# Ocean Sailing — Beneath Sail (Take C): Gull's-Wing Lilt (G mixolydian, HORIZON home, v3)

`ocean-sailing-v3c` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take C re-bones the FULL-MELODIC ocean concept as a rolling 6/8 barcarolle lilt instead of the obvious broad 4/4 pluck reading: each 16-row bar is two dotted beats and the sub rolls a 'ONE-two-three' sea-gait, so the hull rocks rather than strides. The lead instrumentation is swapped to a mutedBrass reed/concertina voice — the sea-song instrument — carrying HORIZON (stated recognizably from G-4, its crest landing on a dotted downbeat, the open b7/2 swinging into the next bar so the line stays hungry, not triumphant). Calm is deliberately sparser and more open than the v2 reference: swellPad cresting once per bar, the rolling gait sub, and waterLap as a percussive one-shot against the planks — no melody. Activity L1 (ch4-5) is the reed lead plus a soft pluck echo — the singable line alone. Activity L2 (ch6-7) ADDS genuinely new material, not volume: a feltPiano counterline a fourth below AND a rolling pluck arpeggio 'wake' on the lilt's inner pulses — three distinct voices, the full-ensemble payoff. Danger L1 (ch8-9) is first signs — a deepBoom ground swell on the bar with a slow kick heartbeat between, over a darkening pressure pedal that does not move the harmony. Danger L2 (ch10-11) is the storm arrived: the pulse doubles onto every dotted beat and gusting frameDrum bursts rake the deck, all at the raised 112 BPM — menace by rhythm, register, and density. Fully diatonic G mixolydian throughout (no chromaticism); the b7 F-natural is the mode's own color, not a borrowed tone.
