The first years are humming along nicely now and the skies are clear for the imminent Sunrise Festival, but for one dark cloud hanging over Tsukinaga Motomu. Even Midori, just about the only classmate he’ll talk to, isn’t sure what it’s about (and doesn’t want to pry), but as he snaps at an underclassman for saying “Tsukinaga” out loud, it’s safe to imagine it’s something family-related.
Just before Kitauji is about to march in the festival, Motomu is approached by his relative, who asks why he hasn’t spoken to his grandfather, the director of the Ryusei Boy’s High concert band. But Motomu won’t be pressured into unwanted contact, and storms away.
The SunFes goes by without a hitch, and Reina shows she can be a good cop too by praising a first-year who improved. But Motomu’s state of mind could affect future performances, so it’s President Kumiko’s job to investigate.
She and Midori end up speaking to Motomu’s relative, who isn’t sure exactly what Motomu’s deal is, but does provide them with two crucial bits of information: Ryusei’s band director, who led them to National Gold last year, is his gramps, and his big sister died three years ago.
Taki-sensei tells Kumiko (and only Kumiko) that Motomu’s gramps reached out to Kitauji about transferring him to Ryusei. Midori also reports to her that she tried to get Motomu to open up about what’s bothering him, but he told her he didn’t want to trouble her any further.
It’s Motomu himself who approaches Kumiko at the train station that evening (and gives her her second jump scare in as many minutes). Just as she did with Sally, Kumiko is there to hear him out. He tells her the story of how his sister, who was his musical inspiration, suffered at Ryusei due to the fact she was the director’s granddaughter.
He never goes so far as to blame his gramps for putting his sister in a situation where she eventually became ill and passed away, but suffice it to say he couldn’t see the concert band she imagined at Ryusei, so he went to Kitauji to try to find it for himself. In Midori, he found someone who reminded him of his sister and provided fresh optimism and inspiration.
After Kumiko and Motomu part ways for the night, Kumiko shoots her own big sister Mamiko a couple of texts just to make sure she’s okay. It’s a sign she acknowledges how lucky she is her big sister is still alive, and how the fact Motomu’s isn’t left such a big hole in his life.
Kumiko tells Motomu she wants to make sure everyone is playing at their best so that they’ll give their greatest performance of their three years there. Also, one’s state of mind determines how their performance will sound, so it’s important to trust one’s bandmates, or president, and not carry too much emotional burden on their own.
In a fitting ending, Motomu seems ready to tell Midori everything he told Kumiko, but Midori simply asks if he wants to play something together. So they play an etude for two contrabasses as the credits roll. Instead of talking, there’s an earnest dialogue between their basses, swaying between dissonance and harmony, leading and following. Listening to the two basses from the roof, Kumiko can probably hear that Motomu will be all right.
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