# Pillars Spanwalk v3a — Bridge of Giants (faithful: house + stony percussion)

`pillars-spanwalk-v3a` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

Take A is the FAITHFUL realization of the row's style: house + stony percussion, wide open-fifth pads, a balancing melody (stepwise then one wide leap), and stoneTom with long fades, in B dorian at 84 BPM (the danger section hurried up to 96). The gap between pillars is rendered as the gap between voices — pads in open fifths spaced very wide in register, with the low pad carrying a pitched pedal two octaves down (the retired 'void's breath' noise gust re-imagined PITCHED, per correction 3 — no looped noise; stoneTom is the only noise material and it is struck percussion). The lead is the TREAD motif (§7.5, deferring to tundra-longwalk): even counted steps, then the final tonic displaced up an octave (the one wide leap across the bar line), then the careful descent on the far side. Activity L1 (ch4-5) is that balancing walk on a soft house pluck plus its soft-pluck echo a beat behind — a singable line that reads on its own. Activity L2 (ch6-7) ADDS new material, not volume: the house groove arrives — a soft four-on-the-floor kick with an offbeat hat tick (the lilt that turns the careful walk into a confident crossing) plus a warm counter pluck a third/sixth below the lead (opening into a rolling arp in A2). Danger L1 (ch8-9) is unease/the approach: the player's own walk gone apprehensive — a wary, uneven stoneTom on the gait under a darkening B/F# drone, with a far stone knock now and then; real material, not near-silence. Danger L2 (ch10-11) is the active fight/flee jump at the faster tempo: the full ensemble crashing in — dislodged blocks falling away in a driving run (stoneTom with its long falling fade, you hear them go), a hard low kick pulse, and the tick pattern tightening from quarters into eighths. It is new instruments + higher density + a raised tempo, NOT danger1 with the fader up. Dread is abstract — register, density, the gait becoming a run — never chromatic darkening and never a literal foley of wind or the span collapsing. Fully diatonic B dorian throughout.
