# Sandfall Undertow v3a — The Sifting (restless percussive house)

`sandfall-undertow-v3a` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take A is the faithful, polished realization of the row: restless percussive house in B♭ dorian, 100 BPM. The whole idea is that idleness is the tension, so the BED itself has a pulse — steady pads (one calm chord per half-bar, the dorian major 6th G used as an 'open floor' glint) over a syncopated house SUB and a busy near-16th SHAKER current, with a ghosting offbeat hat. The floor flows under a still player; the harmony stays calm and modal while the rhythm does the wariness. The §3/§4 falling-sand 'sandHiss' Depth bed is RETIRED (correction 3): no continuous noise — sand is only STRUCK shaker/hat percussion (all one-shots), never a hiss. MELODY = TREAD (§7.5) augment(0.5) into nimble eighth-cells — footwork on ground that flows. Activity L1 (ch4-5) is that footwork pluck line plus an OFFBEAT soft-pluck answer landing between its steps — agile, reads on its own over the pulsing bed. Activity L2 (ch6-7) ADDS new instruments, not volume: a struckPiano (tone BRIGHT — the genre wants articulate house piano) comping chord-stabs on the offbeats AND a low pluck counter-line a sixth/third under the lead — the footwork harmonized, the groove filled out. DANGER = the undertow (correction 2, abstract not literal). Danger L1 (ch8-9) is the undertow first felt: the footwork tune gone apprehensive (head-fragment cells, sparser and an octave down) with the shaker current SWEPT hard LEFT (a hard-panned shaker pulling steadily, gathering toward each downbeat — the pull toward the chute) under a darkening B♭/F drone with sparse far booms; real unease, not near-silence. Danger L2 (ch10-11) is a GENUINE intensity jump for active flee: the full KIT crashes in (driving four-on-the-floor kick + snare backbeat) and a DRAGGING pickup — a tight hat pulled in just before each downbeat, the undertow rushing ahead of the beat — plus an urgent hat current. New rhythmic material and density, not danger1 louder. Dread is abstract: the hard stereo sweep, the dragging pickup, register and density — never a literal sand/chute foley, never chromatic darkening. Fully diatonic B♭ dorian throughout.
