With its re­lated forces (its de­via­tions), the motif moves through the world of the se­quences in the shape of the melody. It con­tinu­ously trans­forms it­self and ap­pears in many forms by as­sum­ing the char­ac­ter­is­tics of re­lated mo­tifs. Thus, it fills the realm of the se­quence with ever new life – just like a child who, at home, con­tinu­ally dis­guises it­self and play­fully runs through house and gar­den.

Even if the lis­tener rec­og­nizes the motif and its des­tiny, the na­ture of the se­quence, which in a moth­erly way guides the motif, is more dif­fi­cult to per­ceive. But when he di­rects his at­ten­tion from the motif to the world of the se­quence, the motif ap­pears to him in the form of the melody by ex­press­ing, one af­ter the other, the fea­tures of re­lated traits of char­ac­ter.

In this way, the motif, while danc­ing through the worlds of the se­quences, is al­ways in­spired by the pre­sently ruling se­quence to fur­ther enli­ven in­di­vid­ual un­fold­ment.

On a higher level of mu­si­cal knowl­edge, the se­quence is guided and strenghtened by the har­mony; hence, it can rejuvenate the mo­tifs – re­sult­ing in the lively struc­tur­ing of the melody. In the melody, the motif de­scribes its in­di­vid­ual life-path; there­fore some­times this or that qual­ity is domi­nat­ing – some­times one as­pect, some­times an­other as­pect of the motif.