# Swamp Heron v3b — lazy swung swamp-blues combo, G dorian (bolder; muted-trumpet blues + encounter danger)

`swamp-heron-v3b` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

BOLDER second reading of the fishing biome's JAZZ piece: a lazy SWUNG SWAMP-BLUES combo in G dorian, 72 BPM (the encounter quickens to 84). Rather than a generic dorian jazz line, this take commits to the BLUES idiom — a slow 12-bar-ish swamp-blues (i Gm7 – iv Cm9 – bIII Bb6 – V D7, with the dorian bVII F6 color) played by a small late-night combo: warm struckPiano comping (tone WARM — intimate, low-light, the swamp at dusk; warm over bright fits the humid stillness), a walking uprightBass, a brushed kit (brushedSnare/ride), a warm pad floor, and a MUTED-TRUMPET (mutedBrass) blues lead trading phrases with the piano. Everything DRAGS behind the beat — lead onsets sit a row late, swung 'and's land on the triplet-ish row +3 — the heron's patience as groove. CHROMATIC JAZZ COLOR (named, the row's invitation): the BLUE NOTES are the point — the flat-5 (Db, the 'between' note of the G blues scale) as a bent grace/passing inflection in the lead, a dominant V7 (D7 with its F# leading tone) pulling home at the turnaround, a chromatic walking-bass approach, and a passing Adim7 (the b5 grind) coloring the danger; every non-diatonic note is a blues device, none random. LADDERS: calm (bed only) is the combo at rest — pad floor + lazy warm-piano comp + upright on beat one + a sporadic pitched bubbleBlip 'drip' (a single surfacing bubble as STRUCK percussion, NOT a continuous water bed — correction 3). Activity L1 (ch4-5) is the behind-the-beat muted-trumpet blues lead bending through the b5, with a soft struckPiano echo trailing across the water. Activity L2 (ch6-7) adds ENTIRELY NEW material, not volume — the WALKING uprightBass (quarter-note steps with chromatic blues approaches, distinct from the bed's beat-one bass) + brushed-snare/ride swing AND a low struckPiano counterline (the 'second heron' answering a register below): the combo starts to swing. DANGER is ENCOUNTER music (correction 2), abstract not literal — the threat is never painted. danger1 (L1) is the activity tune GONE APPREHENSIVE: the walk stiffens into a dragged wary low pulse on every beat (the heart quickening) under a tense muted-trumpet tremor leaning on the blue b5 / the dominant — real present material, not near-silence. danger2 (L2) is a genuine intensity jump (faster section tempo 84 + a real kit), NOT danger1 louder: the FULL ENSEMBLE crashing in — an urgent climbing blues chase figure (G–Bb–Db(b5)–D, the worried note built into the run) over a hard-driving kit (snare backbeat on 2 & 4, a ride push on the off-beats, and a dragged deepBoom downbeat = the thing under the water surfacing as a musical accent). Dread by urgency and density; never a literal splash. Standalone per §7.7 — no family motif; the behind-the-beat swing is the whole picture.
