# Ocean Sailing — Beneath Sail: The Rolling Watch (6/8 barcarolle brass-band shanty, G mixolydian)

`ocean-sailing-v3e` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

The SECOND sailing shanty, and the 6/8 one: a WHOLE FRESH brass-band shanty composed FOR the rolling compound sway (the barcarolle lilt the owner liked in take C), not take B's straight material laid over a gait. Here the compound roll IS the heart — the melody breathes in dotted beats, the comping rocks the inner triplet pulses, and HORIZON is recomposed NATIVELY onto the lilt grid (rises swing up the off-pulses to a crest on a dotted downbeat, the open 2 spilling into the next bar). It is deliberately distinct from Job 3 (ocean-sailing-v3b2), the BROAD 4/4 shanty that strides square on the quarter: this one rocks. Each 16-row bar is two dotted beats (rows 0 and 8), each a rolling 'ONE-and-a' on rows {0,3,5}, and every onset — sub, comp, lead, counter — lives on that grid. Fully diatonic G mixolydian (no chromaticism); the b7 (F natural) is the mode's own colour and keeps each crest hungry, not triumphant. Correction 1 — the piano is struckPiano (a real STRUCK felt piano, not the old plucked feltPiano), tone BRIGHT: a shanty wants articulation, so the wardroom upright stays present and crisp; one bright struckPiano serves the calm deck rock, the L2 counter + off-pulse comp, and the danger2 busy accompaniment.Correction 3 — WAVE-FREE: no waterLap and no continuous water/wind material anywhere (the ambient sea is the game's SFX, not the score). The calm bed stands as becalmed-deck ambience on pitched material alone — swellPad cresting once per bar like the hull, a warm color pad, the rolling gait sub, and a sparse struckPiano chord rock on the dotted beats. Activity L1 (ch4-5) is the brass HORIZON cornet recomposed onto the lilt with a soft-pluck echo. Activity L2 (ch6-7) ADDS the wardroom piano as ONE clean accompaniment under the cornet, not volume: a counterline on the dotted beats (ch6) plus a low chord-dyad comp (3rd/5th, ~B-3..E-4) rocking the off-pulses (ch7) — voiced well below the melody so it complements rather than competes (the earlier version rocked all six pulses up in the lead's own register, which read as chaotic). Correction 2 — the OCEAN DANGER design. The danger SECTION runs at ONE fixed faster tempo (116 BPM vs the 100 of calm/activity), so the speed-up lands the instant danger begins. danger1 (ch8-9) is an apprehensive MIRROR of activity1: a KEPT foundation (a low darkDrone pedal + a kick heartbeat with a deepBoom ground-pulse) carries the activity1 cornet tune, but UNSETTLED — the crest is withheld (it reaches for the 5 and falls to the 4), phrases hesitate with gaps where the tune should sing, so the band's sailing song sounds like it has lost its nerve (diatonic; unease by hesitation and a pulled-back crest, not chromaticism). danger2 (ch10-11) is the REST of the band crashing in at full frantic — a genuine density/energy JUMP, not danger1 louder: a double-time frame-drum + kick kit raking every inner lilt pulse, a low mutedBrass counter-stab on the dotted beats, AND a busy struckPiano accompaniment filling the gaps the danger1 tune left. The frantic comes from the fixed fast tempo plus the double-time busy rhythm; the dread is the band's own panic, abstract — no literal storm or wave foley.
