As the second theme begins, however, with a somewhat ominous five-note descending scalar pattern repeated over and over again, we get the sense that this is an unsolicited voice over Tchaikovsky’s shoulder rudely trying to bring him back to reality. The fate motive is, as of yet, nowhere to be found, but the omen nonetheless foreshadows the worst. We rotate through these two materials—ecstasy and crude realism—once again, before the worst possible thing happens.