Custom Music for Marching Bands
John Meehan has been arranging and composing for marching band and drum corps since 1993. During that time, he has written for programs of all shapes and sizes all over the world, and created a catalogue of original marching band shows that give opportunities to smaller budgeted programs to have well written, designed, and effective musical shows.
YYC Music Design & Consulting, specializes in crafting unique compositions tailored specifically for marching bands. John understands the intricacies of performance and creates music that elevates your ensemble's sound.
Marching Band Compositions
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by Ben Maughmer
Amelia
Amelia Mary Earhart - 16th woman in the U.S. to receive her pilots license -
Solo flight across the Atlantic Ocean - World altitude record -
Solo flight from Honolulu, Hawaii, to Oakland, California -
World famous attempt to fly around the world.
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by Mike Huestis
Phases of the Moon
Phases of the Moon weaves narration into its storytelling, transporting the audience to another time and place. A mystical front ensemble opens the first movement, foreshadowing the evolving musical textures. Brass and drums introduce a jazzy shift, while complementary voices add a processional feel to the ballad. Layers build to a grand close before a darker narration brings eerie tension. The closer reintroduces jazzy themes, leading to a powerful full-band finish that fades into the night with a final narration and the lullaby pit from the opening.
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by Mike Huestis
Shift
Shift opens with a dark, mysterious front ensemble before a haunting flute solo sets the tone. Woodwinds build momentum over an underlying battery presence, leading to bold brass hits and full percussion impact. A tempo shift leaves a sense of foreboding before a clarinet feature softens the mood. Subtle musical falls hint at the darkness returning, but soaring chord progressions push the show into the light. The final movement drives forward with energetic front ensemble runs, a dynamic percussion feature, and an uplifting major resolution. As the energy fades, the flute soloist delivers a final, reflective statement, closing the journey.
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by Mike Huestis
Out to Sea
Out to Sea channels the bold, cinematic style of Miklós Rózsa. A powerful brass and battery fanfare opens the show before yielding to the softer tones of the front ensemble and woodwinds. Tension quickly returns, closing the first movement with strength and making way for a delicate flute solo. Like the sea, the music ebbs and flows, layering throughout all three movements. The final production rebuilds suspense, culminating in a restatement of the opening fanfare for a thrilling, full-volume finale.
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by Mike Huestis
Nautilus
Nautilus begins with ominous chimes and wind sounds before a full ensemble sets a regal tone. As the waves settle, woodwinds build to another powerful impact. A slower tempo calms the waters until low brass and a trumpet fanfare introduce a rising intensity. Trills and dissonant chords create a frantic energy before a bosun whistle signals the movement’s end.
The second half opens with a bold percussion feature, transitioning into a flowing wind arrangement of Eternal Father, Strong to Save, evoking calm before the storm. Momentum builds as woodwind runs layer over the main theme, driving toward a powerful, surging finale.
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by Mike Huestis
Labyrinth
Entering the Maze:
Labyrinth opens with scurrying woodwinds trying to find an escape... Villainous sounding brass interrupt, giving chase to the woodwinds, building frenetic energy... Forward movement is suggested by multiple voices layering and layering, developing the musical thought, giving hope for escape.
Spirit Trap:
A ticking clock opens this movement making the audience feel as if time is running out. A clarinet soloist continues this thought before other musical voices join in, adding to the counted time that the clock initiated. The percussion section help build this frantic feeling until the booming end.
Helpless/Algorithm:
A listless and slightly woeful brass melody opens the final production before picking up the tempo and collecting more voices, once again giving hope for escape. Volume builds helped along by complex woodwind runs and increasing tempos to show the light at the end of the tunnel. The show is resolved by the full ensemble racing towards the light, towards freedom!
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by Mike Huestis
The Elements
The sounds of chimes and synthesizer begin Air, simulating a gently blowing wind. Soft brass creates more depth as the front ensemble continues layering in voices. The full ensemble majestically transitions into a percussion break before the production tempo slows into...
Earth. The jazzy cadence that closed the opener clears the air for woodwind trills as multiple ideas are introduced in this production, each upping the ante and volume into a strong finish.
Water begins more gently with a fluid synthesizer and delicate brass. Upper brass and woodwinds tradeoff the limelight, flowing into one another. The trumpets are featured with a more challenging part providing a chance to showcase their skills.
A Spanish style trumpet soli introduces Fire before the remaining brass joins, also exhibiting a Latin flare. Winds and front ensemble give a respite from the brass before they fight their way back into the fold. Echoes of the prior Elements themes are reintroduced before the fiery brass again takes charge and lead the ensemble to a strong end complete with driving percussive support.
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by Mike Huestis
The Butterfly Effect
Jungle noises and bird calls begin The Butterfly Effect and build the opening production by adding in gentle chimes before the movement really starts to take off. Different voices layer in as the tempo picks up leading to a strong brass fanfare supported by the full percussion section. As quickly as this comes, we move back to a lighter "flighty" feel showcasing various musical voices. As each new idea is introduced, it consumes the direction of the show until another idea effortlessly takesover. The ballad creates a more relaxed and dreamy tone utilizing a saxophone soloist
to lead in the ensemble. The dream-like state is shattered when dissonant tones and the battery move the show right into a cadence-like percussion feature. Warm brassy tones begin the next production where previous musical statements are further developed and built upon, giving the show a strong cohesive finale as the multiple thoughts finally become one.
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by Mike Huestis
H2O
Ice
Strong full ensemble hits open this production before giving way to the front ensemble and the crackling of ice. The pit increases the tempo as low drums continue the build before a quick middle voice feature starts a full ensemble impact. The battery takes center stage with woodwind support, leaving room for other musical voices to feature themselves on top of the percussion. Complex voicing gives sophistication as the winds finish each others phrases before a full ensemble build and crash to the end.
Liquid
Wind and rain noises open the ballad accompanied by musical flourishes. On top of these building and diminishing phrases each musical voice is given the opportunity to be showcased leading to a build with a unique ethereal sound.
Steam
A steam train powered by the battery and front ensemble leads us into the closer while train bells add ambiance in the background. As the train noises pick up speed, the brass add in, further embellishing the illusion. A break from the build gives the woodwinds a chance to show off with impressive runs before the percussion and a fanfare of brass begin the build once more, finally bringing an end to H2O.
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by John Mapes
Running...
...Out of Space
A gentle but haunting Flute solo gives way to narration before the battery picks up the tempo. Woodwinds create the opening statement, accented by brass hits, building momentum. Each voice builds upon the prior passing the baton continuing the build. A very upbeat movement, "Space" uses many voices layering upon the next to introduce different ideas.
...Out of Control
The Flute solo returns to begin the second movement, this iteration with higher tempo provided by front ensemble runs in the background. Previously introduced themes quickly dissolve into organized chaos giving the percussion section the spotlight. A warning alarm sounded as we are now "out of control".
...Out of Gas
A jazzy relaxed intro leads out of the narration and into a more frenzied movement. Traveling woodwinds and front ensemble keep the speed up before we feel the momentum ebb and flow, culminating in a full band jam! Tempo and mood changes give this movement complexity before suddenly sputtering out.
...Out of Time
A woodblock marks time in the background as foreboding high brass introduce the final movement. Different musical voices call and answer each other introducing and then being interrupted by the next, producing as many thoughts as possible before time... runs... out.
Show Design & Original Wind Arrangements by John Meehan
Percussion arrangements by Mike Huestis
The Last Battlefield
Headlines Break starts the show with failing transmissions assisted by front ensemble runs. The battery breaks through before giving to the winds, then taking over again letting the front ensemble join. As the tempo increases, the brass and woodwinds return, helping the build before changing the feel into something more frantic and chaotic in nature. Electronic sound effects persist throughout the opener and close it out after the battery and winds fade out.
The short circuiting sound effects from the beginning open Decay of Dialogue, continuing the feel of destruction before a slow build of woodwinds and brass lead the mood change to inquisitive. Multiple soft thoughts emerge, reaching out to one another before communications are found and the ensemble bursts through with an uplifted tempo and cohesive theme. A percussion feature takes over, building with a combination of battery voices that are supported by a contrasting front ensemble.
A dominating and ominous low and mid brass presence begin Redemption before multiple voices battle each other for the center stage. Out of the ashes of the fight, major chords break through culminating in a full ensemble push to the end of the full production.