# Pillars Spanwalk v3b — Bridge of Giants (the span as a groove)

`pillars-spanwalk-v3b` — levels: `calm.mp3` · `activity1.mp3` · `activity2.mp3` · `danger1.mp3` · `danger2.mp3`

The BOLDER second reading of the spanwalk. Where a faithful take inches across a near-static bed, this one COMMITS to motion: a four-on-the-floor house groove built from stoneTom — the bridge crossed by walking it like you mean it ('narrow spans over nothing, taken anyway'). The stoneTom is the kit, not just a danger color: a stone heartbeat (one hit per beat, downbeat heavier) carries the BED in every section, so the groove is the through-line and the danger reads as that groove turning to rubble. Style: house + stony percussion, B dorian, 84 BPM (danger jumps to 112). The pads keep the concept's signature wide-open fifths, pushed further — the root down at B-1/F#-1 and the answering fifth floated two-plus octaves above (F#-4/C#-5), the gap between the pillars written as the gap between the voices with only air in the middle; the bright dorian IV (E) and bVII (A) are the open doors of light. The balancing melody is struckPiano tone BRIGHT (vertigo wants clarity, not a warm haze) stating the TREAD family idea (docs §7.5): even careful steps for a phrase, then the final tonic DISPLACED UP AN OCTAVE — the one wide leap across the bar line, steps counted then committed. Ladders (L2 adds NEW material, not volume): activity L1 (ch4-5) = the piano balancing line + a soft-pluck shadow a beat behind (a foot finding the next stone). Activity L2 (ch6-7) ADDS a high pluck counter-line answering the leap a fifth above AND an open-fifth pad arpeggio rocking root<->fifth across the register gap — the span fully roped. Danger L1 (ch8-9) = the approach: the balancing tune gone apprehensive — the same stepwise figure now minor-leaning and wary on a second (warm) struckPiano, resolving DOWN not up (the commitment lost), over a darkening drone with single stoneTom blocks left to FALL AWAY (long fall fades — you hear them go) and one far boom; real material, unease, not near-silence. Danger L2 (ch10-11) = active flee: the full ensemble crashing in at the faster 112-BPM danger tempo — a driving kick+stoneTom four-on-the-floor with a galloping double, snare crashes on the backbeat, big falling stone blocks on the bar lines, and a tightening hat/shaker run. It is new rhythmic material and higher density (the bridge failing behind you), NOT danger1 louder. Dread is abstract — the groove destabilizing, register, density, the faster section — never chromatic darkening (fully diatonic B dorian) and never a literal foley of wind/collapse (that belongs to the game's SFX + ambient soundscape). stoneTom is a struck one-shot throughout; no looped noise bed.
