similar to the Regional Prelim Awards Ceremony. At the conclusion of the Preliminary awards ceremony, the top fourteen (14) Bands, regardless of classification, will be announced in random order and invited to perform in the evening Finals competition.

10.01 The evening Finals competition will be comprised of fourteen (14) Bands, regardless of classification. For determining the Finals Competition, the five (5) highest scoring Bands in each Prelim panel (10 total), regardless of class, will advance; plus, the next four (4) highest scoring bands determined from a combination of remaining scores from Prelims 1 and 2, regardless of class, will advance.

10.02 The panel of judges for Finals will be comprised of a combination of adjudicators from both Prelims panels.
If there are 64 or fewer bands enrolled in a Super Regional Championship, there will be one judging panel for both days of Prelims, and the top scoring fourteen (14) Bands, regardless of classification, will advance to Finals. The panel of judges for Finals will be a completely new and separate panel from the Prelims panel.
When bands achieve the same (tie) score in Prelims, and when such score causes a placement tie for the last position advancing to the Finals competition, each band with the tied score will advance.
The Finals competition will be devoid of any classes.

10.03 Any Class Champion Band, if not among the highest scoring Bands performing in Finals, will be invited to perform in exhibition at the opening or closing of the Finals competition. The Director or representative of each such Band should attend the meeting of Finalist Directors (See 10.03).

10.04 Immediately following the announcement of Finalist Bands, a required meeting for the Director or representative(s) of each Band competing and exhibiting in Finals will be held in an area designated at each site. It is encouraged to bring Drum Majors, as logistics for Finale will be discussed.
The Performance schedule will be finalized based on a pre-draw conducted at the Band Check-in process prior to Preliminary Performances. The top 7 scoring Bands from Prelims will be assigned the last 7 Performance times in numerical order according to the pre-draw. The next 7 will be assigned the first 7 Performance times in numerical order according to the pre-draw. In the event of a 14th place tie, the process will be adjusted to top 7, second 8 (or similar, according to the number of finalists).

10.05 Directors have asked us to find a way to allow students to return at no cost to watch their peers perform in sessions in which they are not performing. We are pleased to make this student-centered opportunity available at all Bands of America Championships. Performing students are admitted free for general admission seating both days of Super Regional Prelims, and general admission seating at Super Regional Finals. Field Passes will be valid for general admission seating both days of Prelims and general admission seating at Super Regional Finals. Adults representing non-Finalist bands may exchange Prelims field passes for Finals tickets at the box office at the conclusion of the Prelims Awards Ceremony. Director/Staff Name Badges and Medical Staff Passes are valid for general admission seating both days of Prelims and general admission seating at Super Regional Finals.

10.06 Super Regional Championships will feature a full Band “Olympic style” retreat with each of the finalist Bands and Class Champion exhibition Bands. The Awards Ceremony will operate the same as a Regional Finals Awards Ceremony (see 7.05).

The BOA Grand National Championships are open for enrollment on a first come, first served basis up to the maximum enrollment established by BOA. The current maximum enrollment is one hundred ten (110) Bands. There are no qualifying contests to attend. All high school Bands are eligible (See 1.01 and 16.01).

Registration is complete once an application form has been submitted, a consent form signed by both the band director and school administrator, and the enrollment/registration fee has been paid (or a half-fee deposit with the balance to be paid by May 15). Bands that have not paid the full fee by May 15 will forfeit their Performance draw priority. If fees are not paid by May 31, the application will be canceled without refund. For applications submitted after March 31, the deposit option is not available, and the full fee must be submitted.

Bands with outstanding balances from previous seasons will not be permitted to enroll in future BOA events until all such outstanding balances are paid.

As part of the enrollment/registration fee, each participating band will receive thirty-one (31) credentials for adults working with the band (6 name badges, 25 field passes). Each band may purchase up to ten (10) additional credentials, for a total of 41 credentialed adults. All additional credentials must be purchased 30 days in advance, by credit card only, online via the Director Name Badge & Credential Form. The combination of additional name badges and field passes may not exceed ten (10). Of those ten, a maximum of four (4) may be name badges.

Director/Staff Name Badges: Each band will be issued six (6) Director/Staff Name Badges. Up to four (4) additional Director/Staff Name Badges can be purchased. All Director/Staff Name Badges are valid for Finals (access to stadium spectator areas), regardless of whether the Band advances or not.

Field Passes: For Prelims, each Band will receive twenty-five (25) Prelims field passes. Up to an additional ten
(10) field passes may be purchased, minus the number of additional Director/Staff Name Badges purchased. For those bands that advance to the Semi-Finals and/or Finals competition, you will receive twenty-five (25) Finals field passes, plus the number of additional field passes purchased for Prelims.

Medical Staff Passes: A maximum of two (2) Band Medical Staff passes will be distributed per Band. Passes must be requested 30 days in advance online via the Director Name Badge & Credential Form. These passes will provide access to stadium spectator areas, as well as pre-performance flow and field access during the Band’s performance only. Adults with these passes must limit their role to medical responsibilities and are NOT to assist with any band performance equipment (i.e., moving, setting up, etc.)

Educational Video: Participating directors will be provided a link to an educational video copy of their band’s Prelims performance through BOX5 Media. Bands that advance to Finals will also receive an educational video copy of their band’s Finals performance. The link to performance videos will be emailed to directors as soon as possible after each performance. Directors’ educational videos will be captured from our “high camera” vantage point. Videos will be available to download one educational copy or stream online.
Directors who do not want access to the professional recorded educational copy from BOX5 Media and wish to record their own educational copy, may choose to opt out per the regulation below.

• Only one (1) educational copy of a performance is allowed per copyright law.
• If you choose to opt out, you will not have access to the BOX5 professional educational recording.
• This option allows for a single person, with proper credentials (Director/Staff Name Badge or Field Pass), to video their Band’s performance from the Director’s Viewing Area.
• Bands may not video from the spectator seating area, press box, or any other video decks/platforms at venues.
• The Video Opt-Out process will occur via the 2026 Information Form and must be submitted 30 days prior to performance to be considered eligible.

12.01 The Grand Nationals Championships format includes Prelims, Semi-Finals, and Finals rounds. The Grand Nationals competition format is designed to offer as many opportunities for performance and educational input as possible.

12.02 Enrollment shall be determined on a first come, first served basis by postmark of a complete registration. There is no limit on enrollment by class.

12.03 When you arrive onsite at Band Check-In, you will draw a number from each of two BOA tumblers. Numbers will range from 1-100 (or the number of competing bands). For those who advance beyond Prelims, the first number will serve as the pre-draw for Semi-Finals, and the second number will serve as the pre-draw for Finals.

13.01 Grand National Preliminary Championship judging responsibility will be divided into Prelims 1 and Prelims 2 panels, alternating between blocks (a group of up to 14 bands performing back-to-back). Each prelims contest will begin with as equal a number of Bands per Prelims as possible. Bands within each class, (A, AA, AAA and AAAA) will also be divided as equally as possible between Prelims 1 and 2. Each prelims contest will have a separate adjudication panel.

13.02 Bands of America recognizes that the travel distance for some bands will necessitate missing one to two days of school just for travel time. To retain the integrity of Grand Nationals as a national championship, and enable Bands from across the nation to participate, BOA will allow bands traveling from schools located more than 325 miles (one way) from Indianapolis to choose to either be part of the regular performance time draw or choose to participate in a special draw for the first number of performance times on Friday morning. All Bands will be given the opportunity to preference a Thursday performance time, enabling some Bands within a ~200-mile distance to attend a full day of school on Friday and return to Indianapolis for Saturday’s Semi-Finals and Finals.

13.03 An Awards Ceremony, involving Drum Majors, will follow the conclusion of preliminary performances on Friday evening. Each enrolled Band receives a Grand National Recognition Award, as well as a Grand National Participant segment patch (provided at Band Check-In) and personalized certificate (delivered electronically after the event) for each student. At the conclusion of the Preliminary awards ceremony, the Semi-Finalist Bands will be announced in random order and invited to perform in Saturday’s Semi-Finals competition.

14.01 The process listed below will determine Semi-Finalists.
Thirty (30) Bands (or more if necessary to accommodate participation by all classes) will advance to Semi-Finals. Three criteria will be used to select Semi-Finalists Bands. They are as follows:

(a) The 11 highest scoring Bands in each Prelims (22 total), regardless of class will advance; PLUS
(b) The next eight (8) highest scoring Bands determined from all remaining scores from Prelims 1 and 2, regardless of class will advance; PLUS
(c) The two (2) highest scoring Bands, from each of the four classes, from each Prelims, should they not already be among the Bands selected based on criteria a. and b. above, will advance.

The following criteria used to determine the Semi-Finals Performance schedule will allow Bands most likely to advance to Finals, and those Bands being considered for a Grand National Class Championship, the best possible performance conditions.
Bands that are selected to compete in Semi-Finals only on the basis of their (criteria c) and were not selected on the basis of scores from criteria (a) or (b) above shall be slated by draw to perform in the latest Performance times in Semi-Finals. The start time for Semi-Finals shall be adjusted (earlier) as necessary to accommodate more than thirty (30) Performances.

14.02 Director(s) or a Band representative must attend the Semi-Finalist Directors’ Meeting, immediately following the Preliminary Awards Ceremony on Friday. At that time, the official Semi-Finals schedule will be distributed based on the Semi-Finals pre-draw that took place at Band Check-In and determined by the criteria outlined in Section 14.03 below.

14.03 Semi-Finals Performance times are established as follows:

(a) From criteria (a) above, the 11 highest scoring Bands in each Prelims (22 total), regardless of class, will receive the 22 Performance slots in the middle of Semi-Finals [positions nine (9) through thirty (30)] according to the Semi-Finals pre-draw that took place at Band Check-In.
(b) The remaining eight (8) Semi-Finalists will receive the first eight (8) Performance spots [positions one
(1) through eight (8)] according to the Semi-Finals pre-draw that took place at Band Check-In.
(c) In the event Semi-Finals includes more than thirty (30) Bands by virtue of the Semi-Finalist selection process (see explanation above), such Semi-Finalists shall perform after the initial thirty (30) numbered performance spots according to the Semi-Finals pre-draw that took place at Band Check- In.
(d) In the event a single (1) Class A or single (1) AA Band is included in the “next eight (8)” Performance slots (14.01.b), that/those Band(s) will perform after the 22 “middle of Semi-Finals” Performance slots, amongst the Bands that have advanced based on the class representation criteria (14.01.c) according to the Semi-Finals pre-draw that took place at Band Check-In.

14.04 Grand National Class Champions will be selected from amongst the Bands participating in Semi-Finals. The highest scoring Band in each class shall be named National Class Champion. (See Part C, Section 28 for when two or more Bands have a tie in their final score).

14.05 A Semi-Finals Awards Ceremony, involving Drum Majors, will follow the conclusion of Semi-Finals competition. Each Semi-Finalist Band receives a Semi-Finalist Recognition Award, and each participating Band member will receive a National Semi-Finalist segment patch (distributed at the Semi-Finalist Directors’ Meeting). The ceremony will include awards for first, second, and third place in each class as well as Highest Achievement Awards in each class for Outstanding Music Performance (the highest average of the two Music Performance scores), Outstanding Visual Performance (the highest average of the two Visual Performance scores) and Outstanding General Effect (the highest total of all three General Effect scores). At the conclusion of the Semi-Final Awards Ceremony, the twelve (12) Finalist Bands will be announced in random order.

15.01 From Semi-Finals, the twelve (12) highest-scoring Bands, regardless of class, advance to the Saturday evening Finals. Finals will be devoid of any classes.

15.02 Any National Class Champion, if not among the Bands advancing to the Finals, will be invited to perform in exhibition at the opening or closing of the Finals competition. Performance time(s) for exhibition band(s) will be determined by the Contest Director and BOA Staff.

15.03 The Director or an assigned representative’s attendance is required at the Finalist Directors’ Meeting. Drum Majors are encouraged to accompany the Directors or representatives to the meeting. The meeting will immediately follow the announcement of Finalist Bands on Saturday afternoon. The Performance order (as determined by the pre-draw done at Band Check-In) details about Finale and procedural changes and/or questions will be discussed and handled at this time.
The top 6 scoring Bands from Semi-Finals will be assigned the last 6 Performance times in numerical order according to the Finals pre-draw that took place at Band Check-In. The next 6 will be assigned the first 6 Performance times in numerical order according to the Finals pre-draw that took place at Band Check-In. In the event of a 12th place tie, the process will be adjusted to top 6, second 7 (or similar, according to the number of finalists).

15.04 The Finalist Awards Ceremony will open with the traditional Olympic-style retreat with the twelve (12) Finalist Bands, along with any non-finalist Class Champion Bands. Finalist students will receive National Finalist medallions. Class Champions Students (named during the Semi-Finals Award Ceremony) will receive National Champion medallions. Each Finalist Band member will receive a National Finalist segment patch (distributed at the Finalist Directors’ Meeting). Awards will be presented for twelfth through first place, as well as Highest Achievement Awards for Finals, and the Grand National Champion traveling trophy. Should the National Champion be a non-Class Champion, National Champion medallions will be presented to that Band.
Finals Awards will be presented for Outstanding Music Performance (the highest average of the two Music Performance scores), Outstanding Visual Performance (the highest average of the two Visual Performance scores) and Outstanding General Effect (the highest total of all three General Effect scores).
The Al Castronovo Memorial Esprit de Corps Award will also be presented during the Finals Awards Ceremony. This is a special award open to all Bands participating in Grand Nationals and is not based on any scores from the competition. The recipient is determined as the group that best exhibits pride, spirit, enthusiasm, friendliness, camaraderie, and unity of purpose for the marching band activity, as observed and evaluated by the Bands of America staff and volunteers throughout the weekend championship.

16.01 Band – A musical ensemble in which all participating members are registered at the same high school, or one where the members are part of a single band with a recognized joint program and membership in such band is the only high school marching program offered to Students. Also eligible are Students from all feeder elementaries, junior highs, middle schools, or other educational environments (that do not offer a high school marching program) and are otherwise eligible for participation, as permitted and defined by state law or school policies.

16.02 Band Director / Assistant Band Director – Are certified teachers who are hired by the school as full-time classroom teachers and/or teachers of record for the marching band.

16.03 Drum Major – A Student conductor, including other performing Students conducting for a limited period during a Performance.

16.04 Electronic Instrument – Any electronic component that produces and/or amplifies sound.

16.05 Live and in Real Time – Performance on the field through the traditional use of a musical instrument (including the voice) or electronically on a “one stroke, one note” basis.

16.06 Music – Organized sound, having the elements of melody, harmony, and/or rhythm through time.

16.07 One Stroke, One Note – The production of music using any device, provided each individual note is produced by a separate trigger (“stroke”) by a student. (Exception: Spoken text/narration can be triggered by one stroke, assuming spoken word is void of rhythmic intent.)

16.08 Performance – The musical and visual program presented for adjudication.

16.09 Performance Area – The entire surface of the stadium (field surface) and the physical space above it.

16.10 Performance Field – A regulation size American football field with end zones, including from fifteen (15) feet in front of the regulation field to the back limit of the field surface, normally the back grandstand or wall. (See Figure 1)

16.11 Prerecorded Music – Music in any form (single or multiple voices and/or instruments) previously taken directly or indirectly from a live source (including amateur or professional performance).

16.12 Sample – Any captured sound that can be triggered on an electronic instrument.

16.13 Sequenced Music – Music pre-constructed from one or more electronic sources (including audio samples, synthesizers, etc.). Prerecorded and sequenced music are treated identically in the rules.

16.14 Sound Effect – All sounds other than music or spoken text, e.g., the sound of twisting metal, falling rain, etc. Permission must be obtained for use of any copyrighted material.

16.15 Spectator Area – The seating areas and aisles; generally, the entire stadium other than the Performance Area.

16.16 Spoken Text – Narration, voiceover, or spoken word that is void of any rhythmic intent.

16.17 Student – A person currently enrolled in a high school or a lower grade school or educational environment, as permitted by state law and/or school policy.

16.18 Tempo-Specific Sample – Any sample from which tempo, through rhythmic intent, can be derived relative to the moment. This includes sequenced music, looping, and sustained effects with rhythmic intent. Tempo-Specific samples and musical loops are not permitted during the Performance.

PENALTY for Eligibility Rule Violation (as defined in Section 16.01 “Band” and 16.17 “Student”) – Disqualification

17.01 The front boundaries of the Performance Field will be marked, and the regulation football field will be lined every five yards.

17.02 Hash marks will differ from stadium to stadium. While Performance Fields at all events will have cross hash marks at 53’4” from each sideline (dividing the field into equal thirds), some facilities may have additional sets of marks including cross hash marks at 60’ from each sideline (collegiate/Texas high school) and/or hash marks at 70’9” from each sideline (professional). Vertical yard line tick marks (marking each yard) may also be present along front and back field sidelines and along the line(s) created by cross hash marks. Pre-event communications will have specific information regarding hash marks on the respective field of each championship event.

Fair Play and Respect
Respecting opponents should remain the fundamental principle of competition. It involves treating colleagues with fairness, kindness, and dignity, regardless of the competitive outcome.
Fairness refers to the idea that all ensembles should have an equal chance to succeed, free from inequitable advantages. It encourages honesty, integrity, and respect for the rules while considering the well-being and safety of all. It is essential to recognize that winning is not the sole objective of competition; rather, it is the process of self-improvement, teamwork, and personal growth that truly matters. Let us remember we are educators first, and competitors second, and that our behavior makes a difference as we shape student attitudes and behaviors.

18.01 Information in addition to these procedures, including site-specific information such as bus/truck parking procedures, the location of warm-up areas, etc. will be included in the band’s pre-event communications from Bands of America. All such communications will also be available online in the “Director” area of the Bands of America Championship website at https://marching.musicforall.org/directorinfo/.

18.02 Once onsite, a representative from each band must check-in at the designated Band Check-In location. A Pre-Draw to help determine Finals (and Semi-Finals, at Grand Nationals) performance order will take place at Band Check-In. Representatives are encouraged to arrive and check-in early on the day of the Band’s Performance to receive any changes to preliminary competition (“Prelims”) performance times (as it is possible for these times to change due to last-minute cancellations, etc.) or event procedures made after the band’s last communication from Bands of America.

18.03 Director/Staff Name Badges and Field Passes will be distributed at Band Check-In. Each participating band will receive thirty-one (31) credentials for adults working with the band (6 laminate name badges, 25 field passes). These are included as part of the registration fee. Each band may purchase up to ten (10) additional credentials, for a total of 41 credentialed adults. All additional credentials must be purchased 30 days prior to the event, by credit card only, online via the Director Name Badge & Credential Form. The combination of additional name badges and field passes may not exceed ten (10). Of those ten, a maximum of four (4) may be name badges.

Director/Staff Laminate Name Badges: Each band will be issued six (6) Director/Staff Name Badges, which allows the wearer to enter the Spectator Area throughout the event (prelims and finals). (A person issued a Director/Staff Name Badge does not need a Field Pass and vice versa.) Up to four (4) additional Director/Staff Name Badges can be purchased. The names of staff members to receive badges will be taken from the “Director/Staff Name Badge and Additional Credentials Form.”

Field Passes: Field Passes allow the holder to travel through the warm-up and performance flow with the band and directors. Field Passes may also be used to enter the Spectator Area during the session (Prelims or Finals) for which they were issued. For Prelims, each Band will receive twenty-five (25) Prelims field passes. Up to an additional ten (10) field passes may be purchased, minus the number of additional Director/Staff Name Badges purchased. For those bands that advance to the Semi-Finals and/or Finals competition, you will receive twenty-five (25) Finals field passes, plus the number of additional field passes purchased for Prelims. These passes will be distributed at the Finalist Directors’ Meeting. Prelims Field Passes issued at a Super Regional are valid for general admission seating both days of Prelims and general admission seating at Super Regional Finals. Adults representing non-Finalist bands may exchange Prelims field passes for Finals tickets at the box office at the conclusion of the Prelims Awards Ceremony.
     Note: All Directors/Staff will need an identifying credential for each Band that the Director/Staff Member is representing. For example, if a Director/Staff Member is working with and representing two Bands, that individual will need to be properly credentialed with a badge/pass from each of those two competing Bands.
     Note: Student managers or other Students with the band (and involved in the band’s preparation and/or performance), with or without a uniform, do not need a field pass or other credential to proceed through the event flow and onto the field with the band. These students will require a student wristband to enter the stadium as spectators while not performing.

Medical Staff Passes: A maximum of two (2) Band Medical Staff passes will be distributed per Band. Passes must be purchased 30 days in advance, by credit card only, online via the Director Name Badge & Credential Form. These passes will provide access to stadium spectator areas, as well as pre- performance flow and field access during the Band’s performance only. Adults with these passes must limit their role to medical responsibilities and are NOT to assist with any band performance equipment (i.e., moving, setting up, etc.)

18.04 Warm-up areas are available at the event site and may only be used during the scheduled warm-up times. Each band’s prelims warm-up time will be included in the final packet available (via email and the “Director” area of the Bands of America Championships website) approximately three weeks prior to the event. Finalist bands’ warm-up times will be assigned during the Finalist Directors Meeting following conclusion of the Prelims.
      Note: Practice areas or fields for additional practice/preparation may potentially be arranged through the host at each individual site or otherwise arranged on your own, subject to the following criteria.

Bands may not practice or warm up within earshot or visual vicinity of the stadium, or the designated warm-up areas, except at the designated times in the designated areas. Bands may not practice or warm up in any way in the event parking lots or areas. Body stretching and marching basics are considered “warming up” and therefore is not allowed anywhere except for the designated time.
No Band may use the Performance Field for practice during the week leading up to the event. Prohibited practice on the Performance Field during event week will be penalized.
    PENALTY – At discretion of Contest Director up to disqualification
     Exception: In cases where a Bands of America event is hosted by a competing band at its facility, such band may not rehearse in the Performance Area within three (3) hours of the start of Prelims or thereafter until Finals have concluded.

18.05 Time-keeping devices such as metronomes or jam blocks, megaphones or similar voice amplification devices, and audio systems may be tested and used in warm-up areas, but must be used with wire- connected microphones, and must remain at a reasonable volume depending on the acoustics of the warm-up area and proximity to other bands/warm-up areas, judging areas, and the Performance Field. Bands of America officials, at their discretion, may restrict the use (or order discontinuation of use on-site) of specific devices, including jam blocks and sticks, if they believe such devices interfere with other bands in the warm-up areas or with performances in the stadium.
     Note: Please reference the “Important Event Procedures” document for each specific event for detailed restrictions related to individual sites.

Wireless microphones transmitters, wireless networks, and audio and/or lighting control devices may interfere with performances in the stadium and, therefore, may not be used in warm-up areas. Except as described below and in Section 18.06, audio system testing, anywhere onsite, including warm-up areas, and at any other time prior to start of the band’s 4-minute setup/warm-up time, is prohibited.

18.06 Participants may test their wireless electronic equipment for connectivity during scheduled breaks of 15 minutes or longer (or during the 15 minutes prior to the opening of the spectator gates for Prelims or Finals). Requests must be submitted in writing to the Music for All office prior to the event and then the Field and Timing Manager and BOA officials will coordinate access to the field, if available. This time may not be used as a sound check or rehearsal.
Priority will be extended to those requesting the opportunity based on the performance schedule as well as the order in which requests are received by Bands of America officials. Allowing equipment tests is a “best efforts” commitment and provide no grounds for delay of show or other consideration, in the event the test request is not or cannot be accommodated by Bands of America.

18.07 Band Report times will be at least ten (10) minutes prior to the Band’s start time. Distances from warm-up areas to the stadium vary from venue to venue. Bands will report to a Bands of America official at the entrance gate of the stadium. The band should be ready to enter the Performance Area at the designated Band Report time.
Only those adults with Director Name Badges or the applicable Field Pass will be allowed to enter the Performance Area with the band. Ticket holders and bus driver pass holders/wristbands are not permitted to enter the Performance Area at any time. They must enter the stadium at the designated Spectator Entrance.
     PENALTY for Field Pass violation (adult in the Performance Area without proper credentials) – 0.3 points per violation

The band will enter the stadium at the Band Entrance gate and proceed to the Performance Area. A Bands of America official will meet the Band and lead them to the Performance Field for set-up.
Staging Guidelines: Typically, Bands are staged for Performance Field entry inside or outside a designated end zone. Staging of guard equipment, props, and other equipment also occurs in this time. Special presets or holding areas are not allowed or provided. Front ensembles/percussion, conductor’s podium(s), and front-side props are typically pre-staged early, on the front side of the Performance Area near the 20-yard line. All elements are released at the 11:00 mark to enter the field. (See 19.01)

19.01 On cue from a Bands of America official, the Band may enter the Field. A Band is allowed four (4) minutes to set-up and/or warm-up anywhere in the Performance Area. All performers, including any/all Band members, staff or Field Pass holders used for the on-field staging of equipment, must enter as described above. The placement of any staging/props or equipment must take place during this time. Bands should not rely on any allowance of additional time or access to the field, prior to the 4-minute set- up, for the movement or assembly of any staging/props. Directors are asked to plan accordingly. Pre- event communications will include additional site-specific information regarding entrance areas and access.

19.02 Any/all sound and/or lighting checks on the field may begin as soon as the band’s 4-minute set-up/warm- up time begins.

19.03 Pre-recorded (or sequenced) and/or live music may be used for a “pre-show” within the 4-minute setup/warm-up time. Pre-recorded music must cease by the completion of the pre-show Announcement (20.03).
Pre-recorded music may be used after the Performance during the allowed “two minutes to exit,” but only after the Performance (live music) has ended.

19.04 Conducting podiums may be placed anywhere within the Performance Area. Be aware of recording microphones and traffic (cameras, judges, event personnel, etc.) during the Performance.

19.05 Adults may enter the Performance Field before the Performance to set up equipment and after the Performance to remove equipment. During the Performance, adults, including those assisting in setting up props or equipment, must be clear of the Performance Field. Note: This includes end zone sidelines, backfield, and the backfield seating areas. (See 21.05)

19.06 Where practicable, Bands of America will provide for director/staff:

• Directors’ Viewing Area
  • An area within the Spectator Area, for viewing/listening to the band’s Performance.
• Director Audio Control
  • An area for two (2) director/staff members, close to the same level and vantage point as the adjudicators.
  • The area will require an additional limited pass (distributed at Band Check-In). Please allow extra time to access the area.
  • Provided only at Super Regionals and Grand Nationals. Please allow extra time to access the area.
  • Note: This area is not authorized to be used to capture or record any audio or video of your performance.

These area(s) may also be used by students or adults operating audio control devices. Use of either or both Bands of America-provided areas is restricted to the Performance of the Director/Staff/Student member’s Band. The use and the performance of equipment in these areas is at the risk of the directors, staff, and performers. Viewing and listening area information, related instructions, and policies will be distributed at Band Check-In at each individual Championship. Director/staff members will be required to have proper credentials.
Please encourage your staff/parents to be mindful of their proximity to the Performance Field and to allow adequate room for judges to sample the ensemble, allowing BOA staff to keep the Performance Area clear and safe for all performers and staff. If/when credentialed adults remain at field level during a performance, they are asked to remain up against the front stadium wall while the performance is in progress

20.01 Timing Procedure Summary:
a. Bands are scheduled on 15-minute intervals, with appropriate breaks as scheduled by Bands of America.
b. Bands are permitted four (4) minutes prior to the designated performance time to set-up and warm-up in the Performance Area. Bands are expected to use this time for any/all assembly and movement of staging/props.
c. Announcement of the band begins at 3 minutes, 15 seconds into the four-minute set-up/warm-up time (45 seconds prior to the designated Performance time).
d. Bands are permitted a Performance time of six (6) to eleven (11) minutes on the Performance Field. (See exception in 20.05)
e. Bands (including Students and adults), equipment, and props will have two minutes to clear the field past the exit-side goal line.
f. A Band’s set-up/warm-up time may overlap with the prior Band’s exit time.

WEATHER EXCEPTION: When deemed appropriate, the traditional 15-minute performance rotation is condensed to alleviate heat and/or weather concerns; typically shortened to a 12-minute rotation. When utilized for heat mitigation, Prelims concludes in the early afternoon, which avoids students from having to perform in the peak heat of the day, and evening Finals performance rotation returns to 15 minutes.

20.02 A Band is allowed four (4) minutes to set-up and/or warm-up anywhere in the Performance Area. The placement of any staging/props or equipment must take place during this time. Bands should not rely on any allowance of additional time, prior to the 4-minute set-up, for the movement or assembly of any staging/props. Directors are asked to plan accordingly. This time will include the Band’s entry and set-up on the Performance Field and may include a musical warm-up. The 4-minute set-up will begin at the cue of a Bands of America official. See Section 19.01 for Band Entrance procedures.

20.03 Three (3) minutes, fifteen (15) seconds into the four-minute set-up/warm-up time, the announcer will introduce the Band as follows:
“Joining us from [School City & State], please welcome the [School] Marching Band!” (Announcer pauses for audience response)
“[School]’s musical selections include the following:” (Announcer reads their selections)
“Bands of America is proud to present in [preliminary/semi-finals/finals] Performance, Drum Major(s) [Drum Major(s) name(s)] and the [School] Marching ‘nickname.’” *
          *If the Band’s Drum Majors are going to salute, it should occur as the announcer is reading/announcing the sentence above. However, a Drum Major salute is not necessary to indicate that the Band is ready to start.
The performance of a pre-show during the four-minute set-up/warm-up time or any other on-field activity will not alter the time of the announcement or the timing of the Performance.
All introduction announcements and exit announcements will be made live by the official Bands of America announcer and may not be prerecorded for playback as part of your competitive performance(s). Modifications to the timing and order of items announced may not be made. Bands of America’s introduction “Joining us!” announcements are timed and designed to provide equity for all performing bands.

20.04 Following the completion of the pre-show announcement, the first note of music or the first step or visual move by a member of the Band (excluding any drum major salute) will start the timing of the Performance. The Performance must begin within 30-seconds from completion of the pre-show announcement or timing will thereafter begin automatically.

20.05 A Band is allowed a Performance time of 6 to 11 minutes anywhere on and within the Performance Field. Performance timing will end at the conclusion of live music.
Exception: Minimum performance time penalties will not be assessed at Bands of America Regional Championships prior to October 1. Field Managers will still time, log, and report timings during these early season championships.
Musical exits will be included in the Performance time of the show. (See 21.08, “Musical exit”) Visual exits with percussion cadence (or silence) will be included in the exit timing, and not in the time of the Performance. Any cadence/music used as an exit routine must cease once the Performance Field is vacated.
Upon conclusion of the performance, the announcer will give the Band’s field exit announcement as follows:
      The [School Name] Marching Band! (The announcer pauses for audience response.)
      The [School Name] Marching Band is under the direction of [Band Director(s) Name(s)] with assistance from [Assistant Band Director(s) Name(s)].

See Section 16.02 for how Band Directors and Assistant Band Directors are defined at Bands of America events. “Classified” Teachers, paraprofessionals, instructional staff, designers, or music arrangers are not announced.
Note: Sponsors of individual/performing Bands or their music programs will not be included in the announcer’s read of “Band facts, information, and special honors” during field exit.
PENALTY for under time/overtime Performance – 0.1 points per 3 seconds or fraction thereof

20.06 Within two minutes of the end of the Performance, Bands must completely vacate the Performance Field past the goal line at the designated Band exit. Pre-event communications will include additional site- specific information regarding exit procedures.
Note: Movement of large props through exit paths such as stadium tunnels may affect the exit. Bands are also cautioned to be conscious of the microphones, video cameras, etc. while exiting. See also Section 23 on Equipment Use and Safety.
PENALTY for overtime exit – 0.1 points per 3 seconds or fraction thereof
PENALTY for delay of contest – 0.5 points per minute or fraction thereof See also Section 23.04 on Delay of Contest.
Note: Bands of America views personal safety to be more important than rigid enforcement of the exit- timing rule. Penalties shall be assessed only when it is determined by the Field Manager or Contest Director that the Band exiting is not making concerted efforts or substantial progress in complying with the rule. Bands that “troop” the stands, exit the field in the wrong direction, or have props or equipment that cannot be promptly removed are subject to penalty for overtime exit/delay of contest.

21.01 For this section of Regulations, “the Performance” refers to the time from “following the completion of the Announcement” (20.04) through “the end of live music” (20.05).

21.02 All aspects of the performance must be performed by students. No adult activity during the performance may contribute directly to the music or visual program. See 21.04 & 21.05 for specifics and exceptions.

21.03 Sound Effects, Voiceovers, and Lighting Effects: The triggering of sound effects, voiceovers, any/all lighting effects, and/or visual items is only permissible by a student performer. Adults may provide direction to student operators of such equipment, so long as they remain outside of the Performance Field.

21.04 Audio Balances, Volume Controls and Lighting Devices: A Student running a mixing board, wireless mixing device (i.e., balancing wireless microphones, etc.), or lighting device may be located outside the boundaries of the Performance Field without penalty.
Only a student may operate/trigger lighting effects and/or visual cues.
An adult may operate a mixing board or wireless mixing device, only for the purpose of managing volumes and balances, and must do so from outside the boundaries of the Performance Field. Please note that allowing an adult to operate an audio device does not grant permission for them to “contribute directly to the music or visual program.” (See 16.09, 16.10, 22.04)

21.05 Adults During the Performance: Band Directors (persons with Director Name Badges) may conduct during the Performance from any place outside of the Performance Field, but within the Performance Area. An exception allows Band Directors to conduct outside the back sideline and any within the end zones.
During the Performance, adults, including those assisting in setting up props or equipment, must be clear of the Performance Field.
     Note: This includes end zone sidelines, backfield, and any backfield seating areas.
Directors, adults, non-performing students, or alternate students (other than Drum Majors) may not move across boundaries to retrieve or hand off instruments or equipment during the Performance.
Adult Intervention: An adult may enter the Performance Field during the Performance to attend to an issue affecting the safety of Student performers or respond to “catastrophic” equipment failure (such as failure or loss of power or connectivity to a sound system) without penalty, as determined by the Field and Timing Manager and/or Contest Director.
     PENALTY for inadvertent or apparently unintended adults present on the Performance Field – 0.1 points per violation
     PENALTY for adults contributing to Performance (except as permitted above) – 0.5 points per violation

21.06 All props, podiums, speakers, and sound-related equipment may be placed anywhere in the Performance Area. The Spectator Area must remain clear and inviolate, separate from the Performance, its performers, and/or performance equipment. (See Audio control exceptions in Section 21.04 & 22.04.)

21.07 During the performance, Performers must be within the Performance Field. Drum Majors are exempt, except as provided below. Amplified voice work by a Drum Major (music and/or narration) or any component of visual performance is restricted to the Performance Field (See 16.10).
     Exception – Drum majors may place or retrieve an instrument from any place in the Performance Area. However, if a drum major performs on the instrument, that performance must occur from within the boundaries of the Performance Field.
     PENALTY for boundary violation – 0.1 points per flagrant infraction

21.08 Band Performances may incorporate music and movement as a part of the Performance “exit” into the exit-side end zone and beyond after performing the six (6) minute show minimum within the Performance Field. The 15-foot front boundary line may not be crossed (from zero to zero) as part of a “musical exit.” Note: The exit announcement or drum major salute does not signal the end of the performance, the conclusion of music does.

21.09 All boundary lines are included as part of the Performance Field. Stepping on a boundary line does not constitute a violation. The crossing of these lines, defined as one entire foot of a performer placed beyond the boundary, will constitute a boundary violation. Boundary rules apply only to a performer’s body, specifically feet.
Equipment and instruments can be placed, utilized, and retrieved from outside the boundary lines, so long as the performer’s feet remain inside the boundary. Equipment (speakers, props, instruments, etc.) cannot cause a boundary violation. Equipment (mallets, etc.) can straddle the 15-foot line, but performers must remain behind it.
      PENALTY for boundary violation – 0.1 points per flagrant infraction

Music for All Philosophy and Policy Statement: Use of amplification and electronic enhancement of band sonority.

Music for All is committed to expanding the role of music and all arts in education and heightening the public’s appreciation of the value of all arts education. We believe music and all arts are core to students’ education and must be available to all students. We are faithful to a high standard of integrity, a strong ethical framework, and a deep and abiding sense of respect for all with whom we interact. Bands of America nurtures the pursuit of music-making by creating and providing quality educational experiences for every participant. We believe that competition is a great motivator and provides substantial opportunities for learning life lessons. The essence of competition is striving for performance excellence and being held accountable for learning. If the focus is on learning, the competitive climate will be valuable throughout one’s life. On the other hand, the negativity associated with “winning at all costs” will be a detriment to personal growth. Music for All’s mission and core values support the principles of fair play, including professional and collegial behavior. Bands of America competition policies and guidelines are explicit regarding the expectations for all stakeholders, including performers, educators, and evaluators. Advancements in audio technology have created possibilities for participating ensembles to adapt musical performances to minimize each performer’s involvement and showcase the talents of only a few. We acknowledge that, for artistic reasons, such adaptations may be appropriate and enhance the overall presentation. However, when amplifying only specific individuals during full-ensemble passages intentionally misrepresents the band’s sound, the instructional leadership has strayed from the core values and beliefs stated above. By enhancing the performance of only a few players, such misrepresentation of acoustic qualities is unacceptable and must be self-regulated by the participating bands.

The following examples outline parameters applicable to all competing ensembles:
• All music using traditional wind and percussion instruments, electronic instruments, and voice must be performed live and in real time by a student.
• The use of sampled, prerecorded, or sequenced sounds of woodwind and/or brass instruments is not permitted.
      Example: Recording an individual or small group within the ensemble and then turning it into a sample to be played through the speakers during an ensemble tutti section misrepresents the true ensemble sound.

2026 Bands of America policy regarding the use of electronics and amplification:

The following situations are considered non-compliant with the 2026 electronics and amplification policy:
• Amplifying individuals through a soundboard during tutti sections, leading to an intentional misrepresentation of what is being performed by the total ensemble.
• Microphones on individuals that amplify other players in proximity during tutti sections, leading to a misrepresentation of the ensemble’s sound.
• Soloists and featured ensembles that use microphones during a feature section but keep the microphones on when they return to the full ensemble.
      Exception: Where a participating band has a limited number of performers (e.g., one player per part), the use of individual microphones is acceptable if the sound through the speakers is the pure sound of the ensemble.

Bands of America has always operated under the philosophy that the priority is an educational (rather than competitive) experience. We expect our adjudicators to be mindful of philosophical perspectives while providing the best possible educational experience for all participants through their role as evaluators. Similarly, we encourage all educators to take a lead role in prioritizing the educational process when planning and designing shows, including determining any amplification methods and how sound reinforcement or manipulation will be executed. Together, we must demonstrate effective methods that showcase excellent teaching and performance, and avoid misrepresenting the ensemble’s character by using artificial methods/devices that create a false depiction of the band’s sonority.

ADJUDICATION IMPACT: Bands of America supports all forms of creativity; however, music judges and even visual judges must hear an accurate representation of an ensemble’s sound and quality. While BOA approves the use of electronics, the head band director should ensure that any combination of acoustic and electronic sounds is what they want the audience, including judges, to experience.

Bands of America Adjudicators will:
• Be advised to recognize and reward the acoustic qualities of the wind ensemble over electronically produced sonority for prolonged periods of time• Consider any extraneous sounds when providing commentary and making ranking and rating decisions. This includes humming from electronic equipment, audio feedback, and acoustic sounds obscured by over-amplification or poor fidelity
• Consider the balance, clarity and transparency of the overall ensemble sound when acoustic and electronic or amplified sounds are used in combination

NEW FOR 2026: Before participating in 2026 Bands of America events, band directors will be required to acknowledge and agree to BOA’s educational philosophy and revised policy regarding the use of electronics and amplification. This agreement will take place as part of the required forms for participation due 30 days prior to your first performance.
The revised philosophy and policy guidelines have been recommended by the Bands of America Judge Administration Team with the support of the BOA Advisory Committee.

22.01 All music from traditional wind and percussion instruments or electronic instruments must be performed by a Student Live and in Real Time (16.05). The use of sampled, prerecorded, or sequenced sounds of woodwind and/or brass instruments is not permitted. Other Music must either be performed “live and in real time” or prerecorded or sequenced for playback on a “one stroke, one note” basis (16.07). Tempo- Specific samples and musical loops are not permitted during the Performance (16.18).
Non-music sounds such as narration or sound effects may be performed either through its live performance or through the playback of the recorded sound.
     PENALTY – At the discretion of the Contest Director up to and including disqualification

22.02 Any prerecorded sounds used that are copyrighted must have permission obtained for their use, similar to copyright consideration for Music. Evidence of such authority must be included on the Copyright Report form required for your participation. See also Section 2 above for Copyright Compliance Requirements.
     PENALTY – At the discretion of the Contest Director up to and including disqualification

22.03 Electronic units for the production or amplification of Music, other sounds, lighting, and/or visual effects are permitted, provided that their use conforms to this and other applicable sections of this Handbook. If power is available at a site, it may be used at the Band’s own risk. Bands of America will seek to provide access to front sideline power as close as possible to the 50-yard line but takes no ultimate responsibility for supplying power or the failure of a power source it provides.

22.04 Audio volumes and lighting devices may be controlled with a wireless device from any place in the Performance Area or the Spectator Area open to the public for the event, including designated staff listening/viewing areas. Regardless of such designation, Bands of America cannot guarantee the operability of such devices, including the devices’ communication with other devices within the Performance Area. Such devices are used entirely at the risk of the user.

22.05 An adult may operate a mixing board or wireless mixing device, only for the purpose of managing volumes, balances, etc. (See 21.04, 21.05)
     Note: Allowing an adult to operate a soundboard does not grant permission for them to “contribute directly to the music or visual program.”
The triggering of sound effects, voiceovers, any/all lighting effects, and/or visual cues is only permissible by a student performer. It is viewed that those aspects are the same as a musical contribution to the show and therefore should only be produced by students. This includes lighting devices and their triggered events (visual contribution). Adults may provide direction/supervision to student operators of such equipment, so long as they remain outside of the Performance Field.
      PENALTY for adults contributing to Performance (except as permitted above) – 0.5 points per violation

23.1 The use of props/structures are not required for musical and/or visual achievement credit at a Bands of America Championship.
The following safety guidelines are applicable to the construction, transport, and use of any prop or structure, at any Bands of America Championship and to any performer, staff, parent, or volunteer who may be assisting in the construction or transport of the prop/structure. These guidelines remain in effect throughout the pre-performance flow and the Performance Area, including set-up and exit.
     a. To limit the potential of injury to students, parents, and staff, while in the parking lot, assembly area, staging area, and performance area, it is highly recommended that wind relief slits be cut in all props that have some type of fabric, vinyl, covering, etc. Additionally, designated students or parents MUST stay with their props once the group has entered the flow. Failure to do so causes delays and confusion. The Contest Director has the authority to address failure to ensure safety and contest flow, disruption or distraction with a warning or penalty.
     b. Structures (props, backdrops, screens, or similar objects) built and/or used by Bands at Bands of America Championships shall be limited to a maximum total height of twelve (12) feet, including wheels, platforms, safety railings, other equipment, or other props placed upon the staging.
     c. Soft props used for staging, which use air to create an effect (i.e., streamers, fabric, inflatables, or similar material) are permitted up to a height of twenty-five feet. Materials such as wood, metal, plastic, PVC pipe, aluminum or other rigid properties which might be used as a support or ribbing are not permitted above the twelve feet limit.
     d. No participant may be placed on any portion of any prop/structure where the participant’s lowest point of contact (i.e., feet, hands, etc.) is more than six (6) feet above the playing surface of the stadium, unless appropriate safety railing, safety harness, or protective padding is in place around prop/structure to prevent injury.

Under the above circumstances, one of the following must be met:
• Safety railing, as a barrier, of at least forty-two (42) inches in height at all points, and surrounding participant(s) a minimum of 50%
• Safety harness used as a method to restrain a participant by preventing or arresting a fall
• Protective padding should be compressed foam padding (i.e., gymnastic mat) or other suitable material measuring a minimum of two (2) inches in depth

If a participant is placed on any portion of any prop/structure and the lowest point of contact (i.e., feet, hands, etc.) is more than six (6) feet above the playing surface of the stadium, the following is required:
• If the prop/structure is in motion, the participant must actively use the appropriate safety railing or harness the entire time the prop/structure is in motion.
• If the prop or structure is stationary with a safety railing in place, the participant does not have to actively use the safety railing.
• If the prop or structure is stationary with no safety railing, participant must be harnessed.
e. A participant executing a lift or stunt while atop any prop/structure may not lift another participant above six (6) feet in height above the playing surface of the stadium, unless protective padding or other adequate safety precautions are in place.

Participants are prohibited from jumping or leaping off any prop/structure that exceeds six (6) feet in height above the playing surface of the stadium, unless protective padding or other adequate safety precautions are in place.

Music for All (Bands of America) shall, at all times, have the final authority to prohibit the use or prescribe additional safety requirements of any prop/structure that presents an unreasonable or unacceptable risk of injury or harm to participants or others or potential danger to a competition venue or its property.
     Exception: Drum Major podiums may exceed twelve (12) feet and Drum Majors may stand more than six (6) feet above the playing surface if they are using a podium and provided such podium has appropriate safety railings. It is recommended that safety railings are, at a minimum, on the front and back of the podium and forty-two (42) inches in height.

PENALTY for equipment violation – 0.1 points per foot (12 inches), multiplied by each violation/prop

23.2 Off-road mechanized vehicles (defined as golf carts, garden tractors, small ATV All-Terrain-Vehicles, etc.) will be allowed to pull equipment trailers, only for set up and take down, unless prohibited by an individual stadium/event site. A protective bib must be rigged underneath the vehicle, so no fluids drop to the turf or carpet. Pick-up trucks, large tractors or similar vehicles are not permitted. The participating Band and its school are liable and will be held responsible for any damage to a Performance Area or venue caused by violation of these policies and/or actions of the operators generally.

23.3 The following are NOT ALLOWED in a Performance, on the Performance Field, or anywhere on the premises during the operation of an event:
• Any equipment, object, or material (including, but not limited to debris, powder, water, or other liquids) that may cause damage to the Performance Field or Performance Area, that presents a safety hazard, or that disrupts the scheduled flow of the contest
• Pyrotechnics of any kind, including fire, fireworks, smoke bombs, or the discharge of arms
• Lights-out routines
• Animals
• Off-road mechanized vehicles, defined as golf carts, garden tractors, small ATVs, etc. (See 23.02)
• Any remote-controlled device, including but not limited to drones, helicopters, grounded vehicles, or similar items; anywhere onsite including the stadium, parking areas, and warm-up areas
• Hazardous equipment or illegal use of equipment
• Applicable only to enclosed/dome venues:
– Lighter-than-air or helium-filled balloons
– Fog, smoke, or similar effect-generating equipment

Note: Each enclosed/dome venue has its own safety and operational limitations. Use of the foregoing may be permitted upon approval by the venue on a case-by-case, site-specific basis. Therefore, subject to the policies and procedures of each performance venue, and at the discretion of the Contest Director, The following may be used in a Performance, provided they are not hazardous and do not remain on the Performance Field or in the air following a Performance:
• Powder or other airborne material
• Water or other (non-hazardous) liquids
• Paper, confetti, or other debris
• Cold spark machine

To limit the chance of potential damage to a Performance Field or Performance Area, it is recommended that structures/props and equipment utilize pneumatic or similar-style wheels of sufficient size and rating for weight.
Because Bands of America is a guest at our host stadiums, additional stadium and/or venue specific policies may be in effect. Bands of America will identify and include known restrictions/limitations in pre-event communications. However, any concerns expressed by the stadium management on-site will be addressed and must be acted upon and complied with by participating Bands.
     PENALTY – For rule violation(s) and/or failure to comply with venue directions, at the discretion of the Contest Director, up to and including disqualification
     Note: Directors are encouraged to contact Bands of America to inquire about the use of particular equipment or materials when its permissibility under this section or at a specific site may be in question.

23.4 Bands may only pre-set props and equipment in the designated staging area (end zone or front side) when directed by Bands of America officials. Enclosed venues (domes), or those with logistical challenges, may suggest (require) a specific sequence of items in the flow.
All props and equipment must be designed and be of a quantity so they may be brought into the Performance Area from the staging area within the participant’s allotted four-minute set-up/warm-up time. Bands should not rely on any allowance of additional time, prior to the 4-minute set-up, for the movement or assembly of any staging/props. See Section 19.01 for Band Entrance procedures.
Following the end of the Band’s Performance, all props and equipment must be in continuous movement past the end zone, (See 20.06 – two minutes to exit) until entirely removed from the Performance area and stadium. No post-staging in other stadium areas will be allowed.
The Contest Director has the authority to address failure to maintain the contest flow, disruption, or distraction from another band’s performance, with a warning or penalty.
     PENALTY for delay of contest – 0.5 points per minute or fraction thereof

23.5 Prop assembly must be done within the directed flow during the Band’s allotted time for arrival, unload and warm-up. Prop disassembly must not be disruptive or hindering to the next Performance or the Performance Area exit of the next Band.
Bands of America strongly recommends that Bands and their teachers use the utmost caution and forethought in planning and use of props and equipment that might place participants (and others) in potential danger during assembly or use.
The Contest Director has the authority to prohibit the use of any prop or equipment that they believe presents an unreasonable or unacceptable risk of injury or harm to participants or others or potential danger to a venue or its property.
     PENALTY – At the discretion of the Contest Director, a penalty shall be assessed based on the height, number, and/or type of equipment and the possibility of a safety or property damage issue arising from the use of such equipment. Such penalty may include prohibition of the use of over-height/unsafe prop(s) or disqualification.

23.6 Bands of America will invoke procedures and methods of contest operation specifically intended to ensure the safe, fair, smooth, and consistent operation of shows. Such procedures will be specified in pre-event communications, along with information concerning the dimension of entrance/exit tunnels etc. Please feel free at any time to contact Bands of America with specific stadium/facility/venue questions and concerns.
The Contest Director has the authority to modify or change procedures and flow as he/she shall determine to be in the best interests of the event and its participants.

23.7 Venues used by Bands of America may be subject to union contracts and facility obligations. The use of large and/or elaborate stages or props may trigger requirements that union personnel (stagehands) be used. While Bands of America will seek to avoid any such requirements, any required labor call or use of union labor or other stagehands or building/venue personnel related to the props or equipment staging of a Band shall be at the expense of the Band. Upon demand, participants shall promptly reimburse Bands of America for any such charge and/or Bands of America reserves the right to prohibit use of such props or equipment in the event venue.
Standard for consideration: In planning staging and equipment use: In St. Louis (by way of example), if a single prop or staging cannot be moved and set-up by a maximum of two (2) people (students or adults), a union/stagehand labor call may be required. A typical labor call is a minimum of 4 hours per stagehand.

24.01 At most venues, Bands will be directed by a Bands of America official to an area where Bands of America photographs will be taken. This procedure will be handled in a professional and expedient manner with the Band Director’s cooperation.

24.02 Upon completion of band photographs, the Band is free to move about as it chooses. A band uniform or wristband will allow band members to view the remainder of the Prelims. Wristbands will be distributed at Band Check-In. Student wristbands will provide access for band members to re-enter the stadium, allowing Students to change out of uniform and into street clothes. Adults will not need or be given a wristband as their name badge or field pass allows them back into the stadium for the remainder of Prelims.

24.03 At each event, all scores, along with prelims and finals recaps, will be held until the end of the Finals awards ceremony. Scores and recaps will not be released early under any circumstances.

Following each Band’s preliminary Performance, judge audio commentary and the Timing & Penalty data will be available via CompetitionSuite’s online delivery method. This will be made available to all CompetitionSuite account holders pre-approved by the primary Director. Should the necessary resources (internet access, etc.) not be available, judge commentary and the Timing & Penalty sheet will be provided via physical media. Specific details for each individual event will be available and provided in each Band’s check-in packet.

24.04 Audio commentary for Finalist Bands will be available via the same method as in Prelims. If these are provided on physical media, they will be included in a final packet.
Participating directors will be provided a link to an educational video copy of their band’s Prelims performance through BOX5 Media. Bands that advance to Finals will also receive an educational video copy of their Band’s Finals performance. The link to performance videos will be emailed to directors as soon as possible after each performance. Directors’ educational videos will be captured from our “high camera” vantage point. Videos will be available to download one educational copy or stream online.

25.01 Band directors/staff members may contact the Contest Director, Chief Judge, or the Field Manager (Timing & Penalties) at any time with questions or concerns. Directors/staff may not contact any other judge beginning twelve (12) hours prior to the start of the event, through the completion of Finals.
     PENALTY – At discretion of Contest Director up to disqualification

25.02 The Contest Director may issue warnings and/or penalties for actions and/or behaviors contrary to the Music for All’s mission and core values, and/or that violate the principles of fair play and professional and collegial behavior representative of Music for All/Bands of America and its mission. Such actions and behaviors include, but are not limited to:

• Warm-up on-site by a Band (or any component of a Band) in areas and/or at times other than those designated.
• Failure to follow directives from the Contest Director or other event staff related to conduct in any area, including parking lots, warm-up areas, etc.
• Overstays in warm-up areas that intrude into the time and space of other participants.
• Failure to abide by guidelines involving Student performance, and/or use of electronics and equipment.
• Behaviors that compromise the safety of participants and others and/or that may violate known stadium policies.
• Verbal remarks and behaviors (at the venue, whether in or outside the Performance Area, by Students, staff and/or other badge/pass holders) that are generally disrespectful and contrary to the mission or core values of Music for All and/or general human conduct and dialogue.
• Any delay of contest, improper conduct, or infraction for which no specific rule or penalty is given.

25.03 The Contest Director may (after review) reduce or waive any penalty issued for violation of these procedures. Any reduction or waiver will be noted on the Field and Timing sheet of the Band and shall serve as notice that the full penalty may be issued for future, similar infractions by the Band.

The Criteria Reference is a system of boxes or criteria developed to be used by the adjudicator and band director to further understand the rationale used in assigning a numeric value to a Performance.

Determining achievement through the use of the Criteria Reference System has become the most effective means to evaluate band performances, regardless of style, and still gain a good deal of uniformity, objectivity, and consistency. The emphasis of this examination is on the achievement level displayed by the performers.

Achievement is the product of two elements that occur simultaneously: Content, which is what is being performed, and Performance, which is how well it is being performed (What + How = Achievement). Since neither content nor performance exists in isolation, the evaluation of achievement must contain a simultaneous examination of both elements. Content is recognizable at almost every level of performance and should be numerically rewarded to the degree that it is performed.

Basically, the philosophy behind the Criteria Reference System is that it concentrates primarily on the positive qualities of the Performance and encourages continued improvement. The criteria-referenced guide is designed to list the essence of the qualities that must be achieved in order to receive a particular number. The list is not a definition of those particular qualities, but rather a description of those qualities needed for entry into a particular box. In addition, these descriptions serve as a reference for improved communication between judges and staff members regarding Performance evaluation. Through this system, judges convert their impression of the Performance in a particular sub-caption into a descriptive category and finally refine that impression through analysis and comparison to a specific score. The intent of scoring in this system is to best describe the band’s predominant performance qualities.

The Criteria Reference System requires that the judge makes quantitative decisions based on the achievement in each of the sub-captions. Essentially, each sub-caption is a ranking and rating unto itself. The system is designed so that the total of the numbers of all the sub-captions of all the sheets will correctly determine the ranking and rating of each band. In addition, this determination will be a consistent standard for bands to evaluate themselves on a national level.

During Prelims at Bands of America Championships, bands will be competing within their own class; however, they will still perform as defined in Sections 6.02, 9.02, 13.02.

Consistent with other scholastic measures of educational achievement, BOA’s rating system intends to provide a summary measure of achievement and the participants’ progress towards achieving excellence. The ratings system in no way affects the judges’ adjudication process. The BOA rating system adjusts as the fall marching season progresses.

Raatings at BOA Events taking place prior to October 15 will be determined by the following score breakdowns:

Raatings at BOA Events taking place on or after October 15 will be determined by the following score breakdowns:

After scores are tabulated, any penalties imposed for various infractions will be deducted from the subtotal score. This score will be used to determine the placement of competing bands.

If two or more bands have a tie in their final score, the higher placement will be awarded to the band with the higher raw score (subtotal before penalties). If after using this criterion a tie still exists, the highest General Effect total will be used to determine placement. This procedure will only be applied in Class Champion and Finals competitions. When bands achieve the same (tie) score in Prelims, and when such score causes a placement tie for the last position advancing to the Finals competition, each band with the tied score will advance (In the Recap: The tie will be broken.)

Any tie for an overall championship (Regional Champion, Super Regional Champion, Grand National Champion) will not be broken but rather be awarded to the two or more bands with a tie in their final score. The recap will display two Bands in 1st Place and no Bands in 2nd Place.

If two or more bands tie for highest achievement awards, each Band will be recognized.

Coming from various backgrounds, geographic locations and regional styles, a group of judges brings a broad range of experience to a contest. Individual opinions and preferences are bound to be present. We never want to eliminate this individuality, but it is important that we have consistency. Toward this end, the following materials are offered to serve as a point of departure and direction. The processes, procedures and techniques of adjudication are constantly changing. The challenge is to stay abreast of the changes and at the forefront of the activity. It is the position of Bands of America that music is the more important aspect of the Performance, with marching as the presentation and visual enhancement of the program. Similarly, more emphasis has been placed on the effectiveness to the audience and to general effect judges, than on fine-line perfection of the performance judges – which may be an aspect to work on for even better effectiveness. Consequently, the weight of the numbers in the Bands of America scoring system places 60% of the value on music and 40% on visual, and at the same time, 60% of the score is within the area of general effect and 40% within the Performance Area. The point allotment for the field competition is as follows:

20 points (1) Music Performance Individual
20 points (1) Music Performance Ensemble
20 points (2) Visual Performance Individual
20 points (2) Visual Performance Ensemble
20 points Visual General Effect
40 points Music General Effect
Timing & Penalties
    (1) Averaged to 20 points total, (2) Averaged to 20 points total

The two Music Performance judges have their scores averaged for a total of 20 points. The two Visual Performance judges have their scores averaged for a total of 20 points.

An explanation of how each score is obtained, how many judges are in each caption, and how they judge follows:

MUSIC PERFORMANCE INDIVIDUAL
This judge is located on the field and is free to move about the field. This judge evaluates the entire show from beginning to end and uses an audio recorder for comments. There is one judge in this caption.
MUSIC PERFORMANCE ENSEMBLE
This judge is located in the stands or in the press box, whichever location affords the best vantage point. The location is fixed during the entire competition. This judge evaluates the entire show from beginning to end and uses an audio recorder for comments. There is one judge in this caption.

VISUAL PERFORMANCE INDIVIDUAL
This judge is located on the field and is free to move about the field. This judge evaluates the entire show from beginning to end and uses an audio recorder for comments. There is one judge in this caption.
VISUAL PERFORMANCE ENSEMBLE
This judge is located in the stands or in the press box, whichever location affords the best vantage point. The location is fixed during the entire competition. This judge evaluates the entire show from beginning to end and uses an audio recorder for comments. There is one judge in this caption.

GENERAL EFFECT VISUAL
This judge is located in the stands or in the press box, whichever location affords the best vantage point. The location is fixed during the entire competition. This judge evaluates the entire show from beginning to end and uses an audio recorder for comments. There is one judge in this caption.

GENERAL EFFECT MUSIC
There are two judges in this caption, and both are located in the press box. They judge the entire show from beginning to end, using an audio recorder to record their comments; their scores are not averaged.
TIMING & PENALTIES
The Field Manager is located on the field and is free to move about the field. The Field Manager assesses the entire show from beginning to end and uses a sheet for comments regarding all timing and penalty considerations of the show.

If there are issues or incidents, the process is a two-step review. The Field Manager notes the details and rules that apply; the Contest Director will consult for details. The Contest Director will also consult the Chief Judge when appropriate. The Contest Director makes the final decision to warn or to penalize.
THE ADJUDICATION PROCESS utilizes a balanced mix of SEVEN (7) adjudicators, designed to give achievement credit for all aspects of program design and Performance.

All score sheets are subjective. Bands begin with zero and earn credit proportionate to the positive presentation of design, performance, and proficiency. Judges are positioned in the stands or on the field depending upon the caption. This gives them the best vantage point of the individual or total ensemble.

Judges are equipped with audio recorders and are expected to provide a flow of dialogue appropriate to the caption they are adjudicating. The Criteria Reference System and the process of impression, analysis and comparison are the methods whereby number grades are earned.
It should be understood that individual band scores vary from contest to contest. Obviously, performance variations are a factor, but impact is also made with the dynamics of the contest. The number of contestants and the overall level of achievement of those contestants may impact scoring within scope of a particular criteria reference. Although impression and analysis may indicate a score within a particular criteria reference box, it is through comparison that a specific score and subsequent scores within that range are determined.

The primary responsibilities of the judge include:
1. Being professional at all times
2. Ranking the bands in the assigned caption
3. Rating the bands in the assigned caption
4. Assisting the bands in the improvement of their Performance through commentary and constructive criticism

The overriding motivation for being involved as an adjudicator must be in making the contest the best possible educational experience for the participants. This is essential.

There are three personal skills necessary to be successful as an adjudicator:
1. Judgment skill: Can you make a decision?
2. Numerical consistency and understanding
3. Communication skills

For the outcome of the contest to be valid, each judge must, based on their experience and expertise:
• Rank the groups by picking the winner and each subsequent place in the proper order within the caption
• Rate the groups by assigning points and point spreads that are realistic and pertinent to their relative performance levels and their placement in relation to the Criteria Reference System
The process of arriving at this decision is threefold:
1. Impression or reaction
2. Analysis
3. Comparison

Our impression of the performance as being good, poor, or one of the best we have witnessed is based on our experience. We need to qualify this with analysis of performance factors within our particular caption, sometimes altering slightly the initial impression, plus or minus, through the analysis process. This modified impression must be compared to those of other groups and previous experience to place it realistically within the criteria reference category and thereby have an appropriate spread between groups in the particular caption. The judge should not try to compensate for any perceived deficiency in the system.

As judges, there are two additional elements to a successful evaluation that must be present and in this order of priority.
1. Supplying information for improvement, identifying the weaknesses in a constructive way and providing suggestions for maximizing strengths.
2. Relating adequate information to communicate how the score was derived.

Adjudicators are not permitted to serve at Bands of America Championships where a group with which they have affiliation is competing. Affiliation for the 2026 Bands of America season is defined as any of the following occurring in the 2026-2027 school year:

Writing, composing, arranging, sketching, designing, consulting, planning, rehearsing, or any other creative input into any part of a school’s marching band, winter guard, indoor percussion, and/or indoor winds program(s).
1. Published, commercially available music and design used is not considered an affiliation.
2. Selling an existing composition/arrangement that has been used by another ensemble in the past, even if the composition/arrangement is adjusted for the current ensemble, is not considered an affiliation unless time is spent consulting, planning, and/or rehearsing with the current ensemble.

Working directly with any number of students from a school or marching band in any capacity.
• Involvement with mixed groups of students from more than one school assembled for a one-time event, such as a music camp, clinic, honor band, etc., is not considered an affiliation.
• Spending time with students that is focused on an ensemble other than the marching band, winter guard, indoor percussion, and/or indoor winds, such as a concert band, jazz ensemble, jazz combo, or orchestra within a school or school district, is not considered an affiliation.
• A one-time clinic with the host band in conjunction with a competition the band hosts is not considered an affiliation.

The Chief Judge and Contest Director should always try to ensure that a full panel of qualified judges is available for every contest. However, in the event of a judge not being present for the contest due to illness, travel difficulties, or any other extenuating circumstance, the following formula will be applied.

1. If a music judge is absent from the panel, the Music Performance Individual caption will not be judged, and the Music Performance Ensemble score will be used for the total music performance score.
2. If a visual judge is absent, the Visual Performance Individual caption will not be judged, and the Visual Performance Ensemble score will be used for the total visual performance score.
3. If a judge becomes ill part way through a contest and is unable to continue judging, the affected judge’s scores would be dropped and, all bands will receive the adjusted scores as described below.

Conditions for scenarios when a judge becomes ill onsite during a contest:
• If a Music Performance Individual judge becomes ill, the above condition (1) will apply.
• If a Visual Performance Individual judge becomes ill, the above condition (2) will apply.
• If a Music Performance Ensemble judge becomes ill, the caption will not be judged, and the Music Performance Individual score will be used for the total music performance score.
• If a Visual Performance Ensemble judge becomes ill, the caption will not be judged, and the Visual Performance Individual score will be used for the total visual performance score.
• If a Music General Effect judge becomes ill, the other Music GE judge will be used for both Music GE 1 and 2.
• If a Visual General Effect judge becomes ill, the caption will not be judged, and the Visual Performance Ensemble score will be used for both Visual Performance Ensemble and for Visual General Effect.

The primary premise of general effect judging is that you must prepare mentally to allow yourself to be entertained! As adjudicators, we are part of the audience, a widely experienced and critical part of the audience to be sure, but nonetheless, there to enjoy the Performance. We each have our preferences, whether they be in choice of music book, manner of presentation, or style of interpretation. Our goal, to be effective as a judge in this area, is to allow ourselves to appreciate what is good about a given production based on what is being presented.

We have to sometimes remove ourselves from our own tastes and opinions to recognize and appreciate the approach others are attempting to use to reach the audience.

It is important for us to realize that entertainment can take many forms. Comedy, drama, pathos…the entire range of emotions should be considered as being valuable in programming. A show that successfully touches the audience emotionally on the deeper side of the scale should receive equal consideration with programs that consist primarily of qualities that make us feel good.

We must ascertain whether the selected approach by the programmer, as performed by the students, is viable, using our best judgment based on our experience. If it does work, we should supply comment to that effect with suggestions to maximize the potential of the production. If the production falls short, it is important and necessary to supply information as to why it is not effective. Beyond the repair comment, we need to aid the programmer in avoiding problems in the future. This is often a matter of his matching material to student abilities as well as communicating sufficient information to the performers to allow them to perform in a more effective manner.

Our attitude and mental preparation should be such that we are anticipating a well-performed program and that we are looking for what the performers are doing well. This does not mean that we ignore those portions of the program that are not well prepared or performed, but rather, after having made comment on the deficient segment with suggestions for improvement, we immediately look once again for the positive qualities of the Performance. This creates a considerably brighter outlook on the part of the judge (also reducing the wear of the workload somewhat) and results in commentary that can be very helpful and fulfilling for both the director and the students.

If we can come across as wanting to be helpful, recognizing the strengths as well as the weaknesses, we stand a much better chance of actually communicating and thereby being much more effective judges.

The influence of audience reaction on your impression of program effectiveness should be tempered by the interpretation of it being a genuine response to excellence of Performance rather than the efforts of hometown supporters. A genuine audience reaction to something that left you unimpressed personally warrants credit, for it has achieved effect. However, do not be at all reticent to credit productions that you find to be worthwhile and well done, even though the reaction of the general audience may be cool. The underlying thesis here is: credit that which is well prepared, is performed with excellence and evokes an emotional response.

The Field Performance judge is to evaluate the performers’ accuracy, tone quality and intonation. Consideration is also given to the musical demands placed on the performers. The judge must sample all individuals in all segments of the instrumental ensemble throughout the performance. The Individual Performance judge is not concerned with ensemble factors except through chance positioning. The effectiveness of the production is not a consideration in this caption.

Care must be taken not to impede performing members through gestures or unnecessary physical proximity.

The percussion section is a responsibility of all judges in this caption and requires specific attention. It will be necessary to sample the percussion section throughout the program with specific attention during any percussion features. Both the battery and front ensemble performers should be sampled and assessed.

Judges must understand from the outset that they are sampling individuals within the ensemble. It is possible that a judge may inadvertently position themselves in a problem area of the ensemble consistently through a performance. Conversely a judge might position themselves in a location where they would not be aware of performance issues. Judges must be alert enough to search through the ensemble to be sure that their impression is truly representative of the group’s ability as presented in that performance over time. It is imperative to avoid following or zeroing in on a few problem individuals if they are not representational of the training and achievement of the entire musical ensemble.

Adjudicators must give full attention to each of the three choirs (woodwind, brass, and percussion) in approximate relative proportions as represented by the comparative numbers of performers. A balanced evaluation will necessitate seeking out woodwind, brass, and percussion contribution when they are not physically and musically prominent. It is possible that a band may have an excellent woodwind section, average brass section, and poor percussion section. The score should reflect an average of the relative proficiency of each choir.

Judges should understand that it is possible for a band to provide a general impression of being very good to have a choir that is really quite average, or below, and should be scored appropriately.

34.01 The purpose of evaluation on the Music Performance Ensemble sheet is to rank and rate the musical performance based on accuracy and uniformity from the vantage point of the audience (typically from the press box). Evaluation of technical accuracy, intonation accuracy, and tone quality should also take into consideration the musical content including demand and exposure of the performers. The Music Performance Ensemble judge evaluates how well the performers achieve their musical responsibilities and rates the group based on the accepted principles of scoring under the BOA adjudication system.

34.02 The Overall Sound Quality/Accuracy sub-caption evaluates how well the ensemble has achieved proper tone production. First and foremost, demonstration of excellent acoustic instrumental sonority is the standard of BOA bands.
Overall Sound Quality is achieved when intonation, focus, and timbre are properly demonstrated by all segments contributing to the sonority of the total ensemble. These considerations include both acoustic and electronic instruments. Consideration is also given to the uniform dynamic contribution of all sections, choirs, and voices contributing to balance of the total ensemble.
Accuracy credits the excellence with which the entire ensemble controls the precision and cohesiveness of the musical performance. Consideration is given to the clarity and correctness of rhythmic interpretation as well as the control of ensemble pulse and tempo. In addition, the judge should consider whether the instrumentalists are utilizing the proper method of enunciation relative to style, character and expression.

34.03 The Musical Artistry sub-caption evaluates the overall achievement of the ensemble relative to musicality. Consideration is given for the level of musical achievement displayed through appropriate demonstration of expressions, dynamics, phrasing and correct idiomatic interpretation. The art involved in displaying musicality requires aesthetic sensitivity and a deep understanding of the idioms involved.

The Music Performance Individual and Music Performance Ensemble sheets are divided into two sub-captions. Note that musical, environmental, and physical challenges are included on both sheets. It is, therefore, imperative that judges recognize these challenges not only in commentary about tone quality, technique, accuracy, and musical artistry, but also as they rank and rate each performance.

Music Performance judges will consider the following Hierarchy of Challenges

1. Pure musical demands that challenge the performers:

• Technique
• Range
• Tuning demands
• Vocabulary

2. Environmental demands that challenge the performers:

• Spread and Density
• Spatial and Effort Changes
• Variation/changes of the listening/musical center

3. Physical demands that challenge the performers:

• Speed and Distance travelled or while in motion
• Visual and/or Musical responsibilities while in motion

4. Each of the above considerations must also be evaluated through two lenses:

• Level of simultaneous responsibility, cognitive and physical
• Amount of time and number of performers involved

A Note on Amplification: Bands of America music judges are responsible for assessing the musical performance with the following considerations.

The Music Performance Individual judge should sample performers on the field acoustically.
The Music Performance Ensemble judge should evaluate the performers acoustically, whenever they are programmed as such, as well as any amplified musical presentation from the sound system/speakers.

36.01 General Effect Music is the utilization of all elements to bring about maximum effectiveness of the musical performance. Understand that we evaluate what is being performed at the same time we are evaluating how it is being performed. Since we judge achievement, we must understand that the construction and content of a program, in combination with the performance level, which is being demonstrated, will determine the achievement level. It is impossible to consider one of these elements without considering the other. Our goal through the use of this sheet is to decide which group collectively presents the most effective (and second most effective, etc.) musical program. That is, which group has the best balance of:
      1. Effectiveness of the musical repertoire
      2. Effectiveness of the musical performance
The General Effect Music judges (two) will typically be placed in or on the press box. Whenever possible, the two music general effect judges will be separated and out of earshot of one another.
The Effectiveness of the Musical Repertoire sub-caption, necessarily, places more emphasis on the design team’s contribution to the success of the program as performed by the students. The Effectiveness of Musical Performance sub-caption reflects primarily the contributions of the performers.
In all cases, the judge is required to evaluate only the effectiveness of the performance. The sub-captions and their individual headings are to be used as a guide to determine the extent of the effect created.

36.02 Effectiveness of the Musical Repertoire credits the effectiveness of the written musical program as presented by the performers. Consideration should be given to the following areas:

• Creativity and Imagination: The art of designing and coordinating efforts and effects in order to create mood and flow to a specific show. A previously used idea presented in a new way is still creative/imaginative.
• Coordination and Staging of Elements: All elements are involved and work together to create a strong musical effect. All sections are staged for effective communication.
• Use of Time and Pacing of Effects: The unfolding of musical events in a manner which elicits interest, direction, and flow.
• Appropriate Range of Expressions: Dynamics, articulations, phrasing, style, nuance, and other interpretive elements are appropriate to the genre of the music selected. The use and variety of these expressions enhance the musical effect.
• Continuity and Flow of musical ideas: The development, connection, and evolution of planned events.
• Contribution for Enrichment/Enhancement of All Elements

36.03 Effectiveness of the Musical Performance credits the level at which the performers demonstrate their emotional involvement and understanding of the musical program. Consideration should be given to the following areas:

• Communication of Musical Intent: The performance conveys the intended purpose and creative vision of the written musical program and brings the music to life.
• Emotion: Performers demonstrate a level of believability with passion that generates program effectiveness unattainable through repertoire alone.
• Professionalism: The ability of the musicians to perform with confidence, understanding, and a high level of musicianship.
• Artistry: The elements of musicality such as phrasing, sonority, beauty, pace (tempo, rubato) and nuance combine to create or heighten the effect of the musical performance.
• Involvement: The performers display an attachment: performer to performer, performer to audience, in respect to the expressive qualities inherent to the program.

The Visual Performance sheet is intended to reward the achievement of the individual performers on the one hand and to indicate the problems of the individual performers on the other hand.

The Visual Performance sheet has two sub-captions: Challenges and Skills, and Accuracy and Definition. It is imperative that the integrity of the different sub-captions be maintained. It was never the intention of our system to adjudicate everything from everywhere. We want to examine the various aspects of a program in order to produce a balanced conclusion relative to the merits of the programs. Judges and instructors must examine the results in the context of a judgment within each sub-caption, i.e., sub-caption integrity.

The purpose of the sheet, therefore, is to reward/score the accomplishment or the achievement of the performers. As a result of the scoring process, strengths and weaknesses will be indicated. This sheet requires the judge to be positioned on the field with the performers. The judge must be in good position relative to the performers and the design and must move in order to sample ALL OF THE PERFORMERS often; thereby the judge will cover both sub-captions on the sheet and various areas of those sub-captions. The judge must reward achievement with a knowledge and understanding of “what” the performers are doing and how well they are doing it.

In terms of positioning, the judges must know that there are often several good positions from which to view a form and the individuals, or several good positions from which to view the small group components which form the picture. Hence, positioning will be a function from the judge’s ability to move in and around a form and of the previous position of the judge. Everyone should realize that the complexity of design and the velocity of the movement of the band may not always allow the judge to be in an optimum position. In conjunction with this, judges should never interfere with the performers, even at the expense of positioning. The judge should continue to attempt to vary between close-in viewing and stand back viewing. In any case, neither always close nor always far is a good technique. Good positioning technique comes from flowing with the band and sometimes moving out, always keeping in mind the purpose of the two sub-captions and the concept of sampling. When the band comes to a halt it would be preferred if the judge did not use that moment to RUN to the next position. A running judge, while the band is at a movement-tacit is distracting to everyone.

Sampling means, in part, that we are to sample all of the parts of the band fairly. If we take a band as having a wind, percussion and auxiliary section, then each of the sections should be viewed by the judge. Judges must make a conscious effort to sample all of the segments and use the information for COMPARISON/ANALYSIS of the unit(s).

On this sheet, it is also recognized that one sub-caption can have an impact on the other. The argument can be made that without good technique it will often be true that there will be many errors in alignment, spacing, etc. The argument can also be made that if the performers are not handling timing, spacing, alignment, etc., then it will be difficult for the judge to read the technique and style that may have been intended.

38.01 The purpose of evaluation on this sheet is to determine the most technically proficient marching group from the vantage point of the audience. The evaluation is composed of excellence identification, balanced with the judgment of technical demand, and the exposure to that demand on the ensemble, with the consideration of content and construction. The effectiveness of the Performance is not to be considered. The vantage point of the ensemble visual Performance judge is such that it would be relatively easy to slip into an effect mode as a judge. We must take great care that we react as an analyst while judging marching performance ensemble. We want to judge how well the performers do what it is they are attempting to do from this vantage point; not how effective what they are doing is to the audience.

38.02 Visual Artistry is a discussion and analysis of the breadth and depth of the student portrayal of a program, not the effect. This is not a question of quantity of material and presentation, but a question of care, refinement and details used by the design team on the arrangement of the program.

38.03 Excellence and Technique deals with the quality of body carriage/control, equipment, usage/technical accuracy, and the ability of the ensemble to project those elements of the chosen style. Additionally, this sub-caption considers the ability of a group to maintain overall clarity and accuracy while changing or maintaining primary, secondary, tertiary, etc. focal points. Student-to-student form relations should be evaluated, as well as the timing and continuity of the entire visual presentation.

The performers’ influence rests on the readability of the program and on the performers’ ability to allow all of the written logic and nuances to be presented clearly. This latter comment is a consideration beyond simple readability. Simple readability rests on the clarity of the intent of the author. If a judge recognizes what the writer meant to say, readability is present. Of course, readability is the beginning. Readability would mean the recognition of forms and the general visual phrasing intent at the beginning and the end of the musical phrases. The refinement aspect means full awareness of the shape of the forms and full understanding of what happens inside the musical phrases — these are the nuances.

Visual Performance Ensemble is an evaluation of the relative ability of the group. It is entirely possible that a group may have a greater actual number of errors and score higher than another based on an evaluation of what they did. This allows you more flexibility in grey-area situations. Instances in which there is a slight aberration of control can be noted, with the cumulative effect of its consistent occurrence being lowering of the mark. On the other hand, occasional lapses of control in extremely difficult situations (blind sets, no recovery time, etc.) can be negated to negligible significance relative to how well this difficult maneuver was done.

39.01 General Effect Visual is the utilization of all elements to bring about maximum effectiveness of the visual representation of the musical performance. Understand that we evaluate what is being performed at the same time we are evaluating how it is being performed. Since we judge achievement, we must understand that the construction and content of a program, in combination with the performance level, which is being demonstrated, will determine the achievement level. It is impossible to consider one of these elements without considering the other.
Our goal through the use of this sheet is to decide which group collectively presents the most effective (and second most effective, etc.) visual representation of the musical program. That is, which group has the best balance of:
     1. Effectiveness of the visual repertoire
     2. Effectiveness of the visual performance
The General Effect Visual judge will typically be placed in or on the press box.
The Effectiveness of the Visual Repertoire sub-caption, necessarily, places more emphasis on the design team’s contribution to the success of the program as performed by the students. Effectiveness of Visual Performance sub-caption reflects primarily the contributions of the performers.
In all cases, the judge is required to evaluate only the effectiveness of the performance. The sub-captions and their individual headings are to be used as a guide to determine the extent of the effect created.

39.02 Effectiveness of the Visual Repertoire credits the effectiveness of the written representation of the musical program as presented by the performers. Consideration should be given to the following areas:

• Interpretation and Enhancement of the Music: The visual program presented portrays the meaning or mood of and heightens the effect of the music.
• Coordination and Staging of Elements: All elements are involved and work together to create a strong effect. All sections are staged for effective communication.
• Pacing of Effects
• Creativity/Imagination/Originality: The art of designing and coordinating efforts and effects in order to create mood and flow to a specific show. A previously used idea presented in a new way is still creative/imaginative.
• Use of Audio-Visual Balance/Blend/Focus: When constructed, convey a synergistic and integrated program that responds to the mood and creative vision desired.
• Continuity and flow of visual Ideas: The development, connection and evolution of planned events.
• Effective Use of Movement/Form/Color: The use of movement, form and formation, and color is interpretive and appropriate. The elements combine to heighten effect.

39.03 Effectiveness of the Visual Performance credits the level at which the performers demonstrate their emotional involvement and understanding of the visual program. Consideration should be given to the following areas:

• Communication of Roles: The performers display an understanding of their visual responsibilities and convey a confident and stylistic approach to their character, (musician, dancer, actor).
• Emotion: Performers demonstrate a level of believability with passion that generates program effectiveness unattainable through repertoire alone.
• Professionalism: The ability of the performers to exhibit confidence, understanding, and a high level of excellence.
• Artistry: The aesthetic visual elements such as form, movement, control, pace, and nuance combine to create or heighten the effect of the program.
• Involvement: The performers display an attachment: performer to performer, performer to audience, in respect to the expressive qualities inherent to the program.

Bands of America has always operated with the philosophy that this is an educational (more than a competitive) experience, and to provide participating Bands recorded commentary that the performers can learn from as well as enjoy.

Adjudicators should remember that they are responsible not only with pointing out possible problem areas and solutions, but more importantly letting the ensemble know what they are doing correctly and effectively.

The Bands of America license agreement grants permission to utilize the BOA system for evaluation and adjudication for one event. Such permission includes the authority to publicize and market BOA adjudication and sheets for the event, and to use and incorporate Bands of America Procedures and Adjudication in your event as feasible and/or desired.

Music for All represents and warrants that it owns and has the exclusive right to license use of its Bands of America adjudication system and sheets. By executing the license agreement and using BOA sheets and/or related materials, you acknowledge and agree that neither Music for All nor its agents shall be responsible or liable for any aspect of your event and/or any errors, acts, or omissions that might result from its production. To use the Bands of America adjudication sheets for your event, please complete the license along with the $150 user fee.

The license and $150 user fee includes:
• Adjudication sheets for each caption
• Criteria Reference Scale and Placement for each caption
• Tote Sheet for each caption

For more information regarding usage of the Bands of America Adjudication System for multiple circuit or state events, please contact Bands of America at 800.848.2263 or education@musicforall.org.