Yeah, I notice that when a track starts with a simple, low‑end rumble that builds into a bright, layered chorus, it feels like an opening paragraph leading to a climax. The way a bass line drops out for a beat, then returns, is like a narrative pause that lets you breathe before the next scene. A sudden change in tempo—like a 120‑beat section that slows to 90—creates that classic tension‑release feel, almost like a plot twist. If you listen closely, those small shifts in texture or a recurring melodic motif act like recurring characters that tie the whole story together.

It’s a mix. The structure mainly sets the pacing, but you can layer a plot‑like arc on top of it if you’re clever. Think of the intro as exposition, the build‑up as conflict, and the climax or drop as the resolution. A good example is a ballad that starts with a quiet verse, ramps up to a full‑band chorus that feels like a confrontation, then pulls back into a stripped‑down outro that wraps everything up. If you keep an eye on the emotional rise and fall, you’ll see a narrative even in a 3‑minute pop track. So yes, structure is pacing, but you can use it to tell a mini story.