Motive. Anne’s motivic third-spans continue to dominate, especially descending thirds within the tonic triad: F-E♭-D and D-C-B♭. At the highest level, a descending third from F arrives on an implied D over the final tonic harmony, leaving the melody slightly open in feeling at the end. Near the end, a motive that is new to this duet, but extremely pervasive in the opera as a whole, is introduced, namely D♭-D (♭$\hat{3}$ and ♮$\hat{3}$ in the key of B♭ major). These recall Anne’s very first utterance in Act I, Scene 1, where her first two notes were C-C♯ (in the key of A major). One can also hear an echo of D♭-D in the large-scale melodic motion of the duet, from Tom’s D (in G minor) in Block 2 to Anne’s D♭ (in B♭ minor) in Block 6.