Performing Arts Music Copyright Licenses Guide for Winterguard, Gymnastics, Figure Skating, Dance, and More!
How to Legally Use Music for Winterguard, Dance, Cheer, and Performance Teams
If you are a winterguard instructor, dance coach, cheer director, or a parent trying to help your team stay compliant, music copyright licensing can become confusing very quickly. A performance may involve several different uses of music, and the rules can vary depending on whether the music is being performed live, played at a competition, recorded for a video, or shared online. Understanding the basic licensing requirements before you begin building a production can help you avoid problems later and make sure your program is using music legally.
This guide explains how music copyright licensing works for performing arts programs and how those rules can apply to winterguard, dance, cheer, marching arts, theater, and other performance activities. It covers the difference between simply purchasing a song and actually having permission to use that song in a performance. It also explains why using music in a rehearsal, competition performance, promotional video, livestream, or social media post can involve different rights.
For winterguard instructors and directors, music selection is often one of the first creative decisions made when developing a production. A song might fit the concept perfectly, but choosing the music is only the beginning. Before editing the track, distributing it to performers, submitting it to a competition, or posting a recording of the production online, it is important to understand what permissions are required. Taking care of licensing early can prevent last-minute problems and give your staff more confidence that the production is being presented appropriately.
The same basic concerns apply to dance studios, cheer programs, schools, independent instructors, and parents who are creating or supporting performances. Buying a song from a legitimate music store or streaming service does not automatically give you unlimited permission to use that recording however you want. Copyright law gives creators and rights holders specific rights over how their music is reproduced, performed, synchronized with video, and distributed.
This page is designed to help you understand performing arts music licensing, winterguard copyright rules, dance music licensing requirements, and the basic steps involved in securing the appropriate rights. Whether you are preparing a competitive winterguard production, selecting music for a dance recital, creating a cheer routine, or producing a performance video, understanding the licensing process can help you make informed decisions before your music reaches the floor.
The goal is not to make music licensing unnecessarily complicated. Once you understand which rights apply to your particular use, the process becomes much easier to navigate. The most important thing is to identify how you plan to use the music and make sure you have the appropriate permission for that specific use.
Why Music Licensing Matters for Performance Groups
Using copyrighted music without proper licensing can create problems for performers, instructors, schools, and organizations. The consequences depend on how the music was used, who owns the rights, and what agreements are in place, but the potential risks are significant enough that music licensing should be addressed before a production is performed or published. Waiting until after a competition or video has already been released can make an otherwise manageable licensing issue much more difficult to resolve.
For competitive performing arts programs, one possible consequence is disqualification from a competition. Many organizations have their own music submission and copyright compliance requirements, and a program may be required to provide information about the music it uses. If a production does not meet those requirements, the organization may have to restrict, reject, or otherwise address the performance. This is particularly important for winterguard, dance, cheer, marching arts, and other activities where music is a central part of the production.
Another concern is copyright infringement. Copyright owners have legal rights associated with their musical compositions and sound recordings. Using a copyrighted song outside the permissions granted by a license can potentially result in a claim from the copyright holder. The fact that a performance is educational, nonprofit, or performed by a small local organization does not automatically mean that the music is free to use. Copyright protection generally applies regardless of the size of the program using the music.
Recorded performances create another layer of concern. A winterguard show, dance recital, cheer competition, or figure skating routine may be recorded and later uploaded to platforms such as YouTube, Facebook, Instagram, or other websites. Online platforms use automated systems to identify copyrighted music, and a video can potentially be claimed, muted, blocked, or removed depending on the circumstances and the rights holder's policies. Having permission to perform a song in person does not necessarily mean that you also have permission to synchronize that music with video and distribute the recording online.
There can also be financial consequences when copyrighted music is used without the necessary permissions. Depending on the situation, a copyright dispute can involve licensing fees, settlement demands, legal expenses, or other costs. The potential financial exposure is one reason it is generally much better to address music rights during the planning stage rather than trying to fix a problem after a production has already been created.
These issues can apply to many different types of performing arts programs. A winterguard show, dance recital, cheer routine, figure skating program, theatrical production, school performance, or other organized event may involve copyrighted music. The specific licensing requirements can vary based on the type of performance, the venue, the organization presenting it, whether the music has been edited, and whether the performance is recorded or distributed.
The safest approach is to determine how the music will be used before selecting and editing the final tracks. Identify whether the use involves a live performance, an edited recording, a video, online distribution, or multiple uses. Then determine which permissions are necessary for each use. Music licensing is much easier to manage when it is treated as part of the production process instead of as an afterthought.
Types of Music Licenses for Winterguard, Dance, and Cheer
Understanding the different types of music licenses is the first step toward understanding music copyright compliance. One of the biggest sources of confusion is the assumption that there is a single license that gives a performing arts program permission to use a song in any situation. In reality, different rights can apply depending on what you are doing with the music. Performing a song for an audience, combining a song with video, and incorporating music into a dramatic production can involve different copyright considerations.
The most important thing to remember is that the way you use the music matters. A license that covers one type of use may not automatically cover another. For winterguard directors, dance instructors, cheer coaches, and other performing arts professionals, this distinction becomes especially important when a performance is both presented live and recorded for distribution online.
Sync License (Synchronization License)
A synchronization license, commonly called a sync license, is generally associated with combining music with visual content. In simple terms, it gives permission to synchronize a musical composition with video or other visual media. This becomes relevant when a performance is recorded and the recording is distributed as a video.
For example, a winterguard production performed in a gymnasium is one use of the music. Recording that production and uploading the recording to YouTube is a different use. The fact that the music was legally used during the original performance does not necessarily mean that the same permission covers the video. The rights needed for the recorded version must be considered separately.
You may encounter synchronization licensing issues when:
Your routine is recorded on video
You upload performances to YouTube or social media
You create promotional videos using copyrighted music
You create trailers, advertisements, or other promotional content featuring the music
You distribute a recording of a performance to families, students, or the public
This is one of the most commonly misunderstood areas of music licensing for winterguard and dance programs. A director may have permission for a live performance and reasonably assume that posting the performance online is simply an extension of that permission. It is not safe to make that assumption. Video distribution introduces another layer of rights that needs to be evaluated.
It is also important to understand that a sync license generally concerns the musical composition, not necessarily the specific recording you are using. A commercially released song can involve separate copyrights in the underlying composition and in the particular sound recording. This distinction becomes important when determining who owns the rights and who needs to grant permission.
Public Performance License
A public performance license relates to performing or playing copyrighted music for an audience. This can apply when music is presented at a competition, recital, showcase, concert, sporting event, or other public gathering. Public performance rights are an important part of the licensing landscape because the audience is hearing the copyrighted music as part of an organized event.
You may encounter public performance licensing requirements when:
You perform at competitions
You host showcases or recitals
Your routine is presented in a gym, arena, theater, or other public venue
Music is played for an audience as part of an organized event
One important complication is that the organization presenting the event may already have licensing arrangements in place. A competition producer, venue, school, or other organization may maintain blanket licenses that cover certain public performances. However, you should never assume that a particular license exists or that it covers every possible use of the music.
The best approach is to ask the organization responsible for the event what music licensing responsibilities belong to the event organizer and what responsibilities belong to the performing group. Get the answer in writing when possible. This can prevent a situation where everyone assumes someone else handled the licensing.
It is also important to distinguish between the rights associated with the live performance and the rights associated with the recording of that performance. An event may have arrangements that allow music to be performed for the audience while additional permission may still be necessary for recording, broadcasting, or distributing the performance.
Grand Rights License
Grand rights are associated with the use of music as part of a dramatic or theatrical production. This area of copyright can become more complicated because the music is not simply being performed as an isolated musical work. Instead, it may be incorporated into a larger dramatic presentation where the music is an integral part of the story, characters, action, or production.
You may need to investigate grand rights when:
Your show tells a specific story
Your production resembles a ballet or musical
Music is tightly connected to a dramatic or narrative concept
The production uses music as an integral part of a theatrical presentation
This can be particularly relevant to winterguard because some productions are highly theatrical. A show may have characters, a beginning and ending, recurring themes, dialogue or narration, and a specific storyline that connects the music and movement. That does not automatically mean that grand rights apply, but it is a reason to investigate the issue rather than assuming that a standard performance license covers everything.
Grand rights can also be more restrictive than the licensing arrangements commonly associated with ordinary public performances. The rights holder may have specific requirements governing how a musical work can be incorporated into a dramatic production. When a winterguard or dance production is built around a recognizable theatrical work, musical, ballet, or other dramatic concept, it is especially important to identify the appropriate rights holder and determine what permissions are available.
Why These Licenses Matter
The distinction between sync rights, public performance rights, and grand rights illustrates why music licensing cannot be reduced to simply asking whether you "have permission to use the song." The better question is what are you doing with the song?
A single winterguard production can involve several different uses. The team might perform the music live at a competition, record the performance, upload the recording to YouTube, use clips in promotional material, and share the finished video with families. Each use should be evaluated independently to determine whether the appropriate permissions are in place.
When in doubt, identify every way the music will be used and ask the relevant organization, licensing agency, or rights holder what permission is required. Keeping track of those permissions before the season begins is much easier than trying to untangle copyright issues after a production has already been performed or published online.
Best Music Licensing Companies for Performance Groups
Music Licensing Services for Winterguard, Dance, and Cheer
Once you understand which types of music rights may apply to your production, the next step is finding the appropriate licensing service or rights holder. There is no single company that automatically handles every type of music license. Different organizations specialize in different rights, catalogs, and types of use. The right choice depends on whether you need permission for a live performance, synchronization with video, a theatrical production, or another specific use.
The following services and organizations are useful starting points for winterguard instructors, dance studios, cheer programs, performing arts organizations, and other groups that need to investigate music licensing. Before purchasing a license, make sure you understand exactly what the license covers and whether it applies to your specific performance, recording, competition, or online use.
Tresona Music Licensing for Cheer and Dance
Tresona Music Licensing is one of the better-known services associated with music licensing for competitive performing arts. It is particularly relevant to organizations working with cheer, dance, and other performance programs where music is edited and incorporated into a routine.
One of the advantages of using a specialized licensing service is that it can make the process easier to understand than attempting to identify every individual copyright owner yourself. Instead of trying to determine who controls a particular song and which permissions may be necessary, a licensing platform can provide information about available licensing options and guide users through the process.
Tresona may be particularly useful for:
Winterguard instructors
Cheer music producers
Dance studios
Competitive performance programs
Organizations creating edited performance music
The basic process generally involves identifying the song, determining how the music will be used, and obtaining the appropriate authorization. However, you should always read the specific license terms rather than assuming that purchasing one license gives you unlimited rights to use the music in every situation.
This distinction becomes especially important when a performance will also be recorded. A license for one type of use may not automatically provide permission to distribute a video of the performance online. Always verify the exact rights included with the license you purchase.
ASCAP Music Licensing for Dance Studios and Events
ASCAP Music Licensing is another major resource for understanding public performance licensing. ASCAP represents songwriters, composers, and music publishers and provides licensing options for businesses and organizations that publicly perform music within its repertoire.
For a dance studio, school, venue, or event organizer, public performance licensing can be an important part of the overall compliance picture. A studio may play music during classes, rehearsals, recitals, showcases, or other activities where an audience or participants are hearing copyrighted music.
ASCAP can be useful for situations involving:
Live performances
Dance studios
Recitals and showcases
Events and venues
Public playback of music
One important limitation is that a public performance license should not automatically be treated as a synchronization license. Public performance rights and synchronization rights address different uses of music. If you are combining a copyrighted song with video, for example, you may need to investigate additional permissions.
It is also possible for multiple organizations to have relationships with different performing rights organizations. The fact that an event has a license with one organization does not necessarily mean every song in existence is covered. This is why event organizers and performing groups should verify exactly what their existing licenses cover.
BMI Music Licensing for Performances
BMI Music Licensing is another major performing rights organization that provides public performance licensing. BMI represents a large catalog of musical works and works with businesses, venues, and organizations that publicly perform music.
BMI licensing may be relevant when copyrighted music is being performed or played publicly as part of an organized event. Depending on the circumstances, this can include performances, events, venues, and other settings where music is presented to an audience.
BMI can be useful for:
Public performances
Dance and performing arts events
Venues
Recitals and showcases
Organizations that regularly play copyrighted music
As with ASCAP, it is important to understand what a public performance license does and does not cover. BMI licensing should not be assumed to provide synchronization rights for putting music into a video, nor should it automatically be treated as permission to reproduce and distribute a copyrighted recording.
ASCAP and BMI are also not interchangeable in every situation. They represent different catalogs of music, and other performing rights organizations exist as well. If you are responsible for licensing music for a venue or organization, you may need to determine which rights organizations are relevant to your particular catalog and use.
Wise Music Classical for Classical and Theatrical Music
Wise Music Classical can be a useful resource when dealing with classical and theatrical repertoire. This becomes particularly relevant when a production incorporates music in a way that goes beyond a straightforward performance and enters the territory of a dramatic or theatrical work.
This type of licensing may be relevant to:
Classical music
Theatrical productions
Ballet-inspired productions
Story-driven performances
Productions built around specific dramatic works
Grand rights and other theatrical permissions can require more direct communication with the rights holder. Unlike a simple online purchase, the process may involve identifying the work, explaining how it will be used, and negotiating the appropriate permissions.
For winterguard programs, this is worth considering when a show is built around a recognizable theatrical work or when the music is closely connected to a larger narrative. A dramatic concept does not automatically mean that grand rights are required, but it is a situation where additional research is warranted.
If you are working with a piece of music that is part of a larger theatrical production, do not assume that because the underlying music is old or familiar, every possible use is automatically permitted. The copyright status of the musical composition and the rights associated with a particular arrangement, adaptation, or recording can be separate issues.
EasySong Licensing Platform
EasySong Licensing is another service that can help users navigate music licensing for certain types of uses. Services like EasySong can be useful when you know the song you want to use but are not sure where to begin with the licensing process.
This type of platform can be helpful if:
You want a straightforward licensing process
You are working with popular music
You need help identifying the appropriate permission
You prefer using a centralized licensing service rather than contacting rights holders individually
The convenience of a licensing platform can be valuable, particularly for independent instructors and smaller programs that do not have dedicated legal or licensing staff. However, convenience should not replace careful review of the license terms.
Before completing a purchase, identify exactly what you intend to do with the music. Ask whether you are performing the song live, editing the recording, incorporating it into a video, distributing that video, using it in promotional material, or doing several of these things. The more ways you use the music, the more important it becomes to verify that your permissions cover each use.
Choosing the Right Licensing Service
The best music licensing service depends on your specific situation. A winterguard instructor preparing a competition production may have different requirements from a dance studio producing an annual recital. A cheer music producer creating an edited routine may have different licensing needs from a venue that regularly hosts public performances.
Before purchasing anything, make a simple list of every way the music will be used. Include rehearsals, live performances, competitions, recordings, social media, YouTube, promotional videos, and any other planned distribution. Then determine which rights apply to each use.
The most important rule is simple: do not buy a license based solely on the name of the service or the fact that it licenses the song. Read the actual license terms and confirm that they cover your intended use. Music licensing is ultimately about having the right permission for the right use, not simply having a receipt showing that you purchased something.
If you are unsure whether a particular use is covered, contact the licensing service or the relevant rights holder before using the music. Getting clarification before a production is released is considerably easier than dealing with a copyright dispute afterward.
Step by Step: How to License Music for a Winterguard or Dance Routine
Step 1: Choose Your Music
Identify the exact songs, versions, and artists you want to use. Even remixes or covers may require separate licensing.
Step 2: Determine Usage Type
Ask yourself:
Will this be performed live
Will it be recorded or posted online
Is there a storyline or theatrical element
Your answers determine which licenses you need.
Step 3: Secure the Correct Licenses
Use platforms like Tresona, ASCAP, BMI, or EasySong, depending on your needs.
Many groups require:
Sync license for video
Performance license for live events
Step 4: Submit Required Information
Be prepared to provide:
Event type (competition, recital, exhibition)
Song titles and artists
How the music will be used
Duration of use
Organization or team details
Step 5: Review License Terms Carefully
Before finalizing, confirm that your license covers:
Competitions and public performances
Video recording and online posting
Length of usage
All planned events
If anything is unclear, contact the licensing provider directly.
Common Mistakes to Avoid with Music Licensing
Music licensing problems often happen because a program makes a reasonable assumption that turns out not to be correct. Instructors and directors are usually focused on choreography, equipment, costumes, rehearsals, production design, and getting the performers ready for competition. Music licensing can easily become something that gets handled at the last minute. Unfortunately, that is when mistakes are most likely to happen.
Understanding the most common mistakes can help winterguard instructors, dance coaches, cheer directors, and performing arts organizations avoid unnecessary problems. A few minutes spent confirming music rights early in the production process can save significantly more time and money later.
Assuming Competitions Cover All Licensing
One of the most common mistakes is assuming that the competition organization automatically handles every aspect of music licensing. Some competitions may have licensing agreements or other arrangements that cover certain public performances, but that does not necessarily mean every possible use of your music is covered.
For example, an event may have arrangements that allow a team to perform copyrighted music in the competition venue. That does not automatically mean the team has permission to record the performance, upload it to YouTube, use it in promotional material, or distribute copies of the recording.
Always check the competition's current music and copyright policies. Ask specifically what the competition organizer covers and what remains the responsibility of the individual team, instructor, school, or organization. Do not rely on assumptions or what another instructor says they have done in previous seasons.
Using YouTube Audio Without Permission
Another common mistake is downloading music from YouTube or another online platform and assuming that because the recording is publicly available, it is available for use in a performance. Public availability does not mean public domain, and being able to listen to a song does not automatically give you permission to copy, edit, perform, or distribute it.
This can become particularly complicated when instructors are searching for alternate versions, remixes, instrumental tracks, live recordings, or edits of popular songs. The fact that a particular version is available online does not establish that you have the necessary rights to use that recording in your production.
If you need a specific recording, determine where it came from and what rights are associated with it. When possible, obtain music from a legitimate source and separately investigate the permissions required for the way you intend to use it.
Forgetting Synchronization Rights for Videos
A live performance and a video of that performance should not automatically be treated as the same use of music. Once copyrighted music is combined with visual content, synchronization rights may become relevant.
This is an especially common issue for winterguard, dance, and cheer programs because performances are frequently recorded. A team might legally perform its routine at a competition and then upload a video of that routine to YouTube or social media without realizing that the online video creates an additional copyright issue.
The same concern applies to promotional videos. A short clip posted to advertise your program, promote auditions, showcase performers, or attract new students can still contain copyrighted music. The fact that the video is short or promotional does not automatically eliminate copyright requirements.
Before posting a performance online, determine whether your existing permissions cover the recording and online distribution. If they do not, obtain the appropriate permissions before publishing the video.
Waiting Too Long to Secure Licenses
Waiting until the week of competition to investigate music licensing is another avoidable mistake. Licensing can sometimes be straightforward, but certain songs or uses may require additional research, communication with rights holders, or approval that takes time.
This is particularly important for productions that use multiple songs. A single routine may contain several different musical works, recordings, edits, samples, or arrangements. Each one can introduce another licensing consideration.
Ideally, music licensing should be addressed when you are selecting and editing the music rather than after the choreography and production have already been completed. If a particular song turns out to be difficult or expensive to license, finding out early gives you time to choose another song instead of rebuilding an entire production at the last minute.
Not Keeping Documentation
Even after you obtain the necessary permissions, keep records of what you purchased and what those permissions cover. Save license agreements, receipts, emails, confirmation numbers, invoices, and other relevant documentation in one organized location.
Documentation is particularly useful when several people are involved in a production. A director may purchase the license, a music editor may create the final track, and another staff member may be responsible for uploading the performance video. If nobody knows where the licensing information is stored, the program can end up having to repeat research that was already completed.
A simple folder containing your music files and corresponding licensing documentation can make the process much easier. For each song, record the title, artist, source, date licensed, license provider, type of license, and any important restrictions or expiration dates. This creates a basic paper trail that can be referenced if questions arise later.
Why These Mistakes Matter
These mistakes are common because music licensing involves several different rights and several different people. The person selecting the music may not be the person performing it, the person recording it, or the person uploading it online. Each step creates an opportunity for a misunderstanding.
The best way to avoid problems is to treat music licensing as part of the production process from the beginning. Determine how the music will be used, identify the rights that may apply, obtain the appropriate permissions, and keep documentation of what you purchased.
For winterguard, dance, cheer, and other performing arts programs, good licensing practices are ultimately about preparation. Choose the music, identify the intended uses, verify the rights, document the permissions, and then build the production. That approach is far less stressful than discovering a licensing problem after the routine is finished.
Pro Tips for Winterguard, Dance, Cheer, and Other Performing Arts Programs
Music licensing is much easier to manage when it is treated as part of the production process rather than something that gets handled immediately before competition. Whether you are directing a winterguard program, teaching dance, coaching cheer, producing a skating routine, or organizing another type of performing arts production, a few simple habits can make music copyright compliance significantly easier.
Start Early
Start the licensing process as early as possible. Licensing delays can create problems for an entire season, particularly when a production uses popular music, multiple songs, edited recordings, or music that requires direct permission from a rights holder.
Ideally, investigate licensing requirements while you are still selecting the music. This gives you time to determine whether a particular song can be licensed, how much the licensing may cost, and whether the available permissions actually match your intended use. If a song turns out to be difficult to license, discovering that before choreography is finished gives you the option to choose different music without having to rebuild the entire production.
This is especially important for competitive programs operating on a fixed schedule. Once rehearsals, costumes, props, choreography, and production design are underway, changing the music can become extremely disruptive. Licensing should therefore be considered during the creative planning stage, not after the production is already complete.
Keep Digital Copies of Every License
Keep digital copies of every license and related document. Save receipts, license agreements, confirmation emails, invoices, application information, and any correspondence with licensing organizations or rights holders.
Create a dedicated folder for each production or season and keep the documentation together with the corresponding music files. If your program uses several songs, make it clear which license belongs to which track. A simple naming system can save considerable time later.
You should also keep documentation even if nobody asks for it immediately. Competition organizers, venues, schools, or other organizations may request proof of licensing or ask questions about the music being used. Having the documentation readily available is much easier than trying to reconstruct the licensing history months later.
For larger programs, it can also be useful to maintain a basic music licensing spreadsheet. Include the song title, artist, licensing provider, license type, date purchased, permitted uses, expiration information if applicable, and the location of the supporting documents. This turns music licensing into an organized administrative process instead of relying on someone's memory.
Verify What Your License Actually Covers
Do not assume that a license covers more than it actually does. Before purchasing or accepting a license, identify every planned use of the music.
For example, ask whether you will:
Use the music during rehearsals
Perform it at a competition
Perform it at a public showcase or recital
Record the performance
Upload the recording to YouTube
Post clips on social media
Use the music in promotional material
Distribute recordings to students or families
A license that addresses one of these uses may not necessarily address all of them. This is one of the most important concepts in music licensing. The question is not simply whether you have a license. The question is whether you have the right license for the way you are using the music.
When in Doubt, Ask
If you are uncertain about whether a particular use is covered, ask the licensing organization or rights holder before proceeding. It is much easier to resolve a question before a performance or video is released than after a copyright issue has already occurred.
Do not rely exclusively on advice from another instructor, parent, performer, or online discussion. Someone else's licensing situation may be completely different from yours. They may be using a different recording, performing at a different type of event, or operating under a different agreement.
When contacting a licensing provider, explain exactly what you plan to do with the music. The more specific you are, the easier it is for the provider to tell you what permissions may be necessary.
Keep Your Production Team Organized
Music licensing should not be the responsibility of a single person if several people are involved in creating the production. Make sure the director, music editor, instructor, and anyone responsible for video or social media understand what has been licensed.
This is particularly important when music is edited by someone outside the program. A music editor may have access to the audio file without knowing what licensing permissions have been obtained. Likewise, the person managing social media may upload a performance video without realizing that the permissions obtained for the live performance do not necessarily cover online distribution.
A simple internal rule can help: no new use of copyrighted music without checking the licensing documentation first. That includes new videos, promotional clips, livestreams, social media posts, and other uses that were not part of the original plan.
Do Not Confuse "Available" With "Licensed"
One final tip is worth emphasizing because it causes so many problems. Finding a song online does not mean you have permission to use it. Purchasing a song does not necessarily give you performance or synchronization rights. Seeing another team use a song does not prove that their licensing situation is the same as yours.
Copyright compliance is about obtaining the appropriate permissions for the specific use of the music. The easiest way to stay organized is to determine those uses before the production begins and document the permissions you receive.
The Simple Rule
If you remember only one thing from this section, remember this: start early, document everything, and verify the specific rights you need.
Music licensing does not have to derail a winterguard season, dance recital, cheer routine, or other performance. Most problems can be avoided by treating licensing as a normal part of production planning. A few hours of research and organization at the beginning of the process can save much more time, money, and frustration later.
Frequently Asked Questions About Music Licensing
Do winterguard teams need music licenses?
Winterguard teams may need several different types of music permissions depending on how the music is being used. A live competition performance, a recorded video, and an online promotional clip can involve different rights. Public performance rights may be relevant to the live event, while synchronization rights can become relevant when copyrighted music is combined with video.
The competition organizer may have licensing arrangements that cover certain uses, but teams should verify exactly what those arrangements cover. Do not assume that a competition license automatically covers rehearsals, recordings, YouTube uploads, social media, or every other use of the music.
Can I use copyrighted music in a dance competition?
You may be able to use copyrighted music in a dance competition if the appropriate permissions are in place. Some competitions, venues, or organizers may have licensing agreements that cover certain public performances. However, the specific requirements vary.
Before submitting your music, check the competition's current rules and determine whether the organization handles the applicable performance rights or whether your studio or team is responsible. If you are also recording or distributing the performance, investigate those uses separately.
Is posting my routine on YouTube legal?
Posting a routine containing copyrighted music on YouTube requires you to consider the rights associated with both the music and the video. Permission to perform the music live does not automatically mean that you have permission to synchronize the music with video and distribute that recording online.
YouTube and other platforms may identify copyrighted music through automated systems. Depending on the rights holder's policies and the permissions associated with the music, a video may be monetized by the rights holder, muted, blocked, claimed, or removed.
Before uploading a performance, determine whether your music permissions cover video recording and online distribution. Do not assume that because another team has posted a similar video, your own upload is automatically permitted.
What is the easiest way to license music for a routine?
For many performance groups, using a specialized music licensing service can be easier than trying to identify and contact every rights holder independently. Tresona Music Licensing is one service that specializes in licensing for performance-related uses and can be a useful starting point for cheer, dance, and other competitive programs.
The easiest option depends on the song and the intended use. Before purchasing anything, make sure the available license actually covers what you plan to do with the music.
Does buying a song give me permission to use it in a routine?
No. Purchasing a song gives you access to the copy you purchased, but it does not automatically give you every copyright permission associated with that music.
For example, buying a digital song does not necessarily give you permission to synchronize it with a video, publicly perform it, redistribute the recording, or use it in commercial promotional material. Copyright ownership and licensing rights are separate from simply purchasing a copy of a recording.
Does a nonprofit or school program need music licensing?
Being a nonprofit, school, or educational program does not automatically eliminate copyright considerations. Certain educational uses may receive specific treatment under copyright law, but you should not assume that an educational or nonprofit status provides unlimited permission to use copyrighted music.
The actual circumstances matter, including where the music is used, who hears it, whether the use is recorded, and whether the recording is distributed. If you are responsible for a school or nonprofit performance, verify the applicable licensing requirements rather than relying solely on the organization's tax or educational status.
Do I need a license for rehearsals?
It depends on how the music is being used and the circumstances of the rehearsal. A private rehearsal is not necessarily treated the same way as a public performance, and the licensing arrangements associated with a competition or venue may not address every rehearsal situation.
If you are using commercial recordings during regular team practices, ask the relevant licensing provider or organization what permissions apply. This is particularly important for programs that operate commercially or regularly use copyrighted music as part of instruction.
Do I need a separate license for every song?
Not necessarily. Some licensing arrangements can cover multiple works or provide access to a broader catalog. However, you should never assume that one license automatically covers every song in your production.
If your routine contains a mix of several songs, edits, samples, remixes, or recordings from different sources, each component may involve different rights. Review the terms of the license and confirm that all of the music used in the final production is covered.
Do I need a license if I only use a short clip of a song?
Using only a short portion of a copyrighted song does not automatically mean that you can use it without permission. There is no universal "few seconds" rule that makes copyrighted music automatically free to use.
The length of the clip is only one factor among many that can matter when evaluating a copyright issue. If a song is being used in a performance, video, advertisement, or social media post, determine whether the intended use is licensed rather than assuming that a short excerpt is exempt.
Can I use a song if I give the artist credit?
Giving credit to the artist is good practice, but credit is not the same thing as permission. Listing the artist, songwriter, or copyright owner in a video description does not automatically grant you a license to use the music.
If permission is required for your particular use, you need to obtain that permission. Attribution by itself generally does not replace a required music license.
Can I edit or remix a copyrighted song for my routine?
Editing a song can introduce additional copyright considerations. Cutting sections out, combining songs, changing the arrangement, creating a remix, or otherwise modifying a copyrighted recording does not automatically make the resulting track free to use.
This is particularly important for cheer and dance programs that create custom music mixes. The fact that a music producer can technically edit a recording does not necessarily mean that the producer or team has permission to make and distribute that particular adaptation.
What if I use a different version of the same song?
A different recording can involve different rights. The underlying musical composition and a particular sound recording are separate copyrighted works, so using a cover version, live recording, instrumental recording, remix, or alternate performance can change the licensing situation.
Do not assume that licensing one version of a song automatically gives you permission to use every other recording of that song.
What happens if my video gets a copyright claim on YouTube?
A YouTube copyright claim does not necessarily mean that you have committed a legal violation, and a claim is not the same thing as a court judgment. YouTube's copyright systems can identify music and apply restrictions or other actions based on the rights holder's settings.
If you receive a claim, review what music was identified and why the claim was made. If you genuinely have the necessary rights, keep your license documentation available and follow the appropriate dispute or appeal process when applicable.
How long does a music license last?
The duration of a music license depends on the specific agreement. Some permissions may be limited by time, territory, media type, number of performances, or other conditions. Others may have different terms.
Always check the license agreement for expiration dates and usage restrictions. If you are planning to reuse a production in a future season, do not assume that a license purchased for the original production remains valid indefinitely.
Should I keep proof of my music licenses?
Yes. Keep digital copies of licenses, receipts, invoices, confirmation emails, and other documentation associated with your music.
A well-organized licensing folder can be extremely useful if a competition organizer, venue, school administrator, platform, or rights holder asks for information about your music. Documentation also makes it much easier to determine exactly what permissions you obtained and whether they apply to a new use.
What should I do if I am not sure whether I need a license?
If you are uncertain, identify exactly how you intend to use the music and ask the relevant licensing organization or rights holder. Explain whether the music will be used for rehearsal, live performance, competition, video, social media, promotional content, or another purpose.
Avoid relying on assumptions such as "everyone does it," "the competition handles it," or "it is only a few seconds." Copyright questions can depend heavily on the specific circumstances, so getting clarification before using the music is generally much easier than trying to resolve a problem afterward.
Is music licensing worth the effort?
For most organized performing arts programs, taking the time to understand music licensing is simply part of producing a professional performance. The process may require some additional planning, but it can help prevent avoidable problems with competitions, venues, video platforms, and copyright owners.
The key is to start early. Determine how the music will be used, identify the rights that may apply, obtain the appropriate permissions, and keep your documentation organized. Once those steps become part of your normal production workflow, music licensing becomes much less intimidating.
Final Thoughts on Performing Arts Music Licensing
Music licensing for winterguard, dance, cheer, and other performing arts programs does not have to be overwhelming, but it does require attention to detail. The most important step is understanding that using a piece of music can involve different rights depending on how, where, and when that music is used. A live competition performance, a rehearsal, a recorded video, and a social media post may not all fall under the same licensing permissions.
Taking the time to secure the appropriate music rights protects more than just your production. It helps protect your instructors, performers, organization, school, studio, and event from avoidable copyright problems. It also gives you a clear record of what you are authorized to do with the music, which can be extremely valuable if a competition organizer, venue, or online platform ever has questions about your production.
The best time to address music licensing is before the season gets underway. Identify the music you want to use, determine how you plan to use it, investigate the applicable licensing requirements, and keep copies of all documentation. If your plans change later, such as adding a promotional video or uploading a competition performance, revisit the licensing requirements for that new use.
Most importantly, do not let licensing become the last item on your production checklist. Music is often the foundation of a winterguard, dance, or cheer production, so the rights associated with that music should be considered at the same time you are planning choreography, costumes, props, staging, and other creative elements.
Handle the licensing early and correctly, document what you have purchased, and verify anything you are unsure about. Once that administrative work is out of the way, you can spend your time where it belongs: rehearsing, refining the production, and putting a great show on the floor.
About the Author
Patrick Blakley is a percussion educator, author, adjudicator, and entrepreneur specializing in marching percussion and drumline education. He is the creator of DrumPacket.com, DrumlineWarmups.com, DrumAudit.com, DrumsetGrooves.com, and SyracuseDrums.com. His educational materials and performance audio edits through CompetitiveMusic.com are used by hundreds of schools and programs across the United States and beyond. He is the author of Quadratics: The Tenor Drum Equation, The Field Percussion User Manual, and other instructional music books. Read more about him by clicking here!
