# Alpine Summit (Above the Cloud Sea — the Cathedral) — take B (v3)

`alpine-summit-v3b` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

BOLDER second reading of alpine-summit's full-choral-hymn brief (A major, 72, chorale). Where a faithful take states one four-part choirPad chorale, this leans all the way in and makes it ANTIPHONAL — a cathedral on the summit, two choir bodies answering across the stereo field (left choir = soprano+alto, right choir = tenor + the activity descant). The bed (ch0-3) is the four-part chorale carried through every section: a struckPiano BASS tolling the chord roots like a far carillon (tone WARMEST — the deepest, most resonant arrival bell) under sung tenor/alto/soprano choirPad voices, one chord per bar, whole/half-note motion (the catalog's slowest material). MOTIF: VAULT augmented x2 (per §7.3) — the long look from above, arrival, the vastness now beneath you, grace not weight; stated at 2 rows/beat so the three reaches and the 6-5 settle each fill a bar (one immense breath). Activity L1 (ch4-5) = the augmented-VAULT cantus firmus on WARM struckPiano + a caveCelesta glint doubling its crest (sun off the snow). Activity L2 (ch6-7) ADDS new voices, not volume: a RIGHT-choir choirPad DESCANT answering the melody up a fifth+octave a half-bar later (the cathedral's echo across the cloud) AND a moving warm-pad counter-voice walking a third/sixth below the reaches. The hymn climbs I-IV-V then cadences vi->I (A3 states the augmented motif's tail alone as a closing breath). DANGER is abstract ENCOUNTER music (corrections 2 & 3): danger1 (ch8-9) = the hymn destabilized on the exposed traverse — an apprehensive low toll-pulse (deepBoom on a wary grid) under a brooding drone with SPARSE gustHit transients (the wind's first tug); real material, not near-silence. danger2 (ch10-11) = the full ensemble crashing in — a driving kit (galloping kick + snareDrum backbeat) and a STORM of DENSE gusts + urgent shaker over a compressed VAULT ostinato; combat/flee energy, a genuine intensity jump. The §3/§4 ramp note (gust FREQUENCY, not loudness) is honored — the gustHit transients MULTIPLY L1->L2 — but correction 2 governs: danger2 is the kit + choir crashing in, not danger1 louder. The gusts are SHORT STRUCK one-shots (percussion), never a looped wind bed; the cloud-sea 'depth' is folded into the pitched chorale, not rendered as noise (correction 3). Fully diatonic A MAJOR throughout — no chromaticism; the only darkening is register, density, and the wind's frequency.
