Harmonic Summary. Tom’s four melodic phrases are similar in many ways, especially as four-measure phrases that arrive on the dominant, lending a feeling of an antecedent in a parallel period, one that never manages to provide a consequent. The melodic lines are confined within tetrachordal spans: D-C-B♭-A, G-F-E♭-D, or F-E♭-D-C (in the latter, the C is a lower neighbor to D). All four melodies focus closely on D, as an origin or goal of motion, or as a kind of reciting tone. Both harmony and melody produce a sense of confinement in place, and of yearning to break free and move outward.