Thus the over­tone-me­chan­ics, the motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique are di­rectly based on the har­mony. In truth-ori­ented mu­sic all these lev­els of crea­tiv­ity are di­rectly rooted in the har­mony.

Al­though the over­tone-me­chan­ics gov­ern the sound-space from inside,
the motif-tech­nique gov­erns the motif-spaces from inside,
the se­quence-tech­nique gov­erns the world of the se­quences from inside,
and the har­mony-tech­nique gov­erns all these worlds to­gether from inside, ac­tu­ally, all these four di­men­sions are empowered by the har­mony di­rectly,
and the har­mony-tech­nique, the se­quence-tech­nique, the motif-tech­nique, and the over­tone-me­chan­ics are but dif­fer­ent forms of rule of the one uni­ver­sal har­mony in vary­ing de­grees of com­pre­hen­siveness.

So, the com­po­si­tional world of a su­pe­rior or­der is al­ways in two ways more com­pre­hen­sive than the re­spec­tive world of an in­fe­rior mu­si­cal or­der:
firstly, more com­pre­hen­sive from out­side – with re­spect to the sound-space per­ceived,
and sec­ondly, more com­pre­hen­sive from inside, be­cause the com­po­si­tional world of a su­pe­rior or­der al­ways embod­ies a higher de­gree of sub­tlety.

The si­mul­ta­ne­ous com­pre­hen­sion of the “ver­ti­cal” and the “hori­zon­tal” sys­tems of or­der through the in­te­grated func­tion of feel­ing and un­der­stand­ing ac­counts for the great at­trac­tion of clas­si­cal mu­sic.

If cre­at­ing and per­form­ing mu­sic wants to radi­ate life, the in­te­gra­tion of feel­ing and un­der­stand­ing is al­ways re­quired. If this in­te­gra­tion is not es­tab­lished, mu­sic lacks its basis of enli­vened si­lence, and will merely be an in­ner or outer pres­en­ta­tion of an acous­tic event.

At a cer­tain de­gree of mu­si­cal or­der the sov­er­eignty of the har­mony is called “over­tone-me­chan­ics”; at a higher de­gree of or­der the sov­er­eignty of the har­mony is called “motiv-tech­nique”; at a still higher de­gree of or­der it is called “se­quence-tech­nique”; and at the most com­pre­hen­sive or­der the sov­er­eignty of the har­mony is called “har­mony-tech­nique.”