Bad Guy (arr. Jay Dawson): Marching Band Conductor Score & Parts

Jay Dawson captures the track's unsettling cool without oversimplifying it; the arrangement respects what makes the original compelling while giving marching band the rhythmic and textural space to own it. Your students will actually want to play this one because it sounds contemporary and intentional, not like a pop song forced into a marching band template.

Unsettling and hypnotic. The piece carries Eilish's signature mood: something between menacing and playful, built on sparse instrumentation and odd rhythmic choices that shouldn't work but absolutely do. It's cool without trying too hard.

Band directors programming for pep bands, concert band competitions, or students eager to play music from their actual listening lives. This arrangement works equally well for groups seeking accessible Grade 3-4 literature that doesn't sacrifice musicality for accessibility.

• Build the groove deliberately. The original's power comes from restraint, so resist the urge to fill every measure. Let the space breathe.
• Lock the low brass and percussion into the pocket early in rehearsal. This arrangement likely hinges on a tight rhythm section foundation.
• Shape dynamics carefully around the melody line. Subtle contrast will emphasize the song's quirky character far more than heavy-handed contrasts.
• Separate the percussion parts clearly during sectionals so each voice knows exactly when it enters and exits the texture.

Open a spring concert or pep band set with this to signal you're not afraid of contemporary repertoire. It also pairs well on a program alongside other modern pop arrangements, creating a cohesive set that connects with your audience and your players.

• Maintaining pocket in sparse, syncopated grooves
• Balancing restraint with expression in contemporary arrangements
• Ensemble cohesion when melody and accompaniment are minimal
• Responding to unconventional song structure and phrasing