# Sunless Shore v3b — Glass Tide (the bell-canon glow engine)

`sunless-shore-v3b` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take B is the BOLDER reading of sunless-shore (Glass Tide): a luminous BELL ambiance built as a self-running glow ENGINE rather than bells decorating a pad, F# mixolydian (F# G# A# B C# D# E; b7 = E). The plankton glow's rhythm is rendered as a pitched BELL OSTINATO that writes and erases itself — caveCelesta and glassBell trading glints across the stereo field in an uneven long-short pattern — so the TIDE IS DE-LITERALIZED: there is NO waterLap and no water/wave/air material anywhere; the glow's pulse IS the bed's groove. shimmerDrone renders the bioluminescent bloom as a PITCHED swell (not a noise bed). The lead is the translucent glassArmonica (a more otherworldly ensemble than a piano-led take); struckPiano (tone BRIGHTEST, a conscious extreme to match the glass world) appears only as crystalline tolls on the tonic. Activity L1 (ch4-5) = the luminous mixolydian melody on glassArmonica (FOXFIRE: a high 5-6-8 reach with the b7=E brushed as the alien glint) + its caveCelesta glint shadow. Activity L2 (ch6-7) ADDS NEW material, not volume: a glassBell CANON answering the melody a fourth above two beats late, AND a faster celesta arpeggio shimmer filling the glow — the bell canon is a genuinely new voice. Danger L1 (ch8-9) is 'the room filling' as unease: the glow ostinato gone apprehensive — the bell cell's period TIGHTENS in an authored accelerando over an arriving low sub pulse and a single far boom (real material, not near-silence, not a literal lap). Danger L2 (ch10-11) is a GENUINE intensity jump at a faster section tempo (108 BPM vs 80): the full ensemble crashes in — a frantic accelerated celesta bell RUN and a driving boom-on-the-bar (ch10) plus a hard kick pulse and crackTick urgency (ch11) — new rhythmic/percussive material and far higher density, fleeing a cave with one exit, NOT danger1 louder. Fully diatonic F# mixolydian throughout; the v C#m chord is the soft un-pull that keeps the tide-line from ever cadencing. Dread is abstract — register, density, the glow rhythm accelerating — never chromatic darkening and never a literal foley of rising water.
