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.

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.

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 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.

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.