Motive. Just as Tom’s music had a characteristic motive, the neighbor note, Ann’s music features the melodic third, filled in with a passing note. In her first vocal statement, third-spans are presented over shorter (slurs) and longer (beams) spans of time. The passage as a whole can be understood as the elaboration of a large descending third, D♭-C-B♭ (highest beam). Although C5 has been heard often as part of the briefer spans, its participation in this larger span is only implied.