# Sandfall Veins v3b — the grain canon (struck-piano antiphony)

`sandfall-veins-v3b` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take B is the BOLDER second reading of the sandfall-veins meditation, a distinct instrumentation + structural angle from take A (which made the caveCelesta the grain voice and stepped pours down for danger). Here the grains are TWO STRUCK-PIANO voices in an antiphonal CANON across the stereo field: a struck tone on the LEFT (ch4) answered a few rows later on the RIGHT (ch5) a fifth or octave above — two columns of grains calling across the room. The struckPiano is the structural protagonist (take A used no piano), tone WARMEST — the deepest, mellowest cave-hush voice (the strike that is almost all warm sustain), chosen over warm/bright because the room is a held-breath hush. Harmony is a bVII<->I PENDULUM (Eb major against F major) with a Cm shadow (the mixolydian minor-v) and a Bb lift — suspended, time- passing, nothing cadencing; fully diatonic F mixolydian. Sand is PERCUSSION only: the columns are sandSpill granular ONE-SHOT pours (bloom/sift/drain), left then right on the bar grid, each with silence after — no sandHiss, no haze bed, no looped noise (correction 3); `sparse:true`. LADDERS: activity L1 (ch4-5) is the grain canon (call+answer) and reads complete on its own; activity L2 (ch6-7) ADDS new material, not volume — a caveCelesta HIGH-GLINT line off the piano grid (ch6, single bright grains catching the light) AND a low celesta ANCHOR walking slow roots under the canon (ch7): the space opens above and below the piano. DANGER is encounter music (correction 2): danger1 (ch8-9) is the meditation gone apprehensive — a deepBoom begins COUNTING the long time and the piano lowers into clustered wary low grains (real unease, not near-silence); danger2 (ch10-11) is a GENUINE intensity jump at a faster 72 BPM danger section — a percussion KIT crashes in: a draining sandSpill pour + a stoneTom falling-block + a doubling boom (ch10), and ACCELERATING dry/crack grain-ticks that tighten through the pattern (8->4->3-row spacing, the hourglass running out) on ch11. New driving rhythmic material and far higher density, never danger1 with the fader up. Dread is abstract (register, density, the grain-rain becoming a race) — no chromatic darkening, no literal collapse/flood foley.
