# Meadow Haze v3b — Drowsy Noon, the two-kalimba reading (hearth home)

`meadow-haze-v3b` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

The BOLDER second reading of meadow-haze: warm 'mallet house', F ionian, kalimba lead, HEARTH home (§7.2), sleepy and complete. Two distinct angles from the faithful take. (1) A TWO-KALIMBA DUET — the hearth round is a lazy call-and-answer between a left-panned LEAD kalimba and a right-panned ANSWER kalimba, which is exactly the L2 'new material': the partner voice enters as a level, never as volume. (2) A warmer FOUR-chord turn (Fmaj | Bb | Dm(vi) | Gm->C(ii-V)) instead of a bare I-IV sway — fully diatonic, still cadencing home on the tonic, richer over a minutes-long loop. A slow swellPad crests once per half-bar as the noon heat shimmer, rendered PITCHED — that folds the RETIRED 'humid-air Depth' note into a pad (correction 3); there is no noise bed (noise appears only as struck percussion in danger). Calm (ch0-3) is the bare drowsy afternoon: the warm sway + heat-swell breathing, complete standing-still music. Activity L1 (ch4-5) is the LEAD kalimba round (the §7.2 reference from F-4) plus its own soft-pluck echo and a lifting tail. Activity L2 (ch6-7) ADDS the duet answer kalimba (right) responding in the lead's gaps a third/fifth off, AND a lazy chord-tone pluck arp with offbeat shaker brushes (the insect hum) — a second voice and a rhythm bed, not the lead turned up. Danger is ENCOUNTER music (correction 2) and the section runs faster (96 BPM — the wind picking up). Danger L1 (ch8-9) is the activity tune GONE APPREHENSIVE: the lazy round dropped an octave and re-seated over the vi (Dm), under a darkening F pedal and a slow far-thunder kick heartbeat on the bar — real unease, not near-silence. Danger L2 (ch10-11) is the full ensemble crashing in — a genuine intensity jump: the thunder doubles and quickens to a kick-on-every-beat run with a round frameDrum gait, a backbeat snareDrum kit drives, an urgent shaker tremolo and hat ticks scatter like rain, and a deepBoom lands on the bar like a near clap. New rhythmic instruments and far higher density at a faster tempo — active fight/flee, never danger1 louder. Dread is abstract (register, density, the heartbeat quickening); fully diatonic F ionian throughout — no chromatic darkening and no foley of the storm/wolves themselves.
