The Systems
of the Overtone-Mechanics,
the Motiv-Technique,
the Sequence-Technique,
and the
Harmony-Technique

The Inner-Human Path of Realization

The Dual Musical Structure of Order

Mastership of the Musical Creator over the Created Composition

Power Relations in the Musical Force-Fields

Criteria for the Complexity and the Degree of Subtlety

The Differentiated Apprehension
of the Power of Harmony

Basically, it is the harmony which directly reveals itself in the tone, in the motif and in the sequence. But the differentiated apprehension of this direct power expresses itself in the systems of the overtone-mechanics, the motif-technique, the sequence-technique, and the harmony-technique.

Deeper and deeper insight into more comprehensive musical orders gives the musician, as well as the listener, ever more fulfilling knowledge, and thus transforms the music listener into a music lover.

Thus, the various "horizontal" systems of musical order appear merely as outer expressions of the secret "vertical" sovereignty of the harmony.

On the other hand, from this "vertical" viewpoint the understanding arises that

from a state of greater subtlety the world of lesser subtlety is governed, and that

from the subjective world the objective world is governed.

Thus, from of a superior order the world of the sound-space is ruled by the world of the motif,

the world of the motif is ruled by the world of the sequence,

and the world of the sequence is ruled by the harmony.

From the state of greater subtlety, the motif permeates the musical sound-spaces from within:

the motif creates them, fills them with life, sustains them, destroys them.

From the state of even greater subtlety, the sequence permeates the motif-spaces from within:

the sequence creates them, fills them with life, sustains them, destroys them – and with them the sound-spaces.

From the state of greatest subtlety, the harmony permeates the sequence-spaces from within:

the harmony creates them, fills them with life, sustains them, destroys them – and with them the motif-spaces, and with these again, the sound-spaces.

These are the two fundamental angles under which to consider the inner musical order:
The horizontal angle, mentioned earlier, takes the outer size of the respective systems as the criterion to gain knowledge; the vertical angle takes the degree of musical subtlety as the criterion to gain knowledge.