Hmm. Pacing is an interesting question. The theory does already have the Catalysts, the Inhibitors, the Benchmarks, the Driver, the Limit, etc. The theory also gives you a certain space to expand or contract below the level of sequences. I really hope Dramatica never becomes "Save the Cat!" where you can predict the occurrence of events down to the minute.
After I read your question, I wanted to try and analyze a song for narrative elements. The song that came to mind for me is one of my favorites from Hamilton, The Room Where it Happens. I think it's broken up into four pretty clear acts:
Act I: Verse 1. Hamilton and Burr discuss the best method for achieving immortality. Burr recommends dying nobly, but Hamilton chooses direct action, "doing whatever it takes to get my plan on the congress floor."
Act II: Verse 2, Chorus, Verse 3, Verse 4, Bridge (part 1). While Burr watches helplessly from the sidelines, Hamilton pulls strings and makes compromises to get his plan through. Despite Burr's protestations that things of value are being lost, he has no control over what happens.
Act III: Bridge (part 2). Burr suddenly realizes Hamilton's game. Hamilton trades things that appear valuable in order to get the things that really matter. Hamilton explains that because he cares so deeply about his legacy, he will do anything to see it realized. He then exhorts Burr with the question that resonates throughout the musical: "If you stand for nothing, Burr, what will you fall for?"
Act IV: Chorus (Coda). Burr breaks down. He finally admits that there is something he cares deeply about: the ability to shape his own destiny. "I wanna be in the room where it happens."
This song is a really important moment in the play as a whole, but I hope in this way I've shown a very simple arc across just here. Burr is a Change, Start, Do-er, Holistic Main Character, with Hamilton as his Influence Character. (In the rest of the play, these roles are reversed. Hamilton is the MC and Burr is the IC.) It's a Decision, Optionlock, Success, Bad, I'd say. (Success because Hamilton gets what he wants, but Bad because Burr feels dirty for allowing himself to delve into the "art of the compromise: hold your nose and close your eyes.") As for the Overall Throughline... Physics/Obtaining/Self-Interest/Avoid? (I semi-intentionally made those four Acts fit the four Activity Concerns. Act I is Obtaining, Act II is Doing, Act III is Understanding, and Act IV is Learning. Kinda.)
Anyways, that's my analysis of the lyrics. This song has a pretty simple instrumentation, but I hope I can point out some interesting quirks to it.
- Each verse starts with the trumpet call. It's very sleazy-sounding, drawing attention to the events that are unfolding here. It contrasts with the quiet, sneaky sound of the verses.
- Verse 1 starts with just the drumkit and the two characters talking. It gives us a neutral positioning, so that when the intriguing piano riff comes in, we feel disconcerted as Hamilton explains his technique. The same thing happens in a couple other places: when George Washington and Jefferson make their deal, when Burr realizes Hamilton's game, and when Burr finally decides to step in. In each case, the goal is to make the conversation more prominent.
- The chorus adds the banjo. In my opinion, it gives those sections a "wheelin'-and-dealin'" feel. It also accentuates Burr's distaste for the proceedings.
- Jefferson's lines in Verse 3 seem to skip and jump across the beat, while Hamilton, Burr, and Washington generally fit the beat better. I think the point of this is to demonstrate how Jefferson is much less willing to work with Hamilton, whereas the others are more amenable.
- As Burr gets more upset, his part gets more involved and energetic. His lines as the narrator are very simple and balanced, but when he sings as "himself," it's very intense. "What did they say to you to get you to sell me your city down the river?!"
I don't know if that analysis makes any sense. In any case, I don't really get solid concepts from musical choices so much as abstract sensations.