# Ruins Oldmusic — salon jazz combo, Ab 3/4 (take B re-spin, struck-piano, encounter danger)

`ruins-oldmusic-v3b2` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Re-spin of ruins-oldmusic-v3b — the nostalgic-AND-upbeat salon, kept whole: the live jazz combo (struck-piano comping, walking upright bass, brushed-snare + ride swing, a muted-brass reed lead) playing the courtly Ab-major 3/4 dance, a real band rather than a pad with a tune on top. PIANO: now struckPiano (the real STRUCK piano) instead of the old feltPiano (which was Karplus-Strong and read as a plucked guitar/harp); tone lean BRIGHT — present and articulate, which keeps this take's upbeat lift and reads cleanly against the muted brass and the dark danger register (its sibling v3a2 takes warm for the melancholy reading). Chromaticism is the deliberate, named jazz color the concept invites: ii–V motion (Bbm7→Eb7→Abmaj7), a chromatic passing diminished (Adim7) wedged between I and ii, 7th/9th comping tones, and a diminished/whole-tone climb in the danger chase. Calm is the band at rest (bed only — piano at quarter-light, upright on beat one, warm pad holding a I–vi–ii–V turnaround). ACTIVITY: L1 is the melody and its first voice (muted-brass courtly lead + celesta HEARTH second strain, each shadowed by a soft struck-piano echo); L2 adds ENTIRELY NEW material — a WALKING upright bass (quarter-note steps with chromatic approach tones, distinct from the bed's beat-one bass) plus brushed-snare + ride swing — the rhythm section arriving, not the lead louder. DANGER is now ENCOUNTER music (re-spin correction 2), abstract not literal — the threat is NOT painted. danger1 (L1) is real unease/the approach: a steady low pulse (the heart quickening) under a wary struck-piano tremor leaning on the chromatic Adim7 — present, not near-silence. danger2 (L2) is a genuine intensity jump, NOT danger1 louder: the salon's swing becomes a RUN — an urgent muted-brass chase figure climbing the diminished/whole-tone color over a hard-driving kit (snare backbeat on beats 2 and 3, a ride push on the off-beats, a deep downbeat accent). Dread by urgency and density; the accent is a musical downbeat, never depicted rubble. No continuous ambient soundscape is rendered anywhere (correction 3): all percussion is musical one-shots on the beat.
