Ba­si­cally, it is the har­mony which di­rectly re­veals it­self in the tone, in the motif and in the se­quence. But the dif­fer­en­ti­ated ap­pre­hen­sion of this di­rect power ex­pres­ses it­self in the sys­tems of the over­tone-me­chan­ics, the motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique.

Deeper and deeper in­sight into more com­pre­hen­sive mu­si­cal or­ders gives the mu­si­cian, as well as the lis­tener, ever more ful­fill­ing knowl­edge, and thus trans­forms the mu­sic lis­tener into a mu­sic lover.

Thus, the vari­ous “hori­zon­tal” sys­tems of mu­si­cal or­der appear merely as outer ex­pres­sions of the se­cret “ver­ti­cal” sov­er­eignty of the har­mony.

On the other hand, from this “ver­ti­cal” view­point the un­der­stand­ing arises that

Thus, from a su­pe­rior or­der

From the state of greater sub­tlety, the motif per­me­ates the mu­si­cal sound-spaces from within:

From the state of even greater sub­tlety, the se­quence per­me­ates the motif-spaces from within:

From the state of great­est sub­tlety, the har­mony per­me­ates the se­quence-spaces from within:

These are the two fun­da­men­tal an­gles un­der which to con­sider the in­ner mu­si­cal or­der:
The hori­zon­tal an­gle, men­tioned ear­lier, takes the outer size of the re­spec­tive sys­tems as the cri­te­rion to gain knowl­edge; the ver­ti­cal an­gle takes the de­gree of mu­si­cal sub­tlety as the cri­te­rion to gain knowl­edge.