Harmony. Still loosely prolonging the tonic, G minor, but here via an auxiliary cadence from F minor (♭VII^♭) to D major (V^♯). The significant reference to F minor recalls the harmonic digression of Tom’s second phrase, and the conclusion on D major makes this Tom’s fourth consecutive phrase to end on the dominant, in the manner of the antecedent of a period. The relationship between these two harmonies, F minor and D major, is functionally remote (no key contains them both) and involves no retention of common tones.