# Pillars Cloister — Stone Quiet (v3 take A2, re-piano: struck, bright)

`pillars-cloister-v3a2` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take A2 — a RE-PIANO of pillars-cloister-v3a, not a rewrite: the only change is that the felt-piano (a Karplus-Strong plucked string that read as a plucked guitar) is replaced by struckPiano with tone BRIGHT, and EVERYTHING else the loved take did is kept intact. Tone choice: the brief leans the E♭-lydian light-shafts mood bright (the shimmer), and standing in a sun-shaft is awe rather than intimacy, so a present, articulate struck piano lets each single plainchant note speak across the silence before the canon answers it; the struck partials still decay bright→warm, so it rings BotW-quiet, not like a hard upright. Quiet BotW-esque piano ambiance in E♭ lydian at 58 BPM, melody-forward but very spacious: the bed is an open-voiced choir chord changing once per pattern over a soft sub, with a gong touched at each pattern boundary, and the lydian #4 (A♮) glints once per phrase in the upper choir voice rather than as a hook. Activity L1 (ch4–5) is the VAULT motif (root, fifth, octave, then a 6–5 settle) as a plainchant struck-piano line plus one sympathetic low piano ring per phrase: a clear, standing-on-its-own statement. Activity L2 (ch6–7) adds genuinely NEW material — a caveCelesta canon answering the line a fifth above (transposeDegrees +4, entered a bar late) with a faint echo trail, plus a slow choir swell blooming underneath; the cathedral fills gently rather than getting louder. Danger is encounter music, abstract not literal: danger1 (ch8–9) is real unease — the gong migrates here struck harder and lower, beating against a low boom (a resonant tremor, the monument stirring), not near-silence. Danger2 (ch10–11) is a genuine intensity jump — NEW material at higher density and register: rockfall pebble-ticks scattering across the bar plus a doubling boom on the off-beats between danger1's strikes, the floor coming alive under the player. It evokes dread by proximity/density (stony one-shots, never a continuous storm/cave-in bed) and stays awe-adjacent and fully diatonic: rockfall, not wrath. No chromaticism; no ambient-soundscape depiction.
