# Ocean Doldrums v3b — Glass Water, the inverted look (piano as bed)

`ocean-doldrums-v3b` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take B is the BOLDER second reading of ocean-doldrums — same concept (becalmed awe over deep water, C lydian 66, VAULT-fragment, sparse) and the locked corrections, but a genuinely distinct ORCHESTRATION ANGLE: it INVERTS the v2/faithful layout. The struckPiano (tone WARM — intimate, mellow, the right voice for glass-still water; bright would glare and becalmed is not bright) is the BED here, not the lead: struck-and-let-ring C-lydian chords, voiced low and open, are the whole harmonic foundation — each strike a stone dropped on glass, left to ring out (no key-off; the piano's own long decay is the ambiance). A faint softPad halo and the darkDrone abyss two octaves under the root (the deep itself, TONAL not a noise bed) hold the air between strikes. The caveCelesta is then the FLOATING HIGH LINE itself (not glints decorating a pad): top-register, perpetually circling the lydian #4 (F#) and 7 (B) — the tones that refuse to come home — and never cadencing, scattered like light on water. VAULT (§7.3): the calm bed holds fragment(0,6) (root->fifth, even the octave withheld); activity states the full fragment(0,8) reach in the celesta but INVERTED past the crest in a2 — up to the octave, then the reflection falls back down through 7 and #4: the look DOWN made literal in the line's contour, still never landing on the tonic. L1/L2 differ by NEW material, not volume: activity L1 (ch4-5) = the floating celesta line + a wide-left echo drift; activity L2 (ch6-7) ADDS a glassBell answering a fifth up (a second facet / new timbre) AND a far-right soft-pluck echo — the reflection multiplied, the line harmonized, not turned up. Danger is ENCOUNTER music, abstract and DIATONIC (the row: 'no harmonic change — dread by proximity only'): danger1 (ch8-9) = the ambiance gone apprehensive — a single deepBoom felt first, far apart and low, while a pressure drone swells over the abyss (the deep pressing up); real material, not near-silence. danger2 (ch10-11) = a GENUINE intensity jump for active flee — the spacing closes until shadow booms shadow the bar line, a driving low hull pulse (sub) on every beat, and struck low-tom strikes (a low-voiced kick, percussion) crash in between the booms: denser, driving, NEW percussion, the full pressure beneath the hull, NOT danger1 louder. Tempo stays 66 throughout (the dread is proximity/density, not a tempo flip — faithful to 'no harmonic change'). Fully C lydian; the threat is never foleyed (the water/leviathan SFX belong to the game's soundscape); no noise bed — every sustained voice is tonal, noise sounds only as the struck booms/knock (one-shot percussion). sparse:true — long rings and whole-bar silences are the material.
