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.”