# Singing Chasms · The Singing Stone v3b — pad-choir ambiance (the cave is a choir)

`windcaves-chorus-v3b` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take B is the BOLDER reading of the row's pad-choir ambiance (E mixolydian, 78 BPM) — a genuinely distinct second take. Where Take A read the cave as three independent air drafts + a choir body + a celesta DUET, Take B commits all the way to the CHOIR half of pad-choir: the cave is a literal FOUR-PART CHORUS (SATB `choirPad`) singing an ANTIPHONAL CANON to itself. Two stereo draft groups answer ACROSS the chamber — a NEAR passage (bass + tenor) panned left, a FAR passage (alto + soprano) panned right — entering in staggered imitation so the chord assembles voice by voice and the passages call-and-answer. The 'pitched air' is therefore the chorus itself (PITCHED pad/choir, NOT airPad noise); an `airVoice` halo only doubles the soprano draft to keep the draft in the timbre — a tonal detuned pair with a faint breath layer whose noisiness sits well under the noise-bed threshold (correction 3). The sub touches once per two bars. `sparse: true` — long choral swells with space between entries. No piano part (correction 1: the row names choir/air + celesta, so there is no struckPiano and certainly no feltPiano). Activity L1 (ch4-5) is the canon DUX: a single caveCelesta states the canon subject — a 'travel' line walking the chamber (off the home tone, the bright IV reach, a lean on the mixolydian b7 (D), settling open) — with a soft reflective echo trail. Activity L2 (ch6-7) is the canon COMES: a SECOND caveCelesta enters the SAME subject a FIFTH above and half a phrase later (a real canon at the fifth — a2 even tightens the lag), plus a `choirPad` inner descant tying the two entries into the chorus. L2 is an imitative SECOND ENTRY and a sung inner voice — new material, not the lead doubled; that canon is the take's defining structural difference from A. Danger (correction 2) is the choir OVER-BLOWING INTO A SCREAM, rendered abstractly and fully diatonically, with WIND SPEED as a faster danger-section tempo (88 BPM). danger1 (ch8-9) is the approach: the choir tightens to a swelling over-blown root-fifth cluster (gale airVoice, more breath, a shade sharp) over a low pitched draft-pressure drone (the retired infrasonic 'Depth' intent folded into an authored sub swell, not a bed) with a far gust shove — real material, the wind gathering (not near-silence). danger2 (ch10-11) is the FULL CHORUS SCREAMING, a genuine intensity jump for active fight/flee: a dense driving over-blown choir+air gale that BENDS UP within the mode (portamento up, effect 1xx — the pipes going sharp when overdriven), driving gustStab SHOVES doubling the rhythm, and `stoneTom` BLOCKS dislodged by the wind (low, falling fades). New material and far higher density at the faster tempo, NOT danger1 with the fader up. The only noise is those struck gust/stone one-shots. This concept is standalone (§7.7): the cave is the soloist, the celesta only imitates it in canon — no shared motif is quoted. Fully diatonic E mixolydian throughout (the b7 (D) is the cave's modal colour, not chromaticism); zero chromatic shadow.
