# Ruins Archive v3b — ancient choral elegy as an antiphonal motet (bolder)

`ruins-archive-v3b` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take B is the BOLDER second reading of the row's ancient-choral-elegy brief: same concept (respectful elegy — reading a dead civilization by lamplight, room by room) and the same locked style (slow choirPad+pad chords in OLD-MODAL voice-leading with parallel fifths welcome because the point is ANCIENT not sad, + caveCelesta noting details like an inventory; ELEGY motif home), but reorganized structurally as a RESPONSORIAL / ANTIPHONAL MOTET. C dorian, 70 BPM. The calm bed is medieval ORGANUM: two choirPad voices in strict PARALLEL OPEN FIFTHS (root + fifth, the deliberate ancient color — organum, not a harmony mistake) that ENTER ANTIPHONALLY across the stereo field (one half answers the other), over a slow sub pedal; the §3/§4 dust/age noise floor (correction 3) is rendered as a faint PITCHED high softPad 'lamplight' glow, never a hiss. The piano is struckPiano tone WARMEST (the conscious extreme — old-instrument, low-lamplight intimacy; the old feltPiano was a plucked-string bug). Activity states the ELEGY core (motifs.ts §7.6, the row's steeper accent decay) as CALL-AND-RESPONSE rather than lead+echo: activity L1 (ch4-5) is the struckPiano elegy CALL (falls 5-4-3, reaches back to 5, trails off 3-2-1) + the caveCelesta INVENTORY response a fifth above on the off-half (the catalogue answering each detail the voice names). Activity L2 (ch6-7) ADDS new material, not volume: a SECOND choirPad voice doubling the call in parallel open fifths (organum thickening — the hall singing along) AND a slow low pad counter-line beneath. Danger is 'the structure waking' rebuilt ABSTRACT and at a FASTER section tempo (84 BPM, stamped at entry — a structural intensity jump, not a fader). Danger L1 (ch8-9) is the elegy CALL gone apprehensive: the head dropped an octave into the low pad voice and stretched to held tones over a darkening C/G organum drone (the parallel fifths turning ominous, still diatonic), with a slow stoneTom heartbeat and one far deepBoom per bar — the building noticing you, real unease (NOT near-silence). Danger L2 (ch10-11) is a GENUINE intensity jump for active flee: a pitched stoneTom OSTINATO locks into a driving mechanical beat (the mechanisms finding their rhythm — rendered as PITCHED C/G percussion, the organum interval as a hammer, NOT the retired grind-noise sweep of correction 3) + a kick gallop (ch10) and an urgent hat/shaker spatter (ch11). New rhythmic material, denser and faster, not danger1 louder. Dread is abstract — register, density, the organum compressing, the machinery rhythm, the faster tempo — never a chromatic darkening (fully diatonic C dorian: the dorian 6 (A) is the warm open door, the b7 (Bb) the ancient color; no raised 7th, no b2, no tritone) and never a literal grind/door/collapse foley (those belong to the game's SFX + ambient soundscape). The parallel-fifth organum is the named ancient color (the brief invites parallel fifths); there is no jazz-style chromaticism here.
