# Sky Archipelago v3b — Islands in the Blue (bold open-airy house)

`sky-archipelago-v3b` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

The BOLD second reading of sky-archipelago. Where a faithful take drifts as bed-only ambiance, this take leans all the way into the row's 'open airy HOUSE' assignment and rebuilds danger as real ENCOUNTER music. E major, 108 BPM (calm/activity), the danger section jumping to a faster 132 BPM. The bed is a groundless house GROOVE: high, wide-spaced open E-major pad voicings, a soft hat floating the off-beats (the house pulse, never a thud), the bass arriving LATE and LIGHT each bar (groundlessness as register — the v2's best idea, kept), and windChime touched once a bar (the brief's signature glint). Activity L1 (ch4-5) is the leaping pluck lead — wide sixths and octaves where the ground-level themes move stepwise — voiced on the struckPiano tone BRIGHT (it reads articulate and present up in the high register, the airy sparkle the concept wants over warm) plus a soft-pluck echo. Activity L2 (ch6-7) ADDS NEW material, not volume: a caveCelesta sparkle-arp answering the leaps AND a warm- pad counter-voice gliding a third/sixth under them — the track filled out, the air populated. Danger L1 (ch8-9) is the approach: a slow even kick tread + a darkening drone on E creeping under the still-open pads with sparse far booms — real unease, the airy house gone apprehensive, NOT near-silence and NOT a wind whistle. Danger L2 (ch10-11) is the genuine intensity jump for active fight/ flee: the full house KIT crashes in — a four-on-the-floor driving kick + a backbeat snare (ch10) and an urgent offbeat shaker + hat run (ch11), all at the faster danger tempo. It is new rhythmic instruments and much higher density, never danger1 with the fader up (the v2 fall-foley shape is gone). Correction 3: the v2 altitude-wind (airPad/thinDrone whistle + gustSwell/gustStab) is REMOVED; its vertigo/void intent is folded into PITCHED material (the unsettled late bass, the open-fifth pads, the danger drone on the tonic). Noise appears only as struck percussion (the kit). Fully diatonic E major throughout — no chromaticism, so the wonder never tips into spooky (§2).
