You may want to read each chapter before referring to the glossary, and then only if necessary. My definitions reveal specific parts of the story at times, and I wouldn't want to spoil it for you. I just wanted to list the glossary first rather than at the end of each chapter. If you think this isn't a good way to handle this, please let me know and I'll switch formats!
Also, I've used the terms that I learned in my high school marching band. Different bands will use different terms, so they're not absolute—just useful to the story in that they're the ones I use.
BAND TERMS GLOSSARY
(for those of you who aren't as nerdy as me)
CHAPTER ONE
Carrier: When Kagome says she can't find her "carrier," she's talking of the metal device that fits over her shoulders and attaches to her snare drum.
Snare drum: Though you probably already know this one, a snare drum is the single drum that you play on the top of (rather than the side, like a bass drum). It gets its name from the long, squiggly pieces of metal, snares, that line its bottom head. And a head is a piece of plastic or, in marching snares' case, Kevlar, that is stretched over the frame of the drum. It's the part you hit (unless it's on the bottom).
Rudiment: By my definition, I would say a rudiment is a neat little set of rhythms that, when played in rapid succession, forms a cool-sounding roll. Some common rudiments include the flam paradiddle, triple ratamacue, single-stroke, double-stroke, and flam drag. …Which will all take extra explaining. If necessary, I'll define them, too, but for now just understand that they're rudiments.
Piccolo: It's a high-pitched, smaller version of the flute.
Sectionals: When the groups of different instruments split apart to work individually. The saxophones go one way, all the flutes go another way, percussion goes somewhere else… etc. etc.
Seventh chair: In band, you are lined up (by section) in chair order—first chair being the best, most skilled musician. In flutes, the first few chairs usually play piccolo (if they choose to), so it is unusual for Eri—seventh chair—to want to play piccolo, too.
"Block up, six-man-front": This refers to the way the band lines up when marching. It means six people in each row, all aligned with one another.
Hup: Something regularly shouted at the band preceding a command or to keep them in step—in this case, Sessho-maru is saying, "Left… left… left…… right left… left…"
"the tap": A snare drum usually taps the band off so they all stay on the right foot and at the same speed. The rhythm is similar if not identical to the call Sessho-maru was yelling.
Tenors: A set of six drums that are all different sizes and have different pitches; they have only one head and are carried as a whole by one person. Sometimes called "quads."
Rim shot: The rim is the outside edge of the drum; therefore, a rim shot is when you hit the rim. It gives off a sharp report like a gunshot and often chips your sticks.
At attention: When the band members are at attention, they are to keep their horns (or sticks) down, never smile, and march at a constant speed. They are not supposed to talk or move their heads in any way.
At ease: The opposite of "at attention"; the state in which they would normally be if they weren't at attention.
Section leader: Obviously, the leader of a section, and usually (but not necessarily) first chair.
CHAPTER TWO
"listen down the line": Members of the drumline—like all other members of the band—are supposed to listen to all the people around them and balance and blend their sound together. This is especially important snarewise because all snare drummers are playing the same part and are supposed to sound like one drum.
"the opener": The opening song of a marching band's performance or show (sometimes referred to as "the show"). Bands are usually ready to march only the opening song at their first game, but as the weeks progress they learn how to march other songs and add onto their performances.
"case your drum up": In other words, "put your drum away inside its case."
CHAPTER SIX
"dressed and ready for inspection": This means the band members must be in their uniforms, and they will be inspected by section leaders and directors. The inspection is a random test to make sure you have everything—your music, hat, shoes polished, all the buttons on your jacket, the right color socks, no jewelry or nail polish, etc. etc. etc.
CHAPTER SEVEN
bandos: My friend uses this term for "band nerds." We can't really help being bandos, though—it's so demanding and time-consuming, it's all we have time for.
backsticking: This is when you flip the stick while you are playing and hit the drum (or whatever) with the wrong end of the stick. Usually you flip the stick over again right after that. It looks very cool when done fast by a big group of skilled people.
CHAPTER NINE
maroon yarn mallets: "Yarn mallets" are the kind of sticks you use on a marimba and the sort. And by the way, a marimba is like a xylophone that makes a softer sound, is bigger, and is usually made of rosewood. Anyway, the shafts of the mallets are very thin and usually have a large yarn-covered knob at the end (that's the part you hit the marimba with). Maroon just happens to be the color Kagome has; the different colors differentiate between varying degrees of hard and soft. Usually.
CHAPTER ELEVEN
Baton: By "baton," I mean a conductor's baton. The little skinny white things with the wide part at the end. –Not the kind of baton a baton twirler uses.
Congas: The congas are a set of two tall, thin African drums that you play with your hands. They're like elongated bongo drums, which are the short hand drums that come (usually) in sets of two.
Djembe: This is another African hand drum. Basically, it is shaped like an hourglass, but the bottom part is a little thinner and longer. You play it sitting down by putting the bottom half between your legs; the shell rests on top of your legs. That way, it doesn't slip and you don't have to really hold onto it—it just stays.
CHAPTER TWELVE
Triple ratamacue: As previously mentioned, this is a rudiment, and for this story, I made it one that Inuyasha plays better than Kagome. It's… complicated to explain, but when played superfast it makes a cool-sounding roll.
CHAPTER FOURTEEN
Timpani: The four large orchestral kettledrums—usually referred to as tympani or timpani—are most often played by one percussionist as a set and can sound pitches which, in fact, can change by moving a pedal. The pedal tightens and loosens the head of the drum, making it sound a certain range of pitches. One drum can usually accurately sound somewhere between eight and ten pitches.
Bass drum: A marching bass drum is small and is played with two mallets on both sides. It is also usually held upright. But I am speaking of the concert bass drum, which is usually a massive thing played with one big huge heavy mallet. Mounted on a special rolling stand, the concert bass drum is somewhere around four feet tall. You usually play it by standing behind it and holding only one mallet in one hand.
CHAPTER FIFTEEN
"DRUMLINE! 'TTEN-HUT!" "Move!": Whenever the band is called to attention, this is the call that the directors (or at least Kagome's directors) use. The "'tten" is short for "attention," and "move" is just the standardized reply. Usually the command is, "Band, 'tten-hut!" but since Kagome was only addressing the drumline she was specific in her command.