# Fungal Overgrowth v3a — The Spreading (polyrhythmic kinetic)

`fungal-overgrowth-v3a` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take A is the FAITHFUL realization of the row's style — polyrhythmic kinetic, G mixolydian, 112 BPM — and §4.5's 'The Spreading' notes. The signature device is interlocking diatonic pluck cells phasing 3-against-4: the activity-L1 melody cell moves in 4-ROW groups (the 4/4 grid) while the activity-L2 arp cell repeats every 3 ROWS; against each other they drift and re-lock every 12 rows (LCM 3,4), so the texture SHIMMERS by phase, not by harmony — fully diatonic (the F-natural is the mixolydian b7, modal colour, NOT chromatic). Per §7 this take quotes no motif family: the 3-against-4 cells are themselves the subject. Calm (ch0-3) is the restrained bed alone — open mixolydian pad dyads, a quiet sub, and scattered bubbleBlip 'growth you can hear' (pitched wet blips on chord tones) so it creeps even standing still. Activity L1 (ch4-5) adds the first cell: the 4-grid melody (leaning the b7 and the major 3rd) plus a soft echo. Activity L2 (ch6-7) ADDS the SECOND, interlocking cell — the 3-row arp plus a few brighter growth blips on its downbeats: the 3-against-4 phasing is the L2 payoff, new material rather than volume. Danger is ENCOUNTER music at a faster section tempo (132 BPM). Danger L1 (ch8-9) is the fungus NOTICING you — the cell pulled taut into a tightening 3-row pluck that grows insistent across the bar (a thip 'acquiring direction'), under a low mycelial pad (rendered PITCHED, no noise bed) with a single far boom: real unease, dread by proximity, not near-silence. Danger L2 (ch10-11) is active fight/flee — a GENUINE intensity jump: the drum KIT crashes in (kick on the beats + off-beat pickups, shaker on the fast subdivision, hat ticks) and the polyrhythm CONVERGES onto a single hammering pulse (the cells collapsing together = convergence, the §4.5 danger ramp). Higher energy and density, NOT danger1 with the fader up. Dread is abstract throughout — register, density, tempo, a pluck gaining stereo direction, the cells converging — never chromatic darkening and never a literal foley of popping spores (that is the game's SFX domain). Fully diatonic G mixolydian.
