Motive. Tom’s music was motivically oriented toward the neighbor note, while Anne’s used primarily stepwise third spans. Now, with Anne and Tom singing together for the first time, mostly in parallel sixths and tenths, the music makes use of both motives. The primary motive is now Anne’s thirds, but these are intensively decorated with Tom’s neighbor notes. One small-scale motivic drama that is frequently enacted in this music is the transformation of a neighbor note into a passing note, as in the first few notes of the melody. In its first statement, the melodic E♭ is a neighbor note to D, just as it was so repeatedly in Tom’s G-minor music. But in its second statement, the E♭ becomes a passing note, leading from D up to F. Motivically, this melody thus creates mobility and fluidity out of what had previously been confined and trapped in place.