# Windcaves Still v3a — When the Wind Stops (faithful): the held breath

`windcaves-still-v3a` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take A is the FAITHFUL, polished baseline of the row: ULTRA-SPARSE PIANO AMBIANCE for When the Wind Stops (B MAJOR, 48 BPM — the sparsest piece in the catalog). The held breath between gusts: a warm, hollow B-major pad (root + fifth + a high third blooming late and very soft) holds the still air open while single struckPiano / caveCelesta tones fall into whole-bar silences and ring out alone, with a subBass resting-pulse off the downbeat like a slow heartbeat at rest. Piano = struckPiano tone WARM (an intimate struck tone left to die in a still space; the bright voice would be too present for music this empty — the old feltPiano was a plucked-string bug). Standalone interpretation (§7.7): no shared motif — the piece is about absence and any quotation would crowd it; the 'melody' is just a few lone tones reaching up the B triad and settling, never a phrase that closes. Calm (bed, ch0-3) is complete on its own: the hollow pad + resting sub + ONE piano tone dropped per pattern. Activity L1 (ch4-5) is at most three struckPiano drips a pattern (placed like condensation) plus one soft caveCelesta far-echo — color barely there. Activity L2 (ch6-7) ADDS NEW MATERIAL, not volume: caveCelesta single tones placed into the silence BETWEEN the piano drops (a new bell voice) AND a warm bloom pad held under the long decays so each drop lands on something — the stillness deepened, not filled. Danger is ENCOUNTER music (correction 2) and the MOST PATIENT ramp in the set: the whole danger section runs a notch FASTER (60 BPM — the air on the move again). Danger L1 (ch8-9) is real unease / the approach: a single LONG pitched swell (darkDrone + pad on the tonic B, rising across the pattern) under one stirred low boom — the pressure changing, the wind gathering itself (material, NOT near-silence). Danger L2 (ch10-11) is a GENUINE intensity jump for active fight/flee — the slam of arrival: a driving low kick pulse, nearer closing booms, and a low struckPiano tonic tremor driving beneath. New rhythmic material + the faster tempo, not danger1 with the fader up. NO ambient soundscape (correction 3): the §4.9 near-silent noise floor and the literal 'wind returning / sub-boom' are RETIRED — there is NO wind/air/breath/noise material anywhere; the wind's return is rendered as a PITCHED tonic swell and abstract struck booms (one-shot percussion). Fully diatonic B major throughout — dread by register, density, and tempo, never chromaticism or foley.
