Micro Music Laboratories®
Micro Music Laboratories®
Ethnic Music


Site Map



The Systems of
Order in Music


in Understanding as Reflected by Language

The Beginnings of
Musical History

New Sound Composer
of the 20th Century and the
Range of Intervals

to the Transcendental
Play of Music

Musical Insight into the Culture of Peoples

Musical Relationships

The Musical Path
to Self-Knowlegde



The Counterpoint

The Threefold Perfect
Form of the Harmony

Relations in Music


Peter Hübner
Founder of the
Micro Music Laboratories




  The Systems of Order in Music

To­nal­ity is the sys­tem of or­der of tones, that dis­tinc­tive or­der of sounds, in which a motif un­folds to­wards a melody. There are or­ders of to­nal­ity of very dif­fer­ent di­men­sions.

The System of Order of Tones
In the mu­sic his­tory of dif­fer­ent peo­ples we find com­pletely dif­fer­ent tonalities which to­day are er­ro­ne­ously pre­sented as scales, even though they are termed “to­nal­ity.”

Tonalities of Peoples
Origi­nally, to­nal­ity is the mani­fes­ta­tion of the prin­ci­ple of in­nertonal struc­tur­ing of the mu­si­cal sound-space. While the motif un­folds into com­pletely dif­fer­ent melo­dies, into very dif­fer­ently struc­tured mu­si­cal pat­terns, each melody si­mul­ta­ne­ously upholds its own to­nal­ity as its very own sphere of life. This gives the melody in­ner and outer se­cu­rity dur­ing its crea­tive un­fold­ment.

The Life Atmosphere of the Melody
The ori­gin of the to­nal­ity lies in the melody-tech­nique, just as the ori­gin of the melody-tech­nique lies in the to­nal­ity. The in­flu­ence of the to­nal­ity radi­ates into the world of the mu­si­cal sound-space and cre­ates its “at­mos­phere”.

The Origin of Tonality
To­nal­ity re­veals it­self in the ar­tis­tic mas­tery of the over­tones in a tone: in the lively and con­fi­dent use of that natu­ral, physi­cal, in­ner struc­ture of a tone which due to the pre­sent, in­cor­rect way of read­ing scores has com­pletely fallen into obliv­ion.

The Artistic Structuring of the Tonality
The over­tone-spec­trum may be pro­duced and per­ceived in very dif­fer­ent ways, and de­pend­ing on the ar­range­ment of the over­tones, on their to­nal­ity, it evokes very dif­fer­ent feel­ings, moods, and men­tal im­pres­sions within us lis­ten­ers. Since an over­tone-spec­trum, due to its na­ture, con­tains an in­fi­nite num­ber of di­verse tones which appear as in­di­vid­ual over­tones, their dif­fer­ent com­bi­na­tions re­sult in an end­less va­ri­ety of mu­si­cal sound-space struc­tures – an in­fi­nite di­ver­sity of tonalities.

Feelings, Mental Impressions and Moods through Tonalities
The con­scious per­cep­tion of over­tones in our in­ner sense of hear­ing de­pends on the re­fine­ment of our hear­ing abil­ity. The fur­ther away the over­tones are from the ba­sic tone, the finer is their struc­ture, the fain­ter the sound, and hence the more dif­fi­cult they are to hear. Also, they are much closer to­gether, and thus much more dif­fi­cult to dif­fer­en­ti­ate.

Thus, while lis­ten­ing inside, one will even­tu­ally reach a limit where one can no longer dis­crimi­nate the pitch of two neigh­bour­ing over­tones; a limit where one’s men­tal abil­ity to dif­fer­en­ti­ate, one’s in­tel­lec­tual abil­ity to dis­crimi­nate – with re­gard to the tone – are no longer ef­fi­cient, and all fur­ther over­tones will at best be per­ceived as noise.

The Limits of Recognizing the Tonality
With the sys­tem­atic train­ing of the men­tal power of dis­crimi­na­tion the mu­si­cian or the lis­tener pene­trates, with his in­ner ear, deeper and deeper into the na­ture-given world of mu­si­cal sound-spaces, and on the level of his feel­ing, de­pend­ing on the re­fine­ment of his per­cep­tion, he will hear and rec­og­nize the dif­fer­ent tonalities in the in­ner­most worlds of mu­sic: those mani­fold “plane­tary orbits of the mu­si­cal sound-space.”

Training the Mental Power of Discrimination
  With kind permission of AAR EDITION INTERNATIONAL