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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
The Threefold Perfect Form
of the Harmony

The mu­si­cal motif rep­re­sents an in­di­vid­ual and also rep­re­sents a spe­cific pre­domi­nant qual­ity. When the motif un­folds to­wards the melody, that one spe­cific in­di­vid­ual trait of char­ac­ter un­folds into the mul­ti­plic­ity of many traits – first into closely re­lated quali­ties, then into less re­lated, and even­tu­ally into even op­pos­ing quali­ties.

The Symbolic Value of the Musical Motif
This in­di­vid­ual un­fold­ment of the quali­ties of the char­ac­ter, which ac­cord­ing to their na­ture fill the spa­tial di­men­sion of mu­sic, takes place in time, and this ex­pan­sion in time we call “the life-path” of the in­di­vid­ual, and it is rep­re­sented in mu­sic by the de­vel­op­ment of the melody.

The Individual Life Path in the Musical Form
As if guided by the po­ten­tial of the clan, and em­bed­ded into the laws of the clan, the motif un­folds into the melody un­der the aus­pices of the se­quence, the eldest mem­ber of the clan.

The Inner Rules for the Unfoldment of the Motif
The se­quence-tech­nique here rep­re­sents the in­ner rules ac­cord­ing to which the clan li­ves.

The power of the clan, i.e. the se­quence, in turn is held to­gether by the har­mony which rep­re­sents the com­pre­hen­sive source of power for the clan. And the rules of the clan, as re­flected in the har­mony-tech­nique, are the origi­nal basis from which the se­quence-tech­nique, too, de­rives its laws.

The Comprehensive Source of Power in Music
By means of the har­mony-tech­nique, the ap­plied har­mony-tech­nique, the se­quence, the sequencce-tech­nique, the ap­plied se­quence-tech­nique, to the motif, the motif-tech­nique, and the ap­plied motif-tech­nique, the har­mony – as the great soul of the com­po­si­tion in the sub­jec­tive sphere of mu­sic – de­ter­mines from within the en­tire mu­si­cal proc­ess, in­clud­ing the outer world of the mu­si­cal sound-space, the ob­jec­tive sphere of mu­sic.
The har­mony here pre­sents it­self in its three­fold per­fect form: In the all-unit­ing form of har­mony it­self: in the form of the in­ner beauty of mu­sic;
then, through the har­mony-tech­nique it mani­fests in the form of its in­ner power – ex­pres­sed in the natu­ral, moth­erly rule of the se­quence -
and fi­nally, through the ap­plied har­mony-tech­nique, it un­folds in the form of the crea­tive mul­ti­plic­ity of mo­tifs.

The Great Soul of the Composition
  With kind permission of AAR EDITION INTERNATIONAL