Then we go back to the rhythmic outline from the original phrase and start moving it around in mediant relationships. This time, it will be played in its root position, moved up a minor third (in its entirety), then played in a major third down from the root tonality - and from the root in its new location. The very last note is there to re-establish root tonality.
It's also worth mentioning that in the remaining examples of this chapter, the terms "ascending" and "descending" should be taken with a pinch of salt, since this is a movement so wide that you may not really get a sense of going up or down. What it means is that we interchange the two "phantom chords" in the middle with each other, so that the phrase ends on a high note ("ascending") or a lower one ("descending").