Chapter 5.5 serves as the first of two Interludes addressing musical narrative. Following from the original proposition that motives must move and move readers, narrative is established as a necessary mechanism for structuring complete, meaningful analyses. The chapter first rehearses the argument that untexted music implicitly possesses narrative qualities. Evidentiary support is taken from seminal works both from literary theory (Propp, Frye, Liszka) and from the fields of musical semiotics and narrative (Nattiez, Hatten, McClary, Guck, Newcomb, Maus, Schmalfeldt, Almén, and Klein). The interlude continues by presenting four “archetypes” for organizing and animating (ascribing motion to) motivic findings. The first archetype, called BMA-1, communicates the progress of a single motive. The other three archetypes, all forms of BMA-2, model multiple motives or motivic elements in dialogue. The possible interactions are “Non-Engagement,” “Synthesis,” and “Triumph.” The BMA archetypes are demonstrated through discussion of works by Beethoven and Chopin.